The Jesus And Mary Chain, Rock City, Nottingham

Supported By Ciel

Opening tonight are Ciel. Which sounds a bit Dutch but they confess to being based in Brighton although their three members come from the UK, Spain and the Netherlands. Maybe that explains it. 

They are pleasant enough, dream poppy over some nicely thumping drums, hints of early Lush and a dashing of shoegaze. They go down well with what is quite a small crowd but then it’s still early.

The last time I saw the Jesus and Mary Chain was in 1987. Yes, that long ago. So a revisit was clearly long overdue. In 1987 they were promoting their second album ‘Darklands’ and although it wasn’t a wildly long set they had got past their early phase of playing with their backs to the audience, drenching their sound in feedback and everything else in dry ice before leaving the stage after about twenty minutes.

Tonight, they are (much) older, wise and totally professional although still men of very few words but brilliant with it. One of them still has hair (and some!) while the dry ice is also still there although they don’t layer it on in spades.

Brothers Jim and William Reid are joined these days by the well-travelled drummer Justin Welch, who started in Suede where he met Justine Frischmann with whom he formed Elastic. He was then the replacement drummer for the sadly departed Chris Acland in Lush when they reformed. Now he's here. 

In theory they are promoting their latest and eighth album ‘Glasgow Eyes’ but this is mostly a greatest hits set. 

Like likes of ‘April Skies’ and ‘Happy When It Rains’ come early, ‘Some Candy Talking’ a little later and then just when they were perhaps losing some of the crowd in the middle, due to some less familiar tracks, a cracking ‘Head On’ gets everyone’s attention back. 

Towards the end of the set Ciel's Michelle Hindricks joins them on stage to duet with Jim on ‘Sometimes Always’ which was originally done with Mazzy Star's Hope Sandoval. Then they’re into the wonderful ‘Darklands’ before ‘Never Understand’ finishes the set. 

Michelle Hindricks is back on stage to add her voice to ‘Just Like Honey’ at the start of the encore before ‘Taste of Cindy’ and the sprawling monster that is ‘Reverence’ closes the night. 

I think I best not leave it so long next time.

The Slow Readers Club, Rescue Rooms, Nottingham

Supported By Glass Caves

The Slow Readers Club start their latest UK tour at the Rescue Rooms, which is really a bit too small for them but Rock City is still perhaps a little too large. They're in that in between phase. This tour is to promote their latest album 'Out of A Dream'. 

First though are Pontefract's Glass Caves who have a new record of their own 'Back To Earth' to promote and promote they do. Frontman Matt Hallas asking the crowd to buy some merch so that they can upgrade their Travelodge to accommodate the four of them as they're all sharing one room. The band who started out busking on the streets of York treat us to their straightforward approach to modern rock alongside some vintage hairstyles. A long-haired throwback to the eighties but they are thoroughly nice chaps and so polite as they attempt to flog their merch for an upgrade. 

So, the Readers, and talking of vintage they have pulled a pretty vintage crowd which makes me feel so young. Quite why it’s an older crowd I’m not sure as the band aren’t that vintage.  

Across a 16-song main set they don't over push the new album playing just four from it including new single 'Animals' which is pretty decent and previous release 'Technofear' which everyone seems to know. 

There are of course plenty of oldies too including a rare outing for 'Sirens' from their first album in 2011. Although with seven albums to dip into now, and they do choose from them pretty evenly, there's a lot of classics not played. 

There's an excellent run at the end of the set with 'Afterlife', 'You Opened Up My Heart' and 'Forever in Your Debt' before new track 'Boy So Blue' and finally regular set closer 'On The TV'. 

They come back for an encore that opens with 'I Saw a Ghost', then 'Knowledge Freedom Power' before 'Lunatic' naturally finishes things off. It's a lively warming show for a cold November night.

The Libertines, Rock City, Nottingham

Supported by Vona Vella, Real Farmer & Ed Cosens

The night began with a trio of support acts comprised of bands from Peter Doherty’s own label Strap Originals. It is a very tight schedule with short five-minute changeover periods between the artists which isn’t helped by the doors opening quite late at 7pm and the first band due on at 7:20pm.  

First up are Nottingham’s Vona Vella, who are Izzy Davis and Dan Cunningham, a pair of harmonious singer songwriters who turn up as four piece tonight. They trade vocals over lively guitar driven melodies with a mishmash of styles but are generally mellow and summary, very Lloyd Cole, and highly likable. They come over as a group of mates having a great time. They’re possibly too nice and I’m not sure where they take this act from here. 

Up next are Real Farmer, a band from Groningen in the Netherlands. Their lead singer walks on stage, promptly throws away his mic stand, jumps in the air a few times and spits. Ugh. Then he starts pacing up and down. This is just his warm-up I think. Then...  It’s Play Dead! Or Killing Joke maybe. This is more my thing, spitting apart.

Finally, we have Reverend and the Makers guitarist Ed Cosens who gets a few songs in while the roadies are busy resetting the stage behind him for the Libertines. He’s missed his first assigned slot and now he gets to play a mere three acoustic numbers while fighting a battle against a now restless crowd.

Then… just as we’re expecting the main event to start rather than the whole band, we get just the one Libertine as Pete Doherty strolls on to the stage alone and introduces a poet he allegedly found on Upper Parliament Street while walking his dog last night. I think it’s fair to say that said poet goes down a bit mixed.

Fifteen minutes later Doherty is back, now in his raincoat but this time with the rest of the band. Then things really took off ‘Up The Bracket’ style as they opened with a classic that is now amazingly 22 years old.

Doherty spends most of the night loitering to one side as Carl Barat, kitted out in a trilby hat and blazer, commands things from centre stage. Everyone took a turn up front though with both drummer Gary Powell and Barat taking turns on the piano and bassist John Hassall taking a turn on vocals. 

 

The set was a mix of the classics and the brand new with plenty played from their new album ‘All Quiet On The Eastern Esplanade’ in a night that was riotous but retrained too. These days you are assured that the Libertines will not only turn up to play but they'll be on time and they’ll play through to the night’s conclusion rather than being prone to curtailing things at any moment.

After an eighteen song set that finished with ‘Can’t Stand Me Now’ the band returned for a long encore of a further seven songs that Doherty even took his coat off for. This included ‘Gunga Din’, which was one of only two included from their third album 2015’s ‘Anthems for Doomed Youth’, ‘Time For Heroes’ from album one and to round things off standalone single ‘Don’t Look Back Into The Sun’.

Tom Robinson, The Old Cold Store, Nottingham

 Supported By Rob Green

Tonight I am at Nottingham’s Old Cold Store to see Tom Robinson. The Old Cold Store is part of the Vat and Fiddle pub owned by Castle Rock Brewery so the audience is at least assured a good pint.

The Cold Store is also really cold. This is partly because it’s late November but also because it appears that the venue is just the pub’s backyard that they’ve (sort of) put a roof on. This is also (sort of) a seated gig and they’ve put chairs out for us old folks. Although you can stand at the back if you’re hardcore and/or you want to jump around to keep warm. Note to self: bring gloves next time.

 

Support comes from a chap called Rob Green who is originally from Nottingham. As always with a Tom Robinson show the support artist has been featured on his 6 Music Show and is introduced by the man himself. Green plays a short 20 minute set which only consists of three songs, a poem and a medley of covers but then he is hauled back on stage for one more called ‘I’ll Be Around’ which is the best one he does. He’s decent and hits some amazingly high notes with his voice.

After giving us a chance to get another beer, Robinson comes on stage, rolls his sleeves up, and launches into the first of two 45 minutes sets with a track I didn’t know ‘You Tattooed Me’ from his 1986 album ‘Still Loving You’. One of several songs that he plays tonight that I’ve not heard before.

 

This evening it is just him, without his band, and 'up close and personal' is the title of the show and that is what we get. Just Tom, his guitar and his keyboard.

The two sets will have an intermission in between. This is presumably another innovation along with the chairs for us oldies and for himself, a sprightly 73 year old.

During his reworking of ‘Fifty’ as in ‘what if we live to be fifty’ that he has now called ‘Eighty’ out of necessity as he’s now obviously way past being fifty, he tells of the three things getting older has changed in his performances. Firstly that he has to write down any new song lyrics or else he’ll forget then. Secondly, that having written them down he can’t actually read them. The third thing slips his memory.

His memory is strong though concerning his former TRB band colleague Danny Kustow to which he dedicates ‘Too Good To Be True’. A tale about Kustow is just one of his many recollections about his songs he tells tonight.

 

Robinson is also still a vocal critic of everything wrong in the world and also of abuses of power hence one of his newer songs ‘The Mighty Sword of Justice’. Then after ‘Atmospherics: Listen to the Radio’ he takes a break, so that we can all have a lie down.

Part two includes such classics as ‘Grey Cortina’, ‘War Baby’, ‘Glad to Be Gay’ and ‘Up Against the Wall’ before he closes with a ‘short medley of my greatest hit’ i.e. ‘2-4-6-8 Motorway’.

He treats us to one more which is the rather poignant ‘Only the Now’. It’s a personal favourite of his about the reality that the past is the past but that the future is always unknown and we all have to live in the moment. Sound advice and an excellent night.

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The Sisters Of Mercy, Rock City, Nottingham

Supported By VirginMarys

I have seen the VirginMarys a few times live always as a support band but not for some time, so it's no surprise to learn that it's now ten years since the guitarist-drummer twosome of Ally Dickaty and Danny Dolan's first album and they were together a while before that.

They are just as I remember. Lively and... loud. Particularly those drums but they are also hugely impressive as they literally blow us away with their grunge/punk tunes.

Then for those with any eardrums left. It's time for the Sisters.

It's also been a while since I saw the Sisters of Mercy. Far too long I think. I stopped going because they seemed to have become almost a parody of themselves. The last time I saw them at Rock City the sound was really poor, the best days of Andrew Eldritch's vocal cords seemed well behind him while the stage was so utterly drenched in dry ice that you were left wondering if there was actually a band there on stage at all and you had fallen for some elaborate scam.

So yes, I've been away too long, because tonight was nothing like that. Tonight the Sisters rocked up at Rock City and rocked out, putting on an amazing stage show and the assembled masses loved it. The sound was top notch, Eldritch's voice problems seemed in remission while not only was the dry ice in moderation but they even have a decent light show going on.

 

Whereas last time I though the band just seemed to be going through the motions this time that certainly isn't the case. The band’s two guitarists long-time collaborator Ben Christo and newbie 'Sister' Kai, a replacement for Dylan Smith who was dispensed with earlier in the tour, are fully engaged tonight and throwing old skool rock poses all over the stage. While Chris Catalyst man’s Doktor Avalanche the drum machine, whatever that involves.  

 Then there's Eldritch, and yes his voice isn’t what it was but he more than gets by tonight for a man of 64.

You could be a cynic and say the show involves a lot of karaoke. Doktor Avalanche the drum machine has, of course, always been a thing for them but now it's all the keyboard parts and also all the bass lines as the band have long since dispensed with a bass guitarist. 

The band power through a set routed in 1990's 'Vision Thing' album with 'Doctor Jeep', 'Ribbons', a truly thumping 'More' and 'I Was Wrong' featuring along with the classic that is 'Alice', 'Marian' and the Sisterhood's 'Giving Ground' which are interspersed with numerous unreleased songs before they end the main set with another classic in the 'Temple of Love'.   

 

The 'new' songs are controversial and always have been because the Sisters have released zilch since 'Vision Thing' apart from the 1993 'Under The Gun' single, which doesn't feature tonight, but they still keep performing new tracks. Tonight’s set consists of no less than eight of these but it has to be said that most of them are pretty good. This wasn't the case when they first started adding new tracks a couple of decades ago but then they've obviously had plenty of time to refine them.

Eldritch long ago said he saw no reason to release a new record and seems to abhor the prospect of entering a recording studio, employing the necessary people and then paying them both for time and royalties. Why bother, he says, when people can just come to a gig. Problem with that is, despite their prodigious touring record, most fans are probably only attending one gig a year and then when Eldritch eventually stops touring all you will be left with are the dodgy YouTube clips recorded on someone's phone. 

He really needs to sort this and to be fair to him he didn't entirely rule out a new release in recent interviews. As I'm sure he knows, the music industry has evolved and we now live in an era of self-published music and the likes of Bandcamp.

Of course he may be worried that a new record wouldn't be able to live up to the older ones and it probably won't but that's missing the point.

While the set is fantastic, the encore is something else. They have a saxophone up on stage for the instrumental 'Sandstorm' but then it's the fantastic threesome from 'Floodland' of ‘Dominion / Mother Russia', a truly bombastic 'Lucretia My Reflection' and then to close the Hey now! Hey now now! singalong of 'This Corrosion'. Top night.

On the basis of the reaction tonight, and the band's enduring popularity as demonstrated by practically every venue on this tour hanging up the 'sold out' signs, a new record would sell rather well. I think he is missing an open goal here. Get it sorted.

The View, Rescue Rooms, Nottingham

 Supported By The Rosadocs

Support tonight comes from The Rosadocs, a five piece from Sheffield who have shades of early Arctic Monkeys about them and certainly don't lack for confidence. This specifically includes lead vocalist Keelan Graney singing their fifth track from amongst the crowd and continually bragging about selling out Sheffield City Hall tomorrow night. Really?

On closer inspection (e.g. Google) this amounts to the 850 capacity Ballroom not the entire City Hall. Not that that isn't impressive in itself as that's twice the capacity of tonight's gig at the Rescue Rooms. Are they worth their own hype? Maybe. They're very good.

If they are a band on the up, The View are a band whose trajectory has been all over the place. They appeared in some style with 2007’s ‘Hats Off to the Buskers’ but their career has been somewhat mixed since and not without some controversy. They seem to have broken up and reformed many times or at least that is the perception.

In fact the opening night of their current comeback tour back in May ended in a fight on stage in Manchester between lead singer Kyle Falconer and the bass player Kieren Webster. Which didn’t initially bode well for them making it as far as this gig in Nottingham. Surprisingly though, here they are. They even dropped a new album ‘Exorcism of Youth‘ in August.

An oldie ‘Glass Smash‘ starts things off in a lively manner with the more restrained ‘Grace‘ following and then they are into ‘Wasted Little DJ’s‘, their debut single. At this point it is clear that the band seem not only to be getting along with each other but positively enjoying themselves.

 

Falconer’s voice is still in great shape but then the group, who do seem to have been around forever, are still in their mid-thirties.

There are quite a few tracks from the new album too which seem to go down well. ‘Neon Lights’ has a shout along chorus which helps and just in case that isn’t going to be enough for ‘Allergic To Mornings’, Falconer makes sure we know the words to the chorus before we start. 

Following another new track ‘The Wonder of It All’, his sparring partner Webster takes the mic for the almost impossible to sing along to ‘Skag Trendy’.

You do feel throughout that the gig is always teetering on the edge of chaos without ever quite getting there but while that’s their modus operandi if anything tonight’s performance could almost be described as slick particularly when Falconer sits down on the drum kit for an acoustic version of ‘Face For The Radio‘. 

However after just fifteen quickfire songs in a brief hour, the band seem to think fuck it and cut three songs off the printed set list. After rattling through the energetic pair of ‘Superstar Tradesman’ and ‘Shock Horror’ they leave the stage and don’t return for an encore but, hey, that’s The View.  

Little Man Tate, Rescue Rooms, Nottingham

Kicking off the evening are the Shambolics from Glasgow sporting three guitars, a bass player and a drummer. A proper old school set up even if the third guitarist does dabble on the keyboards from time to time. Unfortunately this energetic group of lads were only entertaining 29 people. I know the crowd was that small because I actually counted them. It does get gradually busier and I hope the band is pulling them in as they are decent.

 

It is much busier for tonight's main band, Little Man Tate, who come on to the Pearl and Dean music, you know 'bah bah bah', which is in fact called 'Asteroid', and then Carter USM's 'Sheriff Fatman'.

I have never actually seen Little Man Tate live before. I followed them loosely in their early days but after releasing two albums in two years they caught me by surprise when they broke up the following year. That was in 2009. I vowed to right that wrong when after an eleven year break they announced their re-formation in early 2020 but then of course Covid intervened.

Now here they are in Nottingham on a UK Tour and that wrong has finally be righted.

They get off to a flying start with three tracks from their debut album 'About What You Know' namely 'Man I Hate Your Band', 'European Lover' and 'What? What You Got' before they do that we’re going to play songs from our new album thing. Which would have been fine had that first album in over fifteen years 'Welcome To The Rest Of Your Life' been out but it isn’t until next month.  

 

So to play no less than six songs that are unfamiliar to the crowd is pushing your luck a bit but if anyone’s going to pull it off its frontman Jon Windle who isn't a man who lacks for confidence as he tells us that the first of these newbies called ‘Cheap Stolen Kisses’ is about his now ex-wife having an affair with her boss.

It’s all very entertaining stuff and of course they do intersperse the new material with more familiar crowd pleasers. This though, as they play non-album singles 'The Agent' from their early days and 'Boy in the Anorak' that came between albums as a download, brings us to another problem.

They have always been a band with a liking for one off singles, B-sides, bonus tracks and downloads before they were as fashionable as they are now. Which was one of the things that drew me to them. The problem is after such a long time away, for a fair weather fan like me, getting hold of such tracks is now rather difficult as I found prior to this gig. It has to be said that most of the crowd, who know everything, don’t have this problem and clearly grabbed all this stuff at the time. 

'This Must Be Love' from their debut is a show stopper towards the end but the actual set closers are two newbies '23' and 'Beautiful, Deadly & Mine'.

Initially Windle returns alone for the encore to play a couple of songs on my own because, in his own words, he's ‘an egotistical fucking wanker’.

Of course 'Half Empty Glass' was a B-side albeit a brilliant one and 'You and Me Might Be Alright You Know' was available only on the iTunes version of their debut album. I think us fair weather fans need a rarities album.

A fan, clearly not a fair weather one, is invited up on stage to do ‘You and Me’ with Windle and does it some style. Then the whole band return for 'Sexy in Latin' and 'House Party at Boothys' to finish things off.

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The Joy Formidable, Rescue Rooms, Nottingham

There is a very packed stage equipment wise for support act The People Versus and there are effects pedals everywhere. So many trip hazards. Do health and safety know? I hope the band are small in number but oh no. There are six of them and at the end of their set they do freely acknowledge that not many bands will take a six piece support.  

In Alice Edwards they have a strong singer but who seems a bit indifferent to the crowd or perhaps this is just self-deprecating humour. This does take the edge off what is bouncy and fun performance but they seem more genuine by the end.

From a packed stage to a very stripped back setup for the threesome that are The Joy Formidable on the last date of their UK tour. There is even more space on stage for lead vocalist\guitarist Rhiannon Bryan and bassist Rhydian Dafydd with their unconventional set up that sees drummer Matt Thomas positioned sideways on at the front corner of the stage rather than tucked away at the back. This was a nice dynamic but I think they've always done this. For me there’s no substitute for seeing a band up close and in full flow so this is ideal as you rarely get to see the drummer so close up.

I confess that it's been a while since I last saw them. Having followed them closely right from when they started in 2007, I haven't actually seen them live since 2010. I have missed out because they've always been, well, formidable live and, as I soon discover, they still are.

The Rescue Rooms isn't full but it's busy and it's quite an old crowd as well. Perhaps they've all been in from the start. Unfortunately things have never really taken off for the band. Despite regularly securing decent support slots and doing quite well in the States they've never been able to move on from relatively small venues in this country. Tonight that is to benefit of everyone who's here. 

After starting with 'Caught on a Breeze', 'Sevier' and 'Ostrich' they finally pause for breath and the first of many long rambling chats ensues. These are occasionally with the audience but mostly among themselves. One of these before playing 'Into The Blue' turns to how much Covid affected a touring band such them and then somehow in to a discussion about sheds. 

We get some of the 'hits' such as 'Whirring' and 'Cradle' then they play a Welsh language song called 'Y Garreg Ateb' (the Answering Stone), which was a total belter, and then an acoustic version of 'I Don’t Want To See You Like This' before they close with their new single 'Share My Heat'.

They return to play 'Little Blimp' and then the slow-burning 'Left Too Soon', which seems apt as a show closer.

They are still formidable and still deserve to be much better known than they are. 

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The Sweet, Rock City, Nottingham

Supported By Kira Mac

Tonight is the last night of the Sweet's ‘Unlock the Rock’ Tour at Rock City with support from Stoke-on-Trent’s Kira Mac or at least two fifths of them. Vocalist Rhiannon Hill, hereafter known as Kira Mac, is very apologetic as she explains this and for the lack of their usual electric sound. Tonight, with her perched on a stool alongside Joe Worrall on guitar, it is very much an acoustic show but as she says when The Sweet ask you don’t say no. 

 

She has quite a soulful voice which sort of makes you curious as to what the full band would sound like. Very different I would imagine. She is chatty and explains what many of the songs are about. Often it appears they are about either her own terrible taste in men or that of her friends!

After a short break the chants of ‘We want The Sweet’ start up and then suddenly we are into ‘Action’. Which takes us back to 1975 when I was eight. So I can't claim to have seen the Sweet in their heyday, I'm far too young, but they did headline Trent Polytechnic's student Christmas Party at the Nottingham Palais in December 1985 supported by fellow 70’s icons Mud.

 

By then the band had assailed the heights of popularity before plummeting back down the other side amid acrimony and alcohol. So I am not sure if that was Brian Connelly's version of the band or Andy Scott's as two versions of The Sweet were doing the rounds at the time. I suspect it was the former. Tonight it is obviously Andy Scott's as he is sadly the last man standing of the original four members of the band.

Tonight Scott is joined by long-time musical partner Bruce Bisland on drums, the energetic Paul Manzi on vocals and Lee Small on bass plus an additional guitarist for when Scott’s ageing fingers can’t quite do everything.

 

After a detour into Russ Ballard’s ‘New York Groove’, a song largely made famous by Ace Frehley of Kiss, the nostalgia trip continued with ‘Hell Raiser’. Those two songs seemed to highlight two things. Firstly the band had quite a few huge hits back in the day but also they soon stopped having them and therefore there isn’t enough well known material to do a long set. Therefore there’s just fifteen songs tonight and a middle section of lesser known material that causes proceedings to labour a touch. Not that many of the crowd, mostly regulars one feels, seem to mind too much.

The band don’t, interestingly, go back to 1971 to play the rather twee songs ‘Funny, Funny’ and ‘Co-Co’ but we do get ‘Wig Wam Bam’ and ‘Little Willy’ towards the end of the set. 

Scott successfully fills any void with some excellent banter and also tells us that we were listening to the band’s new single ‘Don’t Bring Me Water’ over the PA before they came on. There is also an album called ‘Paradox’ to follow. That’s not bad from a man who referred to himself as the only person in the room born in the 1940s.

Of course there’s still loads of the really good stuff - ‘Teenage Rampage’, ‘Love Is Like Oxygen, ‘The Six Teens’ and ‘Fox on the Run’ with ‘Blockbuster’ and ‘The Ballroom Blitz’ held back for the encore to end an excellent night.

Sea Power, Rescue Rooms, Nottingham

Supported By Loose Articles

Support tonight is from Manchester’s rather wonderful and rather wild Loose Articles who may, or may not, have expected to be playing to a room full of Dads awaiting a band who sing about ice shelves amongst a stage strewn with plant life. Although by some sheer coincidence one of the four girls does go by the name of Tree.

They have fortunately brought a few fans with them to lower the average age for a set that actually enchants everyone. Their punky sound sort of blends (if I may show my age) Sleeper with an Eddie Argos\Art Brut delivery (I’m sure they will hate that description) on the day Eddie really didn’t like buses (one of their songs).

Aside from a great sound, they have a great slogan too 'feminine and threatening, working and class' while among several songs with a football angle they have one that is apparently about Gary Lineker shagging a packet of crisps. For a finale their lead singer Natalie (or was it Tree) spends the last track dancing amongst the audience. Beat that Sea Power.

Of course back in the day the eccentrics that are now called Sea Power would have done exactly that but now I think the guys have middle-aged knees and Noble rarely seems to swing from the light fittings these days. Yet musically they are still majestic as illustrated by their outstanding latest album 'Everything Was Ever' which understandably dominates proceedings tonight.

The new songs which are great on record sound even better in the live arena with the likes of 'Folly' and 'Two Fingers' standouts again. It’s also great to have a track where you can validly flick a V sign to everyone in attendance and call it a dance.

The new songs nestle nicely with the oldies which of course the band rotate as always and after seven albums they have a lot to rotate now. As ever something excellent is pulled from that back catalogue such as the opening 'Who's in Control', the wonderful 'A Trip Out', 'The Lonely' and to a lesser extent the expansive 'Cleaning Out The Rooms'.

There’s always something you are thrilled to hear again along with disappointment at what they’ve left out but then there’s always next time. Which just means you can never skip a tour.

However the finale of the sets does now seem to have become a bit of a religion with ‘Lights Out’, ‘Remember Me’ and ‘Carrion’ closing the set before an encore of the anthem ‘Waving Flags’ and their sublime instrumental ‘The Great Skua’.

It’s another amazing night but maybe shake that ending up if you can’t swing from the rafters any more?