Tears For Fears, NEC Arena, Birmingham

Supported by Alison Moyet

Tonight we are at the Resorts World Arena in Birmingham. Yes, WTF. Formerly known as the Genting Arena. Yes, also WTF. Ok, I fess up, it's the NEC and I've competed at Crufts in this very arena and we are sat approximately where the weave poles were but that's another story.

This gig was supposed to be in May but it was rescheduled due to Roland Orzabal's wife falling ill and then sadly subsequently dying. All that is fine and unavoidable but what was annoying was seeing the concert moved from a Saturday to a Tuesday and from the nice centrality of the NIA to the ruralness of the NEC where it's also £12 to park your car. Presumably all done by the promoter to sell a few extra tickets. We had a hotel booked for May and a night out in Brum planned but it is what it is.

I’ve never really been an Alison Moyet fan and nothing she can do tonight would be likely to win me over and that’s fine. Other folk like her and she undeniably has a strong voice. Each to their own. However I am a little bemused by her set list choices. She plays a lot of recent material, as you would expect, including several tracks from her latest album ‘Other’ from 2017 but seems to eschew her own solo catalogue on which she made her name.

Alf does play her first two solo hits 'Love Resurrection' and 'All Cried Out' but none of her other hits from the 80s and 90s. No 'Invisible', 'That Ole Devil Called Love', 'Is This Love?, 'Weak in the Presence of Beauty' or 'Love Letters' for example.

Consequently she doesn’t really get the crowd going and then seems to realise this towards the end of the set where three of the last four tracks are Yazoo songs. Not that, I for one minute, think this wasn’t a pre-planned move. It suits me. I've always had a soft spot for Yazoo and everyone is on their feet for the closing ‘Don’t Go’.

Tears For Fears also do something slightly unusual, in that they take to the stage to Lorde’s brooding version of 'Everybody Wants to Rule the World' before launching into the original. Presumably this means they approve.

There follows a very polished ninety minutes of entertainment as Roland Orzabal, Curt Smith and their band run through their back catalogue right up to 2004’s comeback album ‘Everybody Loves a Happy Ending’ and even including 'Break It Down Again' from the period where Orzabal used TFF as a solo project following an acrimonious split from Smith.

Personally I loved the first two albums but they lost me with the different direction they took with ‘The Seeds Of Love’ album in 1989 and seemingly Smith agreed with me as he was gone shortly afterwards.

Thankfully Smith who sang all the early hits, and presumably Orzabal too, still have a lot of love for the band’s debut album ‘The Hurting’ and Smith comments on how the younger generation were now discovering the band through that album. Here’s a thought. How good would it be to hear them play that album in it’s entirety sometime?

He then introduces a run of four tracks from it. 'Pale Shelter' had already been played earlier and now we get 'Change', 'Mad World' and the amazing 'Memories Fade' sung by Orzabal.

If that is his finest singing moment on ‘The Hurting’ then ‘Suffer the Children’ is probably his second finest. So I am at a loss to understand why he hands over vocals on this epic track to backing singer Carina Round. Yes she does a good job but it’s just not right. She is much better suited to duetting with Orzabal on 'Woman in Chains’ which comes next.

The set then loses it’s momentum with the rather tepid 'Advice for the Young at Heart' and the meandering and indulgent 'Badman's Song' before a set closing 'Head Over Heels / Broken' lifts things to a satisfying conclusion.

Naturally I’d have finished things off a little differently, for a start 'Songs from the Big Chair' was criminally underused tonight. 'Mother's Talk' and 'The Working Hour' would have been nice, then perhaps 'The Hurting' followed by the full ‘Broken’ sandwich for 'Head Over Heels' but I'm an awkward sod to please.   

There is then a mad rush for the exits, presumably to get out of the car park. This is something I’ve never understood, just like I’ve never understood people who have never seen the end of a football match because they always leave on eighty minutes. It’s always been all or nothing for me.

The band return to play ‘Shout’ to those who are left, which is still most of us, completing an excellent evening.

The Vaccines, Academy, Leicester

Supported by Hatchie

I arrive at Leicester's Academy in time to catch the main support Hatchie, having missed opener Jesse Jo Stark.

Hatchie is effectively a person, real name Harriette Pilbeam, rather than the band she arrives with. She’s an Aussie whose music has been described as ‘dream pop’ and she’s even been lumped in with the shoegazing era by some but this sounds mainly like bog standard indie pop to me. Admittedly with some very nice hooks. There’s a touch of the Dolores O'Riordan’s (aka The Cranberries) about her but she seems a bit lost amongst her band. She may need to decide if she’s a person or a band. In the meantime, her sound is extremely pleasant but not life altering.

Now on to... ah yes, rediscovering my youth with a band that weren't even around in my youth. Funny that but The Vaccines are the sort of band I would most definitely have seen back then, so I feel very at home. It’s also probably why there are many people of my own generation here and down the front with me as well.

Classic Queen, in the form of ‘I Want to Break Free’, heralds the band's arrival amongst the palm trees and glitter on the stage before they open with ‘Your Love Is My Favourite Band’, from last year’s 'Combat Sports', which is also emblazoned across the drum kit.

Then we're straight into the seemingly never ending list of the infectious songs with which they’ve made their name and all of course with immensely sing-able lyrics. The Vaccines are a engine of entertainment if at sometimes an unsophisticated one.

I mean... 'Teenage Icon'? Oh please, then perhaps I should just grow up but instead I bounce along with some twentysomething with purple hair. I’ll grow up tomorrow, maybe.

Lead guitarist Freddie Cowan may never grow up, he’s loving it out there, absolutely loving it. As of course is singer Justin Young who doesn’t say a huge amount tonight and keeps his focus mainly on the music.

Then 'Wetsuit' wraps itself around the hall. Everybody loves Wetsuit and, as ever, it moves me almost to tears. It reminds me of how old I am but also why I'm here. I’ll grow up tomorrow, maybe.

Justin does tell us that, apparently, their first gig as the Vaccines was in Leicester, although presumably not here, and that no one knew the words to 'Post Break-Up Sex'. That's certainly not the case tonight.

'Nørgaard' is mental, as ever, and then two new tracks ‘Lets Jump Off the Top’ and recent single ‘All My Friends Are Falling In Love’ hint perhaps at a slight change of direction away from the guitar heavy riffs.

Someone dances into me, holding his drink above his head which he then tips down me. He’s older than me and he apologises, I think. I can’t really hear what he was saying, perhaps he was saying he’ll grow up tomorrow, maybe. I nod my agreement and he goes off to bump into someone else.

The finale, after a frenetic ‘If You Wanna’ and ‘I Can't Quit’ is more measured. The slower ‘Rolling Stones’ closes the set but more pointedly gets the message across that that ‘this one's for you’.

They return with the brilliant ‘Put It on a T-Shirt’ that we didn’t get in Nottingham last year, followed by a rocking ‘Nightclub’ before, as is tradition, ‘All In White’ ends the night.

Cracking stuff and I’ll grow up tomorrow, honestly, maybe.

The Twilight Sad, Rough Trade, Nottingham

When the Twilight Sad came on the scene their gigs were an unrelenting sea of guitar noise, feedback and pounding drums all played so loud that it pinned you to the back wall of whatever venue you happened to be in. Amongst it all though they also had a ear for a great melody and they also had James Graham’s amazing voice.

Over the years, and through their four albums and numerous EPs, they have mellowed. Their sound is less aggressive, they use a lot of synthesizers now, and their demeanour less, well ‘sad’ although still decidedly dark. Yet despite this even moderate mainstream success still eludes them.

Now we have album number five ‘It Won/t Be Like This All the Time’ which not only eschews an apostrophe but also a launch tour that includes the full band. Instead we have a few ‘stripped back’ acoustic dates chucked in free with the album purchase which involves only James Graham and guitarist Andy MacFarlane. 

Although the guys have set up an amplifier they ask if it’s ok if they do it without which is about as stripped back as you can get. That’s fine by us and it’s a fair assumption there’s going to be no one pinned to the back wall tonight. In fact, who’d have though ten years ago that you’d be able to stand right in front of the band without feeling your ears bleed.

It’s also a bonus to be able to make out every word of the songs and get a better sense of why Graham immerses himself so much into them.

They play ten songs tonight, five of which come from the new album which they have worked on with the Cure’s Robert Smith although that probably isn't too obvious acoustically. This includes the amazing ‘VTr’ which is as good a tune as anyone will produce this year.

Amongst the new songs are ‘Nobody Wants to Be Here and Nobody Wants to Leave’ from album three, ‘The Room’ from album two and one they claim not to have rehearsed ‘Mapped by What Surrounded Them’ from album one.

To close we are treated to non-album single ‘The Wrong Car’ and the song they all know as ‘Rabbit’ or rather ‘And She Would Darken the Memory’. Sadly some of the audience sing along with every word which for a acoustic show is a bit of a downer because Graham can’t drown them out but it’s kind of sweet I suppose.

In fact the whole thing is rather sweet, which I never thought I’d say about the Sad but it's also totally excellent at the same time. Now please get your ****es back down here with the rest of the band pronto.

Public Image Limited, Rock City, Nottingham

It's been a while, since the 'Album' tour in 1986 in fact, so this is probably a good time to catch Public Image again. I mean you never know when it might be your last opportunity. Then again John Lydon is only 62, a mere youngster, so he’s not reaching for the zimmer frame just yet.

Although he seems to have brought his own alter, from where he conducts his performance and places his lyric book. Perhaps he is feeling 62 after all and forgetting a few things... This comes in as a very useful prop for the weird spoken-word number 'The Room I Am In'. 

There has been no support tonight, despite doors opening at 6:30. PiL were promised at 8:00 but didn’t arrive until 8:30. Most bands tend to obey stage times these days but not John Lydon, he’s old school.

It’s also a 10:00 curfew, so he won’t be on stage that long. I’ve never been totally clear why bands play Rock City on Fridays and Saturdays. Is it cheaper or do they secretly prefer an early finish?

Lydon is not known for long sets or crowd pleasing ones for that matter but this is a pretty popularist setlist by his standards. In amongst songs from their most recent album 'What The World Needs Now' from 2015 comes some early classics such as ‘Memories’, ‘Flowers of Romance’ and a pulsating ‘Death Disco’ along with tracks from their late eighties renaissance bringing us the likes of ‘Warrior’, ‘The Body’ and the brilliant 'Cruel'.

The really big crowd pleasers bring a close to the main set where ‘This Is Not A Love Song’ tumbles straight into ‘Rise’.

The band return for the not often performed ‘Public Image’ before playing ‘Open Up’ which Lydon recorded with Leftfield. The night ends with ‘Shoom’ which appears to an ode to his late father who was apparently fond of the word 'bollocks' and other choice words, which make up the majority of the lyrics. Lydon ends the night by leading us in a chorus of “fuck you!”. Nice tribute.

Psychedelic Furs, Leicester Academy

Supported by The Phenomenal Rise of Richard Strange

Tonight’s support is the exceedingly strange Richard Strange, who has arrived with a seven piece band who are a real mix of oldies and youngies. Richard Strange himself is 67.

As I understand it his show is based on his 1981 concept album ‘The Phenomenal Rise of Richard Strange’ which was described as a ‘political fantasy’. I take it that Strange now sees this as shockingly relevant given the election of Donald Trump and Brexit. In fact he unveils a banner proclaiming ‘Enemy Of The People’ at the end. 

It’s more theatre than music, with Strange wearing a balaclava at one point, which I gather it’s supposed to be and some of the ‘acts’ are quite long. In fact when he promises us ‘one more’, a man somewhere said 'no'. Out of time.

The last time I saw the Psychedelic Furs was here in Leicester in 1991 on the ‘World Outside’ tour. I’m not quite returning to the scene of a crime as that was at the wonderful, yet now sadly demolished, De Montfort University’s old Student Union.

These days it's good to see that one of the bands of your youth are not only still together but still alive. Sadly it's the way things are going.

Currently the group consists of the Butler brothers Richard on vocals and Tim on bass along with Mars Williams (saxophone), Amanda Kramer (keyboards), Paul Garisto (drums) and Rich Good (guitar).

Richard Butler took the stage last and it’s reassuring to see he’s still not taken that coat off.

There's no John Ashton in the band these days but returning tonight is original guitarist Roger Morris. He left the band after the first two albums at which point the band's sound mellowed somewhat and became famous for not just Richard Butler’s outstanding voice but for the addition of quite a bit of saxophone as well.

Morris only plays on the stuff he knows which means he’s busy at the start as they open with ‘Dumb Waiters’ and ‘Into You Like a Train’. Then he takes a break as they tackle the likes of ‘Highwire Days’. It’s a nice moment when halfway through the set old and new guitarists shake hands in mutual respect.

It’s pretty much a ‘hit’ filled set, not that the band had many actual hits, although there are quite a few omissions that I won’t grumble about.

The band haven’t released a record for 27 years and quite openly just enjoy playing for the fun of it without any pressure from record companies or the like. This sense of fun really stood out and the whole band seemed to have a ball.

They close the set with the poppy ‘Heaven’ before returning for the awesome twosome of ‘India’ and then ‘Pretty in Pink’.

Frank Turner & The Sleeping Souls, Academy, Sheffield

Supported by Arkells

Frank Turner has probably introduced me to more new bands than anyone else through his support slots and tonight he does it again. Arkells Touring Band from Hamilton, Canada. A band with big riffs and catchy choruses, the perfect warm up act. They remind me a little of the Hold Steady although I’m not too sure why. Their boundless energy and enthusiasm perhaps and the way they get the crowd going. They goad the Sheffield crowd to be better than Belfast and are totally bemused when everyone starts tribally screaming 'Yorkshire Yorkshire' back at them. After a long pause he says I’ll take that as a compliment. Yes please do.

It's show number 2158 for Frank and he kicks off with new tune ‘1933’. It's a bit of a political moment for him, comparing our modern world of Trump and Brexit with the political landscape of 1933, the year the Nazis took power in Germany.

It is taken from his forthcoming seventh album ‘Be More Kind’, an album he says urges people to be more kind to each other. Something that isn't really a problem inside Frank Turner World where his live shows really are as friendly as they come. More of a shared community experience for like minded souls.

The live show itself is again top draw with Frank and the Sleeping Souls consistently brilliant music wise and with their usual full on engagement with the crowd.

Aside from the opener, four other tracks are played from his new album and all appear to be future classics in the making.

However, if I may be a little controversial, I do now get the feeling that Frank's gigs are well into a formula and the base set doesn't vary very much which is a shame.

Of the four 'oldies' that appear tonight that didn't last time I saw him at gig 2000 only one is a 'wow' moment. A very rare outing for the excellent 'The Fisher King Blues ' from 'Tape Deck Heart'.

Yes, the playing of 'Love Ire And Song' in the encore is also incredibly welcome but there is so much of his back catalogue that simply never appears any more, not even occasionally. While I'm not a huge fan of the mass stomp around tracks he now tends to favour such as 'Out of Breath' and 'Four Simple Words' ahead of some of the more nuanced numbers that are really his forte.

Still though, can't grumble too much, it was still a terrific night.

The Vaccines, Rock City, Nottingham

Supported by Dream Wife

Tonight it’s the ‘Vaccines’ at Rock City but first up are Dream Wife, an all girl band from Brighton, who I would say show definite similarities to Honeyblood but with more members. So obviously they appeal to me. They are a bit rawer and more punk rock than Honeyblood but no less riotously excellent for that.

We weren't actually sure we'd see the Vaccines again after what has been a turbulent year or two for them which included the loss of their drummer but here they are. They’re back and with a corking new album in 'Combat Sports' which is a real return to their roots after perhaps going off track in parts on their previous two records. 

In front of a long ago sold out Rock City, the band show that they have clearly got their mojo back. Their performance positively fizzes tonight aided in no small part by such a cracking selection of ridiculously catchy tunes. It is a set bookended the two excellent singles so far from the new record. The ferocious ‘Nightclub’ to open and the bouncy lively ‘I Can’t Quit’ to close.

In between Justin Young and co set a blistering pace, rattling off the numbers in very quick succession barely taking a breath. Sixteen of which have been listed as singles making this more of a greatest hits\non-hits tour than an album tour for ‘Combat Sports’.

Everything from their début single ‘Wreckin Bar (Ra Ra Ra)’, the perhaps slightly irritating perfect pop of ‘Teenage Icon’, the brooding ‘Dream Lover’, their big ‘hit’ (number 32 you know) ‘Post Break-up Sex’  through to the traditional mass sing-along to the lovely ‘Wetsuit’ and that's just the first fifteen minutes. 

Their ode to Amanda Nørgaard naturally brings the house down and there’s even an outing for non-album single ‘Melody Calling’. Meanwhile the new music fits in seamlessly with ‘Out On The Street’ and ‘Take It Easy’ particular stand outs.

In all the Vaccines rattle through 19 songs in just over an hour. Then return to do another three including a wonderfully seductive ‘All in White’ to close. Gig of the year so far?