I follow Etienne’s account on Facebook as well and I shared this photo on my feed with this comment:
I know Jim was sick at the gig but it is still one of my most favourite bootlegs of them all. And I love all the photos I’ve ever seen from this gig. I don’t think he even looks sick – not in the true definition of the word – but in the modern day definition of “sick”? Definitely! Sick and sexy AF! Wh’d have guessed he was puking his guts up that night? I don’t think it’s at all detectible in this image. I do think I detect it in the audio of the bootleg though.
For over 40 years this man has been the most incredible performer.
The last gig I went to prior to this was March 10th, 2020. The “two gigs in one night” show of Simple Minds at Store Vega in Copenhagen. My last gig SHOULD have been two days later seeing King Creosote at the Royal Concert Hall in Glasgow on March 12th but the return flight home from Copenhagen ended up so delayed I missed the gig. And my first gig back SHOULD have been John Grant on September 9th at Barrowland Ballroom, but I was attending the gig alone and was too anxious about it to attend.
So…it has been a long time between gigs! Esp. for me as I am these days as I now attend gigs on a fairly regular basis.
I was still very anxious about last night. All through the day I was wondering if I should be going and questioning whether I even WANTED to go! Speaking of weather – I love Glasgow but fuck me! The weather is ssoooo unpredictable here! I was worried that we’d get pissed upon getting there, so we booked a cab mid afternoon, only for it to be basking in sunshine when the driver collected us at around 5.40pm. We were at St Luke’s 10 minutes later.
There was going to be a bit of a wait. The doors weren’t opening until 7pm. Thankfully the weather stayed dry for the queue outside. But dry also tends to mean flipping cold at this time of year. I wanted to travel as light as possible, so I had no big coat with me to keep me warm. I was freezing!
Once the doors opened, we got in fairly quickly. It was a bit of clamour to get in. A loose queue had formed outside and we were fourth (and fifth) in the queue, but were third (and fourth) to be let in as the guy ahead of us was refused entry for not having a mask. He had his vaccine passport with him – but “no mask, no entry” was also the policy. So he had to go off and buy one to be allowed entry later on.
It was a bit of a wait before support act Alexis Taylor started his set. I wasn’t sure of set timings and I don’t think Alexis started his set until 8.15pm, allowing enough time for the checks at the door to be done and for the punters to gain entry. He played the set either completely solo or with fellow Hot Chip (and Scritti Politti) band member Robert Smoughton (aka Grovesnor). It was a short set but very good. Taylor has a great voice and a really nice style of guitar playing. A nice mix of synths and Mellotron played through the tracks as well. He complimented what was to come with the SP set very well.
A short reset of the stage setup and then the main affair were on shortly after 9pm.
The crowd were very receptive as Green and Co hit the stage. This gig had been hotly anticipated by all who came to see it.
We started things off with a little rusty but by no means unenjoyable rendition of The Sweetest Girl. Several other hits and SP faves were performed in the lead up to the main event – the playing of the whole of Cupid And Psyche 85. A fabulous rendition of “Oh Patti (Don’t Feel Sorry For Loverboy)”, also great versions of Day Late And A Dollar Short and Skank Bloc Bologna as well as my favourites from the pre-Cupid And Psyche set – The Boom Boom Bap and Trentavious White.
Then with a call of “Are we ready? Right, let’s go” from Green…in comes The Word Girl. At the end of the song…well, the place was in raptures. Before that, even. The Glasgow crowd don’t disappoint in terms of getting behind people they love. And Green was certainly feeling the love last night. I think he was quite overwhelmed by the reception he was getting.
You can always feel how much of a very scary thing it is for him to be up there on that stage still. But he’s so deflective and self-effacing with it. He is such a sweet man and such an incredible performer, you cannae help but be swept by the emotion of it. But all in a very positive way. The music is so funky and uplifting and joyous and there was just such a buzz in the crowd and so much positivity around.
And on and on we went through the rest of the album. Fabulous versions of Absolute (see snippet above) and Perfect Way. The cheers and gratitude displayed by the crowd just built and built after each song.
Then comes Wood Beez (Pray Like Aretha Franklin) and you can’t help but be gobsmacked by how incredibly like the album version they get it. Green’s voice is … magic. There’s no other superlative for it! The man is 66 years old! For one, he doesn’t LOOK 66 – he’s aged incredibly well – but also vocally, to have that voice. To be able to replicate your voice on record from nearly 40 years ago is nothing short of astounding!
The crowd were singing along to Wood Beez – I’ll give it to the Glaswegians, they can hold a tune when it comes to crowd singing. It was quite beautiful really. That same crowd went MENTAL at the end of Wood Beez. They…WE…(I was in the crowd too, duh!) were sssooo appreciative of hearing it and the way it was performed.
Final track of the night was Hypnotize and Green was sounding like he could sing all night.
The crowd gave a final incredible round of applause and appreciation to Green Gartside, Rhodri Marsden, Dicky Moore and Robert Smoughton for a great performance.
Just a few minutes of waiting. A begging crowd asking for more received a single song encore. Alexis Taylor joined the band on stage. I had my suspicions and hopes for what was about to happen – and I wasn’t disappointed. As soon as Green started his intro of it with “The song we’re going to do was originally recorded by Chic”, I knew what was coming and grabbed my phone out from its holder. I had rued not recording this when seeing Green Gartside and Alexis Taylor at Bedford Esquires back in 2017, so I was NOT going to miss it this time. It was beautiful the last time and it was just as beautiful this time. At Last I Am Free – true to Robert Wyatt’s rendition of it. Stunning!
Any negatives to report from the night? Only slight niggles. A bit of reverb that could have been sorted better. The guitars were maybe a little too low in the mix. Green’s vocal also a little too lost in the mix sometimes. Some stupid c***s deciding to have a natter midway through Alexis Taylor’s set. Grrr! And another short chat during the main Scritti Politti set – which is just fucking outrageous! But honestly…minor bugbears – nothing to take away the overall enjoyment of the gig.
For all the anxiety I was feeling prior to the gig, I am so thankful I pushed myself to go and get out there and enjoy it, because it was wonderful. I could not have wished for a better gig to return to.
*Crappy sound quality of clips is down to my crappy phone. Records great video but shit sound with it unfortunately.
It is with some level of trepidation that I explore live output from Simple Minds in 1995. Mostly just to do with my silly hang up about Jim’s style of singing during that period.
But with yet ANOTHER new upload from Art&Talk (YouTuber of eternal mystery…), I felt almost duty bound to take the plunge and listen to the gig uploaded. That namely – a gig from the Good News From The Next World tour of them at the Royal Concert Hall on September 10th, 1995.
We start things off with a pretty stellar version of She’s A River. Full version, and so new still (although already several months old) that Jim ACTUALLY REMEMBERS the words! 😱😱😱😘😜
Then into a bit of a curveball for the period and into Up On The Catwalk. Quite enjoyed that too.
From early on you get a real feel for the atmosphere of the gig. You can also sense how much live production techniques have refined and changed over the past 15 years (up to 1995) as everything sounds pretty crystal clear – from Jim’s breathlessness to the crowd going apeshit when he asks of them “everything okay?” – the only thing that gets lost in the mix at times is the crowd singing along, which isn’t an entirely bad thing IMHO.
See The Lights was also great. But then, for me, the highlight. The jaw-drop moment. The one that almost had me throwing myself out of bed and doing cartwheels on the bedroom floor – The American. But not just ANY OLD VERSION of the song but one in which Jim actually SANG THE BV LINES! The “across a curved earth, Nassau club days, in collective fame, the eventful work-outs” – I nearly wet myself with excitement! I mean…he NEVER sang those lines live that I have ever been aware of – before or since! In the early days he’d do the “here comes the flag, I’m walking in the black” lines and also do “hand shake, this world, here comes the flag” lines – but never those BV lines!
I wanted to be able to up jump back in time, crawl through some kind of wormhole and just kiss him all over and shag his brains out! Lol – fuck! Goddamn!!!
I’d sell my fucking eyeballs off if he sang those lines again. I’d even be happy with the “hand shake, this world, here comes the flag” lines these days!
I think this will now – singularly – be my favourite live version of The American … EVER! And if you told me that THAT was going to happen from listening to this gig, I’d have never believed you!
I grinned like a Cheshire cat through the whole song. In actual fact, I was mostly like THIS through it (and grinning like a loon when I allowed myself to close my mouth a little. Lol)
But after the joy of The American came the mixed bag of Big Sleep. Great that Jim (again!) was great with the lyrics (he was on a roll at this gig) – but he was veering into the singing style that grates on me a little too much with this version. But! Having said that it wasn’t the complete turn off from some versions of it I have heard. Also…it was short. Literally half the length the song usually is – particularly live. I suppose that was probably a good thing.
Back on the up again with a cracking version of Great Leap Forward. A decent enough version of SSIS (not sure Mark Schulman quite had the feel of the drumming on that right, but perhaps I am being pernickety?) sandwiched between a pretty cracking Hypnotised.
Let There Be Love from that period had us ‘coming’ “like an ocean” twice! Lol (Don’t mind if I do, Jim. Fucking Tsunami, I reckon, if you ever … erm … “came” near me like that! Lol – Noah would need the ark! And then some …😂😂😂😂)
Belfast Child? Did it work at that point, played like that? Hmmm, jury’s out. I liked the line change “peace is raging through the Emerald Isle” of the time. It still took a few more years to get there from that point – but it did get there in the end.
Back to Jim being the “blues crooner” during the medley of Roadhouse Blues and into Waterfront. I can’t be too dismissive of him for that. Given the choice between Jims Morrison and Kerr and which one has the more sex appeal for me – THERE IS ABSOLUTELY NO FUCKING CONTEST – sorry Mr Morrison. I appreciate the sex appeal you exuded, I do…but, you are not the Jim for me (though I am pretty sure I’d have had a hard time saying no to you had I ever found myself in your presence).
The crowd interaction, Jim talking to the punters…still extolling lovingly of Glasgow.
We then go into Love Song and as much as I am enjoying this gig, sleep is starting to take hold of me. I start to fall into a dwam and Love Song and it’s slight medley into Glory begin to elude me as I fall deeper in. I barely hear the beginnings of Alive And Kicking and am almost fully asleep by the time the song ends. The rapturous applause by the crowd is what rouses me back from my ever deepening dwam.
I am fully awake once more for the encore which begins with And The Band Played On. Everything performed from the Good News album gets a solid thumbs up from me.
And…knowing that we were into the encore and with it yet to make an appearance, I was dreading the inevitable appearance of Don’t You (Forget About Me). And…there she blows! Penultimate song of the night! Never as bad a thing to endure when you’re in amongst the crowd and you let yourself get caught up in the sing-a-long, nostalgia-trip-fest – but other than that, I derive very little enjoyment from it these days. God, I’d have LOVED the 5×5 Live Tour (and I bet they bloody LOVED having a tour that the song didn’t have to be part of since 1985!) – a whole tour in which you NEVER had to endure DYFAM – what a dream! I know! It sounds like I hate the song. I don’t! What I hate is how overplayed it is! What I hate is knowing I’ll have to hear it at every single Simple Minds gig I ever attend for all the rest of my days. What I hate is…pretending that I really enjoy hearing it at every damned gig and feeling implored to sing “la la las” for five fucking minutes while Jim takes a few minutes break from singing.
Final song is…the final song I ever heard being performed live… Sanctify Yourself. Again…upon reflection – I’d have LOVED 5×5 Live because with no DYFAM also comes no Alive And Kicking and no Sanctify Yourself. I’d have to double check it, but I am pretty sure these three songs have either been the final three songs or within the final five songs (in a slightly altered and reversed order) of the set at EVERY SM gig I’ve been to – and that’s 22 of them (23 if you count that I actually attended both shows at Copenhagen).
I’m sorry to say it, but I stopped listening. Tiredness was taking over and my patience was wearing thin so…I switched off.
BUT! I really enjoyed the gig, and apart from most likely skipping the final two tracks (if I had been there, I might have pissed off home a bit early, at least I could catch the 75 back home before everyone else needing it piled on 👍🏻👍🏻👍🏻), I’d definitely listen to it again. And…THE AMERICAN! THE AMERICAN was fab!
Nice to see a couple of different pics from the Minds playing Bingley Hall on September 6th, 1981 as part of Futurama 3.
Does this man look sick to you? Nope! Sexy – YES! Sick, no. But he was. Poor Jim was struck by the heebie jeebies that night and also performed some “technicolour yawns”. Off stage at least…or at least out of site. But I think you can hear some of it on this bootleg of the gig (below). All things considered, it still sounds the most amazing gig.
And Jim in those goddamn boots will ALWAYS have me drooling. Drooling! Not barfing!
In this month’s latest copy of Uncut, there is a short interview with Catherine about the collaborative work with Bernard Butler resulting in the album as well as a very positive review of the album itself.
The album is due for release on September 18th and is available to pre-order HERE
Now that we’ve gotten that crap “sycophancy Nancy” stuff out the way – drooling over 1982 Kerr aesthetic yet again! On with some proper business and serious music news.
Bernard Butler and Catherine Anne Davies have collaborated on an album together called “In Memory Of My Feelings”. It had been in the bag for some time and feared destined to languish and remain unreleased, but at last it is due to see the light of day.
The lead single from the album is called The Breakdown – rather fitting under current personal circumstances!
Further talk about the album’s imminent release can be seen on Catherine’s social media pages (as Catherine Anne Davie or under the moniker of The Anchoress).
This is not the follow up to The Anchoress’s debut album, Confessions Of A Romance Novelist. The follow up to that is set for release any day now – also some time in the bag and in the hands of the record label.
NME have a piece on In Memory Of My Feelings that you can read HERE.
The album is set for release on September 18th and is available to pre-order in various formats and bundles here – (I have already pre-order the vinyl signed version.) https://orcd.co/in_memory_of_my_feelings
It was a bit of a palaver getting in to the venue. People had lined up promptly. I arrived there about 9.25am for the 9.30am start. The queue hardly moved in 30 mins. There was an appearance by Matt Garstka on the main stage due for 10am and many people who had paid to see it were still queued up outside at 9.55am. They were being filtered through by this point but they probably weren’t going to make it in. I hope Matt delayed things so people got in.
I had booked to have a free drum lesson at the Trinity College booth for 10.15 and I just about made it in there. It was my first experience of an electronic kit. We were on Roland kits (can’t remember the model – lovely kit though) and had just a bit of basic tuition. We played along to Queen’s We Will Rock You and then to James Brown’s Hot Pants before going on to Blur’s Song 2 which did me in. Lol. It seems like it would be really straight forward, Song 2, but heck, there’s a whole lot of patting your head whilst rubbing your tummy stuff going on with that. Lol
I walked about a bit checking things out. Then I saw Emily Dolan-Davies and had a great chat with her and another man whose name I didn’t catch, but he was one of Nathan Shingler’s tutors. We had a good talk and he offered me some great pearls of wisdom in terms of how I get on with my own learning and stuff. I briefly met Nathan’s parents too.
I went out for a bite to eat and then met up with fellow Minds fan Dave Kelly. We had a good chinwag and then went in to see Cherisse’s masterclass.
A fab masterclass it was too. We learned about Cherisse’s career. How she started out, who she’s drummed for professionally, as well as her performing demonstration medleys showcasing music from the acts she’s worked with.
Below are some vid from the masterclass of her talking about working with Mika and then talking about her time with Bryan Ferry and Paloma Faith and now her time with SM and showcasing a medley of Minds stuff (the observant amongst you will hear a little bit more of LITCoA ahead of its October 4th release).
She put on a great show and a really strong showcase of her immense talent. Jim’s tag of referring to her as “a little dynamo” is WHOLLY justified. For someone so petite, she has such power behind her! But also the subtlety when required.
She was doing a signing after the masterclass and I queued up just to say hi and to badger her for more lessons. Lol. Hopefully I’ll get to have a few in the weeks ahead.
As for kit that took my eye? Well, it needs to be about the sound and feel, but I was far too scared to test anything out. I have no real knowledge of what I want or need and a show like this isn’t really much of a buying experience for a complete beginner. Well, I don’t think anyway. So I was just looking at the aesthetics if kits. There was a beautiful looking Natal kit. The bass drums on the Natal’s are HUGE! I love the look of Rusty drums and there was a beautiful bass skin on display on their stall.
But for looks and affordability, there was a lovely looking Gretsch there for £625. I know Dave Ruffy of Ruts DC plays on Gretsch kits and he always sounds awesome.
But Cherisse’s Tama kit looks and sounds amazing too. And I have been having most of my lessons on Pearl kits, so…how will I ever make my mind up?! Lol
After the brief chat with Cherisse and goodbyes with Dave, there was just time enough for another scoot about and a coffee over the road at the Costa before getting the coach back to London and onwards to home.
It was a new venue for me. I hadn’t been to a gig at the New Theatre before. I had wanted to try and catch a show on the previous leg of the tour in June/July but money was just too tight at that point, and although money is still tight, things are set to ease somewhat very soon. Kelly had swung by closer to home on the last leg, having dates in London and Cambridge, so Oxford was a stretch in distance to cover, but I would get to see the tour’s finale. Not an entirely bad thing.
The show started promptly at 7.30pm with support act The Wind And The Wave. A duo from Austin, TX, comprising Patricia Lynn and Dwight Baker. Kelly appeared on stage to introduce them saying “Patti could sing the fucking phonebook.”
I enjoyed their set. Due to the prompt start, there was the obligatory interruptions from endless latecomers. Made all the worse for some of us. I was right by the entrance point for the middle section of the circle so the interruptions were constant. The ushers kept latecomers at bay to try and minimise the interruptions, but seated where I was it helped little.
But I still managed to enjoy their set. Dwight was full in interesting banter between songs which sometimes Patti interjected with or elaborated on. Minimal instrumentation, just an acoustic guitar with Dwight and some electronic percussion triggered by foot from both of them. They had fantastic harmonies. Favourites they performed were The Redhead In Aberdeen, Happiness Is Not A Place, This House Is A Hotel, and Human Beings Let You Down. I’d happily see them again. Just beautiful, simplistic music that is beautifully expressive and on any subject affecting the human condition…from the sublime to the ridiculous.
A short break and stage set up before Kelly arrived on stage at 8.45pm. A brief hello and then straight on with things. A few slow numbers to open and just the use of acoustic or electric guitar from Kelly with either piano or violin – sometimes both – accompanying him.
Of course I was also there to see Cherisse. Out she came about the 5th song in and instantly reminded me what I have been missing while Simple Minds are on a break for this year. I MISS MY TUTOR! Lol. Yes…it’s a contradiction, I know…as while she’s touring, she’s too busy touring for any tuition. Still, with the money situ having been as tight as a duck’s proverbial of late, I’d have not been able to afford lessons anyway. Chicken and egg…
You’ll have to excuse my ignorance on my knowledge of Stereophonics songs and my appalling memory to recall the songs I heard last night. But I will do my best to go over the standouts for me.
The first definitely was Kelly talking about Stuart Cable. It was quite a reminiscent homage but it was wonderful to hear. He then performed Before Anyone Knew Our Name. Another highlight was a brilliant version of Mr Writer. “For the past 20 years I’ve been having to explain what this song is about. For the record, I don’t hate journalists. This song isn’t about a journalist.”
He performed a new song from the forthcoming Stereophonics album, Kind, called Fly Like An Eagle.
Below is a video I recorded of him performing I Wanna Get Lost With You.
A couple of covers were also a standout. Kris Kristofferson’s Help Me Make It Through The Night was beautiful, and The Wind And The Wave joined Kelly on stage for a fabulous version of Stop Dragging My Heart Around.
Towards the end of the show some “hits” – the most familiar Stereophonics tracks I know – were performed. I never knew the story of Local Boy In The Photograph. Also there was a wonderful rendition of Maybe Tomorrow.
Finally the most wonderful encore of Dakota that had the crowd up off their seats and singing along (me included!).
There are a few clips on my Facebook page if you want to look, including that wonderful Dakota finale.
I tried so hard to get some good photos of the stage set. I really loved the backdrop. It was a simple set up, but it was just visually quite lovely. The stage arrangement was great too and the lighting worked really well. The staging was expertly done. And the acoustics and sound was absolutely spot on.
I’ve shared a few pics but they’re not the best.
A fabulous gig. I’d definitely see Kelly again in future.
News on the Virginia Turbett front. There’s a book on Iggy Pop coming out. In his own words, it seems. Not quite a memoir, as such, but more the printing of his lyrics with notes and photos complimenting and elaborating on the thought processes involved in the craft of songwriting.
It sounds really good. And a bit of a left-field choice for a publisher like Penguin Books!
Some of Virginia Turbett’s photos of Iggy feature in the book. And wow, she has taken some AMAZING photos of Iggy over the years. Along with continuing to expand upon my own personal Simple Minds archive of VT’s work, I plan to get some Iggy photos from her as well.