Wednesday, 13 July 2022

The Beat - Boiler Room, Guildford - 11th July 2022

I'd seen Rankin' Roger's iteration of The Beat twice and he had been excellent both times, but I was keen to see and hear, original front man, Dave Wakeling's version.

Sadly, Roger passed away a couple of years ago, but I saw Dave Wakeling's version (often referred to as 'The English Beat', as they're known in the US as there was another 'The Beat' there, and Dave, it seems is now domiciled in the US) were playing Salisbury town hall in 2020 and bought a ticket.

Of course, we all know what happened next and that gig was eventually cancelled. Shortly afterwards, though, I saw they were playing at the tiny Boiler Room venue in near-to-me Guildford, so I quickly snapped up a ticket, only for that gig to be postponed, but eventually, two years later, I was off to the Boiler Room on a steamy Monday night to see them.

The Boiler Room is very small and always hot when crowded, as we'd had 30+C temperatures during the day and there were no tickets on sale for the gig, I knew it was going to be hot and crammed, so I arrived later than I often would, part way through the support act, the Skapones.

As the name suggests, they were a Ska band, complete with brass section, and the tracks I heard them perform were typical Ska sounding versions of other songs, Edwin Starr's War and Frankie's Two Tribes. They were pretty good, if not exceptional, from what I heard.

It didn't seem too busy for them, but when I ventured out into the garden (Something I'd never done on other visits), it was rammed and, of course, by 9PM, when Dave and his Beat arrived, they'd all coming inside.

Luckily I was near the front, off to the right of the stage, so had a good view.

Dave, unlike his former band mate Roger, has certainly piled on the pounds over the years, but many of us can say the same.

Londoner Antonee First Class took on the role of Toaster (Roger's role in the original lineup) and did a decent job, if I have to say it's a difficult task.

The only quibble I ever had with Roger's Beat was it didn't sound like the classic beat as Dave was usually the lead singer, but I would say Dave's voice has changed over the years (maybe some was down to the simple difference of recording vs live) and there were only moments where his voice was distinctive enough to echo back to the original tracks, the opening lines of "Doors of My Heart" and "Too Nice To Talk To" being notable amongst these.

That said, the crowd, even in the stiffling heat (which the venue did their best to alleviate by opening doors to distributing iced water to the audience), responded with enthusiasm to every song, often singing louder than Dave.

They opended with "Rough Rider" and then rattled through a selection of their hits.

I was especially pleased to hear them play "Click Click", which I hadn't really expected.

The pace slowed a little with "Too Nice To Talk To" and "Can't Get Used To Losing You", but bounced back with "Doors Of Your Heart".

I think it was at this point that they took a short break 'to rehydrate' and many people (me included grabbed a drink from the bar).

When they returned a few minutes later, they performed 'Ranking Full Stop' and 'Mirror In The Bathroom", but disappointingly (but maybe neccessarily due to the heat) there was no encore and gradually, everyone drifted away.

I had enjoyed the evening, The Beat were always my favourite Two-Tone/Ska revival band and I can listen to their stuff anytime and it had been good to hear Dave Wakeling sing the songs I knew, but it will always be Roger's form of the band that I'll remember for the energy and excitement of the performances.

Setlist - From Colchester, but close if not identical

Rough Rider
Hands Off...She's Mine
Twist & Crawl
Click Click
Save It for Later
Whine & Grine/Stand Down Margaret (Boris)
Two Swords
Too Nice to Talk To
Can't Get Used To Losing You
Best Friend
Doors of Your Heart
Ranking Full Stop
Mirror in the Bathroom
No encore

Tuesday, 12 July 2022

St Vincent - O2 Apollo, Hammersmith - 29th June 2022

I discovered St Vincent during the 2020 COVID lockdown and when I saw she was playing in London in June 2022, I bought a ticket. but after seeing her on the BBC's Glastonbury coverage, I wondered if I was going to regret the decision.

Annie Clark (St Vincent's real name) is a divisive, imaginatinive and slightly challenging musician. She always evolves her style from album to album, never resting on her laurels and her list of collaborations speak to her constant search for something new to try musically, but the album that this tour supported, Daddy's Home, had seen her take a turn, both musically and visually, that didn't really appeal to me.

Equally, that Glastonbury performance, a few days before Hammersmith, wasn't something I found enjoyable. Her band gurned and performed '70s glam rock poses, while the sound (and maybe even the arrangements) was muddled and a little, dare I say it, indulgent.

Still, I had a ticket and maybe that Glastonbury set wasn't the right way to judge her performance.

I arrived at Hammersmith in plenty of time, but decided not to join the long queue outside, waiting until it had died down somewhat.

The support act, whose name I have completely forgotten now, was a self-proclaimed 'Black, feminist, Punk Band', formed of 4 women (I think, one, on keyboards, was permanently hidden from my sight, by the front-and-centre drummer, who seemed to be the band leader, but not singer).

The singer was on guitar and looked not unlike the Activist character from TV series 'Outlaws', while on the other side of the stage was a tall woman on Bass.

Their overall sound was OK, except that it was impossible to hear what the singer was singing or even saying, although from the Drummer's comments I imagine most of it was their self-proclamation and various complaints about Black under-representation in Punk and the Roe Vs Wade decision in the US (Both worthy of discussion, at the very least, but I didn't really come along for a political rally).

One or two tunes were OK, but I can't say I'd bother to track them down.

After the inevitable delay while the stage was re-arranged, St Vincent (and her band or is that Annie and her band, St Vincent?) appeared on stage around 9PM to the strains of the old Shep & The Limelites track "Daddy's Home".

I must admit I don't recall the exact order of tracks, so I'm relying on the setlist from Setlist.fm.

However, it was somewhat reassuring (to me) that the set started with a classic St Vincent track, Digital Witness, indicating that we weren't in for a solely 'new material' set.

Obviously there were tracks from the new album, the second being "Down" from it, but the well known tracks, Birth in Reverse, Fast Slow Disco, New York, Cheerleader and Los Ageless were all there.

Los Ageless was especially majestic, I often feel it's too short when I play it and I wished it could have gone on for 10 minutes or more at Hammersmith.

So, did I enjoy St Vincent at Hammersmith?

Yes, very much.

The band (possibly responding to critcism of Glastonbury, or maybe just less under the influence of something?) were less histrionic and self-indulgent and the sound balance was far better in the Apollo than it had been on the TV coverage of Glastonbury.

I can't say I find St Vincent's current 'image' very appealing (She looks like a waitress from an episode of Starsky and Hutch), but no worries, it'll be different for the next album, you can rely on that, and the music will take a different direction, too.

However, that was soon forgotten as the classic songs were performed and even the new ones sounded better live.

The main set rounded out with "Fear of the Future" and the inevitable encore featured 3 lesser known tracks, rounding out with The Melting Of The Sun from the Daddy's Home album.

I headed back to Richmond where I'd parked on the night bus (The Tube having closed due to rail issues) happy with my evening.

Glastonbury had definitely left me wondering, but an evening with St Vincent at Hammersmith had restored my faith, she (and her band) were great entertainment and I shall look forward to the next iteration of St Vincent with interest.

Setlist:

Digital Witness
Down
Birth in Reverse
Daddy’s Home
Down and Out Downtown
New York
...At the Holiday Party
Los Ageless
Sugarboy
Marrow
Fast Slow Disco
Pay Your Way in Pain
Cheerleader
Year of the Tiger
Fear the Future

Encore:
Your Lips Are Red
Live in the Dream
The Melting of the Sun

EDIT : I found a bit of video from the Manchester gig on this tour on YouTube

Thursday, 21 April 2022

Stereo MCs - Sub89, Reading - 20th April 2022

Getting to this gig proved to be an endurance event in itself.

It was moved twice due to COVID restrictions and then the second rearranged date clashed with another event I was going to and I got a refund.

However, when that event itself was cancelled, I quickly rebooked and was off to see the Stereo MCs at Sub89 in Reading on an April Wednesday evening.

It had been a while since I'd been to Sub89 and it seems parking in Reading has got ever more restricted, while the one-way system has become ever more confusing (I'm not convinced I didn't go down a Bus, Cycle and Pedestrian only road at one point, but the sign had enough conditional text to please a reader of a Jack Reacher novel and I thought it said it was only restricted until 7PM!) - Eventually I managed to stop, literally, going in circles and found the Broad Street Mall car park and arrived at Sub89 about 8:40.

Judging from the number of people and the empty floor in front of the stage, it didn't look as though there had been a support act, but it's possible I'd missed one!

I bought a beer and waited, expecting the Stereo MCs to appear a little after 9, but, to zero fanfare or flashing lights, they appeared at 9 sharp.

Initially, there was just the two singers on stage, Rob Birch and a woman. Behind the scenes I could see a couple of people working electronic equipment and the sound was clearly coming primarily from there.

The set started well, moving through Fade Away (the updated setlist says, I'd forgotten, but it was performed at some point) into Everything, Black Gold and Sketch before surprising me by including Connected early on (surely their best known song and most bands would have saved it for the finale or maybe the encore).


Sorry about the sound again, but you'll get a feeling

Being, primarily, a 90s band, I was surrounded by people about 10 years younger than me and it was quite entertaining to see the different style of dancing that that decade featured. I'm pretty sure many of those around me had been regulars at raves in their time. An attractive grey haired woman danced energetically just in front of me, while some middle-aged-spread men waved their arms in the air.

What, though, had always set the Stereo MCs apart for me, was their sound, they were distinctive, catchy, rhytmical and clever and that was all here to enjoy.

At some point, a percussionist joined the singers, I'm not sure when, which added a more organic sound to the performance.

Some other lesser known, but familiar to me and the audience, tracks followed before Step It Up, Ground Level, Running and Deep Down and Dirty rounded out the main set in fine form.

The stage was, as usual at Sub89, minimalist, but that probably focussed the audience on the performance.

As a stage act, Rob B and his fellow vocalist, weren't showy, but exuded a charisma I'd found lacking in the Bastille gig I'd attended recently.

They had a presence all the big video screens and arena venue performance lacked in that. Maybe they'd have struggled at the BIC as well, but in the intimate confines of Sub89, they had the audience from the start and never let go.

Rob's vocals are, of course, more spoken than sung, but the woman (I feel bad for not knowing her name!) had a great voice and the combination was both familiar and pleasing to the ear, with a good sound balance.

The encore featured two songs I don't recall and the setlist didn't identify, although I'm sure I knew one.

They actually came back from that for a second encore where they performed a great version of Creation.

I had been looking forward to seeing the Stereo MCs live, had been disappointed to have had to cancel, but finally I was delighted to have seen them live, it was an enjoyable, involving and captivating gig - Go see them, if you get the chance!

Setlist:
Fade Away
A38 Vibes
Everything
Black Gold
Sketch
Connected
On 33
Lost in Music
Elevate My Mind
(Unknown)
Step It Up
Ground Level
Running
Deep Down & Dirty
Encore:
(Unknown)
(Unknown)
Encore 2:
Creation

Friday, 8 April 2022

Wet Leg - Pryzm, Kingston - 7th April 2022

Party Music for Sad People

Wet Leg are a band (maybe) fronted by a tall brunette and a more dimunitive blonde (Rhian Teasdale and Hester Chambers) from that hotbed of musical creativity, the Isle Of Wight.

Both play guitar and produce a quirky, Indie sound that they described in one interview as "Party Music for Sad People".

Having watched some videos on Youtube, I found them interesting enough to see if they were playing anywhere local.

There's a lot of hype around about them, so I feared they may already be lining up big venues, rather than the small ones I prefer, when I came across an offer to buy their CD and see them live in Kingston Upon Thames (a leisurely 30 minutes out of rush hour for me).

The combined price was just £15, so I suspected I wasn't getting a full on gig, but that was fine for the money.

The album was (is, I'm writing this on the day) released on April 8th, so the (two as it turned out) live sets were the day before at Pryzm, which is a nightclub in Kingston Upon Thames.

I arrived in Kingston and parked in one of Bentalls car parks, still not really knowing how long I'd need to be there, but the car park shut at 10:30 and the ticket said that Wet Leg would be on stage at 6:30PM, so I figured 4 hours would be plenty.

When I got to the venue, there was a long queue stretching down the street, so I did the sensible thing and crossed the road and had a 50p half in the Wetherspoons!

I was just finishing my drink when I saw the doors open and the queue start to move.

Once inside we went upstairs to a medium sized room, entering on one level with stairs down to the dance floor and stage. There was another balcony level above, but I'm not sure if it was accessed from the entrance or from above. I'd guess there 300 or so people inside by the time the band came on stage at around 7:45.

The audience was mainly young, Kingston is a University town, but I wasn't the only one with grey hair in the audience and there was a tiny lad with his mum and grandparents in some seats (most were standing), probably not yet 10.

The band came on from the side, their equipment setup for the set.

In the end, they played for about 45 minutes, more than I expected actually.

I have to say, from where I stood on the entrance level, the sound wasn't great, with the singer's vocals (The brunette leads mostly) often hard to distinguish over the instruments, but it was possible to distinguish the songs I knew from those I didn't and the overall feeling of a strong, powerful sound was definitely enjoyable.

The vocal delivery is not particularly melodic, more a spoken one, at one point I was reminded of the Flying Lizard's "Money" performance from long ago, although the band are more energetic than that.

As most people there had purchased a combined CD/Ticket, I think it's fair to say most weren't there to be critical, but as the performance went on, the band seemed to grow in confidence and the audience warmed up.

Songs like "Ur Mum", "Wet Dream", "Oh No" and the finale, "Chaise Longue" were obviously recognised by more people and received the best reception, but generally the band were entertaining and enjoyable.

Apparently there was another set with doors opening at 8:30, so it was relatively short but it had been an enjoyable set and very good value! Perhaps more bands should do 45 minute sets for more affordable prices?

Wet Leg are rather the band of the moment and, if I'm honest, I'm not sure they're not a little faddish, but I enjoyed the gig and am eagerly awaiting the postman with my copy of their CD!

If I'm proved wrong and they've got a long career ahead of them, I certainly won't be unhappy!

Edited to Add : The CD arrived and I have say there are some excellent, varied tracks (listening to 'Loving You' right now, very different and great vocals, so Rhian can really sing! Check out this video for even more proof) on there, so maybe (hopefully) there's a long term future for Wet Leg!

Setlist:
Being in Love
Wet Dream
Supermarket
Too Late Now
Obvious
Oh No
Ur Mum
It's Not Fun
Angelica
Chaise Longue
I got this from Setlist.fm, but I recall 'Wet Dream' being later in the set. Tracklist seems about right, though

Friday, 1 April 2022

Bastille - Bournemouth International Centre - 31st March 2022

Maybe it was just me, or maybe it was them...

Over the last year or so, I've come to enjoy the music of Bastille, so I thought I'd go and see them live.

The nearest venue (outside London) was the Bournemouth International Centre, which is about an hour away, so not too bad (and quicker than going to many venues in London).

In terms of timing, all the ticket said was 'Doors 18:30', which seemed incredibly early, so I arrived about 7:15 and could hear music from the hall and it turned out a support act, The Native, were already playing.

They were a group of lads from, I think, Plymouth, playing Indy style music. For a support act, I thought they were pretty good. The sound balance wasn't too terrible (as it so often is) and their set was enjoyable. Definitely a good start.

There was another drum kit on stage with the word 'Dylan' on and after a short while a young woman with a guitar appeared and a young man sat behind the drum kit.

They started playing and another woman, a blonde, appeared and started singing.

The singer introduced herself as the 'Dylan' in question and their set was equally enjoyable, being quite a rock style set, including a cover of Guns N Roses' 'Paradise City', with a hint of Taylor Swift.

I'm probably just getting old, but it was refreshing to see a young female performer doing something other than RnB and she was pretty good - I hope she goes far.

Once again, for a support act, pretty enjoyable.

About 40 minutes passed and the lights went down again, to be replaced with a huge video display at the back of the stage and Bastille appeared.

Throughout the set the songs were interspersed and introduced by voiceovers (much as tracks do on their albums) and animated videos on the screen, which also showed live video from the gig at times.

I knew a lot of the songs and most of the audience around me in the first hour, when I stood close to the front, were clearly diehard fans (One bloke next to me sang every word of every song at the top of his voice, drowning out Dan much of the time, hence I moved!).

However, while it would be an exageration to say I didn't enjoy the gig, it all felt a little flat much of the time.

The band, aside from Dan, were mainly static, poorly lit and seemed relatively uninvolved. It was noticeable, too that, other than the two backing vocalists, no-one was introduced.

Dan himself skipped from side to side of the stage a lot, sometimes went up to the back of the stage and stood in front of the screen and sometimes reclined on what looked like a psychiatrist's couch, but while he talked to the audience from time to time, he wasn't very charismatic as a front man, in my view.

He also, by his own admission, seemed to be struggling vocally. At times he clearly wasn't hitting notes, showing his frustration, and after about half the set commented that he'd almost lost his voice.

Most of the audience, though, didn't seem to notice or care and cheered every song, bounced up and down to the faster tracks and regularly broke into co-ordinated clapping.

The highlights were the hits, of course, and they ended the main set with their best know, Pompeii, with its 'Eh-eh-oh, eh-oh' chant, following a lively cover of 'Rythmn of the Night'.

The lights didn't go up after that and the audience soon broke into a repeated 'Eh-eh-oh, eh-oh' chant and they were soon back for the obligatory encore.

This was a ballad and the lively 'Shut Off The Lights' to round out.

I like Bastille's music, although you could argue they're a bit Coldplay-ish, but if I'm honest, seeing them live didn't seem to add anything.

Maybe I was tired or just not in the right mindset to fully enjoy a gig that evening or maybe they were struggling to hit top form as they started their tour, but it won't rank as a favourite gig, although I certainly didn't feel it was bad as such.

The support acts had been good and it was good to hear my favourite tracks played live, but I don't imagine I'll go and see them live again.

I suspect, though, that a lot of the audience felt differently, certainly many seemed to be having a great time.

Set List :
Stay Awake?
Distorted Light Beam
Things We Lost in the Fire(New version)
Laura Palmer
Oblivion
Those Nights
Quarter Past Midnight
Back to the Future
Plug In…
WHAT YOU GONNA DO??? (Extended intro)
survivin'
Good Grief
Give Me the Future
Grip(Seeb & Bastille cover) (Stripped)
No Bad Days
Happier(Marshmello & Bastille cover)
Run Into Trouble (Live debut, New Song)
Of the Night
Future Holds
Pompeii

Encore:
Hope for the Future
Shut Off the Lights

Saturday, 19 February 2022

London Calling (Clash Tribute) - Boileroom, Guildford - Februrary 18th, 2022

Could a tribute band do service to 'The Only Band That Matter'?

This was a weird one, I saw the lead singer of 'London Calling' on the TV quiz, Pointless, and bought a ticket while the programme was airing.

I'm a bit suspicious (maybe the right word is snobby?) about 'tribute' bands, but sadly The Clash couldn't reform if they wanted to and, heh, the ticket was a tenner and a few miles from home, hardly a loss.

I arrived about 8 and, despite the tail end of Storm Eunice bringing down trees left and right, there were already a fair number of people there, maybe being a Friday helped, but they continued to arrive as the evening progressed and, while not as busy as I've ever seen it, it was certainly a good crowd by the time the main act arrived.

Before that, as I arrived in fact, there was a support act whose name escapes me now, but were described (as I recall) as a 'contemporary Punk band, with influences old and new', but to be honest, to my ear, they sounded for the most part dreadful. The 'singer' and lead guitarist, too, acted liked hackneyed Punk stereotypes and what little I could determine of the lyrics fell into the same category.

A woman on a guitar (bass, maybe, I didn't pay a lot of attention for long) was suitably distracted and refused to get involved in the posturing of the others, while the drummer actually sounded fairly good at times.

Perhaps, though, it's just as well I've forgotten their name.

London Calling turned out to do a final instrument check for a bit and then disappeared for another 15 minutes, reappearing around 9:15 dressed as The Clash.

There was a definite sense of expectation in the crowd, a good mix of students and old Clash fans, like myself.

I'd ended up right in the front, but figured I may move back if things got too rowdy, but despite a bit of OAP'ing (Old Aged Pogoing) to one or two of the earlier Clash tracks, the crowd was mainly enthusiastic, but relatively calm.

Forgive the terrible audio on the video clips.

Sadly, I can't find a setlist online, but the set featured a range of tracks, from early ones like Tommy Gun, Complete Control and Jennie Jones, through Capital Radio and I Fought The Law, tracks from London Calling, like Clampdown, London Calling, Guns of Brixton, Train In Vain, Wrong 'Em Boyo and Rudie Can't Fail, Police On My Back from Sandinista (the only track from that album, I think) to Combat Rock tracks, Should I Stay and Rock The Casbah, the latter of which, with White Riot, formed the encore.

So, to the 'only questions that matters', were they any good?

Well, yes, not bad at all.

Never having seen any other Clash tribute acts, I can't say how they compare, but most importantly, they certainly convey the energy and excitement of the Clash tracks live well.

I was especially impressed with the guitarist (playing the Mick Jones role) who seemed pretty accomplished to my uneducated ear, but everyone in the audience seemed to be having a good time (with the possible exception of one man a couple down from me, who never smiled once, even eliciting a comment from 'Joe' to that effect) from beginning to end and it's very much an ensemble performance.

You're never going to see The Clash live again and even if you could, who knows if they'd still be any good these days, so why not go and enjoy their songs live with 'London Calling'?

Saturday, 27 November 2021

Electric Six - Boileroom, Guildford - November 26th, 2021

This one came out of the blue!

I'd seen Electric Six in Reading 3 years before and, even though I'd quite enjoyed myself, wasn't sure I would again, but I saw this gig advertised when seeing Ren Harvieu and being so local and cheap, decided I'd go along.

Google was showing them as playing in Holland on this date and few of the ticket sellers' sites were showing this event, so I can only assume that the Dutch event was cancelled and the Boileroom gig added at short notice.

However, the late announcement didn't stop people coming from far and wide to see Electric Six and The Boiler Room was packed in a way I hadn't seen since my visit to see The Hoosiers some years ago.

The support band was a Guildford Band, Neon Islands, but to be honest, the sound was so bad for them (combined with most people chatting while they played, further muddling the sound) that it was hard to tell if they were good or not.

Electric Six came on around 9:30PM and featured a similar lineup to that I'd seen in Reading, back in 2018 and they had a lot less space to play with on The Boiler Room's tiny stage, but one thing they are never short of is energy.

I'd ended up right near the front for the start of their performance, with a group of 30 something male friends and a couple from Detroit, the woman of which said (and I've no reason to doubt her) that Jimmy, the drummer, was a relative.

The lineup was, of course, fronted by Dick Valentine, the only Fire period member remaining, but a couple of the other guitarists also looked familiar.

Dick thanked us for coming on such short notice and joked about being desparate to sell us some of the many albums they'd made and as he went along there was a running joke about each track being off "one of the albums".

I have to admit, most of my familiarity with their material comes from the debut album, "Fire", which features "Improper Dancing", "Gay Bar", "Danger, High Voltage!","She's White","Synthesiser" and "Naked Pictures (Of Your Mother)", all of which featured in the setlist, scattered amongst other tracks from later albums, including the openers from the latest album, "Bride Of The Devil" and the earlier "Switzerland".

There's a relentlessness to their playing and to Dick's vocals, occassionally broken on tracks like the mellow "Syntheiser", and that was there in abundance, but I also appreciated their musicality on this ocassion, many of the lesser known tracks showing off the band's talents.

On introducing "Rock and Roll Evacuation", Dick joked that it was written in response to George W Bush's election "When it seemed like the worst thing that could happen to America" and then smiled and said "And then something else happened", leaving the audience in no doubt of who that was.

The set, with the encore ("Dance Commander"), lasted about 90 minutes and I went back to the bar about 2/3rds way through as I needed a glass of water from too much dancing and the general crush. It's all one space though, so I was still in the room where they were performing, but not in the melee at the front any more.

It was, to say the least, a lively, exciting gig with the band seeming to be enjoying themselves too.

"Gay Bar" was, oddly, played in two short sections, which I didn't remember from Reading, but from the set lists I've found online, it seems common these days, at least. It was still enjoyable and did give us the pleasure of the intro twice, which is a definite highlight.

"Improper Dancing" is probably my favourite track and that had a great rendition, combined with "(Who The Hell Just) Call My Phone".

Of the tracks I was less familiar with, "Rock and Roll Evacuation", "Dance Epidemic", "I Buy The Drugs" and "Slices Of You" have stuck in my mind the following day, but everything was delivered (and received) with the same enthusiasm and energy.

The feeling I'd had at Reading was that their tracks get a bit samey after a while and I have to say that I had the same feeling to a degree this time as well, but I definitely enjoyed this gig more than the Reading one.

Somehow the band seemed more relaxed, Dick Valentine looked healthier and they seemed be enjoying themselves more, but maybe I'm just projecting my own feelings.

Either way, it was a fun night and, with the postponement of French band's, Keep Dancing Inc, gig until next May (as COVID continues to play havoc with normal life - As I correct a couple of typos a few days later, we have new restrictions coming into place!), a great way to almost certainly end my 2021 gig going.

Electric Six are definitely a band that knows how to deliver a good night out! Thanks guys.

Setlist
Mr. Woman
Bride of the Devil
Rock and Roll Evacuation
After Hours
Naked Pictures (of Your Mother)
Down at McDonnelzzz
The New Shampoo
Gay Bar
Gay Bar Part Two
She's White
Slices of You
Be My Dark Angel
Infected Girls
Improper Dancing / (Who the Hell Just) Call My Phone
Danger! High Voltage
Synthesizer
Daddy's Boy
Dance Epidemic
I Buy the Drugs
Encore:
Dance Commander