For our first concert of 2016, we were lucky enough to get a couple of late-release tickets for Muse Drones Tour 2016, Barclaycard Arena, Birmingham on 2nd April 2016, which was the first night of the UK leg of Muse’s Drones tour.
Opening the evening was Nothing But Thieves who done a great job of getting the crowd warmed up and seems like a good band to keep an eye on for the future.
Muse performed in the middle of the arena with on a circular stage, it’s hard to describe the experience of the 360 stage and it’s immersiveness, and of the use of the amazing flying drones and floating 3d projections. It was a spectacular stage for a spectacular evening of rock. Another thing to note with the position of the stage was the sound was much better than the normal arena set up which was deep and clear which is sometimes muffled and lost.
A very funky evening with Chic/Nile Rogers opening with Everybody Dance until finishing with Le Freak and a party on-stage to Good Times!
Having seen and enjoyed Chic at V Festival at Weston Park in 2014, we were excited to get some last-minute tickets for this and thought if they were as good as at V Festival then I would be happy. They were much better then they were at V Festival and enjoyed it with a more appreciative crowd of attendees and it was a privilege to watch a more personal performance in a ‘small’ venue sucvh as the O2 Academy, for which we visited for the first and (based on our experience) not last time!
Like many people I bought the tickets an age ago – around December last year, and so the night arrived and we were not disappointed. Having seen Robbie Williams in 2006 @ MK Bowl (see old review) he did have a lot to live up to as that was a great concert. And I always go on record by saying I will not usually listen to him at home or anything, but his live performances have always been great. Continue reading “Robbie Williams, Etihad Stadium, Manchester – 22nd June 2013”
I’ve always liked Hugh Laurie from the days of Jeeves and Wooster, Blackadder, House (of course) and his occasional foray into film.
It’s not often you do get to see people like Hugh, and so, when tickets to see him with the Copper Bottom Band were announced I had to get some.
He did take a while to come on-stage and did blame nerves when he finally cam on, but when he started he couldn’t stop… We were treated to two encores and the audience was still asking for more, and I think he would have done if allowed!
He and his music was/is infectious and indeed we carried on listening on the drive home!
Hugh’s singing itself is pretty decent, but it was the strong vocals, and exceptional band to back him up that really made the whole thing shine.
Laurie is clearly an accomplished pianist but the piano never took centre stage and for the majority of the show he let the talents of his fellow musicians on the trombone, saxophone, guitars and drums lead the way.
In between the music he interacted with the crowd with comic banter – almost as if we were in a pub somewhere, and even treated the crowd to a tango.
The set was amazing, before a single guitar had been strummed it was looking like it would be an amazing Bon Jovi show!
After an amazing 3 hour set we were not disappointed.
Opening with That’s What the Water Made Me (a track from the new album What About Now) instead of one of their stable old classics. It was clear not all were yet familiar but it was a bold decision non-the-less. This was followed by a slightly more well known song – You give Love a Bad Name… and as soon as the opening chords were played the stadium became alive.
On first listen to “Acolyte” it was an amazing journey of indie and dance. A dense but sharply-focussed amalgamation of sparkling synths, dance-friendly rhythms and intelligently constructed vocal melodies and harmonies.
Before I dive in and look at the tracks I will start with an overall view of this fine piece of very well executed music. Delphic have developed a distinct and original sound that genuinely is a blend of indie and dance. It’s a sound that’s almost ruthlessly efficient and faceless, and almost risks being difficult for some to connect with. There are many real moments of promise here, not least when they let go of their inhibitions with the incredibly layered album closer “Remain”. But for me it is their vocalist that gives the songs urgency and life that lift “Acolyte” to being very good; for every wave of synth, there’s a lyric loaded with warmth and spirit.