Monthly Archives: March 2013

BBC Introducing Guernsey: March 2013 – Tonight The Skies and Last of the Light Brigade

Tonight The Skies in the studio

Tonight The Skies in the studio

On the March 2013 show of BBC Introducing Guernsey there was a lot to pack in to one two hour show. My ‘live’ guests this month were Tonight The Skies, who have just released their debut EP, and Last of the Light Brigade, who are soon to release their new single.

As well as this I had a special interview with Wilko Johnson recorded when he visited the island earlier in the month along with a load of other new music from around the Bailiwick.

You can listen to the show through the BBC iPlayer until 8 o’clock on the evening of Saturday 6th April.

Anywhere here’s what I played:

Thee Jenerators – Guarunteed High
RentOClean – Bean Jar
The Recks vs Psylobster – Valentine
Pinstripe Phoenix – One Man Revolution
Mimi Bishop – I Should Tell
Jack McGahy Music – And Then Came Robots…
Tonight The Skies – live session and interview (Mexico and Homesick Lullaby)
Tonight The Skies – Baby Seashell
The Risk – Good Toghether
Wilko Johnson – She Does It Right (and interview)
Last Of The Light Brigade – acoustic session and interview (Walking Blind and Little Billy)
Last of the Light Brigade – The Door
Insurrection – Regression
Of Empires – I Am The Night
Harlequin Knights – No More (live)
The John Wesley Stone – They Burn Angels Don’t They
Brunt – A Concise Cosmic History of the Swob Monster Pt1 (The Birth of Fuzz)

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Tonight The Skies EP launch

Tonight The SkiesOn Saturday 23rd March 2013 electro-dream-pop duo Tonight The Skies launched their debut EP at the Cock and Bull in St Peter Port with a special show also featuring Buffalo Huddlestone (aka Mike Meinke and Sarah Van Vlymen).

The show attracted many to the pub which was packed long before the live music started and it was clear many were there for the music as well as a Saturday evening drink.

The duo have been together for a couple of years and their EP was certainly highly anticipated, you can read my review of the EP here.

You can also see my photos from the launch night over on the BBC Introducing Guernsey Facebook page, and here is my review which was published in the Guernsey Press on Saturday 30th March 2013:

Tonight The Skies album launch scan - 30:03:13

I didn’t get any videos on the night but Plumb got this one:

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Withnail & I

withnail and i movie posterIt’s probably been 10 years since I last watched Withnail & I, when, I have to admit, I had enjoyed it but I don’t think quite ‘got’ it. With today’s sad news about Richard Griffiths, and the bombardment of Uncle Monty quotes and YouTube clips appearing on my Facebook and Twitter feeds, I thought, as I had a free afternoon, I’d give it another watch.

The main thing that struck me about the movie was that indeed I now feel I ‘get’ it, at least in a sense.

For me it sits as almost a companion piece to Fear and Loathing In Las Vegas (both the book and the film, with whom it shares artist Ralph Steadman in common) as it takes a look at the end of an era and a loss of innocence. While Hunter S. Thompson’s work explored the death of the “American Dream” and the loss of innocence brought to the USA by events such as Vietnam, Altamont and the Manson Family, Withnail & I signals the death knell for “Swinging London” as 1969 draws to a close.

Withnail & IThis larger loss of innocence is reflected in both Withnail, and I’s, moving into their 30s as well, as they are clearly moving, mentally, from a state of over grown childhood to adulthood, though they both seem to be handling it in different ways, at least by the movie’s climax.

So, before I get to anything else Withnail & I is a masterful exploration of growing up and the loss of innocence, which is an inevitable part of that.

The way it does this however is the film’s masterstroke as such themes could, in the wrong hands, be overwrought and ponderous. What we get here, however, is a deft, dark, farce that drops us straight into the oncoming hangover and keeps us, along with characters, on the knife-edge between the night before and the morning after for an hour and 42 minutes.

Richard Girffiths - Uncle Monty in Withnail & IThe performances from the aforementioned Griffiths as Monty and his nephew, one of our titular characters, Richard E. Grant’s Withnail are both note perfect caricatures of the era who veer from hilarious to, at times, threatening with an ease which demonstrates both actors skill, particularly the famously teetotal Grant who fills the shoes of the alcoholic and addicted Withnail with aplomb.

For me though it was Paul McGann, credited brilliantly simply as “…and I” who is the often unsung but undeniable best performance, and beating heart, of the film that anchors it to the real world no matter the exploits of his companions.

Paul McGann - Withnail & IThese three performances serve to anchor the loosely autobiographical script from writer/director Bruce Robinson in a world that spans reality and fantasy in just the right way as, while it is clear everything is a heightened recounting of events, we are left with the impression that maybe it wasn’t as heightened as all that.

The film ends on a note that, much like the rest of the movie, treads the line between darkness and light and ultimately makes Grant’s Withnail into a true mythic archetype of a figure which, it seems to me, is why so many of his lines from this film have become so quotable and why the film has attained such cult status.

After re-watching Withnail & I I was left with the feeling that this film is not the sort of thing we are likely to see again as it was made at a time that dealing with the issues it does in the manner it does was spot on, but, that while its unlikely anyone will make anything like it again its themes and humour will continue to ring true for a long time to come.

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Iron Maiden – Maiden England ’88 (DVD)

Maiden England '88Over the last few years, between new albums, Iron Maiden have delved into their back catalogue to resurrect certain eras from their past and have released the corresponding contemporary shows on DVD to go with them.

The latest in this series, following on from 2004’s compilation and documentary The Early Years and 2008’s Live After Death re-issue, is Maiden England ’88, documenting the band’s tour off the back of the Seventh Son of a Seventh Son album, with a show recorded live at the Birmingham NEC.

Disc one features an extended edition of the show with three extra encore tracks compared to what was originally released on VHS in 1989.

The set list is a mixed bag as this is clearly a tour in support of an album, so it leans heavily on material from Seventh Son, though this is no bad thing as its one of their strongest albums. Aside from this we get a selection of greatest hits from the bands early albums so we have Running Free, Number of the Beast, The Trooper, et al, which makes for a nice mix that captures the band in their five-piece, 1980s, heyday.

Bruce Dickinson - Seventh Son Tour 1988While the set list is a blinder the actual shooting of the show leaves a lot to be desired. What we find out in the accompanying documentary is that Maiden linchpin, bassist and band leader, Steve Harris, wasn’t entirely satisfied with the Live After Death tape so took it upon himself to direct and edit this film in a style he thought more represented the fans experience of the show.

While this may be the case, what it leaves us with is a lot of low angle shots of the band and, for the time it was made, a large number of hand held shots that show the limitations of the technology in the mid-80s and have a feel of almost being home video.

Iron Maiden 1988As well as this, the ‘fans-eye view’ of most of the gig leaves the stage and backdrop almost hidden meaning the show lacks something that has always been essential to Maiden’s live shows as the stage always helps tell the story of the show alongside the band.

So, despite a great set list and the band’s ever-excellent performance, the video feels unfortunately amateurish in places and lacks something of the sense of scale that has been the band’s calling card since The Number of the Beast.

In contrast the three bonus tracks seem to have been put together more recently as the editing is crisper and demonstrates more of the sense of scale and energy missing from the rest of the show, which at least leaves Disc 1 on a high.

Seventh Son tourDisc 2 of the set features part 3 in a series of documentaries on the history of the band and is an interesting view of the years around Somewhere In Time and Seventh Son as the band, burned out by a huge worldwide tour, reignited with a plan to make an elaborate concept album and (shock, horror) add some synths to their musical palette.

While this is interesting, and acts to continue the story of the previous DVD sets, I couldn’t help but think it would have been nice to maybe have more on the actual production of the albums – although I do get the impression the way Maiden make records is very workman like, so maybe this wouldn’t have been as interesting as some album making ofs.

Bruce DickensonThe second documentary, contemporaneous to Maiden England’s original release in 1989, takes us on a trip through the band’s first 12 years, largely told by Harris but with input from most of the other band members and is an interesting insight into the world of metal in the late 70s and early 80s as we see the view from the ‘toilet venues’ to the arenas of North America.

In the end, while the live film lacks something compared to some of the Maiden’s other efforts, it is still invigorating thanks to the excellent, if somewhat off centre, set list, while the documentaries both give an insight into the world of Iron Maiden then and in retrospect which, for fans of the band, is always going to be an interesting watch.

And, like all the best music films, this made me sing along and pick up my guitar.

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Surf Nazis Must Die

Surf Nazis Must Die PosterIn the world of Troma pretty much all regular expectations for a movie change – so what I want out of a film like Surf Nazis Must Die is some very stupid dialogue, a bad but generally speedy plot, a nice bit of schlock and gore and to be left with a silly smile on my face after, preferably, less than 90 minutes.

Surf Nazis Must Die starts out looking pretty promising on all these counts; in its uncut form it clocks in at 82 minutes and pretty much tells us what to expect by the title in a way that hints at some serviceable silliness.

Unfortunately, after a promising start which includes the set up of a catastrophic LA earthquake (off camera of course) and a line of dialogue that seems to sum up the state of affairs since that:

“Leeroy: What’s this I hear about trouble down here?

Worker: Nazis sir… surf Nazis!”

surf nazisAnd then we get to see some reasonable shots of the aforementioned Nazis doing some surfing – we know they are surf Nazis because they have names like Adolf, Eva and Mengele and swastikas on their wetsuits, faces and pretty much anywhere else they might be able to fit one (good taste is not something this sort of films cares about).

Unfortunately, from this point on, things descend into a massive mess that is unsure which of three storylines to go with as its main plot and likes to shoehorn in more surfing footage which generally makes no sense.

Surf Nazis Must DieAs I’ve said before the best of these kind of films are romps which know they are dumb but have fun with it, Surf Nazis Must Die however doesn’t have this sense of charm which, worryingly, hints that the director/writers might have thought they were making a serious film.

As it goes on we get a gang war between the Nazis and three other underdeveloped rival surf gangs none of whom seem to actually surf and each only seems to have at most three members (which compared to the five of six Nazis leaves them at a major disadvantage).

This culminates in one of the most poorly staged fight scenes I’ve ever scene that doesn’t even get in the requisite levels of silly blood and guts expected from a picture under the Troma banner (despite a few good opportunities).

surf nazis must die - Leeroy's motherThe other plot follows Leeroy’s mother’s quest for revenge as she escapes from a rest home, buys a gun and goes on one of the most lackluster and technically flawed killing sprees I’ve ever seen – they don’t really even make the boat decapitation work and that kind of gimmick is surely a pre-requisite of an aquatic revenge Troma film?

While Troma are never going to be a studio known for conventionally top quality movies they do have a reputation, with films like Class of Nuke ‘Em High, Toxic Avenger and Tromeo and Juliet, for at least being entertaining in a dumb kind of way – Surf Nazis Must Die however misses pretty much every mark of this and falls into the category of b-movies that are all title and nothing else.

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Tonight The Skies EP Review

Tonight The Skies, a dream-pop duo from Guernsey, released their debut 5 track EP on 23rd March 2013.

I reviewed the EP for that days Guernsey Press newspaper ahead of a live album launch show by the band at The Cock and Bull in St Peter Port.

You can hear the band in session on my BBC Introducing Guernsey show on Saturday 30th March as well.

Tonight The Skies EP review scan - 23:03:13

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Hammer’s Dracula

Dracula Hammer posterSo for the second night in a row I’m setting myself the challenge of reviewing as close to an undisputed classic as exists in cinema with Hammer’s 1958 take on Bram Stoker’s Dracula.

As with every take on the 19th Century novel this movie is very much an adaptation of the original text and adds yet another spin on it. Coming in third in the list I can see of big productions of the story (after Murnau’s Nosferatu and the Universal Dracula) it once again messes the story around to make it fit the cinema of its time, and in this case pioneer the style of cinema that was to come.

Unlike the earlier versions of the story we are launched right into the heart of darkness here as Jonathan Harker, in this case a vampire hunter posing as a librarian, arrives at the surprisingly un-sinister Castle Dracula.

Inside Castle DraculaOnce Harker enters the castle something struck me to do with the set design. What we get is what looks like a “very 1960s” design, however, being made in 1957 this pre-figured that by some years and goes to show how Hammer’s Dracula is such a touch stone for cinema, both horror and otherwise, for the decade that was to follow.

Following Harker’s arrival and sinister but civil introduction to Christopher Lee’s instantly charismatic count, the horror begins in earnest as we meet Dracula and his ‘bride’, by night.

Peter Cushing as Van HelsingAs the film goes on we meet the defacto star, Peter Cushing as Doctor Van Helsing, and, along with Lee, he owns the screen.

Both men own it in different ways though. Cushing is the consummate leading actor, telling the story to the bewildered Arthur (Michael Gough) and delivering lines of exposition that in the hands of lesser performers would totally disengage the audience, but Cushing imbues it with a sense of urgency and the fact that this is truly vitally important in such a way as to keep us gripped while Gough’s Arthur goes along for the ride as his family are slowly tortured and abused by the undead.

Christopher Lee as DraculaLee has a very different method of owning the screen here as, while he is undeniably a fantastic actor, it is his presence as Dracula that is his strength here. Simply standing in the same sets as the other performers his size, and the choice of shots, lighting and costume, imbue his Dracula with an otherworldly nature unlike any other representation of the character.

It is Lee’s performance that adds the biggest new element to Hammer’s telling of Dracula as the film deals, as much as a film made in 1957 might, with the sexual and erotic element of the story and the vampire myth. So, we see Dracula as an attractive younger man rather than Lugosi’s creepy but restrained foreigner or Schreck’s rat-like literal physical monster.

This again hints at what was to come with horror after and continues to this day, showing how Hammer really set the stage for the ‘third wave’ of horror and even what came after.

Dracula climaxThe film culminates, as one would expect (and I don’t think this can count as spoilers over 50 years on), with Van Helsing and Dracula facing off and Cushing and Lee both delivering a short, but highly effective action scene excellently as they face off back at Castle Dracula.

This leads to probably the films most graphic sequence with the destruction of the Count which has a couple of shots that still are effective as creeping body horror shots and, while it is only a matter of seconds of screen time, again it lays the groundwork for much of what was to come that has escalated to what we get today.

DraculaThe Blu-ray version of the movie I have just watched is about as good as the film itself, cleaning up the image and sound and reinserting several shots cut from the original release giving us, for the first time at home, the original Hammer version of the film.

Hammer’s Dracula is another classic movie that laid the groundwork for the development of a whole genre of films that was to come, and is still going, and showcases two genuine legends of cinema in Cushing and Lee as well as solidifying the style of one of Britian’s most well-known film studios.

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Brazil movie posterI first encountered Terry Gilliam’s best film (to date), Brazil, during a GCSE English class when we were tasked with writing a short sci-fi story and since then it’s consistently sat very high on my favourite movies list (so thanks for introducing me to it Mr. Gregson).

I’ve revisited the film relatively regularly ever since, first on video then the fantastic Criterion Collection DVD edition and now on Blu-ray for the first time.

The HD transfer of the film itself is fantastic and it felt almost like coming to the film again for the first time as background detail that would have been clear in a large cinema is at last clear on my home TV.

Brazil 1Onto the film itself and, as with all Gilliam’s work, the thing that strikes from the start is the precise sense of design as we are plunged into “Somewhere in the 20th Century” where bureaucracy has taken over government and life in a 1984-lite society with monolithic, grey Ministry architecture standing alongside slum like flatblocks with men in sharp grey suits rubbing shoulders with families looking like they’re from a stereotypical post-war working class but all with hints of the almost steampunkishly modern with computers and technology.

While some of Gilliam’s films are rightly criticised for seeming to focus on design rather than the script, with Brazil the script and design lock together excellently from the first line “Hi there, I want to talk to you about ducts…”.

Brazil, Sam Lowry, Jonathan PryceThis sums up the tone and feel of the film to come as it marries the sense of the absurd with which Gilliam made his name doing animations for Monty Python with the notion of the world which we are thrown into that borrows from 1984 but feels almost more relevant even than Orwell’s still excellent book.

Alongside the bureaucracy the film’s satirical eye is aimed at some other staples of 80s life including cosmetic surgery and terrorism all of which combine to make something that is certainly just as relevant today as it was when the film was written in the early 80s.

BrazilIf all that sounds a bit like its dealing with big societal issues the thing that makes the film work so much for me is that it combines this with a story of a man fighting the system, something I have always felt strongly about.

This aspect is the story of Sam Lowry (Jonathan Pryce) and he really delivers a tour de force performance as he is in virtually every scene following the prologue and we watch his journey from frustrated junior clerk to executive to… well that would be telling.

Along the way he meets a range of characters who seem to swirl about him with almost constant movement leaving both Sam, and us, dazed and confused and as the film goes on this increases but, rather than doing it in a way that ends up with the film being a mess, it all builds to a suitable final crescendo.

Sam Lowry dream BrazilAs well as Sam’s real life we also delve into his dream world which is again a triumph of the films design and special effects aspect as he appears as a winged hero in shiny armour fighting the evil creatures who have his true love caged.

As the film goes on, these two sides of Sam get closer and closer as we head toward the aforementioned climax.

Ok, so this may not be my most impartial review, but, on rewatching Brazil tonight, I could not find a single flaw in it. I’m sure some may think it looks a bit dated now and I am aware Terry Gilliam’s style may not be to all tastes, but for me, this is one of the greatest films ever committed to celluloid and I would heartily recommend it to anyone – just be prepared for something a little outside of the ordinary.

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Last of the Light Brigade on BBC Introducing Guernsey

Last of the Light Brigade on BBC Introducing GuernseyFor the March 2013 edition of BBC Introducing Guernsey Last of the Light Brigade joined me in the BBC Guernsey studios to record a short acoustic session and interview.

During the interview we touched on subjects ranging from supporting Wilko Johnson on his farewell gigs in Guernsey, their upcoming new single and the big plans they have for the coming months.

You can hear the full session and interview on the show on the evening of Saturday 30th March but in the meantime here is a little preview of an acoustic version of their track Little Billy (this is just recorded on my iPhone, the mics you can see were recording for the radio broadcast and, believe me, sound a lot better):

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Wilko Johnson and local support at The Fermain Tavern

Wilko Johnson at The Fermain Tavern

Update: The Niche website has now been taken down, scroll down the page to read the full review

Friday 15th and Saturday 16th March 2013 saw Wilko Johnson appear at The Fermain Tavern in Guernsey as part of his farewell tour.

Support on both nights came from a selection of local acts (Andy Sauvage of Lifejacket, The Risk, The Phantom Cosmonaut, Memoirs Be and Last of the Light Brigade) before Wilko, alongwith Norman Watt-Ray and Dylan Howe, took to the stage.

Both nights saw excellent performances from all involved, despite some occasional technical issues for Wilko and co, though it was Saturday night that really brought the house down.

You can see my full galleries of photos for both nights over on the BBC Introducing Guernsey Facebook page (thanks to Jordan Allen for his help with these):

Show 1: Wilko Johnson with support from The Risk and Andy Sauvage

Show 2: Wilko Johnson with support from Last of the Light Brigade, Memoirs Be and The Phantom Cosmonaut

My review of the shows has been published on Niche showcase:

Wilko Johnson review screengrab

I also got videos of some of the support bands (it was too packed to get anything of Wilko but suffice to say video wouldn’t have done the show justice):

Over the weekend of 15th and 16th March 2013 The Fermain Tavern staged two very special nights of live music as Wilko Johnson’s Farewell Tour rolled into the venue with support coming from a range of local acts.

Wilko made his name in the mid 1970s as guitarist and chief songwriter for Canvey Island based ‘pub-rock’ R ‘n’ B band Dr. Feelgood before joining Ian Dury & The Blockheads and then embarking on a solo career in the early 1980s which has seen him play The Fermain Tavern several times over the years.

In January he was diagnosed with terminal cancer and rather than receiving treatment set out on a farewell tour with longtime bandmates, bass player (and fellow Blockhead) Norman Watt-Roy and drummer Dylan Howe – so no matter what this pair of shows was going to be something special.

Day One

The Friday night show started out with Andy Sauvage, more often recently seen fronting hard-indie band Lifejacket, in solo acoustic mode. While Andy’s set may have been somewhat on the melancholy side, perhaps a hint of the downbeat was suitable for a show such as this which certainly led to mixed emotions for many both involved and attending.

Seeing Andy play solo in this manner really shows off an extra side to his voice that is not so often seen in the full band setting of Lifejacket and, as ever, his performance was top notch with covers of songs by the likes of The Smiths, Placebo and Tears For Fears slotting together excellently.

Tonight was a more serious set than some from Andy, but started the night off well as the Tav began to fill up for the sold out show.

Guernsey’s own rock ‘n’ roll legends The Risk were the main support for this first leg and punched up the energy in the room from the start as more headed down towards the stage and soon some were dancing along to the mod-ish power pop tunes.

As ever Mark Le Gallez was the consummate frontman and, even when Colin Leach took on vocal duties, remained centre of attention as he took his bass onto the dancefloor to join in with the crowd.

One thing that really struck me tonight about The Risk was the effortless chemistry between the Mark and Colin that added a sense of real enjoyment to the set which transmitted to the crowd and left them fired-up and ready for the The Wilko Johnson band, following a set closing rock ‘n’ roll double whammy culminating in The Risk’s now standard cover of Born To Be Wild.

Wilko, Norman and Dylan took to the stage with the crowd in the comparatively small venue packed right up to the front, all but nose to nose with the band, and launched into their set. Unfortunately it was soon clear, and then confirmed by Wilko, that the amp that had been provided was causing some issues for his sound while the drum kit was proving a similar challenge for Howe.

Despite this, and possibly because of it, once the band got rolling the set was as packed with energy as we’ve come to expect from the staring, skittering frontman and his band as they raced through a mix of classic songs from Johnson’s time with Dr. Feelgood and his solo material with All Through The City and Chuck Berry’s Bye Bye Johnny providing a pair of highlights amongst highlights.

While it seemed tonight’s show may not have been a high point of the tour for Wilko himself, the crowd at The Fermain Tavern were reveling in the classic blues, rock ‘n’ roll and r ‘n’ b sounds and were left wanting more which, for those lucky enough to have got tickets to both nights, they would certainly be getting.

Day Two

The second sold out night of the weekend at The Fermain Tavern started out with The Phantom Cosmonaut, but to avoid a conflict of interests I won’t review his set (if you were there feel free to post your thoughts on this one).

So, onto Memoirs Be, the first full scale band of the night.

At first I wasn’t sure what to make of this very young and very new four-piece. Clearly they have a lot of talent, particularly guitarist Charlie Sherbourne and singer Roanne Sanchez, but they seemed to be missing something.

As the set went on however, they did seem to start clicking more and the audience’s appreciation certainly increased with every song.

By the time they closed their set with a cover of The Beatles’ Come Together, Memoirs Be certainly had proved themselves a very talented new act and one worth keeping an eye on as they grow and reach the potential I think is possible.

Last of the Light Brigade continued their march to indie-rock ‘n’ roll domination with a set that took them to a new high.

Throughout, the sometimes reserved (on stage at least), Tyler Edmonds was on fine form as a self-deprecating yet confident frontman talking to the audience, throwing shapes and putting in the best performance I’ve ever seen him deliver.

Backed by Ben Queripel on bass, who also hit a new level of on stage confidence, and Stu Carre, who remains the band’s solid drumming backbone, Last of the Light Brigade tonight proved why they should be one of the biggest bands in Guernsey as they cross over punk rock, mod and rock ‘n’ roll all with a good sense of pop and clearly knowing what makes a good tune.

Much like The Risk last night this set the tone and warmed up the audience perfectly for the main event.

With a new amp and a new drum kit The Wilko Johnson Band were on fire from the start of their set tonight as they played a similar mix of songs to last night, though with a few changes (we got to hear Paradise tonight, a personal favourite of mine).

Once again Wilko was a constantly moving focus, tearing up the stage in the manner that only he can, and really playing the ringleader for the band.

Away from the charismatic frontman Dylan Howe and Norman Watt-Roy proved they are not to be overlooked too as one of the tightest rhythm sections I’ve ever witnessed and Norman seemed like the bass is an extension of his body rather than a separate musical instrument as his entire body moved and contorted with his deceptively complex bass licks.

Throughout the set the band indulged in a few extended jams during their more straight blues numbers and even these held the audience enraptured, right down to Howe’s tremendous drum solo, after which the energy in the Tav seemed to hit a new high.

As the band returned to the stage for their customary Chuck Berry encore of Bye, Bye Johnny with Wilko variously strafing the crowd with his guitar like a machine gun, playing it behind his head and skittering all over the stage in his trademark manner, it was clear a state of euphoria was at large as we all sang back at the band and waved bye, bye in a way that had even more meaning than any of Wilko’s past gigs here.

Once again leaving the crowd shouting for more it was with a real sense of mixed emotions that the show came to an end and many stayed in the venue discussing what they had just witnessed and running high on the adrenaline of the proceeding hour and half.

While this is the last we’ll see of Wilko on a Guernsey stage he certainly left us on a high and with some great memories that proved why he has become revered for his more than 40 years in music.

All I can say, coming off the back of these two shows, is that it was an honour to play one of these gigs and that we are on the verge of losing a true great, but I’d rather not focus on that and remember the great music we got to experience and still have to listen to and the mark Wilko has made on so many of us who strap on a six string to play some good old rock ‘n’ roll.

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