Hello there my lovely fellow Phonics fans. I have been contacted this week by a freelance journalist known as Simon Baines from Leicester who has kindly offered me his review of Birmingham's gig on 9th Sept. I went to see them in Dublin the week before, but had camera trouble, and hadn't yet written a review myself. This review MORE than compensates and I am eternally grateful for his generosity.
Also included are pictures from his photographer Jon Blakely - a huge thank you goes out to the both of them. If you'd like to see more of their work, please go along and have a look at the following site:
http://www.leicesterpress.co.uk/
LIVE REVIEW: Stereophonics @ Birmingham NIA 09/09/05
Words: Simon Baines
Photography: Jon Blakely
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As we enter the arena, there's a band leaping around joyously on stage. It's the Dead 60's. They display some amazing guitar work throughout a set that hits you with instant tunes. The Dead 60's are Matt McManamon: guitar/vocals, Ben Gordon :guitar/organ, Charlie Turner: bass, Bryan Johnson: drums. This young new Liverpudlian band have arrived in time to give fluffy bands like The Coral a much needed kick up the arse. In The Dead 60's, you'll hear traces of SKA, and nods to bands like The Cure and the Happy Mondays. They do a superb job of getting the crowd whipped up and ready for the Stereophonics.
The light's go down, and for several minutes, an array of coloured lights search through the crowd, while an overly long intro teases the arena. Finally, Kelly appears, and without even a hello, he launches into a raw, and heavy version of Superman. Kelly's wearing his now trademark shades, leather jacket and jeans. The band are bathed in bright red and white lights. New drummer Javier Weyler isn't introduced to the audience. None of them are. Weyler's energetic drum playing is a far cry from that of laid back Cable though. He's only been here for two minutes and he's already sweating buckets. Outstanding Bassist Richard Jones is pretty much stationery - he's playing it cool.
I recently read that Liam Gallagher had said his mission was to be come the biggest band in the world again. When you hear tunes like The Importance of Being Idle, it's hard to see them as rock gods any more. As the Stereophonics launch into a Thousand Trees, it's clear how effortless this all is for the band. Kelly adopts a Liam-esque pose, snarling into the mic, and if anything, he looks cooler than ever before. The whole band do. A Thousand Trees is an early favourite and the crowd know all the words. Off go Kelly's glasses and jacket, but he's still in no mood for any banter.
So far, all he's said is "thank you" and "thank you Birmingham". Madam Helga is next, followed by new single Devil - which deserves to be as big a hit as Dakota. Great vocals from Kelly, and Richard's bass sounds amazing. Again, the band are bathed in red light, and they look like true rock gods on the big screens, as the graphics turn them all film noir.
Six songs in, and finally they slow it down. Mr Writer suffers from a few miss-timings, although it's hard to see who's at fault and Kelly pulls it back anyway. This song is a true classic. It's one of only a couple songs the band take from their J.E.E.P album. Another slow-tempo'd number next, with Rewind. A sepia video of a road trip plays behind them. The Stereophonics are not into big stage sets and gimmicks - they like it simple.
After Pedal Pusher comes Hurry Up and Wait, taken from the album Performance and Cocktails. The audience know every word and sing it back at full volume. It's anthemic.
So far, this gig has been a non-stop romp. They've gone from one to the next, with just a few "thank you's" from Kelly at random intervals. Finally, he talks to the audience, telling them how he used to write songs on the back of brown paper bags, whilst working in the market. The next song was one such song. More Life in Tramps Vest is another taken from their Debut Album, Word Gets Around. So far, it's the real oldies that have proved to be the favourites.
Not up to you is another from that album, and again, the punters sing it back to Kelly. I always thought Maybe Tomorrow was one of the Stereophonics' blander songs, but here, it sounds awesome. It's the first and only time tonight you'll hear anything acoustic. This song is just Kelly, his guitar, and the crowd. Nothing else, and it sounds great. But it's clearly a direction the guys want to get away from.
This is no greatest hits show. Gone is Have a Nice day, and there's no sign of Handbags and Gladrags. Nope, there's no Mama Told Me Not to Come either. Thank god. Before the gig, Richard Jones had told me this tour "has more of a rock and roll feel to it. We can do more of the rocky stuff from the previous albums. It's not going to be Have a nice day and Handbags and Gladrags, like I said, which will disappoint some people, but it's going to be really energetic and we're not going to leave the fans catching breath!". That's exactly what this show has been. As they close the set with Bartender and the Thief and their 1996 single Local Boy in a Photograph, it's obvious this band is full of new life and a new direction. I doubt there ever will be a Greatest Hits album and they don't need to do it - they've proved their critics wrong and come back with an album and tour that has blown the fans away.
The encore begins with Traffic, and includes the brilliant Just Looking. They end with Dakota. My only fault with this gig is that the guys are so stationery in their performance, and almost cold with their attitude. Perhaps that's just because they're going to be back here tomorrow night for another gig and they're saving themselves for then. Or perhaps they just don't need to. The Stereophonics have always been a band who have let the music do the talking, and that's exactly what they've done tonight.
Hear live tracks for yourself, on the B-side to new single Devil, released 19th September.
A full interview with Richard Jones is in the new issue of Sixty Nine Magazine, available free from all good clothes shops and bars.