The Comet Is Coming - Aviva Studios, Manchester (12/7/23)

Tonight's show is part of the Manchester International Festival, a biannual celebration of arts, and is held at Aviva Studios (formerly Granada Studios), a swanky new arts space and concert hall. A backdrop of stars welcomes the band as they open with bleeps and sax squeals, and is the perfect prelude to their cosmic jazz. This gives way to an electronic jazz banger complete with psychedelic backdrop provided by visual artist Daisy Dickinson, and it receives a rapturous reception. The mindbending next number sounds like the Warp Records catalogue played backwards. The drums and keys provide the beats and the sonic power whilst King Shabaka's sax provides the creativity and experimentalism. This all combines to create an exhilarating whole and a feeling akin to being at a rave. It gets quite dubby at times whilst other bits sound like 90s Nintendo or Sega soundtracks. It often feels more like acts such as Leftfield or Underworld rather than jazz. It is the squealing sax that adds the jazz element. Every track is either a floor filling banger or a cosmic trip and sometimes is both at the same time. Even the drum solo courtesy of Betamax is jaw dropping. There have been hints that this could be The Comet Is Coming's final tour. I hope it isn't but this is a fine way to bow out if it is.

The Comet Is Coming ****

Kiss & Skindred - AO Arena, Manchester (8/7/23)

Tonight is part of the final run of gigs for Paul Stanley, Gene Simmons and co. This comes four years after the supposed final run of shows, but we are assured that this tour really is the final time to see them live.

Like most British people my age, I first became aware of Kiss in 1987 when 'Crazy Crazy Nights' was a big hit here. I was still very much into pop and chart music but the song was anthemic and catchy enough to appeal to my pop sensibilities. I loved it but it was just another pop song as far as I was concerned and it wasn't enough to convert me into a rocker.

Two years later and I was fully into rock music. Kiss released the 'Hot In The Shade' album and I saw the video for the lead single 'Hide Your Heart' on a TV rock show. I love story based songs and the tale of Johnny, Rosa and her gangster boyfriend ('Tito, he was king of the streets') absolutely captivated me. It's co-written by Desmond Child (who co-wrote 'Poison', 'Livin' On A Prayer' and 'You Give Love A Bad Name' so you know it's catchy as hell. I bought the single but it wasn't enough to persuade me to buy the album and I didn't really bother with them until the late 90s when I started to dive into the old classic stuff. Let's be honest, the 90s weren't the greatest era for the band.

I miss the opening band The Wild Things but get into the venue just as Skindred are starting. Skindred are a British rock institution, formed from the ashes of ragga metallers Dub War. I first heard Dub War on the Sunday Night Rock Show on Radio One at my friend Gavin's in 1995. We were hanging out, listening to the radio when they played the track 'Why?'. They didn't introduce the track beforehand so I was trying to guess who it might be. Skid Row were about to release their third album 'Subhuman Race' and, post-grunge, it was expected to be much heavier. The screamed chorus sounded like it could be Sebastian Bach and it was definitely heavier, so I thought it might be a new Skid Row track. I found out the identity of the track afterwards and this gave me a new band to check out. It's laughable now thinking that I confused the two bands but, in my defense, it is probably less ragga infused than tracks like 'Strike It', 'Mental' and 'Nar Say A Ting ' and I still maintain that the screams on the chorus have a Sebastian Bach feel.

Skindred are heavier and more contemporary than the headliners. However, frontman Benji Webb is very charismatic and immediately gets the crowd onside. 'L.O.V.E. (Smile Please)' from the new album is very upbeat and bouncy, and has a SL2 meets ragga vibe. Every song has crowd interaction and Benji is absolutely hilarious. There are lots of pop culture references peppered throughout the set, ranging from Van Helen's 'Jump' and House Of Pain's 'Jump Around' to Simon Bates' 'Our Tune'. The latter acts as an introduction to an authentic and fearsome 'Kill The Power'. 'Nobody' is rousing ragga metal which barks back to Dub War whilst some of the material has a 'Roots' era Sepultura feel, especially on closing number 'Warning'. We even get an appearance of the infamous Newport Helicopter on 'Warning' too. In front of what could have been a partisan crowd, they go down really well.

'You wanted the best, you got the best, the hottest band in the world, Kiss!' introduces Kiss before the familiar opening notes of 'Detroit Rock City'. The curtain falls to reveal the four members descending from the rafters in a explosion of pyrotechnics. Unfortunately, the pyro is so loud that it drowns out the music and it takes a minute or so before my ears recover. This is a problem throughout the show whenever the pyro goes off (which it does during a good half a dozen numbers at least). Once the sound gets back to normal, it's clear that the band are on top form. Paul sounds like Paul, Gene sounds like Gene and Tommy Thayer probably plays better than Ace Frehley ever did. 'Shout It Out Loud' is anthemic whilst 'Deuce' rounds out a killer opening trio. Tonight, as Paul reminds us, is a celebration of Kiss so we get deeper cuts like 'War Machine' and 'Heaven's On Fire'. The latter is much more enjoyable than the studio version. I would have preferred to hear classics like 'Strutter' and 'I Stole Your Love' but when a band has an extensive back catalogue like Kiss, there will always be something you wish they would have played instead. A beefy ''I Love It Loud'  follows with Gene breathing fire at the end of it. An excellent 'Say Yeah' ( the newest track played tonight) is vintage Kiss, sounding like it could have come out in the late 70s or early 80s. 'Lick It Up' is excellent, whilst a ballsy 'Doctor Love' has the whole crowd clapping along. 'Psycho Circus' leads into a drum solo from Eric.

Kiss really know how to put on a show. Pyro. Lasers. Lights. Fireworks. Balloons. Stage risers. Zip wires. And best of all, a gigantic perfectly clear video screen where they project computer generated graphics and archive footage as well as live footage from the show, which adds an air of intimacy to the show because you can see the expressions on the individual members faces and see exactly what they're playing. It provides a connection between the band and the audience because it feels like they're playing just for you. Gene gets his moment to shine as he spits blood and ascends high above the stage for his signature song, 'God Of Thunder'. Paul flies out into the middle of the audience for an incredible 'Love Gun'. Eric sings lead vocals on an amazing 'Black Diamond' and sounds fantastic. Tommy's guitar solo is awesome too and we get huge Catherine Wheels and fireworks for the doomy climax. Eric also sings and plays piano on an emotional 'Beth' during the encore. 'I Was Made For Loving You' and 'Rock And Roll All Nite' are obvious crowdpleasers and end the show in a triumphant fashion.  Despite the spectacle, I feel a little sad afterwards knowing that this is likely the last time I will see these legends of rock.

Kiss ****

Skindred ***

Pulp & Baxter Dury - Castlefield Bowl, Manchester (4/7/23)

I first heard Pulp on the John Peel Show on Radio 1 around 1993 when he played the track 'Razzmatazz'. The opening lines 'The problem with your brother, he's always sleeping... with your mother' hooked me instantly and started my love affair with Jarvis Cocker as a lyricist.

Fast forward to Spring 1994 and I got to see them live for the first time. They were touring in support of the recently released 'His 'N' Hers' album.  I didn't have tickets for the Manchester show but they played an acoustic set at Piccadilly Records earlier in the day. They only played a few songs but Jarvis' charisma shone through even then. I saw them again a few months later at the Reading Festival. I was quite near the front, enjoying myself and singing along when a lone crowdsurfer moved over the crowd towards me. I was in the moment, enjoying the band and therefore oblivious to what was happening behind or even to the side of me. He got closer and closer without me realising and I only really became aware of him when  he  was already on top of me and had kicked me in the face, wham! It didn't hurt much as I was probably a little drunk already. What he did manage to do though was kick my glasses off my face. I think I managed to catch them so I didn't lose them completely but when I put them back on, I realised that one of the lenses had been knocked out. We were so tightly packed together that there was no chance of finding it again so I had to go through the rest of the weekend with just one lens in my glasses. I wasn't prepared for it and I didn't see him coming. I also didn't expect anyone to crowd surf, they're hardly that type of band. Fucker. Jarvis commanded the festival crowd expertly but the incident put a bit of a dampener on the performance.

Baxter Dury is the opening act tonight. Son of the late Ian Dury whose chart topper 'Hit Me With Your Rhythm Stick' was the first single I ever bought. He starts off playing whimsical indie pop with lovely backing vocals. However, Dury possesses some of his father's eccentricities, and his confrontational vocals and presence are at odds with the sweetness of the music, sounding like Stereolab fronted by Mark E Smith. Dury's aggressive vocals aren't for everyone (my wife hated them) but I don't mind them, they remind me of Sleaford Mods. I just wish they complemented the music more, which is actually pretty good. The music gets harder edged the deeper we go into the set. Some songs have throbbing Duran Duran style basslines whilst the final track is very clubby and suits the vocals much more. The 90s rave style banger is easily the best song in the set and gets a decent reaction from the crowd who just want to party.

Pulp have no problem in satisfying the need to cut loose. 'This Is What We Do For An Encore' is projected onto the screen at the back as they enter the stage. They open with a killer 'I Spy' as Jarvis rises onto the stage silhouetted against a giant moon. 'Disco 2000' is glorious and incites a mass singalong. Objectivity is lost as I just get swept up in the euphoria of this band playing these songs so well. 'Mis-Shapes' and 'F.E.E.L.I.N.G.C.A.L.L.E.D.L.O.V.E.' just beg to be screamed along to at the top of your lungs. 'Something's Changed' is dedicated to the late Steve Mackey. The accompanying orchestra really lifts tracks like 'Weeds' and the spectacular 'Sunrise' (which closes the regular set), which both sound enormous. The added strings also make 'This Is Hardcore' (always my favourite Pulp song) seem particularly epic. Lasers and whistles preceed 'Sorted For E's And Whizz'. Jarvis and the band are clearly on top form. 'Do You Remember The First Time?' is very energetic whilst 'Babies' is incredible. To see the whole crowd screaming 'I know you don't believe it's true but I went with her 'cos she looks like you, my God' in unison is amazing. 'Common People' closes the show in a spectacular manner and as expected the crowd goes nuts. A top notch performance and a glorious way to make a comeback.

Pulp *****

Baxter Dury ***

Jungle Rot & Cerebral Extinction - Star & Garter, Manchester (13/6/23)

In my late teens I was at a college party with my cousin when some guy spotted the Anthrax shirt I was wearing and approached me. He started talking about metal with me and asked for my address. A few weeks later I got my first letter from Stephen. I actually don't think Stephen was the guy I spoke to and gave my address to, I think it was one of his friends. He wrote to me about metal he liked and what he was listening to at the moment and I replied likewise. This started my correspondence with Stephen, which lasted for a couple of years and probably stopped around the time I got into hardcore. I used to love receiving those letters. I mainly liked thrash and he was more into death metal but our horizons stretched beyond those limited genres. I remember both of us enthusing about The God Machine's 'Scenes From The Second Storey' album which, funnily enough, we had both discovered via Virgin Megastore's Listening Post. He would try and get me into death metal, telling me what was good and what wasn't but I usually dismissed the majority of death metal as all speed and no substance.

I'm reminded of this phrase when Cerebral Extinction take to the stage. They are low in pitch and fast in speed but there aren't any discernible riffs, just a mush of guitars and drums with the drums being particularly dominant. The bassist's fretwork looks impressive but I can't hear any of it. The vocals are guttural and monotone and don't appear to have any flow, detracting rather than adding to the music. When I can hear the bass, it has a technical feel similar to Origin. After a couple of songs, all the instruments become clearer and I can at least hear what they are trying to do but it's all a bit tired and uninspired. The drumming seems too basic for what the rest of the band are trying to achieve and this sums Cerebral Extinction up, technical yet basic at the same time.

Jungle Rot are the complete opposite because everything they do is very simple and they execute it extremely well. Musically, they sit somewhere between street tough metallic hardcore and death metal, think Merauder or All Out War with John Tardy singing or maybe even 'Chaos A.D.'s heavier moments. They have a real groove and there is lots of mid paced chugging which is great to bang your head to. 'Terror Regime' starts off with a stomping riff before they up the speed to a furious pace. 'A Call To Arms' has a mid to late 90s NYHC feel whilst 'Face Down' sounds like it could have been on 'Set It Off', only with deathly vocals. 'A Burning Cinder's chorus is seriously heavy. Memorable riff follows memorable riff, which is a simple yet really effective approach. 'Sent Forth Oblivion' is dynamic and precise death metal which incites plenty of slam dancing in the small yet enthusiastic crowd. 'Jungle Rot' chants frequently erupt from the crowd throughout the set and the band seem genuinely touched by the reaction. Encore 'Psychotic Cremation' is too simplistic and lumbersome but that is the only misstep in an otherwise enjoyable set.

Jungle Rot ****

Cerebral Extinction **