“You make concessions when you’re married a long time that you don’t believe you’ll ever make when you’re beginning”. – Anna Quindlen I’ve made a few concessions in over 21 years of years of marriage to the annoyingly ever youthful Mrs Griffiths and yes, they do indeed become more frequent as time marches on into the moans, groans and arthritic pains of middle age! Agreeing to accompany her to 90s boyband sensations Take That on the hallowed footballing ground of Hampden Park in Glasgow was one such concession. A gig on a Friday night in Scotland’s largest city without the joyful sound of hard rock and metal… inconceivable stuff for this writer! But then again, this year alone I’ve already accompanied the good lady to Robbie Williams and Carly Pearce. Maybe I’m just getting mellower with age! Driving up to Glasgow to the soundtrack of a Take That playlist, with Mrs G singing along, really put her in the mood to see the idols of her teenage years. The cold glass of Prosecco she downed when we parked at a friend’s house (let’s call it the Somerville Arms Park N Go!) near to the stadium also helped to lubricate the vocal cords! But hey, it was her night as the headliner and I was merely the support act, chauffer and sommelier (ie. getting her a cup of lukewarm white wine in a paper cup for £8.50 between acts!). Support was from former The Go Go’s singer Belinda Carlisle and Irish rockers (kind of!) The Script. It has to be said that Carlisle looks fabulous for 67 years young, entertaining the crowd barefoot with sing along hits such as ‘(We Want) the Same Thing’, ‘Live Your Life Be Free’, ‘Circle in the Sand’, ‘Summer Rain’, ‘Leave a Light On’ and of course the big one… ‘Heaven is a Place on Earth’. Be honest… you’re singing along just reading this, particularly if you’re my age or older and grew up with this on the radio… or your mum and dad’s record player! The Script certainly pulled out some of their bigger songs (meaning that even I knew them enough to hum along!) and a sizeable amount of the crowd seemed to go crazy for them. But in all honesty, I thought they were quite… well… nonde-script (see what I did there???). They are clearly talented musicians with a knack for a catchy tune and a huge fanbase but I felt the music was dwarfed in a stadium and didn’t quite hit the mark for me. But hey, who cares what I think, as ‘Superheroes’, ‘Rain’, ‘Man in the Arena’, ‘Breakeven’ and ‘Hall of Fame’ had much of the audience bouncing, even if the more heavy metal-like ‘single-hand-up-and-down’ thing didn’t quite work. Perhaps I need to see them in an arena to really get them! They’re releasing a new album and touring at the end of the year, so who knows! An impressive opening circus act (well, the tour is called The Circus Tour!) eventually saw the three remaining Take That-ers (is that what they’re called?) of Gary Barlow, Mark Owen and the other one appearing suddenly between a cacophony of clowns and balloons on the B-Stage at the end of the runway. The opening strains of one of the band’s reunion-era hits, ‘Greatest Day’, with the echoing tubthumping of powerhouse drummer Donavan Hepburn, really got the crowd going. It’s as catchy and inspiring as any pop song this old rocker has heard in years and I must admit to having a soft spot for it. ‘Hello’ led to Barry Manilow-composed ‘Could It Be Magic’, transporting many middle-aged women back to the carefree days and nights sharing stories about boys in their class over a Wimpey or a Woolworths Pick N Mix! ‘Pray’ kept them in that place, whilst ‘A Million Love Songs’ caused many a (bad) knee to buckle! Swoon, indeed! The ever catchy ‘Back for Good’ (I’m sure Mrs Griffiths tried to winch me at a youth disco when this played in the mid-late 90s… but I could be wrong!) caused a mass sing-along, with even me knowing the bulk of the words, whilst desperately trying to remember if it was that song at the disco… or if it was even Mrs Griffiths!!!). It was a quite phenomenal start to the show… and for the record, I know “the other one” is Howard Donald! It was an attempt at humour that will land with some and crash with others! The three heroes made their way from the B-Stage to the impressive Main Stage on a superbly constructed mechanical elephant, that slowly ambled from one point to another as they sang the wonderful, soaring chorus to ‘The Garden’. It’s a strange song, as I’ve never felt that the dirge-like verse really goes with the brilliance of the chorus… but with the accompanying visuals, it worked superbly! The ever-catchy ‘Smile’ (I’m sure it was used in a Morrison’s advert!) opened the main stage, followed by ‘Up All Night’ (I’d never heard that one!) and the ballad ‘Babe’. Brand new song ‘You’re a Superstar’ led to snippets of ‘Love Ain’t Here Anymore’ and ‘Nobody Else’ and piano-led versions of ‘The Circus’ and ‘What is Love’. Amongst all this, there was a bloke on a tightrope walking half the width of the stadium, marching bands and high-flying trapeze artists! Breathtaking stuff! Another old cover song made famous by the then Manchester quintet, ‘It Only Takes a Minute’, was part of a wider medley section that included ‘Promises’, ‘Take That and Party’ and another few songs before ‘Said It All’ and a We Will Rock You-stealing hand-clapping, hand-waving ‘Never Forget’ brought a party atmosphere. It was back to the B-Stage for reunion hit ‘Patience’, which apparently reminds Mrs G of pushing our oldest son around Debenhams in Ayr in his pram. Music really is the best time machine. One of Take That’s most famous covers, Relight My Fire’, brought the main set to an end with some of the most impressive visuals I’ve seen at a show for many years! How did they get that big inflatable voodoo figure to talk and sing! It was huge… and competed in the size stakes with Gary Barlow’s son!!! There was no Lulu in her Glasgow hometown… but lots of flames made up for it! An encore of ‘Hold Up a Light’ and the wonderful ‘Rule the World’ (used as the soundtrack to every awards show for the last decade!) with fireworks in the Glasgow sky ended the show but not before a well-deserved final fling instrumental for the excellent band of musicians, including long-time musical director Mike Stevens and longtime guitarist Milton McDonald. The party atmosphere continued as the stadium emptied with the whole stadium singing and dancing (badly) to the seminal end of wedding, everyone’s drunk song ‘(I’ve Had) The Time of My Life’. Mrs Griffiths wanted to run and jump at me…but you know, arthritis and middle age. Wasn’t happening! What did happen was a happy wife heading home to her normal life of wannabe rock n roll husband and two ever-mood-changing teenage sons after rewinding the clock and literally having the time of her life with her one-time teenage idols in Take That. It was indeed a special night and was a timely reminder of how music can transport you back in time, causing mass happiness and togetherness… and that’s something the world really needs right now! For that and for an evening of supreme entertainment, Gary, Mark and Howard (the other one!) should take a bow. As for me and Mrs G, it’s Metallica and Def Leppard over the next few weeks. Concessions and all that…… Take That continue The Circus Tour with a second concert in Glasgow followed by dates in Cardiff, Manchester, London and Dublin.

Review Elaine Button - Photos Andy Bradley

Review Elaine Button - Photos Andy Bradley

OUT JUNE 26, 2026, VIA FRONTIERS MUSIC SRL

13TH ALBUM "CHAMA" OUT NOW VIA NUCLEAR BLAST

TAKEN FROM THE UPCOMING 20 TH ANNIVERSARY EDITION OF KISS OF DEATH OUT 3 rd JULY ON EXPANDED DOUBLE LP AND 2CD

Finnish rock band The 69 Eyes is thrilled to announce the release of the new EP “I Survive”, out now via BLKIIBLK.

Hot off the heels of the first legof a U.K. and European tour with his International All Stars band to promote his new album  ‘Absolutely’, Warner E. Hodges played a rare and it has to said stunningly good solo gig in Kinross last night. One of only a handful of solo dates across the U.K., the show almost went beneath the radar for me as I’d missed the announcement on his social channels, but thankfully picked up on it in an e-mail alert from Mundell Music who deserve kudos for bringing this top quality gig to Scotland. Even more so, as the venue is only a 20 minute drive from where I live. Promising a selection of songs and stories from throughout his career as a founding member of both Jason & the Scorchers and Dan Baird & Homemade Sin, as well as with his own band and in a format rarely played - solo - the potential for no-nonsense boogie was high, albeit played acoustically. Taking to the stage at 8.00pm sharp, Warner immediately eschewed the acoustic element of the ‘acoustic storyteller’ format explaining that he agreed with Billy Gibbons that “acoustic guitars are bad Ju Ju” as he strapped on his trusty Les Paul and that he’d just be playing electric (including solos) and see how that goes. Starting with ‘Preachin’ to the Choir’ (from his ‘Just Feel Right’ album), the opening riff of which owes as much to AC/DC as to cow punk, and the night was set for some wonderfully raucous music delivered by one. However, such is Warner’s ability to fill a stage and venue with guitar there were times when it sounded like there were two guitarists on stage and a few moments when, hell, there could easily have been three. Did we miss or need bass or drums? No … what are these alien concepts and instruments you refer to?  The bluesier and more Creedence Clearwater Revival-leaning ‘Plain Mean’ (from his ‘Soul Shaker’ album) follows before what Warner introduces as “a song by Dave Edmunds written by Bruce Springsteen” - ‘From Small Things (Big Things One Day Come)’. As with many of Springsteen’s songs, the quality of songs discarded or given to others results in others having hits. Resting his arms on his guitar Warner tells us a cautionary story about when he first met Dave Edmunds (his idol) and than another story about when a few years later he met Bruce Springsteen while they were recording separately in studios near to each other. I’ll not spoil the stories in case you manage to hear them at a later date down the road. The first song from his new album to be played tonight was up next, ‘Individually’, followed by his explanation that the chorus “ I don’t care about you, You don’t care about me, We’re all in it for the same damn thing, Individually” was written about how divided things are in the States just now. He also spoke about his 90 year old Mum’s concern that he’ll not be allowed back into the States after touring and speaking about Trump. I’m a sucker for solo gigs, as acoustic versions of much-loved songs can offer something different in a stripped-back form, but there is nothing rawer than when an artist plays alone and sings over an electric guitar. It’s like the first time I listened to Graham Parker’s ‘Live! Alone in America’ or when Bruce Springsteen (often) plays a live version of a full-band song just on his own. This solo set was very much in this territory and I was gripped. Warner’s long-term bandmate and collaborator, Dan Baird, is referred to regularly during the gig with one reference introducing his cover of Homemade Sin’s ‘Lick A Sense’. As on a number of occasions throughout the set, Warner’s gentlemanly Southern charm comes to the fore as he asks the audience “is it okay if I play a country song?”, explaining that he’s from Nashville and highlighting that country music is quite different to metal; if you play metal records in reverse you can conjour up the devil whereas if you play country music in reverse you can get your wife, house and car back! With that, Warner sings ‘The Magician’. Having not listened to it in ages, I initially took it for a cover before rediscovering it on his ‘Just Feel Right’ album. Two songs follow from his ‘Right Back Where I Started’ album - the first after being asked if we’re okay with him playing a fast song, ‘Waitin’ On Me’, and the second dedicated to his wife who inspired the song ‘Never Alone’. Turning attention to the Scorchers, Warner reminded us more than once during the gig that the band had originally been called Jason and the Nashville Scorchers, reflecting their home town name, but had to drop the “Nashville” from their name when their EP took off and they were then signed by EMI. Self-deprecatingly he told the wonderful tale about how he hadn’t realised that their breakthrough hit ‘Absolutely Sweet Marie’ was a Dylan song, he wouldn’t have recorded it if he’d known, then they supported Dylan and deliberately didn’t play it only for Dylan to ask them to as he preferred their version to his original. Further stories followed about touring with Stevie Ray Vaughan and with The Ramones as the Scorchers took off. Approaching the end of the set, another song from his new album followed, ‘When My Baby’s Blue’, along with ‘I Love You Baby’ before two more Scorchers’ numbers - ‘White Lies’ and their wonderfully raucous cover of ‘Take Me Home, Country Roads’ which was no less raucous in Warner’s hands to close his set. Remaining on stage and humbly soaking up the applause Warner decided to give us one more song which he simply introduced as a protest song - ‘Fortunate Son’ - a song which has been covered so many times by different artists, but tonight, again just accompanied by his gnarly Les Paul, sounded rawer, fresher and more urgent and immediate than I’ve heard it before. Warner is a guitarist’s guitarist and extremely highly-rated by his peers - not for shredding or histrionics, but for his pure ability to, as Charlie Starr put it, “play the shit out of the guitar”. Over the course of 90 minutes and armed with just his Les Paul and some FX pedals Warner provided a masterclass in guitar playing coaxing sounds out of it that were by turns chunky, raw, meaty, dirty, soulful, honeyed and sexy with beautiful tones throughout. Importantly and subtly doing this in a way which isn’t off-putting or self-indulgent to those who aren’t guitar freaks. He plays so naturally that his guitar appears part of him, almost like an extension of his physical being, that it wouldn’t have been hard to imagine little Warner emerging from his mother’s womb clutching a guitar and laying down a riff before his umbilical chord was cut. Watching and listening to him play, it also occurred to me that Gibson could save themselves a fortune in marketing and artist endorsements, simply by recording a clip of Warner playing and inserting a big arrow pointing to him saying “THIS”. Warner is an experienced pro and entertainer. Having spent most of his career backing others or more recently fronting his own band, he did appear a little less comfortable playing solo than when I’ve seen him playing with bands and when having other musicians to play off. But he should be in no doubt he absolutely nailed this - vocally, musically and in providing great entertainment. Saturday nights, or any nights, don’t get much better than this. As great as the gig was, there were only around 50+ in a room which could have held double that. I also noticed Warner joking on social that he’d just been told that another date on the tour “ will be “light on the ground”! I guess that’s code for “haven’t sold many tickets”?????? lol”. I’m not sure if these couple of attendances were down to there being so many gigs happening just now or to the solo gigs not being marketed as much as (or a bit more hesitantly than) the full-band ones, but I’d hope they wouldn’t be viewed as a failure. I and those around me loved every minute and the sheer quality of the gig deserves a larger audience. And if you do manage to see one of his occasional solo gigs consider yourself very lucky. I’d also love to see an album or EP based on this format. For those who may have missed seeing Warner or are keen to see him again, Warner E. Hodges and the International All Stars will be returning to the U.K. in September - 16 Sept - Bannerman’s, Edinburgh 17 Sept - The Waterloo Music Bar, Blackpool 18 Sept - The Patriot, Crumlin 19 Sept - Ruskin’s Bar, Kendal 20 Sept - 10 Cafe Bar, Forfar 21 Sept - 10 Cafe Bar, Forfar 23 Sept - Motorsport Lounge, Llandudno 24 Sept - Backstage at the Green, Kinross 25 Sept - Cart & Horses, London 26 Sept - Prince Albert, Brighton 27 Sept - The Cluny, Newcastle 28 Sept - The Greystones, Sheffield 29 Sept - The International, Leicester Tickets are on sale now for all dates. Go get them.

Live at the Cart and Horses London