The Bates Motel – Backstage at The Green, Kinross (30th October 2025)

The venue, warmly lit and buzzing with anticipation, welcomed the band with open arms. From the moment they launched into the blistering opener ‘Broken Bottle and Broken Bones,’ it was clear the audience was in for a night of high-octane musicianship. Adam Forster’s drumming drove the set with relentless energy, setting the pace for a sequence of tracks that showcased the band’s signature guitar interplay and lush harmonies.

‘The Shape in the Mirror’ and ‘Put Your Hands on the Radio’ followed, the latter a nostalgic nod for those who remember the golden age of airwaves, Radios Luxembourg and Caroline, John Peel, and the Emperor Roscoe. These songs didn’t just evoke memories; they demonstrated the band’s knack for crafting tunes that feel both timeless and fresh.

One of The Bates Motel’s strengths lies in their ability to shift gears without losing momentum. ‘Hold On’ brought a moment of tenderness, slowing the pace and revealing a softer, romantic side. Chris Davison; aka Bad Bob Bates; delivered lyrics with emotional nuance, backed by arrangements that allowed space for reflection.

Their EP, “Songs For The Lost and Lonely”, has clearly deepened their repertoire. The set was peppered with tracks rich in local colour and dry humour. ‘Talking to Jesus’ imagined the Messiah as a country music fan, while ‘Bartender’ captured the universal frustration of trying to get served in a crowded pub. Meanwhile, ‘Let Me Be Your Doctor’ veered into cheeky territory, its tale of playing doctors and nurses had the sort of innuendo more suited to a “Carry On” film than a concert venue. The audience of course lapped it up as Chris delivered the song with that endearing charm only Geordies seem able to manage.

Musical influences were woven throughout the evening, sometimes subtly, sometimes with a wink. ‘The Blues Ain’t Gonna Feed Ya!’ took a deliberate detour into Status Quo territory, riffing so close to ‘Caroline’ that one half-expected Francis Rossi to burst through the doors and demand royalties. Yet layered atop that homage was Chris’s own guitar work; ferocious, fast, and full of flair, harking back to the earliest Dr. Feelgood albums and good enough to make Wilko Johnson grin from the afterlife.

Though Chris/Bad Bob commands centre stage, this is no one-man show. Ally Lee’s guitar work; whether electric, acoustic, or dobro; was exceptional, complemented by tasteful keyboard textures and effects. Dave Coates anchored the sound with both

electric and electric upright bass, while Les Young’s percussion added rhythmic colour and depth. His harmonica, when unleashed, brought a raw Southern blues edge that cut through the mix with purpose.

Chris’s songwriting continues to straddle the line between the everyday and the dreamlike. Songs like ‘Sundown in Santa Cruz,’ ‘Sausalito,’ and ‘Amador’ offered glimpses of California escapism, contrasting beautifully with the grounded tales of Northeast life such as first encore ‘Bridge Street in the Rain’ (the band never left the stage we just imagined they did).

They say lightning never strikes twice, but The Bates Motel defy that cliché. Their return to Backstage was another triumph; an evening of superb musicianship, memorable songs, and a band clearly relishing every moment on stage. They’ll be back next spring. Spread the word: they’re more than worth it.