Page 113 - Classic Rock (February 2020)

REVIEWS

‘We wouldn’t miss this
genuinely heartfelt
Ronnie Wood tribute for the world.’

& His Wild Five

London Shepherd’s Bush Empire

Honest Ron and Chuck Berry?
What could possibly go wrong?

Young Ronnie Wood was captivated by the
seductive cars-’n’-girls-based Americana of
vintage Chuck way back in the 50s, and the first
example of Berry’s rock‘n’roll Dead Sea scrolls this
writer encountered was the Faces’ Memphis. Then
there’s the Stones. Wood and most of those packed
into the Empire have probably been getting their
Ya-Ya’s out for Keef’s Carol and Queenie for the fat
end of 50 years. Tonight’s a foregone conclusion.
Ronnie wants us to love it. We want to love it. And
we do. Up to a point.
The material’s faultless; it’s Chuck’s greatest hits,
what’s not to like? Woody’s a charming ringmaster,
gifted in guitar and gab departments, but he’s no
Jagger. That said, who is? At the keys, Ben Waters
does a textbook take on Johnnie Johnson, but brings
none of the joyous rambunctiousness of Faces or
Stones. Wood approximates the wild abandon of
Chuck’s originals, but the band’s controlled virtuosity
lends the night a sedate jazz club feel. Imelda May
reliably ramps up the passion (her powerhouse
performance on Wee Wee Hours is a revelation) and
Lulu (yes, Lulu) offers a roof-raising Run Rudolph Run.
Ultimately, while Chuck’s magic works better over two
minutes than two hours, we wouldn’t have missed this Honest Ron:
a night of Chuck
genuinely heartfelt tribute for the world.
Berry classics.
Ian Fortnam

Amyl And The Sniffers Airbourne/Tyler Bryant Idles

Cardiff Clwb Ifor Bach & The Shakedown London Alexandra Palace
Antipodean charmers unleash hand-me- London Kentish Town Forum This generation’s Clash, or this season’s
down beast. Blistering night with Aussie hellraisers Blaggers ITA. Time will tell.

Rock fashions come and go, but Australia’s and southern young guns. Against the backdrop of a bitterly divided UK, it
Amyl And The Sniffers have grasped the There are kids – actual kids, in braces – beaming feels especially significant that a band like Idles,
universal truth that the gloriously dumb thrill of in delight as TB&TSD remind us that old-school who were playing pubs just two years ago, are now
hollering, headbanging gutter-punk primitivism will blues rock, with virtuosic guitar showboating, can be headlining a venue like the cavernous 10,000-capacity
never die. Fronted by kick-ass singer Amy Taylor, this huge fun. It helps that the young Nashville foursome Alexandra Palace.
mullet-haired Melbourne quartet make a knowingly are playing like it’s a headline stadium show, and The Bristol-based band have made it here because
retro racket that is both a parody and celebration of clearly having the best time. And with the likes of On their deeply political, yet compassionate punk has
garage rock’s golden age, especially the Australian To The Next and Aftershock adding grungy dirt and struck a chord with a fanbase who need something to
“pub punk” scene of the late seventies. Punchy sing- decadence, the bar is set high. believe in during these turbulent times. And as pink-
along chants like GFY (Go Fuck Yourself) and Shake Anyone else would seriously struggle to follow such haired frontman Joe Talbot smashes his way across
Ya are hardly subtle, but two-minute shotgun blasts of an opener. But Airbourne are headlining, and as the the stage during the climax of Samaritans – a song that
sweaty, shouty, sweary excitement is the band’s forte. galloping attack of Raise The Flag incites ear-to-ear tackles toxic masculinity – every stomp of his boot
Taylor radiates a kind of hilarious loose-cannon grins throughout the Forum, it’s clear that they’re not feels like a scuzzy bear hug.
charisma, channelling prime-time Joan Jett and about to be dwarfed by anyone. Yes the enormous wall Danny Nedelko and Rottweiler are scorching attacks
Debbie Harry at times, but with some of the high-wire of Marshalls is part of the deal, but it’s just one on the right-wing press, the rabble-rousing chorus to
mania of Iggy Pop and Johnny Rotten too. On the ingredient in a recipe that’s barely changed for years. feminist anthem Mother a deafening call to arms.
downside, the Sniffers currently have a limited stylistic It’s the same irresistible A-chord boogies; the same Outside the fray, the yawning space works as a glowing
range which could become more of a liability as they songs about ‘livin’ it up’ and ‘girls in black’ (with extra platform for the band to celebrate immigration and the
graduate to bigger venues. Some critics have also raw heat from new album Boneshaker); permanently NHS, but the step up to larger venues has also
questioned their cartoonish image as a problematic shirtless frontman Joel O’Keeffe is practically wearing attracted a less partisan crowd. When Talbot talks
caricature of beery, boorish, working-class life. True or the same jeans he wore in 2004. JD & Cokes are doled about the need for fair access to healthcare, there’s
not, it scarcely matters when they play this music with out onstage for It’s All For Rock’n’Roll, and crowd-surfers a small, surprising ripple of grumbles about the band’s
such obvious affection, energy and humour. As Jason flow in a steady stream right up to closer Runnin’ Wild. desire to mix politics and punk that’s at odds with their
Williamson of Sleaford Mods observed, “at least they But none of this would fly as it does without firmly established pro-equality mantra.
look like they’re scum instead of pretending they are”. Airbourne’s explosive energy and palpable love for Idles fully deserve to be on stages this size. Let’s
Sometimes the best kind of compliment is one that what they do. To feel like a part of that gang, even for pray their message of unity doesn’t get lost as they
KEVIN NIXON feels like a punch in the face. a night, is a joyous thing. step up to the next league.

Dannii Leivers
Stephen Dalton
Polly Glass
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