NEWS: The Skids and Big Country set for Belfast date in November

The Skids and Big Country announce a co-headline show at The Limelight 1 on Friday 30th November 2018.

Scotland has given the world many iconic bands – among them and currently riding high on renewed fervour for their music are Dunfermline’s multi-million selling BIG COUNTRY and U2/Green Day -  ‘endorsed’ SKIDS.

Both bands are passionate performers of spirited music, woven through with words that matter. Yet, Big Country and Skids have never performed together on the same bill in Belfast. That day has now, unbelievably, arrived!

Tickets, priced at £26+ booking fee, on sale Friday March 23rd at 10am from www.limlightbelfast.com,  www. ticketmaster.ie Katy’s Bar & Ticketmaster outlets nationwide. Northern Ireland customers 0844 277 44 55 & Republic of Ireland customers 0818 719 300.

Four decades after they formed – in the white-hot summer of 1977 – The Skids are back. The post-punk pioneers, released their fifth album ‘Burning Cities’ on the 12th of January 2018.

‘Burning Cities’, produced by Verve & Primal Scream studio legend Youth, re-unites founder members Richard Jobs on (vocals) and Bill Simpson (bass) with Mike Baillie (drums). Stepping in for the late Stuart Adamson is his long-time Big Country band mate Bruce Watson. Additional guitar duties are provided by Jamie Watson.

“I’m incredibly excited about this album. This music is at the heart of everything our band is about: truth, revolution, loud guitars and a refusal to keep quiet as the establishment tries to smother chances for anyone other than its own.” – Richard Jobson

The new album release coincides with the fortieth anniversary of the first-ever Skids record, the ‘No Bad’ EP, which introduced the Scottish post-punk pioneers to a whole new audience courtesy of one of their biggest fans, Radio 1’s legendary new music champion John Peel.

Big Country was originally formed in 1981 by guitar playing founder members Stuart Adamson and Bruce Watson both native of the band's hometown Dunfermline in Scotland.

Initially driven by a shared vision of widescreen guitar melody, harmony and lyric, the classic Big Country sound was further enhanced later that summer by the arrival of  drummer Mark Brzezicki and bass player Tony Butler. This is the Big Country that (with producer Steve Lillywhite), recorded the classic debut album 'The Crossing' in 1983.  The band broke massively worldwide with the release of the album's classic singles 'Fields Of Fire', 'Chance' and signature song 'In A Big Country', which went on to become massive worldwide hits, selling over 2 million copies and driving 'The Crossing' to 3 prestigious Grammy nominations in the USA.

The run of success continued throughout the 1980's with the release of the anthemic single 'Wonderland' and the second album 'Steeltown' (1984), which debuted at Number  1 in the UK and contained the hit singles 'East Of Eden', Just a Shadow' and 'Where  The Rose Is Sown'.  In 1985, Big Country appeared for the finale at Live Aid in London followed  by further successful album releases 'The Seer' (1986) - including the bands  biggest UK hit 'Look Away'  which reached Number 1 in the Irish Singles chart –, supporting David Bowie on his Glass Spider tour in 1987, and then the 'Peace In Our Time' album (1988), which saw the band playing the first ever privately promoted gig in Russia at the Moscow Sports Stadium.

Tony Butler, Mark Brzezicki and Bruce Watson re-united in 2007 to celebrate the band's Twenty-fifth anniversary then in the summer of 2010, Bruce Watson picked up the phone and asked Mike Peters to sing with Big Country.  Joined by Bruce’s son Jamie on guitar, the first gig was in Glasgow on New Years Eve 2010 and the  band went on to perform at many of the UK and Europe's most famous festivals, including Isle Of Wight (Twice), V Festival, T In The Park and Oxegen, creating a new generation of fans and renewing the passion for diehards. 2012 brought the 30th Anniversary of the their first album, “The Crossing”  and a tour where the album was played in it’s entirety followed before bassist Tony Butler decided to retire.  Bass duties then fell to Derek Forbes (Simple Minds) for 3 years during which time the ninth studio album ‘The Journey’ was released and extensively toured in the UK as well as across Europe and North America.

In 2014 Mike Peters left to dedicate his time towards The Alarm and Simon Hough was brought in as vocalist and a tour of the UK to celebrate the 30th Anniversary of  “Steeltown”  was followed by a Greatest Hits tour in 2015 before Derek Forbes left the band. 

2016 brought a new bass player, Scott Whitley, and a 3-week “80’s Invasion” tour with Midge Ure and Nick Heyward before the 30th Anniversary of ‘The Seer’ album which was performed in its’ entirety on tour throughout the UK in the second half of the year and into early 2017.

The second half of 2017 brought a mixture of shows from Big Country who as well as doing full electric shows with the best tracks from their first three albums plus the hits, they did a number of select Acoustic shows which promise to be something special. 2018 sees the 35th anniversary of “The Crossing” combined with the 30th anniversary of “Peace In Our Time”

LIVE REVIEW: Jimmy Barnes - When a Working Class Man storms the Limelight

TWO acts and one whole massive show of soul, blues and rock 'n' roll stormed in the Limelight in the forms of Lachlan Doley and the rock legend that is Jimmy Barnes.

Lachlan was up first and he is a true live soulful blues singing wonder to behold.

Watching him as he plays the Hammond organ as he impossibly genuflects out of it soul and blues music of epic proportions.

It is a true pleasure to behold.

He seems to be a hyperactive Duracell bunny crossed with Kurt Cobain and it is utterly infectious. As he powered into his set, the crowd were presented with a remarkable visual and auditory indulgence of emotionally exuberant soulful blues.

Along with his captivating growl driven vocals, Lachlan pumped and pummelled the blues out of his Hammond like a modern day Jerry Lee Lewis.  His seat seemed to be more of a prop than a practical necessity. What a performance to start the night.

Then came the living legend that is Jimmy Barnes. There is really no over estimation, no high expectations nor high standards that could ever come close to cowing what this man delivers with his band.

You could never be disappointed at the performance this rock behemoth gives.

The crowd could see that with every song Jimmy sang, he was putting his heart and soul into it conveying raw power, passion and humanity in its most stripped down form.

This man bared himself to the packed crowd, and they lapped it up, giving back as good as he gave.

This was a whole new level of audience participation on an almost spiritual level.

Kicking off with ‘Love and Hate’, ‘I’d Die To Be With You’, ‘Ride the Night Away’, and ‘Love is Enough’, Jimmy lovingly but forcefully put his stamp on what was to come.

Each song beautifully rendered with his gravelled throaty vocals that had a resonating cadence making the hairs on your neck stand up.

You know you were in the presence of a very special performer and you will pay attention.

‘Red Hot’, ‘Still on Your Side, ‘Lay Down Your Guns’, ‘Boys Cry Out for War’, and ‘Too Much’ continued the skilfully crafted songs, Jimmy was giving everyone there a concert par excellence.

‘Little Darling’, ‘Resurrection’, ‘Merry-Go-Round’, ‘Flame Trees’, and ‘Driving Wheels’ continued the onslaught of poignantly laid down vocals, blues and rock riffs, and soulful requiems to a hard and tough life.

Swooping from ballads to love songs to toe tapping, knee bending pure old rock and roll, Jimmy kept the adoring crowd on a crest of elation, as they swayed or bounced about like happy rockers.

Jimmy did not let up at all as he continued to power on through ‘No Second Prize’, ‘Seven Days’, the magnificent ‘Khe Sanh’ and of course, the anthem ‘Working Class Man’. The audience really could not get enough of this performance. The joy of being there mixed with the realisation the evening was coming to a close.

And, with every superb performance there must always be an encore...

Jimmy and his band did not disappoint.

Back onto the stage they executed a beautiful rendition of ‘Stone Cold’ leading into a magnificent cover of AC/DC ‘s ‘High Voltage’, which electrified the audience once more. He finished with ‘Goodbye’.

As they left the stage to another rapturous applause they all sprinted back on to stage where Jimmy informed the crowd that he forgot a song. And, it was almost perfect that the very last song of the night was ‘Good Times’.

This gig highlighted something very important that everyone should know, seeing Jimmy Barnes is an essential bucket list entry. If you get even a sniff of an opportunity to go, then drop everything and go!

Review by Ivor Whitten
Pictures by Darren McVeigh

LIVE REVIEW: Hurricane Darkness rips into The Limeight

ON what may become known as Ophelia Eve, a storm of a different kind arrived in Belfast’s Limelight and played like it was their last night on Earth.

The night began with Cork three piece ‘Mindriot’. The room was already full when they kicked things off. The lads even managed to get the punters chanting along. They made the most of their little sliver of stage and warmed the crowd up considerably for the impending storm, even if lead vocalist Tony’s banter between songs was difficult to comprehend; a combination of a heavy bass and an even heavier accent!

After a small break, The Darkness walked on stage after a oddly suitable Scottish themed intro. Lead singer Justin Hawkins looked like a prize fighter in his signature green cape, ready to do battle with the audience.

Opening with the fast paced ‘Open Fire’ it was easy to see who would win this fight. They had already landed a knockout. The opening salvo wasn’t without a few little wrinkles however. From the floor it was hard to hear the vocals. Justin could be seen trying to indicate to the sound desk that he couldn’t hear himself. This did little to dampen the already electric evening in the Ormeau Road venue however as the band quickly followed up with the classic ‘Love Is Only A Feeling’. They had the Limelight on the ropes, their hands swaying in ecstatic submission.

The band’s overt dig at the train network ‘Southern Trains’ marked the removal of the cape, revealing Justin’s trademark green catsuit. Was the green for Ireland perhaps? The sound problems persisted for Justin through the next song ‘Black Shuck’ but at this point it seemed to have been sorted out for the audience.

‘Buccaneers of Hispaniola’, another song off their new album ‘Pinewood Smile’, saw the band demonstrate a new, heavier sound. Drummer Rufus Tiger Taylor, son of Queen legend Roger Taylor, has brought a new flavour to the band. His flamboyant drumming style is pushed to the fore on their latest album and was in full flow during their live set. He is a perfect fit for the band who have admitted that they didn’t quite click with their previous drummer, Emily Dolan Davies.

At this point the party was in full swing with a member of the audience offering Justin her bra during ‘All The Pretty Girls’ which he happily wore on his back and found it’s way into Justin’s crotch for the next song ‘Barbarian’. Whether she decides to wash it or not is anyone’s guess!

In between songs Justin was determined to get the crowd singing along to a mysterious song with ‘Belfast! Belfast!’ as part of the lyrics. It was only later when Justin asked someone to look the song up on Spotify that it was revealed to be a Boney M song. A strange choice but one that Justin seemed to champion.

Proceedings slowed down as Justin sang the first cover of the night ‘I Should Have Known Better’ by Jim Diamond. A very left field choice for cover but it really worked, with the eager Limelight faithful chanting along to the song’s famously catchy chorus. This was quickly followed up by the wonderfully tongue in cheek tune ‘Why Don’t The Beautiful Cry?’ with Justin on an almost inaudible piano.

After confessing to a bum note (no one noticed) during ‘Dancing On A Friday Night’ Justin revealed that his ear had just popped and he could hear everything perfectly; he put the earlier audio issues down to an afternoon Apple crumble followed by a snooze.

The Darkness continued a triumphant night with a string of knockout hits including  ‘Happiness’, ‘Every Inch Of You’ and the crowd sing-along favorite so far ‘Solid Gold’. After pulling off an impressive hand-stand and crowd swimming during ‘Get Your Hands Off My Woman’, they brought the evening to the first encore with ‘Growing On Me’ which could barely be heard over the Limelight crowd who sang as one heaving mass.

After a brief encore, The Darkness closed the night with the incredibly heavy ‘Japanese Prisoner Of Love’ and, in a surprise to no one, finished with ‘I Believe In A Thing Called Love’, with every member of the audience singing every word.

At the start of the night Justin had challenged the audience to be better than Dublin where they had played the night before. There was no doubt on anyone’s mind, much less the band’s, that Dublin was relegated to second place. To save hurricane Ophelia the trouble, The Darkness tore the roof off the Limelight.

Review by Laurence Doherty

Pictures by Darren McVeigh

LIVE REVIEW: Enter Shikari rip up Limelight with Crossfaith

FOR many, heavy metal equals vocalist, guitar, bass and drums. No more. No less. It's a stubborn mentality that restricts them from enjoying a plethora of modern acts, two of which hit Belfast's Limelight 1 this evening.

When Crossfaith take to the stage, they open their set with a hard 4/4 electronic kick that wouldn't be out of place in any trance club. And, the crowd kick off instantly. There's dancing, there's bouncing and there's headbanging. Within moments, Kenta asks for a circle pit, and he doesn't have to ask twice. He asks, he gets.

Too many support acts are greeted with polite head bobbing and a spattering of fans on the barrier. This is not that kind of gig. This is lit. Seriously, this show is fuckin' LIT!!!

Crossfaith rattle on with a set that can only be described as metalcore with a massive dose of trance synths, techno acid lines and the unmistakable wub-wub-wub sounds of dubstep.

Terufumi occasionally steps away from drum machines and synths to add a second layer of vocals, while occasionally swigging from a bottle of Jack Daniels. Bass player, Hiroki is also armed with a bottle of Jameson. This is clearly a band that love their drink (further evidenced by their song "Jagerbomb").

At one stage, the band disappear off stage with only the vocalist and "DJ" returning, and break into... a remix of Human Resource's Dominator, a rave track from 1991. There couldn't be more than a hand full of people in this room familiar with the original, but it gets the crowd moving none the less. But not as much as the following track, a faithful cover of The Prodigy's Omen, a song that gets the "everyone get get down and bounce up again when the song kicks in" treatment.

A few more tracks wrap up the set, during which we get two walls of death in the pit. And finally Crossfaith leave the stage, leaving a Limelight crowd soaked in sweat. I don't doubt for a minute that they'll be back at some stage as a headline act. They've earned it.

Enter Shikari have promoted this gig as a "warm up show" for their Slam Dunk festival headline slots, and for some that's disappointing. We know in advance that we're getting a stripped down show. No quadraphonic sound, no screens, no elaborate light show. The flip side is, few are likely to witness Enter Shikari in a venue the size of the Limelight now. They've successfully sold out arenas in the mainland UK and are tipped to be a future headliner at Download festival. So a smaller intimate show is welcome. And, for many, the music is the main attraction anyway.

As the stage techs start shifting kit, the crowd are clearly hyped for the main act. The well known lyrics "and still we will be here, standing like statues" is chanted by the crowd. Many fans hold their hands in the air, using their fingers to form the band's iconic triangular logo.

The lights drop and an almighty rumble of bass is unleashed from the speakers. And to celebrate ten years of Take To The Skies, Enter Shikari burst into that album. From the self titled Enter Shikari, the anthemic Mothership, through Anything Can Happen In The Next Half Hour and into Labyrinth...

Despite the anniversary of the afore mentioned album, Enter Shikari seem self aware enough to realise that playing the album "in its entirety", as per tradition, is not the best route. Not all albums are strong enough to sustain a full live outing (I'm looking at you Fear Factory). And so it's at this stage that we deviate from Take To The Skies.

A hat-trick of Last Garrison, Sorry You're Not A Winner and Juggernaut has this old codger (relatively speaking) pushing to the front of the crowd to get down with the kids (though my knees are paying the price this morning).

Another crowd favourite, Anaesthetist, keeps the pit busy, not that it's relented since the start of the show. A mish-mash of dancing, push-pitting and the odd two-stepper keeps the atmosphere buzzing.

As Rou asks the crowd "Is everyone enjoying the nostalgia?" we return to Take To The Skies with Return To Energiser, a track that has the whole room singing in unison at the top of their lungs, followed by Jonny Sniper.

If you know Enter Shikari, you'll have known that we weren't getting through the night without mention of the recent atrocity at Manchester Arena. "If they, whoever they are, want to start a war with live music, they will always lose". Rou delivers a touching speech.

Some of the crowd listen attentively while others break into a "Man-chest-er!!!" chant. A cover of Oasis's Half The World Away is played, followed by their own Adieu, during which the crowd all hunker down. More than a few tears are wiped from cheeks.

Exit left, and the lights drop. The chants begin, but we don't have to wait long for the inevitable encore.

As Enter Shikari return to the stage, they break into Redshift, a song that I personally find a bit too devoid of their trademark sound, but OK Time For Plan B makes up for it. They finish with The Appeal And The Mindshift, an absolute rager that you just can't not dance to.

Gig ends…

I confess I'd a sneaky peak at Dublin's setlist before the gig, and on paper it looked a bit flat. While there's a lot of love for Take To The Skies, I always felt that it was their second album, Common Dreads, where they really nailed their groundbreaking sound. However, despite skipping a bunch of my favourite tracks, Enter Shikari delivered in spades. Crossfaith were the perfect support act. And the crowd added almost as much to the show as the bands did. A fantastic night of modern metal left me drenched in sweat with a massive smile on my face. 9/10

Now can someone book these guys for a full Belfast gig? Stage show et al. I'd suggest Ulster Hall. Thanks.

Review by Wayne Donaldson

Pictures by Darren McVeigh

NEWS: Sunn 0))) announce summer Belfast date

THEY rank amongst the most audacious of experimental of metal bands, and now Sunn 0))) have just announced a summer Belfast show on Monday 17th July in Limelight1.

Not for the faint-hearted Sunn 0))) mash together metal, drone, sludge, jazz with an at times minimalist approach, and for 16 years have been challenging pre-conceptions about genre definitions.

Stephen O'Malley and Greg Anderson have relentlessly pursued dark vibrating terror since they first released 'The Grimmrobe Demos' at the arse end of the 1990s.

But, when they unleashed ØØ Void a year later people began to sit up and take notice. Since then they have baffled many, bemused a multitude, but always challenged the way we take on board our musical tastes.

With a discography that is more than substantial they are also known for adding 'performance art' to their repertoire, including one show that saw vocalist Attila Csihar claw his way out of a black coffin..

No coffins are as yet planned for the Limelight show, but we're not taking anything for granted as Sunn 0)) are concerned.

Tickets for the 17th July Limelight show are on sale now from the usual outlets, priced £22.50 plus Booking Fee.

LIVE REVIEW: Black Star Riders rock Belfast with storming set of BSR songs

THE Black Star Riders have emerged on the other side - the side of living in the shadow of Thin Lizzy: perhaps last year's festival tour did it.

But when BSR landed in Belfast it was more than a homecoming gig for Ricky Warwick, it was when the Riders emerged as a real force in their own right a band whose tunes were known to most of the crowd in a packed Limelight1 on Sunday night (5th March) in the city.

Before the main attraction two familiar acts had the Ormeau Avenue not just warmed up, but ready, to coin a phrase, to rock.

The power trio of The Amorettes have been faithful in keeping Northern Ireland on their tour itineraries with dates in the Diamond Rock Club, with Europe in the Ulster Hall and supporting Danko Jones.

The result was that with every track the crowd was familiar with the riffs and choruses, so when it came to the crowd pleasing 'Hot and Heavy' concluding the set the majority present responded to the call and joined in with every request to shout out the chorus.

For sometime Gun have threatened to really breakthrough beyond the hit cover of 'Word Up'. But when they came on to the Limelight stage they were welcomed with a warmth and genuine affection.

In turn the Scottish five piece delivered a concise set with songs such as 'Better Days' and 'Hold Your Head Up'. However, 'She Knows' from their forthcoming autumn album stood out as a teaser of what looks to be a promising 2018. The inclusion of the Beastie Boys 'Fight For Your Right (to party)' was on the other hand not best advised.

With a growing sense of anticipation in the audience Black Star Riders arrival on stage. As the sirens sounded a loud roar of approval greeted the title track of  'Heavy Fire'. For their new material to be greeted so warmly was a tribute to the progress BSR have made.

The mid-paced majesty of 'Cold War Love' was just one example of how Warwick and Johnson have crafted the newer songs to a standard, a higher standard, than many can - or wish to - achieve.

Only one Thin Lizzy song was included in the set ('The Boys Are Back In Town') which says a lot about how the band has developed in their own individual right.

Their three albums gives them a range of songs that have become familiar. 'The Killer Instinct' and 'Hey Judas' sees the majority join in the choruses with gusto, while the introduction to 'Soldierstown' was greeted with a truly emotional response.

The band's interaction with the audience produced a genuine warmth, and even the obviously well rehearsed speech from Warwick about how vinyl and CDs represent a legacy to pass on to our children didn't sound clichéd.

'Testify or Say Goodbye' and 'Bound For Glory' were high points and, yes, this was Black Star Riders 'Finest Hour' to date.

This is a band that developed amidst a public glare, with some controversy lingering in their early days. Now, with their third album achieving significant sales (and even BBC Radio2 airplay, much to Warwick's self-deprecating amusement) Black Star Riders are on the verge of being in the hard rock Premier League.

One feels that the idea of support slots on arena tours with the likes of ageing acts are now a thing of the past. Once BSR complete this tour and the summer festival appearances Black Star Riders will exceed and surpass what they themselves might have expected.

And, no-one should be 'Blindsided' by the success they are due.

Review by Jonathan Traynor
Pictures by Darren McVeigh

LIVE REVIEW: Whatever the rock question is The Answer always sate the queries with awe-inspiring performances

HARD rock is alive and well in Northern Ireland, but y'all know that already. But just how much quality rock is emerging from this small land is sometimes so familiar to us that we all forget just how good we have it.

Maverick and The Answer are two bands that have captured the very essence of heavy rock, and while one is emerging as a force to be reckoned with the other are seasoned survivors getting the international plaudits they deserve with the awesome 'Solas' album.

Come Saturday there was no doubt that this would be a special show.

Many a band would be daunted opening for The Answer, but Maverick have toured Europe, played festival sets and are bound for their first US show in the near future.

With new sticksman Jonny making his début it is clear that Maverick are not missing a beat, well rehearsed and as energetic as ever. Taking their cues from 80s rock, but with their own edge as they warm up the crowd. Not that they need to worry about the audience - they've earned a loyal fanbase.

David Balfour is the consummate performer, every moment away from the mic spent engaging with every band member, catching audience members' eyes and keeping the show moving along.

When The Answer strode on to the Limelight1 stage the atmosphere was electric. Sure, they are own, but the band have weathered many a storm and emerged strong and resilient.

The tour last year with The Dead Daisies has honed the band to what was already a sharp cutting edge.

In their own words, this was 'Spectacular' as they have power and subtlety in equal measure. 'Solas' as an album has more depth than some of what went before, which manages to translate in the live environment.

With Cormac a bouncing, whirling dervish older material seems to have been given a new lease of life, and 'Never Too Late', 'New Horizon' and 'Demon Eyes' emerged from the speakers with deadly intent and urging ever more ecstatic responses.

But the newer tracks, importantly sit well amidst what the crowd anticipate as part of the set. All seem at home and have a resonance.

What is remarkable is how well Cormac, Paul, Micky and James gel together on these new songs - an indescribable bond that was always there is now an intangible thread that links each movement of each song.

The tracks of 'Solas' are liberally sprinkled throughout -  'Untrue Colour' sounding poignant and powerful, while 'Being Begotten' is jaw-dropping - that is until 'Battle Cry'.

To be honest - you could simply say The Answer were on stage as sufficient for most to know that it was a great show, but on this night they exceeded their own high standards.

A rock night, a night of celebration 'New Horizons' for Maverick and boundaries that are being pushed yet further by The Answer.

Review by Jonathan Traynor (Additional reporting on Maverick by Zakk Traynor)
Pictures by Darren McVeigh