The Key Theatre, Peterborough
Sunday, 2nd June 2024
(Graham Thomas)
Opening act on Sunday, an unenviable slot perhaps, was the Beggs Sisters, and they proved to be an ideal choice, and a healthy crowd turned up to see what they had to offer. Comprising prog legend Nick Beggs on upright bass, and daughters Lula and Willow on acoustic guitars and vocals, they were much more folk than prog, but to be honest, that mattered not a jot. Their beautiful voices captivated the audience, and their often deeply personal songs were gripping.
The between songs family banter was amusing and endearing, but it was the quality of the songs which shone through. This was apparently Lula’s first live show for some while, having taken maternity leave from performing, but she showed no sign of nerves, and seemed perfectly at home on stage. A poignant highlight was the song Will You, written by Willow for the baby, and a moving tribute to her sister. A number of other songs seemed to be about various ex boyfriends, and evidently the sisters find songwriting cathartic. Their harmonising, dad’s voice included, was sublime, and their set slipped by all too quickly.
Ed’s note – our intrepid reporter, Graham Thomas then found himself unaccountably waylaid in the pub, so step up Rosamund Tomlins, who gives us her thoughts on The Blackheart Orchestra and Spriggan Mist…
(Rosamund Tomlins)
Previously, I’ve only seen this creative duo in support mode, crammed on a small stage in front of whichever headliner’s equipment, but an hour and a quarter festival slot afforded me the opportunity to really appreciate the creativity with which Chrissy Mostyn and Rick Pilkington produce full bodied songs live as if there were other musicians present. They both played various guitars, keyboards, synths, and pedals, as well as singing – solo and in harmony.
Noticing a fair mass of their own instruments present demanding space to breathe in front of the house drum kit and the next band’s microphones, I felt that their entire array could have been positioned nearer to the front of the large stage of the Key Theatre, for a less cluttered aspect as well as greater intimacy and connection with the audience. I initially thought that they perhaps could have even stood at their respective keyboards slightly further apart from each other, but, as the set progressed, I understood. I had wondered about the view of those sitting at the sides and on the very ends of aisles of the large arc of the auditorium but I didn’t go to check as I was comfortably ensconced between friends in the middle of the second row.
Rick and Chrissy are clearly extremely close as human beings and the light-hearted between-song banter about how the songs have come to fruition wouldn’t have been quite the same otherwise. Also, during the set, they swapped over from each other’s original side, and on occasion individually played their own and each other’s side-by-side keyboard at the same time, while the other played guitar. Plus, they played the same keyboard together, crossing over one another’s hands. All of this inventively added to the visual spectacle of a duo, understandably potentially limited – but not this innovative twosome.
Songs were largely taken from new album Hotel Utopia, and most impressive was The Flood, a mini-epic with an arresting, emotionally-charged solo from Rick in the middle. A friend of mine sitting behind me had muttered, “Ah, this is why I’m here!”, as they announced it, and after its nine minutes had passed, I understood exactly what he meant.
Throughout, their lyrics were always perfectly discernible and Chrissy’s beautiful high soprano voice, with its at times delicate and breathy quality, belied her inner power that eventually showed itself at strategic points. Her expressiveness blended with Rick’s vocal support produce a rich and ample sound. To my ears, the usual dominance of sombre melancholy songs didn’t factor in their set today, although Chrissy amusingly referenced the fact that they’re “not known for their happy songs”. There was a significant levity and springiness about the whole performance mood, probably mainly down to the onstage conversations that felt like they, and we, were sitting just across a kitchen table, and the erstwhile unnecessarily self-effacing commentary that I’d witnessed at previous gigs was nowhere present.
At this performance, what came foremost to my mind was that this duo showed that they have most cleverly carved out their slot in the prog world, that they occupy comfortably in a unique and brilliantly talented, if understated, way.
(Rosamund Tomlins)
As soon as one notices an impressive array of varied instruments to one side of the stage, it’s clear the next performance is going to be interesting, but when singer Fay Brotherhood strode onto the stage sporting her Wiccan-goddess headdress and earthy midnight-maypole dancer’s garb, then it was clearly going to be a bit of a spirited do! The lore of the forest and its representative folk had come to Soundle, possibly with a horse-drawn caravan pitched around the back! A nod to Romany-style melded with Steampunk tendencies abounded with a vengeance, as a folksy-punk furore ensued. The mostly energetic rocking tub-thumping numbers had some of us yearning for a mosh pit to join in with a bit of a jig, but we happily made do with enthusiastic seat-jiving!
Depicting subjects of natural occurrence versus modern forces, protest and preservation, referencing various fictionalised and/or historical characters and events, the songs were taken from throughout the band’s career, opening with the rousing tale of Isambard The Mechanical Dragon. Guitarist Neil Wighton had much to do with steering the melodies of the pervading grungy rock feel with some catchy power-themes, but at an instant he could go all soft on us with some stunningly gorgeously-toned lead solos – he made that particular piece of wood sing – particularly on Brighid!
Self-assured, and it can’t be easy with all that clobber on her head, Fay was in absolutely top vocal form! Her wide range and sonorous tone particularly shone on that aforementioned number, and on the full-on rock ballad Spell-Maker. She also provided some of the between-song commentary, at one point defiantly ignoring (mock?) consternation from the band regarding an anticipated long lecture concerning her nature-based day job, but she proceeded to tell us a bit about the current bat-protection by-laws, inspired to so do by a potential breach, as portrayed in the next song Kintbury Witch.
A lot of the songs are written by Maxine Cilia who is ultimately the band’s secret weapon, gradually revealing herself here to be a magnificent force in charge of that stash of instruments that I mentioned at the beginning. She deftly switched between co-lead guitar, recorders, vocals, and the most impressive keytar!
Assisting Fay with the between-song commentary and info, was co-songwriter and formidable bassist Baz Cilia, a commanding and fierce presence looking like he might brain someone with his fretless – probably Charlie from Ghost From The Machine! Some audience members might have been in on the running joke that is the mock feud between himself and Charlie, and Baz was briefly referencing this not knowing that Charlie had literally just sat down in the auditorium to enjoy the performance. Much merriment ensued, as we told him so!
Adding an extra dimension, the Jadoo Tribal Dance sword dancers accompanied some of the songs enhancing the music, moving fluid-like behind the band. This time there were three of them, with their noble countenance, elegance, swirling costumes, and those fearsome swords balanced perfectly on their heads! Impressive skill! Ending with the redoubtable Spriggan Dance, Baz revealed a talent for martial-arts meets Can-Can high kicks, bass firmly in hand, thus furthering the bonkersly brilliant impact this mad bunch of troubadours made!
Ed’s note – Mr Thomas has returned from the pub 😉
(Graham Thomas)
I must admit that for a while I rather discounted GOTM, mainly because I didn’t really connect with the original This Winter Machine. That was a mistake, and I’ve found Scissorgames, their debut album, a rewarding listen, so I was looking forward to giving them a chance to impress live, and from the opening song, they were assured and majestic. Charlie Bramald is a confident front man, and a good singer in a genre not always blessed with terrific vocalists.
Stuart McAuley and Andy Milner provide a solid rhythm section, and keyboards from Mark Hagan provides a lot of the melody and colour of their sound palette. Graham Garbett and Scott Owens bring the guitar muscle, and altogether, they mesh well. They might not be creating anything groundbreaking, but despite sounding vaguely familiar, the songs have the power and finesse to make this a very worthwhile proposition indeed.
Scissors (parts 1-6) opens the set, and they are immediately at home and have the crowd very much onside. Mountain follows, also from Scissorgames, and by now we are cruising comfortably. A couple of new, as yet unreleased songs are played, including one with a working title of Panopticon. Bramald explains that, given Mr Gabriel’s new song with that title, it may have to change! The new songs sound very good, and I find myself looking forward in anticipation for the second album from these guys.
The set closes with Mercury Rising, one of the best cuts from that last album, and they deliver it with energy and enthusiasm, as the piece builds to its climax. The set goes down well, and the ovation they receive thoroughly deserved.
(Graham Thomas)
It’s quite remarkable how Solstice, in the last couple of years, have managed to reinvent themselves, with the injection of new blood, to establish themselves as one of the premier prog acts currently treading the boards. Playing live, they are simply sensational, and it’s an absolute joy to be a part of the audience during one of their sets. Andy Glass is the sole remaining founder member, and the band he has assembled is one of the finest you’re going to hear.
They launch their set with Shout, with lead singer Jess Holland bouncing around the stage like she’s in a Duracell advert. In fact all three singers do that happy dance with boundless energy and enthusiasm, and I’m sure the rest of the band would join in we’re they not encumbered with their instruments.
Andy seems not entirely happy with the performance, but to most of us in the crowd, it sounds just fine, and things seem to gel more seamlessly as the set progresses. Wongle No. 9 lets Andy stretch out a bit more on guitar; he’s a master of his instrument, notes cascading effortlessly from the frets as we all bathe in the sound. Jenny Newman plays the folky intro to Mt. Ephraim, introduced as a dance tune, but dancing is a bit tricky in a seated theatre! No matter, we move as much as we can, and all around the beaming smiles say it all.
Cheyenne is a nod to the past, and it’s a beautiful extended rendition complete with audience participation singing, showing the full range of Jess Holland’s vocal abilities. Ebony Buckle gets to sing lead on one song, and proves she is another huge talent in a band crammed with ability. A new song is aired, and with Solstice playing at this level, the next album can’t come soon enough. The energy is dialled down a little for A New Day, a lovely composition which gradually unfolds into a sumptuous widescreen prog epic. It seems this band, right now, can do no wrong, and if you’ve not seen them in this incarnation, you need to, simple as that. It’s a perfect way to round out a fabulous festival.
Congratulations to Bob Cheatham and his team for making all the hard work pay off. The venue is terrific, well placed for transport and accommodation, with local watering holes aplenty. Hopefully, this will be a regular fixture in the prog calendar for years to come!
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