Cluny 1 & 2, Ouseburn, Newcastle
Saturday, 10th May 2025
PROG ON THE TYNE
The Cluny music venue in bohemian Ouseburn in Newcastle-upon-Tyne, was the setting for a thoroughly enjoyable day of modern progressive rock in the North-East of the country. It was the result of two separate concerts planned for the same evening, with This Winter Machine supported by Stuckfish in the Cluny 1, with the John Hackett Band supported by Heather Findlay in the neighbouring, Cluny 2. A resulting clash for prog fans was avoided by John Hackett kindly agreeing to reschedule to the matinee slot – to create a feast of progressive music during the afternoon and evening of Saturday, May 10th.
The late withdrawal of This Winter Machine, due to an injury to their drummer, Hugo Donno-Fuller, was unfortunate, but Stuckfish agreed to carry on as headliners and they found worthy support from Scottish band EBB at short notice. The resulting two shows are reviewed and summarised below to mark this highly enjoyable day.
HEATHER FINDLAY
The former Mostly Autumn vocalist delivered a delightful acoustic support set for the John Hackett Band in the intimate setting of the Cluny 2. Mixing music, poetry and prose, she weaved a magical spell across the audience, starting with an A cappella version of Firefly, before picking up the acoustic guitar for You Light The Fire from the new album, Wildflower. It was lovely to hear Already Free from the Wild White Horses album, and a solo version of Wildflower’s Still Burning.
The Mary Queen of Scots themed mix of song and narrative (a songalogue) in Scarlett and Black No More was a real highlight of the set and the exuberant Wildflower, mixing echoes of Cat Stevens with Americana within the song was truly memorable. Mixing short poems such as To The Heart and Hope also worked well within the set (her poetry and art book, ‘The Orelium’ is highly recommended), and Heather’s beautiful voice really shone on an ethereal version of Mostly Autumn’s Evergreen, in a flowing medley with Shrinking Violet and I Am Snow. Another solo vocal rendition of May It Be rounded off the set perfectly. She remains a talented musician and writer not to be missed, if you get the chance to see her.
[Photos by David Edwards]
Firefly
You Light the Fire/To The Heart (poem)
Already Free
Still Burning
Scarlett and Black No More/Hope (poem)
Wildflower
Evergreen/Shrinking Violet/I Am Snow (medley)
May It Be
JOHN HACKETT BAND
I’m realising that the John Hackett Band are now one of my favourite bands to see live. Every time I see them, they just seem to go up another notch, and with a new set list highlighting their exceptional new album, Red Institution, and paying homage to John’s memorable role on brother Steve’s classic Voyage of the Acolyte album (celebrating its 50th anniversary), they were just wonderful in the intimate setting if the Cluny 2.
The quality of the instrumental interplay was high on new tracks like the funky MDLXXXIX, the jazzy Focus-like exuberance of Theme And Rondo and the multifaceted fusion on Duncan Parsons’ The Committee. Nick Fletcher’s glorious guitar playing on Queenie And Elmo’s Perfect Day – from the We Are Not Alone album was stunning and Burnt Down Trees has a funky dance feel to adore. John’s flute playing was so lovely on a refreshing interpretation of Ace Of Wands and the ethereal Hands of the Priestess soared high before a full-on riff-driven ride through A Tower Struck Down to end the first set.
I always enjoy Duncan’s witty ‘last week’s quiz answers’ interval slot and some nice crowd participation enhanced it wonderfully (7 out of 10 again!) The second set started strongly with a beautiful Dreamtown with Heather Findlay joining on guest vocals. Nick delivered some gorgeous soloing on Winds Of Change (he was actually battling through some tendon pain in his right arm), before Jeremy Richardson (resplendent in colourful shirt and apparently ‘the hot one in the band’ according to John’s wife!) delivered in spades on bass and vocals on the infectious Who Let The Rain In?. John’s stabs of keyboards drove Clare’s Tango twisting ensemble play, before Heather returned to support Jeremy and John on another serene, swaying interpretation of King Crimson’s I Talk To The Wind.
‘Follow us on Facebook’ Jeremy quipped as he introduced Red Institution – a real melodic highlight of the new album and a song about the dangers of social media, whilst he handled acoustic guitar and vocals impressively on Steve Hackett’s Shadow Of The Hierophant, with Duncan once again a whirl of drums by the end. An upbeat Red Hair for an encore, ended the performance in fine form.
It’s a joy to see such consummate and talented musicians interacting, and I’m already looking forward to seeing them again in the Autumn.
[Photos by Chris Simmons]
MDLXXXIX
Theme And Rondo
The Committee
Queenie And Elmo’s Perfect Day
Ace Of Wands
Hands of the Priestess
A Tower Struck Down
– Interval –
Last Week’s Quiz Answers (with Duncan Parsons)
Dreamtown (with Heather Findlay)
Winds Of Change
Who Let The Rain In?
Clare’s Tango
I Talk To The Wind (with Heather Findlay)
Red Institution
Shadow Of The Hierophant
~ Encore:
Red Hair
John Hackett – Vocals, Flute, Keyboards, Guitar
Nick Fletcher – Guitar
Jeremy Richardson – Vocals, Bass, Acoustic Guitar
Duncan Parsons – Drums
EBB
EBB were called in as a late replacement for This Winter Machine for the evening show in the larger, Cluny 1 venue, and delivered yet another vibrant and energetic set to open up proceedings – positively straining to remain confined on the small stage throughout. It was a new show full of freshness, with most songs coming from their forthcoming album. Dressed in white capes to begin with, they performed an atmospheric track called The Mirror and then followed it with No One’s Child.
With back projection videos enhancing the songs, and stage performer ‘Jenny’ bringing an unsettling carnival vibe at times, the band were firing on all cylinders. Erin Bennett’s vocals and guitar sizzled, with Bad Dog’s rich bass supporting it all from the front. Suna Dasi provided the dreamy flowing synth lines whilst Kitty Biscuit was as exotic and sensual as ever on backing vocals and dance. Another new song, Take To The Stars sparkled, with Anna Fraser driving the undulating rhythms on drums. I was particularly taken by the track Reason, followed by an exuberant Revenge and Silent Saviour. Nikki Francis does a wonderful job shaping the musical shape on keyboards and organ and a burst of saxophone added a real VdGG edge to the progressive and psych ambience as well.
The anthematic Cost And Consequence was the highlight for me, although the melodic and accessible Geneva promises to become a stage favourite in the new show. Nieu, completed the playing of the three tracks from The Management of Consequences EP, with Kitty full of infectious, impish mischief as she recited ‘Jenny Kiss’d Me’. Erin and the band are looking to the future with new songs and a vibrant stage show and they remain a unique, unmissable and always delightful part of the UK prog scene. Excellent!
[Photos by Chris Simmons]
The Mirror
No One’s Child
Take To The Stars
Reason
Revenge/Silent Saviour
Cost And Consequence
Geneva
~ Encore:
Nieu
Erin Bennett – Guitar, Lead Vocal
Suna Dasi – Backing Vocals, Keyboards
Bad Dog – Bass
Nikki Francis – Keyboards, Saxophone, Flute
Anna Fraser – Drums, Percussion
Kitty Biscuits – Backing Vocals, Percussion, Poetry
STUCKFISH
Northumbria’s melodic prog rock stalwarts, Stuckfish, ended Prog On The Tyne in style with a powerful and effervescent set spanning the years, in front of an enthusiastic and lively audience. A band I’ve championed since their second album launch in the Cluny 2 back in late 2019, it’s been a pleasure to see them grow in confidence, depth and range over the years. They started with a flourish with the uplifting Run, from The Watcher album, followed by their ever popular The Bridge (That Spans The Edge Of Time)– the song that drew me to them in the first place.
Phil Stuckey’s rich and dramatic vocals resonated wonderfully, with Ade Fisher’s lyrical and melodic guitar complementing them warmly. Different Ways was a well-chosen change in style, with a refreshing theatrical grandeur, before the accessible classic rock, riff-leading charm of Lifeline from Stuckfish IV. Shadows And Moonbeams, the lead single from that latest album, packed a real punch, with the AOR-tinged vocal harmonies and killer chorus. Throughout, young Adam Sayers maintained the dynamic rhythm on drums impeccably, whilst Paul McNally weaved dreamy and atmospheric keyboard patterns, with Phil Morey at the centre of it all with his beautifully precise, intricate and melodic bass.
It was an ambitious choice to play the deeply moving and delicate Thief In The Night, followed by the Rush-tinged Age Of Renewal, both from 2022’s Days of Innocence, and whilst some of the subtle nuances were lost in the powerful stage sound mix, the inherent underlying power was certainly enhanced. This was shown on the darker, hypnotic, bass-led epic, SkiesFall, with all the band turning the intensity up to 11 – before Ade’s unique, whammy pedal guitar solo brought everything to a close. As an encore, Fallen Angels proved to be another dramatic and stately epic, with Phil’s vocals soaring high and far and Ade’s stunning closing guitar solo ending proceedings cathartically and satisfyingly.
[Photos by Chris Simmons]
SETLIST
Run
The Bridge (That Spans The Edge Of Time)
Different Ways
Lifeline
Shadows And Moonbeams
Thief In The Night
Age Of Renewal
SkiesFall
~ Encore:
Fallen Angels
MUSICIANS
Phil Stuckey – Vocals
Ade Fisher – Guitars
Paul McNally – Keyboards
Adam Sayers – Drums & Percussion
Phil Morey – Bass
LINKS
Website | Facebook | Bandcamp | X | Instagram
The end of a great day of prog rock in the North East. Huge thanks go to the wonderful musicians, all the staff at the Cluny and the enthusiastic ‘proggers’ who supported this venture here in the North-East of England. Well done to all concerned in helping keep live music going!
