Liverpool Sound and Vision Rating * * * *

There are front men and then there are showmen, there are those that intrigue and those that captivate with their sheer physical presence, Michael Monroe sits firmly in the camp of showmen and captivating and it was a label he was more than happy to play up to with a certain amount of rock regal stance as he strutted upon the Indigo stage at the o2 with a gleaming smile and stone tight good attitude.

Michael Monroe has not only caught the public imagination over the years but he retains that core self belief that makes him immensely watchable, massively popular and when the mood takes the fan, when they know that the performer is truly enjoying playing infront of them, they cannot but help feed of that energy and return it in mammoth spades.

The Indigo Stage, a pulpit for the initiated, especially for the first ever Stone Free Festival, was put through its paces, its structural support, as the band pounced upon every lyric, every vivacious and supremely animated note of rock god cool. It was a set that clinged to the passion of the fans and was spread out like a wave across an vast and powerful ocean, tugging at every droplet of expression, of every nuance of vitality and one that really set the day on fire, the spark, the catalyst of explosive demeanour before the main doors opened and the hopeful party ensued.

Songs such as Old King’s Road, ’78, Malibu Beach Nightmare, the effervescent Superpowered Superfly, the cool of Tragedy and the stunning finale of Dead, Jail or Rock ‘n’ Roll all played their part, their role in the play assured and whether seen as heroic, malevolent villain or an extra beating heart on the day, albeit one with more panache than arguably the main cast in the highlighted programme, Michael Monroe played the part with extreme dedication and with a smile on his face that not only melted hearts but kicked out against the knockers and haters who decry such good vibrations.

A genuinely positive and exhilarating set by Michael Monroe, a grab of honesty and a salute to the genre that was riveting and vital.

Ian D. Hall