Liverpool Sound and Vision Rating * * * *

The Change at Studio 2, Liverpool. Photograph by Ian D. Hall.

The Change is coming, it just requires belief to see it through and whilst at times it feels as though you have to wade and poke at the sandy dregs of ignominy to find it, once it is there in your face, there is no hiding from the feeling and the option is to embrace it with everything you have.

A night of the sound of no basses growling, almost across the board the sound of the bass was unfortunately absent, a huge mark of respect to the band for continuing on undeterred but also one in which wholesome wishes of all the best is always appropriate in such circumstances. In the face of such adversity and misfortune, you can either sink and revel in the hardship or you can rise, knowing full well that when the band is up to full strength again, it will seem as though, for a while you were carried on the wings of both change and the opportunity.

Alongside Cal Ruddy, Jimmy & the Revolvers and Girls With No Faces, The Change more than met that adversity head on, they took the stage at Studio 2 by the scruff of its neck and marched it down to the woodshed, not so much to administer a beating, a sense of dread and the sore backside of life but to carefully suggest there is always more to the world than sitting on the grass and letting the weeds grow under the feet; that shed hides all manner of beliefs and there is always room for the lawnmower.

The energy of the band was such that the feeling became infectious, it was impossible to ignore the audience as they, at first hesitantly, but then imbibed with great purpose and admiration, made their way to the front of the stage and then proceeded to set up camp for the rest of the night.

With songs such as Rainclouds, Listen To Me Now, Make It Right, Toast To The Man and Burning all being given the space to breathe and mingle in amongst the minds of men, women and the music fan.

A distinct pleasure to witness The Change, such is life that you could see it every day.

Ian D. Hall