Steve Harley at the Liverpool Philharmonic Hall, November 2015. Photograph by Ian D. Hall.
Liverpool Sound and Vision Rating 9/10
There are moments in life where the delicate, sometimes unseen hairs on the back of the hand and those that reside in the nape of the neck, rise with clear conscious at the sound of humanity doing what it does best, singing with unashamed passion from the same song book and with beauty in their hearts.
Go West and Nik Kershaw at the Liverpool Philharmonic Hall. November 2015. Photograph by Ian D. Hall.
Liverpool Sound and Vision Rating 9/10
Whoever thought of putting together two of the big names of their generation, not only on the same bill, but as some sort of 80s super-group, for a tour deserves to be given their own office, an unlimited budget and the phone numbers of all the bands of the last great decade for singles and the 45s.
Carol Decker at the Liverpool Philharmonic Hall. November 2015. Photograph by Ian D. Hall.
Liverpool Sound and Vision Rating * * * *
There is a temptation to feel sorry for Carol Decker, the lynch pin of the band T’Pau, it is persuasion of ever increasing spirit to find a way to get radio stations to look beyond what she and the band did three decades ago and take a listen to how the sound is to be perceived now. The temptation is there but also is the realisation that Ms. Decker has strength of will on her side and a resolute determination that requires no sympathy, just the ability to listen to someone with the humour firmly still in place and the stage presence to enrich many lives.
Charlie Landsborough, Philharmonic Hall, Liverpool. November 2015. Photograph by Ian D. Hall.
Liverpool Sound and Vision Rating * * * *
There is no doubting the appeal of Charlie Landsborough, a man of delicate persuasion, of faith in all things and to whom the guitar holds no fear; he is a man with a twinkle in his eye and a joke ready for his adoring audience in between each well thought out and evenly tempered song. Even when all is said and done he finds time to make the crowd, perhaps with one eye on the festive period ahead, perhaps with half a mind on finally getting dry after the deluge of the November day that hit the streets of Liverpool, feel welcome at his show perhaps arguably with more keenness of spirit that any other musician doing the rounds.
The Proclaimers, Liverpool Philharmonic Hall. October 2015. Photograph by Ian D. Hall.
Liverpool Sound and Vision Rating 9.5/10
There was an expectant hush that gathered momentum as the wave of the Philharmonic Hall’s house lights were slowly turned down to a point where sunshine could not have penetrated even the deepest unforgiving shadow. Yet through the gathered together dark, the heart beats of eager musical premonition lit up and took notice, the strength of such force welling up and the tangible, almost pregnant explosion of what was to come almost feeling as if this was not a concert given by maestros of the popular music scene but of Gods walking on stage; such was the clamour to be audibly heard in the whispered voices of the venue’s audience.
Pete Williams at the Liverpool Philharmonic Hall. October 2015. Photograph by Ian D. Hall.
Liverpool Sound and Vision Rating 8.5/10
Nerves are something you wouldn’t associate with Pete Williams, however genuine affection for a crowd’s enjoyment is something that comes across in waves, not just as a solo performer, or part as a band. Whether it is his own fused cocktail or the ever impressive Dexys but afterwards, where to many it matters just as much, away from the stage, in the even harsher glare of the spotlight when people can corner you and shake your hand and get a thousand questions in; the smile remains open, it flourishes with greeting and makes what has been on stage even more impressive.
Steve Hackett at the Liverpool Philharmonic Hall. October 2015. Photograph by Ian D. Hall
Liverpool Sound and Vision Rating 9.5/10
The sound of the call to Prayers, the resonance afforded by the subtle backdrop of the mysticism of a far off land and strangely enticing colourful culture fills the Philharmonic Hall in Liverpool to the point where is such things were possible, you would swear that the smells and sounds of the welcoming East were about to land in the middle of the stage where graduates have smiled and guitars have been played and would dominate the night.
Liverpool Sound and Vision Rating 9/10
The last night of the tour is always a reason to celebrate. For the fans it can be a vindication that their band, in some cases their whole reason for being, has proved yet again just how important their music is and that the country shares their love for certain songs. For the band, for the artists, it’s a chance to breathe for a while before the circus starts again, to perhaps sample a semblance of normal life once more with family and friends, and a glass of champagne supplied by the support never goes a miss.
Liverpool Sound and Vision Rating 9.5/10
The Liverpool Philharmonic Hall resonates to the sound of ghosts, the aural phantoms of pleasure who have been retained and thankfully allowed to stay filtering and flitting through the expanse of work that has been undertaken in the prestigious venue, all of them forever it seems to harness the energy of every new act that comes along and plays to the gallery and the crowd.
Liverpool Sound and Vision Rating 9/10
There is something quite comforting about watching Squeeze perform their huge back catalogue of hits, particularly when their set is now liberally laced with tracks from their first brand new album in 17 years – that being Cradle to the Grave, the “soundtrack” for Danny Baker’s life story telling sitcom currently running on B.B.C.2 starring Peter Kay.