The Delgados at The Barrowland

Photo by SLG Photography

After 17-years away, The Delgados returned to a live stage in Glasgow on Burns Night, bringing their own unique poetry and music to the hallowed turf of the Barrowland Ballroom.

Andrew Wasylyk was a phenomenal choice to support. Wasylyk is one of Scotland's most talented and prolific artists in my eyes. The string of albums he has released over the last 6-years highlight an incredible ear for music. Think David Axelrod soundscapes; soulful, jazzy, atmospheric ...  Wasylyk was in his element, lost in the music, playing piano but also singing along to the melodies. It was beautiful to watch and to experience.

My friend Joe and I had kid duties to attend to before we could head to the Barrowland, but we managed to catch the last 20-minutes of Wasylyk's set, including a sublime Last Sunbeams Of Childhood. Wasylyk thanked The Delgados profusely for allowing him to bring his 8-piece set up on tour.

The Delgados were pretty prompt to come on stage, mere minutes after 9pm. A traditional ballroom tune was the soundtrack to their entrance, lights hitting off the disco ball and causing many to stare up to the beautiful Barrowland ceiling.

If you're going to come back after an 18-year absence then The Delgados method is one heck of a way to do it. The 4-piece of Emma Pollock, Alun Woodward, Stewart Henderson (looking super chiselled and handsome - I believe Stewart is a Fireman these days) and Paul Savage were joined by their friend Graeme Smilie plus a 5-piece string and flute section. 

What a beautiful noise they created!

As a music fan, there are times when you experience something truly special, when everything clicks. This was one of those nights, one of those shows. The sound, the atmosphere, the music, the band and the way the songs connected with the audience. It was emotional.

At times it could be deliciously raw and then the strings could come in and lift the song to higher places. Pollock (half) joked as she introduced the string section 'we'd be shit without them.'

 Strings are central to some songs, they supplement others, adding emotion, a cinematic flair and they transform The Delgados. Do the band write the string sections? They are stunning.

I came away with a greater appreciation for The Delgados and each individual member; Emma Pollock's rhythm guitar playing, Alun Woodward's soul baring lyrics and the way he sings them over lysergic melodies, Stewart Henderson's solid bass groove and Paul Savage bossing the drums. And Graeme Smilie on piano/keys (so important to The Delgados sound) was a gem.

Everything Goes Around The Water set the scene, this was going to be one of those special nights under the Barrowland stars. This feeling was immediately backed up as the band moved on to Accused of Stealing, Pollock's tumbling vocal melodies over Savage's beats, dropping for the gorgeous piano melody.

The Delgados can rock out as well, Under Canvas Under Wraps was delivered at a ferocious and furious pace, sounding like something The Breeders were knocking out in the early 90's.

As much as I love that kind of stuff, when it comes to The Delgados, it's the songs that have more space within them and the songs that have strings that simultaneously play your own heart strings that I truly love.

I recently blogged on American Trilogy as part of my Trust Me series of blogs. Having listened to the song multiple times this month, I've really fallen for it all over again. So to hear and see it performed in the Barrowland felt like an honour. It was a true privilege to witness Alun Woodward sing his brittle heart out on this one.

The Delgados were flying now, lifting the audience up alongside them for the ride. The whole set was incredible, but the second half in particular was particularly captivating. I barely said a word the whole night, but there were a few times when i turned to my friend Joe to either whisper 'what a run of songs' or to just raise my eyebrows and exchange knowing glances.

Did I mention strings and melodies playing with our own heart strings? Yeah, one of those runs of songs was American Trilogy into Reasons For Silence (Ed's Song), then The Light Before We Land, followed by The Past That Suits You Best. 

WOW! We were then almost jolted from a cinematic, floaty dream with the warm urgent guitar pop of Everybody Come Down - one of my favourite Delgados songs.

Photo by Christina Pieraccini

And then we were flying high again on another of my real favourites. All You Need Is Hate. Joe and I were standing in front of the string section. My eyes moved from them to Alun (smiling), to Emma (beaming), Stewart and a little glimpse of Paul Savage lost in his beats. What a f**king beautiful noise. What a song! 

Coming on for the encore, Emma spoke fondly of driving to London to collect 1,000 7-inch singles and with that the band were into debut single Monica Webster. The band tore through it with real relish and love.

The penultimate song was the epic No Danger, piano and strings combining so beautifully, so hauntingly, so movingly, Woodward's soothing vocal melody cutting in, I've been hanging round for days, building to the beats and guitar and finally the chorus.

'cause we don't know we're strong enough

And chances come too soon

But people, people we're not in love

And now we're singing out of tune

Thirteen Gliding Principles closed proceedings, the band departing to a spellbound audience. I was so spellbound I had to be reminded that the band had closed with this song! I think No Danger had literally stopped me in my tracks!

WOW! A near 2-hour set that captivated a sold out Barrowland crowd from start to finish. The Delgados flew, The Delgados soared, The Delgados lifted an entire room of people off the ground and took us all on a dreamy journey on Wednesday night. It was a very, very special evening.

Emma hinted (well basically told us) that they would be playing a Summer Nights show at the Kelvingrove Bandstand. They might need to do 2-nights as I imagine every single person at The Barrowland will be trying to get a ticket and will all have told their friends about what a fantastic time they had at The Barrowland.

Keep an eye on The Delgados social media pages!

The Second Coming - 20 year anniversary

20-years ago today I took a half day at work, nipped into HMV and bought the Stone Roses Second Coming on CD and vinyl. I got the train home from Glasgow back to the sleepy suburb of Carluke and me and my brother put the record on and sat back on the sofa to listen with eager anticipation.

I don't think I've ever felt such a sense of anticipation about a record since. The Roses eponymous debut album had been one that my brother and I had fallen for madly. However we had been too young to fully embrace it when it came out in 1989, I was only 13 and my brother was only 10.

1991 was the year I fell for the Roses, I was 15 and songs like Made of Stone and Mersey Paradise were staples on mix tapes in the 5th year common room at school.

Like many, I got to know every riff, hi-hat, melody and beat of their debut album, it was like a drug, you wanted more and you found something new every time. The look of the band, their artwork, lyrics and style just made me fall for them hook, line and sinker.

The Roses became an enigma, shrouded in mystery; no gigs since Glasgow Green in 1990, no new material, legal battles, a new huge record deal, rumours, false dawns, retreating into their own world.

Pre internet I poured over the NME and Melody Maker on a weekly basis in the hope of some news, the NME even sent reporters to track them down to find out what was happening. As is the case in 2014, the Roses kept quiet.

Ian Brown tracked down by the NME

And then it happened; the Second Coming was announced and it was happening in December.

Back in Carluke I got home and put the CD on (I had also bought the double vinyl being the Roses geek I am) and my brother and I sat entranced as the sound of Breaking Into Heaven came out of our speakers. The intro was cinematic and epic, jungle sounds akin to Apocalypse Now, distorted guitar and tribal beats.

A full 4 minutes and 30 seconds pass before a menacing groove kicks in and we hear Ian for the first time;

I've been casing your joint for the best years of my life

Like the look of your stuff

Outta sight

This was different, yet mesmerising; Mani and Reni were tighter than ever, Squire just oozing class and Brown sounding cool and menacing. The shift in pace towards the middle eight is glorious;

How many times do I have to tell you, you don't have to wait to die?

You can have it all any time you want it

Yeah the kingdom's all inside

Squire is let loose for the closing 150 seconds, riffing off himself as Mani and Reni keep the groove. It is an epic opener, all 11-minutes and 21 seconds of it, continuing the religious imagery of I Am The Resurrection that closed the debut in such memorable fashion. You wouldn't be pogo-ing to this at the indie disco though, this was a more mature Roses with a harder edge.

Driving South emphasised that the Roses had moved on from the chiming guitars that were all over their debut. Rumours had been circulating that Led Zep were never far from the Roses/Squire's turntable and this was proof. Squire is all over this - it's an OK song, far from the best the Roses produced.

Ten Storey Love Song is one of the Roses finest moments. Any hints of Zeppelin are banished as chiming guitars are ushered in gently after a loose jam with Reni in top form.

Tears streamed from my eyes when I saw the Roses playing this in Amsterdam in 2012. It is one of those songs that just generates a special feeling within.

When your heart is black and broken

And you need a helping hand

When you're so much in love

You don't know just how much you can stand

Squire's guitar is dipped in honey, producing sugar sweet rushes. Brown responds to the melody he has been given and his vocals on this tune are amongst the best of the album.

Daybreak is a loose jam, coming in straight after Ten Storey Love Song. Squire, Mani and Reni are exceptional musicians and I would personally love to get access to the hours and hours of recordings from this era that must be lying in a studio somewhere just waiting to be dusted off. I imagine there must be a lot of jams - the vast majority without vocals - but they would be great to hear.

I personally really like Daybreak, it sounds pretty fresh, the guitars haven't been piled on like they have on other tracks. There are not many bands who can play like this.

One more for the dreamers

Fans were first introduced to Your Star Will Shine as the b-side to Love Spreads. It is a beautiful song; acoustic guitars with some backwards effects going on. The harmonies towards the end are spine tingling. 

Hush my darling don't you cry

I'll stay by your side until morning

Straight To The Man is Ian Brown's sole songwriting contribution to the Second Coming. The Squire/Brown team that had brought us so many songs that we had fallen for had essentially split due to the fact that they no longer lived close to each other, the court case, drugs and family life. It is very organic, akin to much of Brown's future debut solo album. It's loose and funky.

Every time I listen to Begging You I think of the lost albums/songs the Roses could have made during the wilderness years. In my imagination there is an album containing this alongside the likes of Fools Gold, One Love and Something's Burning.

Those 3-songs were exceptional. No other band was producing anything like it. Can you imagine the kind of tripped out psychedelic album the Roses could have created if they didn't have their legal issues hanging over them?!

Ian Brown at Spike Island with the world in his hand

Begging You was released before the Chemical Brothers sensational debut album Exit Planet Dust came out in 1995. It is a fascinating insight into what Squire and the Roses were all about and I'm amazed they weren't tempted to try and create more tunes like it.

The Roses on Top of the Pops

Tightrope is quite simply beautiful. I'd highly recommend the live version released on the ltd edition Crimson Tonight EP; check it out here.

The album version starts quite raggedy. The guitar is very un-Squire like; sounding really raw and almost out of tune. It's like the Roses have gathered around a campfire.

Lyrically it has to be one the most poetic Roses tunes on offer. Brown sounds great and Reni harmonises with him beautifully.  

Are we etched in stone or just scratched in the sand

Waiting for the waves to come and reclaim the land

Good Times is more Zep influenced rock. Where Squire's guitar playing was once measured and considerate, here he lets rips, showing his talents in a different way.

When I listen to this I can't help that the band are talking to themselves but aren't convincing that the good times are going to roll again.

who stole away our time?

how many days have I been lying on my back

Tears is an absolute masterpiece, the Roses at their very best. A beautiful acoustic riff ushers us in, Brown is measured and considered for the first two verses before he ups a gear as the band hit their stride and Reni comes in on the drums.

So if you hear me crying or talking in my sleep

Don't be afraid it's just the hours that I keep

We got a love to last for a million years

A love that could never fade through the tracks of your tears

Squire is in absolutely sensational form on Tears - riffing off himself and taking the song to new levels. Vocally, it is up there with Brown's best performances.

The extended instrumental section is exquisite, highlighting how formidable Squire, Mani and Reni are when they get in the groove. This is 6 minutes and 50 seconds of the Roses at their majestic best.

How Do You Sleep is vintage Roses, chiming guitars, a strong melody, imagery, the band stretching out, Brown in good form.

Love Spreads was the comeback single and it closes the album. It's back to menacing bluesy rock, Squire allowed to let rip over the super tight rhythm provided by Mani and Reni. The importance of the backbone of the Roses cannot be understated, their playing on the Second Coming is sensational, totally on it. Check out the isolated drum track of Reni playing below.

Second Coming doesn't flow like Stone Roses, but then not many albums do. In an old post-Roses interview Squire agrees with it being a flawed masterpiece. I like that description.

One of the reasons I find the Second Coming to be an excellent album to return to is the variety of styles on offer - largely, I believe, due to the length of time taken to record it.

To my ears there are 6 styles making up Second Coming;

Epic - Breaking Into Heaven, Tears; Dance/Electronic - Begging You;

Rock/Zep - Driving South, Good Times, Love Spreads; 

Classic Roses - Ten Storey Love Song, How Do You Sleep

Loose jams - Daybreak, Straight To The Man; Acoustic - Your Star Will Shine, Tightrope

We can only dream of the Third Coming....