Florence + the Machine at the Utilita Arena Newcastle: Everybody Scream Tour Review

Florence + the Machine arrived in Newcastle as part of the Everybody Scream Tour, bringing Florence Welch’s new material into a full arena setting for the first time. The album, released last year, has been widely heard as one of her darker, more direct records, with the familiar lift of choirs and drums now paired with songs that look fame and ambition straight in the eye. This tour also marks her first major run since the Dance Fever Tour wrapped in September 2023, so there is a sense of momentum returning, and for us, it was our first time seeing her live.

Paris Paloma was the support act. A British singer-songwriter who broke through with the viral single Labour in 2023 and followed it with her debut album Cacophony was the ideal ‘warm up’ energetic and personal a singer songwriter sharing her own experiences much like Florence.

The staging began with the arena held in a kind of amber hush. A huge fabric curtain was lowered around the front of the stage, draped like a floating canopy, its surface printed with delicate botanical drawings that felt half Victorian field guide, half spell book. From the stands you could see the runway pushing out into the crowd, but the band and the main stage were hidden behind that soft wall of cloth.

For the opening of Everybody Scream, the curtain became a screen: light from behind threw the shadows of the Witch Choir into view. Then the curtain dropped away, the arena erupted, and Florence was revealed, striding down the runway to greet her fans.

And so for almost two hours, Florence moved through songs from her extensive back catalogue. Even the newer tracks, like Buckle and One of the Greats, were greeted like old friends.

Big numbers like Shake It Out were mixed with slower, more introspective moments like Spectrum, without losing the crowd or the energy.

There was definitely a witchy undercurrent to the evening, a theme that runs through her lyrics if you dig a little deeper. The Witch Choir made it literal, and songs like Witch Dance and Seven Devils carried the mood furthest.

There were songs about break-ups too. One of the Greats, from the latest album, was particularly biting.

The whole performance was brilliant. Florence kept the audience enthralled as the band delivered the music, including electric guitar and a full-sized harp. With a limited palette of lights, and no supporting films or backdrops, she still managed to put on a spellbinding show.

This may have been our first Florence + the Machine gig, but I certainly hope it won’t be the last.

Florence at the Utilita Arena, Newcastle

The Utilita Arena Newcastle is quickly becoming a favourite concert venue for us. It sits close enough to the centre that the night still feels like Newcastle, not an out-of-town trek, and from the Copthorne on the Tyne it is an easy ten-minute walk. Inside, it hits a sweet spot for arena shows: big enough for proper production, but compact enough that even the upper blocks feel connected. Staff are friendly, queues move, and you are not spending the best part of an hour just getting in and out.

We first came here for Eric Clapton in 2024, so it felt like a neat return for Florence. This time we chose Block 202, Row M, Seats 64 to 66, a side-on view that worked brilliantly. Close enough to catch the details, far enough back to take in the full stage picture, and with an easy exit when the lights came up.

Everybody Scream Set list, Newcastle, 11 February 2026

Below is the set list we heard on the night, in order, for anyone who wants to revisit the songs or follow along with the highlights video.

Everybody Scream

Witch Dance

Shake It Out

Seven Devils

Big God

Daffodil

Which Witch

Cosmic Love

Spectrum

You Can Have It All

Happy Birthday to You

Music by Men

Buckle

King

The Old Religion

Howl

Heaven Is Here

Sympathy Magic

One of the Greats

Dog Days Are Over

Free

And Love

Simply Red at The O₂ Arena – 40 Years On and Still Glowing

Nearly three decades after first seeing Simply Red live, I returned for their 40th-anniversary tour at London’s O₂ Arena — a night that proved Mick Hucknall’s voice and songbook remain timeless.

It’s been twenty-seven years since I last saw Simply Red. That night, at Wembley Stadium, they performed Stars — one of my all-time favourite albums. Fast-forward to 9 October 2025, and here we are again: a gift of tickets for their 40th-anniversary show at the O₂ Arena. I hadn’t followed the band closely since Life and Love and the Russian Winter, so I arrived curious rather than nostalgic.

Concert Review

From the moment Mick Hucknall walked on stage, any doubts disappeared. His voice — unmistakably rich and soulful — filled the arena with the same warmth it had all those years ago. The show ran for nearly two hours, a confident, career-spanning set that reminded everyone just how many hits Simply Red have quietly amassed.

The Set List started in broad chronological order with songs from Picture Book, Men & Women, A New Flame then Stars. The evening began with Sad Old Red and Jericho, quickly picking up pace with Money’s Too Tight (To Mention), The Right Thing, and A New Flame. Each song flowed effortlessly into the next, building towards the Stars era highlights — For Your Babies and Thrill Me and of course the title track.

Visually, the stage was simple: a few back projections, gentle lighting, and a band content to let the music do the talking. There were no follow-spots or extended solos, just a tight ensemble led by Hucknall’s voice — still supple, still utterly his own. Occasionally Mick would tell us a story, about writing with Motown greats or expressing his love for these classic songs but mostly it was a sing along.

Midway through, a soulful Motown-inspired segment paid homage to the classics that shaped him. The Air That I Breathe and You Make Me Feel Brand New showcased his love of that sound — reverent but never imitative. The tempo lifted again for Sunrise before the main set closed, fittingly, with Fairground from Life - his biggest hit to date.

The encore brought Something Got Me Started and a rousing take on Reach Out I’ll Be There — a Four Tops cover rarely performed live — before closing, inevitably and beautifully, with Holding Back the Years.

• Sad Old Red

• Jericho

• Money’s Too Tight (To Mention) (The Valentine Brothers cover)

• The Right Thing

• A New Flame

• It’s Only Love Doing Its Thing (Barry White cover)

• You’ve Got It

• Enough

• If You Don’t Know Me by Now (Harold Melvin & The Blue Notes cover)

• For Your Babies

• Stars

• Thrill Me

• Say You Love Me

• The Air That I Breathe (Albert Hammond cover)

• You Make Me Feel Brand New (The Stylistics cover)

• Fake

• Sunrise

• Fairground

Encore:

• Something Got Me Started

• Reach Out I’ll Be There (Four Tops cover)

• Holding Back the Years

A Year of Live Music Worth Remembering

Simply Red’s O₂ show was the perfect finale to a fantastic year of live music — from Bruce Springsteen in Berlin to Lana Del Rey lighting up Wembley Stadium and Robbie Williams at the Royal Crescent. There was the intimacy of Marshall Gilmour Webbs at the piano in Smithfield, and a moving tribute to David Crosby at the Barbican.

Next year already looks promising: one, perhaps two, chances to see Florence and the Machine, and who knows what else might appear on the calendar. Will The Cure return to the stage? Could we see more Radiohead dates? Whatever unfolds, I’m excited to find out.

Lana Del Rey Live at Wembley Stadium 4th July 2024

A dreamlike night of porch-front poetry, Southern Gothic, and TikTok sparkle.

I’ve been intrigued by Lana Del Rey for years. Not just the hits — though Video Games, Ride, and Hope Is a Dangerous Thing… still cut through — but the whole mythology. The voice, the lyrics, the woman who made Glastonbury headlines in 2023 for missing curfew because her hair wasn’t right. It only added to the allure. So when she announced Wembley Stadium for July 2025, I knew I had to see the spectacle for myself.

he Warm-Up: Addison Rae in a Tight Space

Support came from Addison Rae — not really my target market, but credit where it’s due. Her short set was bright, energetic, and delivered with style despite obvious constraints. Most of Lana’s elaborate stage set was still under wraps, covered in black, leaving Addison Rae little room to work with. Even so, she kept the crowd entertained, closing with her TikTok-famous Diet Pepsi, a song that would make a surprise return later in the evening.

A House on Stage and a Witch in the Wings

Lana’s set design was pure theatre. The centrepiece: a porch-fronted house straight out of The Wizard of Oz. Lana emerged from its door like a character stepping into her own dreamscape. Backed by dancers on the roof and hazy, cinematic visuals, the stage became a living painting. I would not have been surprised to see a witch fly overhead, or a twister come crashing through the set!

Lana opened with Henry, Come On and then took us on a twisting, torch-lit tour through Ultraviolence, Ride, A&W, Video Games, Summertime Sadness and more. Yes, Did You Know There’s a Tunnel Under Ocean Boulevard made its appearance — surreal and spectral, like much of the set. I was fascinated to hear thousands of fans singing along to lyrics that either they don’t understand or don’t care about (you will have to Google them!)

Not Just a Concert — A Lana Experience

There wasn’t much small talk from Lana, but what she did say felt genuine. She spoke about how much she’d wanted to play Wembley, and shared some frustration with the sound in her in-ear monitors — a reminder that this wasn’t a pop product on autopilot. She was present. Her fans were, too — singing every word, even the ones you might hesitate to say aloud in polite company.

As the night drew in and the lights came down, things clicked into place. The songs hit harder. The visuals deepened. It was part poetry reading, part Southern séance, with just enough pop polish to keep it stadium-worthy.

So, Was It Worth It?

Yes. Whether you were up in the gods or in one of the fancy seats, Lana delivered a complete show — 17 tracks, a few interludes, and a clear creative vision. It wasn’t perfect. It wasn’t polished, and it wasn’t a three hour juggernaut like Springsteen. But it was Lana — thoughtful, theatrical, and a little unpredictable.

Some critics might have preferred a bit more crowd interaction or clearer vocals. But those of us who were there for the mood, the music, and the melancholy? We got exactly what we came for.

And for the younger fans, it was clearly a moment: hair flicks, glitter, selfies — a full evening of performative fandom. Perhaps if some of the TikTok crowd looked up from their phones, they’d have seen a genuinely beautiful concert unfolding on stage. But that might be a little churlish.

Some of the content may have gone over their heads. The holographic section where she read poetry by Ginsberg (Howl) was new to me.

I loved it and thanked my daughter for buying the tickets and joining me for the concert!

Lana Del Ray Concert Set List - Wembley Stadium 4th July 2024

• Stars Fell on Alabama

• Henry, come on

• Stand by Your Man (Tammy Wynette cover)

• Chemtrails Over the Country Club (Extended intro)

• Ultraviolence (Extended intro)

• Ride Monologue (with string accompaniment)

• Ride

• Video Games

• Norman Fucking Rockwell (recorded version with projection)

• Arcadia (recorded version with projection)

• Interlude (Hey Long Beach sample)

• Did You Know That There’s a Tunnel Under Ocean Blvd (extended choir outro)

• If You Lie Down With Me (live debut)

• Country instrumental interlude

• Quiet in the South

• Vertigo: Scène d’amour (Bernard Herrmann)

• Tropico / Body Electric

• Howl (Allen Ginsberg – hologram interlude)

• Young and Beautiful (extended)

• Summertime Sadness

• Born to Die

• Venice Bitch (Taco Truck x VB version)

• Diet Pepsi (with Addison Rae)

• 57.5 (with Addison Rae)

• Take Me Home, Country Roads (John Denver cover)

Lana Del Ray marked another date in a great year of concerts. From witnessing the first ever gig of Marshall, Gilmour, Webbs in a piano bar to the Boss in Berlin’s Olympiastadion and Robbie Williams at the Royal Crescent they have all been different and memorable.

Marshall Gilmour Webbs Debut at Piano Smithfield, London July 2025

A new vocal group, with connections to Pink Floyd and Leonard Cohen step into the limelight.

This concert review captures the official debut of Marshall Gilmour Webbs, a newly formed four-piece vocal harmony group whose roots lie in David Gilmour’s Luck and Strange World Tour. Their first public performance as a group took place at Piano Smithfield in London on 2 July 2025 — an intimate, low-key evening filled with warmth, new music, and a deep sense of musical camaraderie

Who Are Marshall Gilmour Webbs?

The group comprises Louise Marshall, Romany Gilmour, and Hattie and Charley Webb (The Webb Sisters) — four artists who bonded as musicians and backing vocalists on Gilmour’s Luck and Strange tour in 2024. Their onstage chemistry, both vocally and personally, was clear to audiences then — and now they return with a project of their own

Venue Spotlight: Piano Smithfield in London’s Culture Mile

Piano Smithfield, located in the newly revived Smithfield Market district, provided the perfect backdrop. With its tufted red velvet bar, mirrored shelves and dimly glowing light, the room was cosy and atmospheric. Seating was a mix of small tables, a few booths, and high chairs at the back — every seat with a clear view of the stage.

Waiters ferried cocktails, champagne bottles, and fresh pizzas throughout the show. The crowd? Under 100 — but international. Some had travelled from as far as Palm Springs, suggesting that word about this group is already travelling.

Full Setlist: Originals and Influences from Gilmour to Cohen

This was their first public performance as Marshall Gilmour Webbs. The night before was technically their first show — a private “friends and family” event — but this was the real unveiling.

Split into two 40-minute sets with a short interval, the concert was a mix of original material written by each group member and reinterpretations of favourites from Leonard Cohen, David Gilmour, Pink Floyd, and Billy Joel.

The first set featured original songs created for this project. The second drew on their influences and personal histories, including Great Gig in the Sky and a moving encore of And So It Goes, one of my favourite Billy Joel songs.

Industry Response and Audience Atmosphere

The crowd included a healthy mix of industry insiders, family, friends, and loyal fans. From overheard conversations and the attentive atmosphere, it was clear this was more than a small gig, it was a showcase of immense talent.

And it worked.

Marshall Gilmour Webbs may have started as “David Gilmour’s backing singers,” but they’ve stepped confidently into their own space. With only seven rehearsals behind them, they’ve already written and performed an impressive suite of new music.

What’s Next for Marshall Gilmour Webbs?

This felt like the beginning of something. Whether it’s a run of bigger shows — the Barbican, perhaps — or a studio recording of their original songs, there’s no doubt this group has something special.

If you get the chance to see them live — take it.

Marshall Gilmour Webbs Set List

Live at Piano Smithfield2 July 2025

First Set

– Hammond Song

– Les Fleurs

– MGW

– The Sea Bride

– Baroque Thoughts

– In Full Colour

– The Knowing (Sha La)

Interval

Second Set

– I’m Full of Your Love

– Great Gig in the Sky (Pink Floyd)

– Wait for You

– If It Be Your Will (Leonard Cohen)

– Hattie Song

– Vita Brevis

– Between Two Points

– The Bargain Store

Encore

– And So It Goes (Billy Joel)

Robbie Williams Live at the Royal Crescent, Bath – Concert Review 2025

In June 2025, Robbie Williams performed live at the Royal Crescent in Bath as part of his Britpop tour — a spectacular outdoor concert filled with sunshine, surprise guests, and pure showmanship.

I’ve long admired Robbie Williams and enjoyed his music — but I wouldn’t have called myself a fan. I don’t think I’d have gone out of my way to get a concert ticket, if it weren’t for the location: Bath, live in front of the Royal Crescent. As an occasional local in the city, it was too good to pass up. I’m so glad I didn’t.

Robbie brought his Britpop 2025 tour to Bath for two open-air concerts in one of the UK’s most historic settings. The gods must have smiled upon us that evening — just hours before the show, the rain had been torrential. Somehow, by the time Robbie hit the stage, the skies cleared and the sun came out. Bravo to the hardcore fans who waited by the barriers through the deluge, long before The Lottery Winners even came on to warm up the crowd.

At first glance, the setlist looked light on Robbie’s own hits and heavy on other people’s. Medleys, singalongs, and covers dominated the rundown, and I was unsure. But in the crowd, it made perfect sense. This wasn’t just a gig — it was a full-blown show -part therapy session part circus. We opened with Rocket Man and Let Me Entertain You, before Robbie launched into his signature banter, and the real entertainment began.

For two hours straight, he had the audience in the palm of his hand — a mix of laughter, nostalgia, and full-throated participation. The show veered between acoustic moments, roaring crowd anthems, and surprise duets. Relight My Fire saw Olly Murs join him on stage, while The One and Only with Chesney Hawkes brought a wave of pure 90s joy.

We had medleys of Song 2, Livin’ on a Prayer, and Seven Nation Army, with Robbie playing the willing ringleader in a crowd-wide karaoke session.

The Royal Crescent is not your typical concert venue, but it has played host to some notable performances over the years. Many moons ago, the Three Tenors performed here. More recently, it was Michael Bublé — which I’d quite happily skip — and now, Robbie. Of the three, Robbie wins hands down.

The stage sat within the private lawns of the Royal Crescent, with the audience flowing down the gentle slope of Victoria Park. Even from the back, the view was spectacular. You could see the stage, the Crescent behind, and 15,000 fans each night soaking up the atmosphere. The whole thing, location, artist and music was in stark contrast to Bruce Springsteen’s concert in Berlin’s Olympiastadion just a few nights before.

By the time we reached Feel and Angels for the encore, the sun had dipped, the lights were on, and Robbie had done what he came to do — entertain, entirely and unapologetically.

After seeing Robbie Williams live at the Royal Crescent in Bath, I’d gladly put him on the list for a future concert. We were thoroughly entertained, and I’d go again in a heartbeat.

Setlist – Robbie Williams, Royal Crescent Bath 2025

Here’s what Robbie played on the night — a mix of originals, medleys, covers, and a couple of brilliant guest appearances:

• Rocket Man

• Let Me Entertain You

• All My Life / Song 2 / Seven Nation Army / Livin’ on a Prayer (medley)

• Monsoon

• Old Before I Die

• Minnie the Moocher / Boom Boom Boom / Land of 1000 Dances (medley)

• Rock DJ (Better Man version)

• Better Man

• Love My Life

• Strong

• Let Love Be Your Energy (with The Lottery Winners – acoustic)

• Sexed Up (with The Lottery Winners – acoustic)

• Candy (with The Lottery Winners – acoustic)

• Relight My Fire (with Olly Murs)

• The One and Only (with Chesney Hawkes)

• Something Beautiful

• Millennium

• Theme from New York, New York

• Come Undone

• Kids

• Band Interlude (Another One Bites The Dust / Step On / Born Slippy / I Could Be So Good for You)

• She’s the One

• My Way

Encore:

• Feel

• Angels

Robbie Williams on the cover of Bath Life Magazine celebrating his concerts

If you’re planning a trip to Bath for a future show, make time to explore the city’s vibrant culture beyond the Crescent — from some of the best record shops in Bath to memorable meals at the city’s best restaurants, i’ve got you covered.

Bruce Springsteen Berlin 2025: Concert Review & Video Highlights

Bruce Springsteen came to Berlin with a message. What began as a powerful, almost troubled performance soon transformed into a celebration — and a reminder of just how brilliant the E Street Band still is.

In 1988, Bruce Springsteen performed in what was then East Berlin. Invited by the FDJ, the East German youth organisation, he took to the stage at the Weißensee cycling track in front of an estimated 300,000 to 500,000 people — far more than the 160,000 tickets originally issued. It was billed as a concert in solidarity with Nicaragua, but Bruce was careful to remain apolitical. Speaking in German, he told the crowd:

“I’m not here to represent or support any government. I’ve come to play rock and roll in the hope that one day all the barriers will be torn down.”

Roll forward to 2025, and Bruce is back in Berlin — but this time, it’s political.

Since the opening nights of this European leg in Manchester, Springsteen has been vocal about his disillusionment with the current state of American politics. On stage, he hasn’t held back, taking aim directly at the US president and what he calls “his enablers.” If 1988 was a message of cautious hope, 2025 feels more like a warning bell.

For almost two hours, Bruce’s attention seemed firmly fixed on the troubles at home. This wasn’t a nostalgic greatest hits show — it was a statement. The setlist reflected that mood: Ghosts, Land of Hope and Dreams, Death to My Hometown, Rainmaker. The tone was intense and introspective, with very few lighter moments.

That’s not to say it wasn’t brilliant. These were powerful performances — tight, impassioned, and deeply felt. Hungry Heart gave the crowd something to shout back, The River was beautifully delivered, and Because the Night absolutely soared. But even these were paired with harder-edged songs like Murder Incorporated, Long Walk Home, and House of a Thousand Guitars. By the time we reached the two-hour mark, it felt like we’d been holding our breath.

And then, the gear change.

Badlands exploded with urgency. Thunder Road followed, and suddenly the tension gave way to joy. There was no encore pause — just Bruce walking to the back of the stage and returning with Born in the U.S.A. and Born to Run. Then came the real celebration: Seven Nights to Rock — a rollicking tour debut from Moon Mullican — followed by Bobby Jean, Dancing in the Dark, and Tenth Avenue Freeze-Out.

Twist and Shout would have been the perfect ending — and we got it, in all its stomping, joyful brilliance. But Bruce had one more message to deliver. He closed with Bob Dylan’s Chimes of Freedom, dedicating it in German to “die Fans aus Ost-Berlin, 1988.” As we made our way out into the Berlin night, This Land Is Your Land by Woody Guthrie played through the stadium speakers — a final reminder of everything this night had meant.

From where we sat — just above the pitch, off to the side of the stage — we had a perfect view of the performance. What really struck me was the way Bruce moved down to the front of the crowd, over and over again. This is clearly part of his show, part of who he is, but seeing it in person was something else entirely. Hugging fans, reading their signs, handing guitar picks to kids, climbing up on the barrier with a grin — the connection was real, and the showmanship was fantastic.

This wasn’t just a concert. It was deep, powerful, and moving in a way few shows ever are. For someone who came late to the Springsteen party — I only really discovered him in the last decade — I thought I’d missed the legendary performances. But I hadn’t. On one hot Berlin evening, Bruce was on fire.

It made for a striking contrast to Robbie Williams’ performance in Bath later that same week — where the focus was on pure entertainment and playful showmanship. Two incredible artists, two unforgettable nights, but worlds apart in tone.

You’ve just seen the legendary E Street Band!

Deja Vu in London: A Tribute to David Crosby at the Barbican

If I Could Only Remember My Name – The Music of David Crosby

Barbican, London – 3 February 2025

I've long been fascinated by the West Coast scene and the artists who emerged from Laurel Canyon. The harmonies, the stories, and the collaborations that defined that era have become the soundtrack to my life—CSN, Joni Mitchell, and Neil Young are among my most frequently played artists. David Crosby was at the heart of it all—through The Byrds, his friendships with Mama Cass and Joni Mitchell, and of course, his work with Crosby, Stills, Nash & Young. I never had the chance to see him live, but this concert promised to be an intriguing presentation of his most iconic solo album, If I Could Only Remember My Name.

The Album and Its Place in the Crosby Timeline

By the time If I Could Only Remember My Name was released in 1971, Crosby had already left an indelible mark on music history. He first rose to prominence with The Byrds, co-founding the band in the mid-1960s and shaping their signature folk-rock sound. Songs like Eight Miles High and Everybody’s Been Burned showcased his innovative approach to harmony and songwriting, yet creative tensions led to his departure in 1967.

Soon after, he formed Crosby, Stills & Nash, with Stephen Stills and Graham Nash—later joined by Neil Young. Their self-titled debut album in 1969 was a landmark in folk-rock, featuring timeless tracks like Suite: Judy Blue Eyes and Helplessly Hoping. CSNY’s Déjà Vu followed in 1970, reinforcing their status as one of the defining acts of the era.

In the midst of this, Crosby channelled his creative energy into his first solo project. If I Could Only Remember My Name was a deeply personal album, emerging from a period of immense personal loss and introspection following the death of his partner Christine Hinton. The album’s title was widely understood as a wry nod to Crosby’s well-documented struggles with drugs, particularly in this era. While met with mixed reviews upon release, it has since become a cult classic, admired for its lush, atmospheric production and ethereal harmonies. The record featured an all-star supporting cast—Joni Mitchell, Neil Young, Jerry Garcia, and members of Jefferson Airplane and Santana—creating a rich sonic tapestry that blurred the lines between folk, rock, and psychedelia.

The Barbican – A Civilised Setting

I’d never been to the Barbican before. Its Brutalist design and reputation for hosting highbrow classical performances made me wonder how it would suit a tribute to Crosby’s free-spirited, improvisational style.

I have to say, it was a fantastic location—so close to major transport hubs. It’s surrounded by restaurants (I ate at Cote but liked the look of Jugged Hare across the road if I wasn’t going to a concert).

The Barbican Hall is huge yet warm. It’s underground, but free WiFi kept me connected. The seats were proper ones—no flip-ups—with good legroom and visibility.

I’ll definitely be looking for more events here.

Set 1 – If I Could Only Remember My Name

The celebration was the brainchild of Kate St. John, a talented multi-instrumentalist and founder member of Dream Academy (Life in a Northern Town remains one of the best songs of the eighties). She had loved this album since she first heard it, aged 14. Tonight, she said it felt transcendental to be performing it on stage, surrounded by such a talented group of musicians.

And talented they were—every musician and singer was an immense talent in their own right. Together, they formed the most beautiful tapestry of music and harmony. There was no single lead singer or dominant voice; instead, they took turns breathing life into the songs. The Staves opened with Music Is Love before passing the spotlight on, performing [almost] every track on the album. Unlike many concerts that promise to play an album in full, this band actually did—every song, in order.

Ed Harcourt brought the power with a rocking Cowboy Movie, while Liam Ó Maonlaí of Hothouse Flowers delivered a breathtaking Traction in the Rain. I’d bought the ticket on the strength of his presence, and my introduction to Crosby was through this song (performed live with Graham Nash). That was a wonderful, spine-tingling moment.

A passionate rendition of What Are Their Names showed that Crosby’s songwriting remains as relevant as ever.

There was only one song they didn’t attempt. The stage lights dimmed as the haunting vocals of David Crosby reached out over our heads. I’d swear there was somebody here. So clever, so powerful.

Set 2 – Music Is a Lifting Force

After a brief intermission, the band stretched their legs to cover some of Crosby’s most cherished songs.

We sang Happy Birthday to Margo Buchanan after she delivered a poignant Long Time Gone.

When asked to participate in the concert, Ed Harcourt had one request—he wanted to sing Almost Cut My Hair, and it showed. His performance truly rocked.

Liam Ó Maonlaí returned for a beautiful Guinevere, after which The Staves came forward to sing a song about nuclear holocaust. Now I truly understand what Wooden Ships is about.

It was left to Michelle Willis, an old friend of the late David Crosby and a core member of his touring band for over a decade, to share stories and songs that were new to me.

She introduced Morrison by CPR, a song co-written with Crosby’s son James Raymond, whom he met while recovering in hospital. She also explained that Crosby always used to say that “music was a lifting force” before performing Things We Do for Love.

We began with Music Is Love and ended with Things We Do for Love. There was certainly a lot of love on stage—and in the audience. This was a very special night.

For the Performers, Music Is Love

The singers weren’t the only stars. A stellar group of road-worn musicians brought the music to life. Robbie McIntosh, a revered session guitarist with credits including Paul McCartney and The Pretenders, ensured the intricate guitar work was in safe hands. Ed Harcourt, known for his collaborations with Marianne Faithfull and Patti Smith, added a rich, atmospheric approach.

Ben Nicholls (Seth Lakeman, Kings of The South Seas) anchored the arrangements on bass, and Ernesto Marichales provided the subtle Latin and psychedelic rhythmic textures on percussion.

The group take a bow at the Barbican after performing the songs of David Crosby

Final Thoughts

This small, intimate concert is one I will remember for a long time. I didn’t take many pictures (although they said it was cool as long as you didn’t annoy others), but I did disconnect from reality and was transported back to Laurel Canyon for a few hours.

It’s not just David Crosby’s music that lives on—his words do too. In 2025, they are as relevant as they were in 1971:

“I wonder who they are

The men who really run this land

And I wonder why they run it

With such a thoughtless hand

What are their names and on what streets do they live?

I'd like to ride right over this afternoon and give

Them a piece of my mind about peace for mankind

Peace is not an awful lot to ask.”

(What Are Their Names – David Crosby)

London Grammar at the O2, London

It’s one thing to go to a concert and hear songs you’ve lived with; it’s another to stand alongside your daughter, sharing the music that means so much to her. This was the essence of our family trip to see London Grammar concert live at London’s O2—a night of incredible music and meaningful moments.

London Grammar, an English indie pop trio formed in Nottingham in 2009, consists of Hannah Reid (vocals), Dan Rothman (guitar), and Dominic "Dot" Major (keyboard, djembe, drums). Their name reflects their London base, a nod to their UK roots. Over the years, they’ve released four studio albums: If You Wait (2013), Truth Is a Beautiful Thing (2017), Californian Soil (2021), and The Greatest Love (2024). Their most recent two albums topped the UK album charts.

I’ve known London Grammar’s songs from kitchen sessions and car journeys, but hearing them live at the O2 was something else entirely. The atmosphere of a London Grammar concert is hard to beat, with their music filling the vast space of the O2 Arena while still feeling deeply personal.

Opening the concert was Lauren Mayberry, formerly of Chvrches. Promoting her forthcoming solo album, her mix of pop anthems and introspective tracks was a perfect way to start the evening. Although her music was new to me, she had the crowd in the palm of her hand, setting the stage beautifully for London Grammar.

As the lights dimmed, London Grammar stepped onto a backlit stage, opening with Hey Now from their 2013 debut album If You Wait. Hannah Reid’s voice soared through the arena, showcasing the depth and power that have defined the band’s sound.

The concert’s setlist was carefully crafted, blending older classics with newer favourites. Tracks like Californian Soil from their 2021 album of the same name showcased their evolving sound, while their cover of Kavinsky’s NightCall added a fresh twist to the night. The first set reached its peak with a stunning rendition of Hell to the Liars, leaving us in awe.

One standout moment came during You and I. Hannah encouraged the audience to join her in some vocal exercises, showcasing her incredible range. It felt like a great opportunity to participate, but as the notes soared, most of us stayed quiet—not out of shyness, but simply because we didn’t want to drown out her extraordinary voice.

In a clever transition, London Grammar moved to a smaller satellite stage near the mixing desk. From this intimate setting, they played a gorgeous acoustic rendition of All My Love. As the song ended, a mobile phone started ringing, prompting us to check their own devices—only for a large message to appear on the screen: "Fakest Bitch is calling." This led seamlessly into their latest track, a sharp and biting commentary delivered with incredible energy. The lyrics, as always, cut deep:

“I saw your mom across the road, I feel guilt, and it hurts my soul

Maybe if she loved your dad, you'd have the things that you should have had

And we'd be friends for real, not popping party pills.”

Returning to the main stage, London Grammar picked up the tempo as George Fitzgerald joined for the remainder of the set. The energy was electric as the band played Baby It’s You, You and I, Wasting My Young Years, and Metal & Dust to close the main set.

But the concert wasn’t over yet. London Grammar returned for an encore, performing Strong before ending the night with Lose Your Head. Lauren Mayberry joined them onstage, bringing the house down in a triumphant finale.

This was an unforgettable concert with an incredible British band. While Hannah Reid’s vocals are undeniably the star—moving effortlessly from soulful depth to raw emotion—the full band brings their music to life in a way that wouldn’t be the same without each member’s contribution.

I’m so glad to have seen London Grammar on this tour, and I can’t wait to see them again.

London Grammar Concert at the O2 - Set List

1. Hey Now

2. Californian Soil

3. Kind of Man

4. Big Picture

5. Nightcall (Kavinsky cover)

6. Lord It's a Feeling

7. House

8. How Does It Feel

9. Hell to the Liars

Satellite Stage

1. All My Love (Acoustic)

2. Fakest Bitch (Acoustic)

Main Stage

1. Baby It's You (with George FitzGerald)

2. You and I

3. Wasting My Young Years

4. Metal & Dust

Encore

1. Strong

2. Lose Your Head (with Lauren Mayberry) (Outro with Camelphat remix)

Concert Review- David Gilmour at the Royal Albert Hall 2024

Last autumn, David Gilmour brought The Luck and Strange Concerts to the Royal Albert Hall, delivering a series of sold-out shows that combined Pink Floyd classics with songs from his latest album. These performances formed part of a short but extraordinary tour that also included Rome, Los Angeles, and New York. This is my review of the London concerts.

David Gilmour 2024 Royal Albert Hall Set List

The Luck and Strange tour setlist remained consistent across cities, giving fans a perfect mix of the new and the timeless. At the Royal Albert Hall, the audience heard Gilmour move seamlessly between Luck and Strange highlights and iconic Pink Floyd moments, from the pastoral Fat Old Sun to the soaring Comfortably Numb.

For fans searching for the David Gilmour setlist from these concerts, here is the full sequence performed in London:

• 5 A.M. (Rattle that Lock)

• Black Cat (Luck and Strange)

• Luck and Strange (Luck and Strange)

• Speak to Me (Pink Floyd Dark Side of the Moon)

• Breathe (In the Air) (Pink Floyd Dark Side of the Moon)

• Time (Pink Floyd Dark Side of the Moon)

• Breathe (Reprise) (Pink Floyd Dark Side of the Moon)

• Fat Old Sun (Pink Floyd Meddle)

• Marooned (Pink Floyd The Division Bell )

• Wish You Were Here (Pink Floyd Wish You Were Here)

• Vita Brevis (Luck and Strange)

• Between Two Points (The Montgolfier Brothers cover) (Luck and Strange)

• High Hopes (Pink Floyd The Division Bell)

• -- Intermission --

• Sorrow (Pink Floyd A Momentary Lapse of Reason)

• The Piper's Call (Luck and Strange)

• A Great Day for Freedom (Pink Floyd The Division Bell )

• In Any Tongue (Rattle that Lock)

• The Great Gig in the Sky (Pink Floyd Dark Side of the Moon)

• A Boat Lies Waiting (Rattle that Lock)

• Coming Back to Life (Pink Floyd The Division Bell)

• Dark and Velvet Nights (Luck and Strange)

• Sings (Luck and Strange)

• Scattered (Luck and Strange)

• -- Encore --

• Comfortably Numb (Pink Floyd The Wall)

Royal Albert Hall Review

This wasn't a sweaty rock fest, but more of a sedate, seated evening with David, his band and his family. The Royal Albert Hall is an iconic concert venue, a bonafide London music landmark and that was part of the evening. This was David Gilmour at the Royal Albert Hall! - not a cover band at Wembley Arena, or some other soulless venue.

Before the tour David had hinted that the set list would not contain much 'Waters era' Floyd tracks, so no Animals, no Run Like Hell and certainly no Final Cut! The 'old' Pink Floyd we got was the wonderful 'Fat Old Sun' from Meddle and Wish You Were Here.

The first few tracks of Dark Side included another attempt at 'Great Gig in the Sky'. This latter track is something, I feel, that is pretty unique and live song track that has never lived up to the album track. But it framed a nice intimate part of the show which included 'A Boat Lies Waiting' from 'Rattle that Lock'.

There was a better showing for the post Roger Pink Floyd tracks covering tracks from 'A Momentarily Lapse of Reason' and 'the Division Bell.' From the former we had a wonderful 'Sorrow' a real highlight complete with stunning lasers beaming out into the venue.

For me it was the Division Bell tracks that had me most excited. It is one of my favourite albums [full stop] and it was a treat to see david play High Hopes, with the original music video and 'Pink Floyd balls' that came bouncing out into the arena. They didn't quite reach high enough for me to bop but never mind!

High Hopes performed by David Gilmour at the Royal Albert Hall on the 12th October 2024

But this wasn't just a Pink Floyd show, this was a David Gilmour show and it was full of love. That became evident when he introduced 'Coming Back to Life' and how it was a song he wrote for Polly. If 'Learning to fly’, from 'Lapse' was a metaphorical reference to finding himself professionally and personally, 'back to life' was him confirming his personal direction - toward s Polly and a bright future together.

Coming Back to Life performed by David Gilmour at the Royal Albert Hall on the 12th October 2024

So these gigs were almost the culmination of this personal and professional relationship. Polly grew to understand David's thoughts and feelings and how to convey them into words.

This combination yields beauty. I mentioned 'A boat lies waiting, whilst 'In Any Tongue', is powerfully brought to life on stage with a thought provoking animation. Is this a story of a soldier, or the challenges of communication with your kids?

In Any Tongue by David Gilmour at the Royal Albert Hall on the 12th October 2024

And for me the highlights of this concert became his latest work, where Polly's words match David's sound and feeling, giving us magic. From the whimsical look back at the past on the title track, to the playful ‘The Piper’s Call’ we saw a relaxed David surrounded by his family, sharing these wonderful tracks with us.

The Piper's Call performed by David Gilmour at the Royal Albert Hall on the 12th October 2024

And family… this album and tour is a family affair. Polly provided lyrics, photos and support. Their son Gabriel sings on the album and Romany Gilmour sings lead on a full track, their version of 'between two points' which has rapidly become a fan favourite.

Between Two Points performed by Romany Gilmour and David Gilmour at the Royal Albert Hall on the 12th October 2024

These concerts did not disappoint. As the encore of 'Comfortably Numb' rang out I felt this was a great great show.

I was in the Royal Albert Hall surrounded in love, with a ticket bought with love from my daughter to remember not one but two incredible nights with David Gilmour. Yes it was great to see the classics again, but this concert, this tour is so much more than a greatest hits show.

Memories and Merchandise

Just like the album packaging, the concert ticket and programme were of a very high quality. The physical tickets included the iconic 'Luck and Strange' outline.

The concert programme included more great photography of David and the band, taken by Anton Corbijn, and Polly. There is also a great interview with David, and a full page dedicated to each of the band members and collaborators.I didn't buy any of the t-shirts (although you can buy them online) but what I do have is a fitting memento for two wonderful nights.

As The Luck and Strange Concerts continue to make headlines with the upcoming Rome concert film and live album release, this review stands as a reminder of what made this tour so special. For those who missed it, the film will bring the experience to the big screen; for those who were there, it’s a chance to relive an unforgettable moment.

Dreaming of a Desert Trip 2016

One stage. Six concerts. Three nights. Desert Trip billed itself as a once in a lifetime event. Big words perhaps but with this line-up, few could argue with it.

Sharing the same location as the annual Coachella festival – leading it to acquire the nickname ‘Oldchella’ due to its contrast to its unbelievably-hip long-established sibling – Desert Trip was held at The Empire Polo Ground, Palm Springs, in the desert (unsurprisingly) of California from 7-9 October, with repeat performances a week later.

And boy did it rock.

Unlike similar events, Desert Trip had only one stage, hosting two full sets from rock royalty each night with proceedings kicking off at 6pm, providing a full concert experience – and home before 12. Unless Paul McCartney is playing.

We visited on the second weekend, staying nearby at the JW Marriott Palm Springs, so had an inkling of what to expect. But only an inkling.

Across the festival site, civilised was the watchword of the weekend, with the Polo Ground featuring a wide variety of entertainment before the night’s events kicked-off. Alongside the vinyl record store and the big wheel, billboard-sized album covers (Some Girls, The Kids are Alright, Highway 61 Revisited etc) provided a great photo opportunity for those with the patience to queue.

And once you’d done all that, you could grab a beer and enjoy the largest exhibition of rock photography ever assembled, in air-conditioned comfort. A perfect amuse-bouche before the feast of music each evening.

“Who was best?” is the question I’ve been asked by everybody since my visit; with the six artists setting themselves up for easy, direct comparison. Music and memories are subjective so all I can give you is my opinion.

Desert Trip night 1: Bob Dylan and The Rolling Stones

Day one started with Bob Dylan in enigmatic mode, what else to expect for a – then – soon to be announced Nobel laureate? Kicking-off with “Rainy Day Woman 12 & 35” (its refrain of “everybody must get stoned” being taken quite literally by many of the audience), it seemed we would be in for a classic greatest hits set. Oh how wrong I was…

What we got instead was black and white images of the band mixed with footage of the forging of industrial America and a tour of his deep and – for me – obscure back catalogue. Dylan fans would have been in Bob Heaven. I, as a casual observer, don’t consider myself one of those but will definitely investigate further after this crash course.

But then The Rolling Stones brought the party. In full Technicolour style. This was the first time I'd seen them since 1990's Urban Jungle tour so I was excited for my family to share the experience.

The band including Mick, Keith, Ronnie and Charlie gave the crowd what they were looking for – the hits. Though I could have done without them letting Keith sing! The first night finale, a choir supported version of “You Can’t Always Get What You Want”, with fireworks, saw us leave Friday on a high.

Desert Trip night 2: Neil Young and Paul McCartney

Day two arrived, and so did Neil Young with an acoustic set, a brave move in front of 85,000 people. Captivating with just guitar and voice, we enjoyed classics such as “Harvest” and “After the gold rush” before he was joined by current backing band “The Promise of the Real”.

After a stunning version of “Harvest Moon”, they turned the dial up to 11, rocked the desert audience and delivered a raucous crescendo of “Rockin’ in the free world”; picking up a raft of new fans and the ire of California lawmakers along the way

The stage was set for Paul McCartney and the rumours were flying thick and fast: especially after the content of his performance the previous weekend. A three hour set was what we’d heard, and Sir Macca delivered in spades.

Covering his catalogue from The Quarrymen, The Beatles, Wings and his solo work, McCartney regaled the audience with tales of hanging with Jimi Hendrix, dedicated songs to his wives (well, two of them anyway) and duetted with Neil Young on a few numbers.

After playing his oldest/first song he then introduced his latest song, with a special guest: FourFiveSeconds with Rhianna! The younger crowd members went wild as the she performed one number then left. You couldn’t fault McCartney for delivering great set. I suspect that was nothing unique but still a fantastic evening of singalong hits.

Closing Desert Trip: The Who and Roger Waters

The final day came around, opened by The Who, delivering their usual high-quality set. Occasionally struggling with the dryness, singer Roger Daltrey joked that singing in the desert was like singing “into a hair dryer… full of pot”.  Yes there was certainly a lot of it going around. Still. The Who’s show was great but nothing earth-shattering.

Roger Waters left the best til last;  boasting the largest quadraphonic sound system ever used in a concert incredible visuals and a tight band including Lucius. And it sounded like it. Combined with stunning visuals made this possibly the best concert I’ve ever been to.

Covering old tracks from Syd Barrett-era Floyd, through Dark Side of the Moon and Wish You Were Here, Waters then focused on Animals. And as he did, rising up from the massive stage screen came four chimneys and the ubiquitous flying pig. Battersea Power Station had come to the desert!

Two tracks from Animals took on renewed significance when accompanied by a shopping list of Donald Trump insults. The Republican Presidential candidate was ridiculed on the huge screen, with visuals mocking his speeches, dressed up as a lady, called a charade and generally lambasted verbally and visually. But the piece de resistance was a vast floating pig, rising up from the middle of the crowd. And decorated with anti-Trump slogans not repeatable to a family audience.

There’s already talk of another “once in a lifetime” event, such was the success of the inaugural Desert Trip. But who could top those performers?

Led Zeppelin perhaps? The band allegedly turned down a huge payday this year. Some form of Clapton/Baker Cream reunion? Maybe U2 (after all the Joshua Tree National Park is not far from here.) At this point these are only delicious rumours but if the event I attended is anything to go by,  Desert Trip will become a regular feature of the festival calendar – and a “must visit” for rock fans – before very long.

Desert Trip Bootlegs

Update - July 2025. Whilst on holiday in Aix en Provence I stumbled upon not but two Desert Trip bootlegs. In the days of streaming I hadn’t even considered the thought of bootlegs but I was happy to come away with the CD for the Rolling Stones and Roger Waters. Both say weekend 1 but I need to listen to check. I believe the second weekend (which I attended) Roger dropped Pings on the Wing 1 so that will be the ‘tell.’