Review & Photography Manny Manson for MPM
With a good wind blowing marking a definite change to the glorious weather the U.K. has bee bathed in recently, a good flurry of scantly clad rockers are making their way into Hyde Park for yet another superbly organised summer one day festival.
Today’s headliners are the formidable U.S. rockers Guns & Roses, after playing a killer set at Glastonbury only a matter of days ago, and a set in Glasgow for out friends north of Hadrian’s Wall, they now grace the Great Oak Stage at British Summer Time in Hyde Park. Already the stage has been graced by P!NK, Gwen Stefani and our very own Sam Ryder, Future artists include Take That, The Script, James Bay, the Boss himself, Bruce Springsteen, Billy Joel and Lana Del Ray, all of which have strong support cards playing on the Rainbow and Birdcage stages.
The day kicks off with ‘LARKIN POE’ consisting primarily of the Lovell sisters, Rebecca and Megan. Named after their Great, Great, Great, Grandfather who was a cousin to Edgar Allen Poe. Keen to carry on the family connection they now use the name.
The set kicks off with the Howlin’ wolf track ‘Spoonful’ being played over the ‘house’ P.A. as the girls, who now run out of the music capital ‘Nashville’ hit the stage and get into the first of five tracks from their latest album ‘Blood Harmony’ released in 2022.
Starting off with ‘Strike Gold’, the girls are all smiles as they battle against a strong breeze cutting across them from stage left. The sun is hiding behind grey clouds, we should be good as the weather has forecast a bit of wet later in the day.
Scorching lap steel rings out from Megan as Rebecca hits the mic as this slow burner builds into a great opening number. It’s a massive stage as the girls do their best to make the most of the huge space. From my vantage point it appears the girls are alone on the stage. Climbing higher Tarka Layman on bass and heavy hitter Ben Satterlee can be seen in the engine room as thy deliver a strong back line. ‘Kick The Blues’ continues this country rock sound; the lap steel sizzles under Megan’s fingers. Rebecca’s smoky blues voice croons effortlessly into the breakdown full of fast lap steel fingers and smiles as the girls clearly enjoy playing together.
The distorted sounds of Rebecca’s guitar cry out during ‘Summertime Sunset’ as the two play off each other, cheeky smiles flowing back and forth throughout. The crowd has grown to a decent size and are clearly enjoying the set.
The only cover in the set segues the proceedings, Son House, a Delta Blues man who passed in 1988, his emotive slide playing suits the girl’s style perfectly as they nail this stropped back tribute to another American legend before going back to Blood Harmony for ‘Bad Spell’. The guitar is all dirty and distorted as this one calls out, the guitar tone sounds very Rival Sons as this one stutters its way along before going into ‘Wanted Woman-AC/DC’, a righteous cacophony dedicated to the women amongst us.
With hair tied up, the wind is doing its best to make sure it’s in their eyes and mouth, it’s not let up for the entire set, the temperature hasn’t climbed into high double figures either, there are now a few with windcheaters on in the crowd. With that aside we have crashing drums and soaring strings as the girls “oooo” their way through this bouncy number from 2017’s album, Peach, to the songs mid-point where it takes on a new lease of life, pumping the energy up to a Spinal Tap 11 as it takes on an Indie, punk vibe full of angst to its conclusion.
The set is completed with ‘Bolt Cutters & The Family Name’, again full of angry lap steel and screaming guitar it brings the set to an untimely close. This has been a great introduction to this popular band. They have 4 dates in October this year scheduled in the U.K. I’m already looking to see which show is closest to be as I need to catch them in a smaller more intimate environment.
Right with feet barely touching the ground it’s now time to hoof it to the Rainbow stage at the top end of Hyde Park for NWOCR champions ‘THE DUST CODA’, with a new album ‘Loco Parise’, set to be release in under a week you know this band are going to deliver something a bit special. The tight four piece already has a huge following on the NWOCR circuit and today I’m sure they’ll win over several new fans.
Getting to the stage, the band are already under way with ‘Jimmy 2 Times’ from their debut album Mojo Skyline released back in 2021. Adam Mackie’s driving guitar is locked in tight as the drums of Scott Miller and bass of Tony Ho try to loosen your fillings, Tony is fighting with his long hair in the wind, its swirling around everywhere, no one is safe from it. John Drake is on fire delivering a great lyric, never wandering to far from the microphone as he strums his Merlot coloured Telecaster, he sing about rolling the dice before Mackie, his V on his thigh, rips out a stonking lead riff, his foot on the monitor as he does so.
‘Limbo Man’ backs this one up with a great dirty chugging intro from Drake before tribal beats thud from the drums and the band join in tight. Ho is throwing his head around, his hair only doing what the wind lets will let it do. This tune has a great foot stomping groove, those on the barrier are nodding like Churchill’s dog on a skateboard going down a cobble street, the guitar of Mackie cuts in a screams over the top of Drakes vocal and the thunderous backline. A great addition to the set.
Staying with Mojo Skyline the band crash straight into ‘Breakdown’. Its dirty intro riff thrashed out by Mackie as this builds into another blinding display of NWOCR. ‘Demon’ has a more laid-back bounce to it; however, Drake’s voice is fast, deliberate and full of grit as he thrusts with the precision of a surgeon’s scalpel as he lyricises about the Demon in his heart.
One of the new singles from the new album gets an airing, ‘Love Sick’ released earlier this month shows a different side to The Dust Coda. It still has a great lyric but the guitars are more restrained during this great ballad which has a more than passing nod to a bit of country rock not out of place with the likes of Chris Stapleton. Mackie has been kept on a leash for this one and it’s a belter for it, although it does go out of a crescendo of crashing drums and screaming vocals, a favourite for sure.
Normal service is resumed with another from the new album due out on the 7th of July. ‘Road To Hell’, released in March this year as a single, is a seat of the pants hard hitting rock anthem full of dirty guitars, soaring licks and thundering drums and bass.
Drake has an awesome voice and drips class as this one is forced down your throat like feeding a kid with a catapult, brutally delicious and a stunning end to a concussive set of NWOCR music. With a set like this is great to see that rock music in the UK is safe and powering forward. The new album is now top of my Must Have list.
Ok we’re off again to the Great Oak Stage, so called as there’s sodding a great big Oak tree wrapped around stage right. The stage is colossal, I’m sure the passengers on the overhead aircraft can clearly see who’s on the skyscraper screens that bedeck its entirety.
‘THE DARKNESS’ are up next, Justin and the boys have just shared the fact that they are going to tour the ground breaking album, ‘Permission to Land’ throughout December. If you like your rock with tinsel and glitter then having seen the band at Christmas and watched Rufus fall up the drum riser dressed as a Christmas tree, this promises to be a show not to miss.
Speaking of ‘Permission to Land’ this 20year old album makes up most of todays set starting with ‘Growing on Me’. Justin resplendent in a dark pin stripped suit, throw his guitar on oozing confidence, the familiar riff slams out as Justin’s heady voice has the crowd smiling like Cheshire cats. Justin is back and forth across the stage, again Rufus on drums takes a bit of over head camera shooting to catch a picture. Sadly, the Justin Jump is blocked by the house camera men and the stage front blinders and flame boxes. ‘2021’s ‘Motorheart’ is next, for this Justin has removed his jacket, sporting a black singlet he can move around showing off his ink as he belts out this faster tune. Fire is pumped from the boxes through-out the tune, these flames go up then sharply to stage left as the breeze takes the along, threatening to envelope Justin at times it makes for an exciting visual.
2019’s ‘Heart Explodes’ continues with Justin’s strip. His singlet is now removed as he stands stage centre encouraging the crowd to clap along to this almost Queen style drum beat. Frankie is pounding out the bass line in a dapper apple green suit, his glasses are sliding down his nose so Justin helps him out by pushing on his nose and dances away laughing.
Dan is back and forth, his locks blowing in the wind as he joins in the clapping. ‘Solid Gold’ from 2017 keeps the crowd engrossed, its riff driven power intro delivered by Dan, allows guitar free Justin to postulate, something that he has achieved ‘Boss’ level in, as he does so more flames scorch his eyebrows before he gets his guitar back on and proceeds to knock a red-hot solo. The crowd duly oblige in the clapping. The screens either side of the stage showing the bands antics as the song finishes and then it’s back to 2003 for ‘Love Is Only A feeling’ this is started with more hand clapping and that familiar ‘Scottish-esque’ guitar riff.
As Justin sing’s he has the crowd waving back and forth before going into ‘Japanese Prisoner of Love’ another from 2017’s Pinewood Smile, its pacy riff and thundering drums builds into a bouncing tune that has the crowd light on their toes as it plays out. Justin toys with the audience as he does so, he is the entertainer, the great frontman as he puts on yet another polished show.
Permission to Land continues with ‘Get Your Hands of My Woman’ its raucous rock classic from this debut album. Dans working over-time as Justin chooses to sing this one, stopping to throw his mic over his shoulder he walks and tries to get the crowd to sing, he says it sounds like gas leaking. Ethan gets picked out in the crowd to sing along with Justin, who reluctantly sings along, displaying he has the range to sing along with him.
It’s pointed out that he is on the wrong side of the ‘talent moat’. Justin asks for a show of hands if you want to hear the Christmas song then briefly sings a shortened version of ‘Christmas Time (Don’t Let the Bells End). He announces the December tour and then says he’ll only sing their biggest hit if the crowd bounces before it starts, the crowd are off and Hyde Park is seismic as the crowd move as one while ‘I Believe in A Thing Called Love’ the crowd ramp up the bouncing during the chorus, they continue singing when commanded to put their thumbs in the air, they all do just that.
The middle section has the crowd singing and clapping over-head, the crowd is a sea of hands. Roman candles go off along the front of the stage as the song is brought home with feedback a Justin jumped and flash bangs along the stage front.
A cracking set and a note of the date of my local The Darkness show in December. Get your tickets it’s more fun than Aladdin or Jack and the Beanstalk.
And its off again, back to the Rainbow Stage for the loudest band in South Wales, ‘JAMES AND THE COLD GUN’. These guys played the Bird cage stage here at BST last year in support of the mighty Pearl Jam. Kicking off their set with the Indie, punk vibe of ‘Chewing Glass’ this is a single from their up-and-coming debut album due out in July 2023.
The angry lyric slams in your face as the energy kicks off, ‘She Moves’ continues the onslaught of high energy, I’ve noticed that the guitarist has changed places with the bass player, in fact James mentions that their bass player is unwell and can’t make the show, I believe this is Al Jones ‘deping’ for Peter Smith. I’ve struggled to find the girl bass player’s name. She appears on lots of pictures, promo’s etc but like so many band websites, there is no bio or band names. So, apologies there.
The bludgeoning continues with high energy antics and ferociously fast beats as we continue with the debut single of the then ‘new’ James Joseph project. ‘She Moves’ is a raucous abuse of your ears as it blasts your senses, full of familiar Indie, punk energy it makes way for the first of three tracks from the 2022 E.P. ‘False Start’, the first being ‘Plug Me In’ which is followed with ‘Cheating on the Sun’ again from the new spinner due out soon. Its slow start gradually builds into a sound that is reminiscent of the early Seattle sound, a generation of music that put paid to many a classic rock band in the making.
‘It’s Mutual’ continues with its grungy down picked guitar. The crowd seem to be loving the sound as there is a good congregation enjoying these South Wales Alt-Rockers. They finish there set of seven songs with ‘My Silhouette’ from the new album with its feed-back driven start, again the familiarity to early angst driven post punk bands from the end of last century.
The E.P. gets the final slot with ‘Long Way Home’ with its stop start guitar riffing it soon has the crowds’ heads nodding, the tune knocks it out of the park as the energy levels go through the roof to finish with. Yet another Welsh triumph of a band, Cardiff seems to have the right chemicals in its water as it seems a melting pot of great young bands, these seem destined for greatness on the circuit if that short set is anything to go by, awesome stuff.
Despite the constant threat of rain, it has somehow remained dry as we put our heads down against the breeze and make our way back to the Great oak stage for ‘THE PRETENDERS’. Chrissie Hynde and the band are on it, kicking the set off with ‘Losing My Sense of Taste’ from the new album ‘relentless’ due out at the beginning of September, this is classic stuff as we wait in the side-lines like rabid dogs, before we’re let loose in the pic to gather our pictures. Chrissie continues with ‘Turf Accountant Daddy’ from the 2020 album ‘Hate for Sale’. The wind is blowing the sound around but Chrissie’s trademark warble on the longer words is still there and strong with it.
We finally get released into the pit, and we’re like a stampede of cattle, just as ‘Kid’ from the debut album, 1979’s ‘Pretenders’. Centre stage with a gold sparkle telecaster hanging from her neck, she croons into the microphone, her dark eyes watching the crowd, she smiles between words as the wind whips her hair about her face. Her band, although it has changed since 1978, it still has the original drummer in Martin Chambers, although he did have a seven-year hiatus, he’s is still as solid as ever with a thunderous back beat. Chrissie drops into ‘Time the Avenger’ from 1984’s learning to crawl as we continue to snap away, it’s difficult to get clear shots of this legend with the video screen cameras running back and forth in line of sight. As the song progresses, we manage a few clear shots as she moves into a clear space before the camera train catches up with her.
There’s a good variety in the set, due to the great back catalogue of tunes to pick from. The Sophomore album, the inspiringly named ‘Pretenders II’ brings back memories of a leather clad Chrissie on Top of the Pops. The jangly guitar sound is there as the crowd try to sing along to this classic as Chrissie tells us “You’ve Changed”, I know my knees are a lot older if that counts! 1984’s ‘Middle of the Road’ continues with its “Woooo ooo ooo”, the guitar rips the breakdown as James Welbourne rocks out along-side Chrissie, 1986’s ‘Him to Her’ has lost none of its lamentable charm as it did when it was released as a single back in the day.
Who can forget the classic ‘Back on The Chain Gang’, looking around the crowd, who are on their toes moving to this classic track from 1984, Its followed with the timeless ‘Thumbelina’ a rousing rockabilly kick ass of a tune, again from 1984’s ‘Learning to Crawl’ long player. The powerhouse on the drums providing a rocking shuffle beat as the guitars twang around it, Chrissie’s delivery always reminded me of early Elvis, in the film Roustabout from ’64. I digress. We get a second number off the forthcoming new album, ‘Let the Sun Come in’, is a vibrant number with a decent sing along hook. The video, for those who have checked it out, features a disgruntled cupid with boxing gloves, those with sharp eyes will notice that Chrissie’s guitar was sporting that as a sticker behind the bridge on her glittery telecaster.
2020’s ‘Junkie Walk’ continues with the new sound, which to be fair isn’t half bad, its definitive ‘Pretender’s’.
The back side of the set is a return to the earlier classic tracks. Who can forget Chrissie’s crooning delivery to 1986’s ‘Don’t Get Me Wrong’ along with its bouncy beat and snare snaps, has the crowd on its toes once again. Chrissie’s voice is on point as she peers into the crowd from behind her windswept bangs and that trademark dark eye make-up. ‘Cuban Slide’ from the debut album follows, the melody to this one always reminds me of ‘the Clash’ and ‘I Fought the Law’, I need to get checked in and my head sorted I know. Music has that power to take you to places that you had long forgotten, powerful stuff indeed.
The faster jangly riffs of ‘Tattooed Love Boys’ keeps the nostalgia flowing as this one pulses out hard. This thumping tune is relatively short at around three minutes, including the dead stops through-out, the windmill guitar licks keep the interest going as this breaks down into a guitar tune from 1979, just as the Punk sound was becoming more mainstream thanks to the TV shows that were prepared to show case it. Probably one of the most accomplished hits that the band had, was the stunning ‘I’ll Stand by You’ this 1994 banger will for ever be a stand out song. Chrissie’s warm vocal oozes sincerity. There’s a quote from Chrissie saying she felt better about the song when Noel Gallagher said he’d wished he’d penned the song. Some of you might recognise it as being used in the NSPCC adverts, a cover by Girls Aloud was used in a baby’s follow-on milk advert.
The set concludes with the more up beat ‘Mystery Achievement’ from the debut album. It wraps up a tasty set of classic Pretenders. A great trip down memory lane, and proof positive that the bands song are just as relevant today as when they were written.
And we are on the hoof again, a military yomp back to the Rainbow stage at the far end of the park. Weaving through the hordes of folk making their way to purchase beer, fodder and merch, of which the queue is as long as it’s ever been to by memorabilia of this fun day.
Reaching the Rainbow stage, I’ve just enough time to eat the wrap that I traded a kidney for. Its ok but I think they got the better side of the deal.
L.A’s ‘DIRTY HONEY’ are another band I’ve seen several times so I know this is going to be a cracking set. John Noto has put together a stunning band with LaBelle of Vox, Smolian on bass guitar and the recent addition of Bean on drums, he replaced Corey Coverstone on the throne. The set kicks off with ‘Can’t Find the Breaks’, the crowd are on the claps without asking, looking around there are plenty of Dirty Honey tee shirts on display. LaBelle’s sleazy voice slides around the dirty guitar of Notto as the front three patrol the stage. We are getting the full treatment as the lights flash around the large backdrop.
Notto and Smolian are up at the stage edge as the solo rips a new one to the partisan crowd. They are going down well. ‘California Dreaming’ continues this high octane set of filthy riffs and growling lyrics. This is head nodding at its best, the nasty riff has your face screwed up as you stomp along to Notto’s striking guitar work. LaBelle has the mic in the crowd as we get to the sing along hook, great stuff.
‘Heartbreaker’ sees the rain start, Notto notices it as he comes forward but quickly back steps with-out missing a beat, his eyes no doubt wide open behind his sunglasses to the near miss. His guitar is in the air as the solo rips out. LaBelle makes his way onto the bouncer step as he thrusts the microphone above the heads of the crowd who are happy to sing along.
Having just an E.P. and the one long spinner the band don’t have a huge back catalogue but what they do have is one rich in quality as a new one ‘Dirty Mind’ grinds out. Smolian looks like the love child of Slash and Glenn Hughes, his stunning head of hair must be due a hair care advert. There is a Black Crows vibe to the band as no doubt a few of the doubters will be saying, how-ever there is a tightness between the band members that the Crows don’t seem to possess. ‘The Wire’ continues with the dirty sleaze as LaBelle struts his stuff. The beats flying from the back of the stage a pulsing waves of thundering concussion, as Bean is all ‘Animal’ smacking the bejesus out of his kit. Yes, we know your there Jayden.
‘Don’t Put Out the Fire’ is one we’re told is relatively new to the set. Notto down strokes the LP in his hands as LaBelle growls his smoky voice into the mic. The double stops on guitar sound out as Smolians bass rumbles along locked into the kick drum.
This laid-back number has Notto join LaBelle on the chorus. It’s another foot stomper of a tune, enjoyed by the crowd who are clapping along. The single ‘Another Last Time’ from 2021 follows on. The guitar has a richness to it that drips honey, LaBelle’s voice has obviously been in the same honey point as it oozes warmth and depth despite the crowd around me singing along. This one has a Faces feel to it, you could be forgiven thinking it’s a young Rod Stewart on vocals. I’m liking this one as it plays out in a very mature manner.
A belting piece of work. ‘Won’t Take Me alive’ the single from their sophomore album follows on. The album is due out on the 7th of July so just a few days away. It’s a full-on balls out rocking number, LaBelle’s voice is on fire now it’s had a good warm up, centre stage he’s wrapped around his mic stand as he belts this one out. Its robust little number that again has the heads nodding, Notto’ soon has his LP screaming as he rips out the solo as the crowd join in with the over-head clapping. The dead stop has the crowd cheering for more.
We get what we want, The E.P. is revisited for the last to songs of the set. Up first is the banger, ‘When I’m Gone’ with its stunning breakdown leading us into the final song of the set, one of which no Dirty Honey show is complete with-out, and that’s the brilliant ‘Rolling 7’s’. We’re invited to sing along for this one. The band are spread across the width of the stage as this one plays out. The chorus has Notto join LaBelle on the vocals before he thrust’s his LP into his groin as he riffs out.
LaBelle has gone walk about as he laments to the crowd. Notto has his L.P. behind his head as he again shows the crowd what a great band this is, it’s a great set closer and one that kills it in a small intimate venue. The crowd clap and cheer as LaBelle says he “feels a little love” it’s a superb last note from this dynamic singer. A stunning band and my stand out set of the day besides the mighty ‘Guns’.
Dirty Honey are supporting the mighty Guns n Roses on their U.S. tour before embarking on a three-month headline tour of their own. They are a band to see in a small venue, catch them when you can its money and time well spent.
And now starts the march back to the press tent. Guns and Roses aren’t on for at least another 20minutes so were corralled back into the press tent where we’re given strict instructions that if we want to watch Guns n Rose’s we have to leave our camera bags there. We will not be allowed into the crowd with them. I lock mine to a table to prevent it going walk about.
I don’t want to come back to find it’s gone walk about; I’m not saying it would but you can’t be too careful. I grab a couple of Coke Zero’s from the fridge and head off to join the thousands in the arena. Luckily my media pass gives me access to the ‘Gold’ area at the front.
Standing between the two huge delay speakers gives you a great view of the colossal stage. It’s covered in screens which are animating their way through the programmed sequence leading up to ‘GUNS n ROSES’ arrival on stage. The whole stage gives the impression of being alive as various images and the bands logo appear and morphs on the screen, it is one huge display screen with high quality animations by way of an intro to the band hitting the stage.
As they do so, they appear tiny, its now obvious just how big the set is. Kicking off with the dirty riff of ‘It’s so Easy’ from ‘Appetite for Destruction’ has Axel nailing the vocal, it’s very high in the mix and from the off has no obvious signs of a problem voice, the obvious elephant in the room. Racing about the stage he makes way for Slash to nail the solo then we’re straight into ‘Bad Obsession’ from ‘Use your Illusion’. The crowed are on fire, in front of me is a sea of bouncing heads and raised fists as the sleazy slide guitar rips this great tune from 1991.
The cowbell is on point as Axel paces the stage belting out the words. The hanging speakers on either stage side are moving with the wind giving a surge to the sound as they swing back and forth. The animations are great as they dominate the main stage screen, either side cuts from shots of Axel to Slash, Fortus and Duff. Its good they’re there as from my vantage point, although great for the audio, it is too far away for a good view of the ants on the stage, it is an impressively oversized monolith.
‘Chinese Democracy’ is up third, this being the title track from the 2008, and latest album, and one of the few more recent numbers in the 20+strong set. The album took 14yrs to write and featured several players, including Bumblefoot and Buckethead, from various line ups, Slash didn’t re-join the band until 2016 after leaving in 1996 to follow a career that has seen him play with Myles Kennedy, Velvet Revolver and Slash’s Snakepit to name a few.
And as a nod to the great man himself we get ‘Slither’ from his Velvet Revolver days. A crowd favourite full of dirty beats and a hard-hitting melody. Axel’s voice is keeping pace as he runs from side to side. Ok some of the higher register bits are a bit on the thin side but taking his wild life into consideration along with his age and his racing about, he’s killing it. At least he’s trying to get there and doesn’t have someone else’s voice covering for him.
His voice is forgotten about for ‘Mr Brownstone’ as the crowd take over the singing duties to this 1987 classic. He still manages to strut around the stage while the band rock out. This is followed with the guitar riff that belongs to Link Wray’s ‘Rumble’. Slash is stood stage centre as he down strokes this little ditty before he drops in the phenomenal opening riff to ‘Welcome to the Jungle’ after a bit of teasing. This has the crowd on its feet, bouncing along with the beat as Axel comes back onto the stage. He seems slightly breathy as he crosses and leans into Fortus before asking London to scream as Slash gives his fingers a quick work out during the song’s breakdown.
‘Reckless Life’ from the ’88 sophomore album see’s Axel stumble as he backs in to the drum riser and nearly puts him on his backside, he never misses a word though as he grins at his clumsiness. He comments about hoping that it’s the only stumble of the night. ‘Double Talkin’ Jive’ takes over with Slash wandering the stage riffing out to this one from 1991’s ‘Use your Illusion I’ as a bit of trivia the opening line refers to a bodyless head found in a bin next to the studio, allegedly belonging to a Porn actor. Fortus with his black Gretsch opens the riffage to ‘Pretty Tied up’ from ‘Use Your Illusion II’ again from 1991. These last couple of songs have a different feel to them as they had gotten rid of Steve Adler from the drum throne for his addiction to heroin, his groove was a big part of the early ‘Guns’ sound.
‘Hard Skool’ and ‘Absurd’ which is dedicated to things you might read, and gets a huge cheer from the crowd, follows on, these were two songs used on the E.P. along with ‘You’re Crazy’ and ‘Don’t Cry’, both being live versions. This was the first recording made featuring the newly re-joined Slash in 2016. ‘Estranged’ from 1991 follows before we get the second cover of the night, ‘Live and Let Die’ by ‘Wings’ from ‘Use Your Illusion I’.
Queue the crowd to sing along as the mushrooms float about on the screens. Axel pulls that huge note out of the bag pre breakdown as Fortus and Slash riff out. The crowd join back in with the singing as the song continues to build, arms waving and fingers pointing as they do so. With a screen of orange and a close up of Slash’s fingers the song ends to huge applause.
They quickly followed up with ‘Rocket Queen’ from ‘87’s Appetite. Dizzy Reed gets a listen to on keys before Richard Fortus cuts loose showing that he’s more than just a rhythm guitarist to Slash’s lead. In fact, Slash has left the stage momentarily. Up on the riser stands Duff, his bass is locked into Ferrer’s kick drum as Slash reappears and gives it large through the ‘Frampton’ voice box over on stage left, his face appearing on the back screen as he plays along, the mirrored glasses reflect the grey sky beneath his now, infamous top hat.
Axel appears in time to bring the song to a timely end. A crashing car on the animation heralds the third cover of the night, this one being ‘Down on The Farm’ by the UK Subs. Its punky delivery by Rose buts a quirky edge to this one, the Firebird guitar in Slash’s hands completements the feel to this old banger which finishes with the big heart on the animation screen. The jungle drum beat continues as Slash is digging in with the start to ‘You Could Be Mine’ from 1991. Axel’s voice is standing up surprisingly well as he belts this one out. Once again, the crowd join in when they can. There is no denying that Axel is still one hell of a front man as he lets Duff McKagan take over lead vocals for the Stooges cover, ‘T.V. Eye’.
A tattered Ukrainian flag flies across the centre screen as Slash walks on with a twin neck guitar. ‘Civil War’ is greeted with respect from the subdued crowd as Axel softly sings the open lines to this 1991 belter. In front of me there’s guys linked together dancing to this lamentable ballad, obviously having paid a few visits to the bar. Axel whistles as the flag flies once again on the back screen signalling Slash to drop in Hendrix’s Voodoo Child before going into a solo of outstanding guitar showmanship. Say what you like about the boy from Stoke, he’s still got the chops as he hammers out scorching lick after lick to delight the bedroom guitar noodlers in the crowd.
As skulls float sky-wards on the screens, we get that sing along classic from Appetite, ‘Sweet Child of Mine’ with its haunting guitar. The crowd is a sea of phones as they record this seminal number to play to their kids. The guitar breakdown has several air guitarists thrash the moves out around me, brilliant. “Where do we go” sings Axel as the song builds to its triumphant finish. Axel now, quickly takes to the piano for ‘November Rain’ an animation of rain is falling on the main screen. Melissa Reese on synth is adding the orchestral parts to give the song that big sound as well as providing the BV’s. Slash’s solo is subtle as sparks cascade over the centre screen, it’s locked into his thigh as he makes it cry out, as both he and Axel bring the song to a climax, much to the crowd’s delight.
Walking on in a white leather biker jacket Axel whistles his way across the stage, the song is obviously ‘Patience’ from ‘GnR Lies’ he drops his mic away as the crowd are singing along with him. The signing from side stage has shown up on the screens, a great thing that BST have done to include those hard of hearing, they have done a great job all day, the screen has gone to a seated Slash playing the acoustic guitar, Fortus is sat next to him as they riff the song along, harmonising as Axel patrols the front of the stage singing “just a little patience”. With a drawn out warbled “yeah” the song finishes to yet more screams from the partisan crowd.
Tom Toms slam out as the guitar riffs build into ‘Coma’ from 1991. The riffs continue over the machine that goes Ping as Axel tells us “The world is full of shit”. This is probably the weakest song in the set for me although it goes down well with the collective. The “ooohs” start as the final cover of the night plays out, the seminal Bob Dylan anthem ‘Knockin’ on Heaven’s Door’ is sung by the crowd. Again, Slash kills the guitar parts played on the twin neck SG. All around the hands are up with phone torches lit up as this one plays out. Axel is now resplendent in a dark glitter jacket and what looks like the Harry Potter talking sorting hat at first glance. Richard Fortus plays the solo on a beat-up LP before Axel leads the crowd in a sing and recall in this extended version of Dylan’s classic.
The night finishes off with a return to ‘Appetite for Destruction’ an album that is filled with absolute knockout tracks, a breakthrough album but also an iconic one that needs to be in everyone’s collection. I’m pleased to say I bought it when it was originally released with the banned cover. As the trains horn blasts out the band rock into ‘Nightrain’, this has the crowd bouncing again as the energy increases once more. Axel’s voice is standing up to it well as Fortus shares the lead guitar duties once again. ‘Don’t Cry’ brings the energy down as Axel controls the tempo, as crowd sing-a-long. He paces the stage whilst singing this ballad from ‘Use Your Illusion I’.
There is, sadly, only one song left to play it can only be the mighty anthem that is ‘Paradise City’. At which point the screen explodes and Slash, displayed on both side screens belts out that well known riff. As Axel comfortably sings the open lines the crowd clap and sing along. All I can see in front of me is a sea of mobile phone screens, obviously capturing this moment.
The bouncing crowd continue to sing through-out. The guitar breakdown has a renewed energy as the crowd get a second wind as they start wildly jumping up and down as the guitars scream forth from the stage. Axel is postulating in the back, his foot stomping along before he joins back in with the crowd singing the last words to the last song before, standing front and centre, he screams, with his arms stretched out, “Hyde Park, LONDON U.K. Good F*&kin’ Night”. The crowd take this as a cue to return the screams as a sign of cheers for a great show and a greater night.
What did I think?…… WOW! Pure and simple!
I last saw GnR on the Appetite tour back in 1987, it was a shambles, the band were full of whatever chemicals and pharmaceuticals that they could get their hands on, and as a result they couldn’t perform, it was an embarrassment, and I lost interest in them as a live band ever since. Now, some 36yrs later I’ve just seen them for only my second time, and what a difference those years have made. Like every good rock band, they have lived a life of excess and come out the other-side all the better for it.
People will always call the vocals of bands that have been around for years, they called Coverdale, they slated Elton, but while they’re slating these icons, they fail to point out the lives they’ve led and the heady ages that they are now reaching, and they years of pleasure that they have already provided. I’m sure half of these naysayers couldn’t get out of bed in the morning if they’d lived the same sort of lives.
Forget the pathetic BBC coverage of ‘Guns N Roses’ at Glastonbury, tonight, Axel, Slash and the boys and girls who shared the BST Hyde Park Great Oak stage have delivered a stunning set of classic Guns n Roses, of that there is no doubt, and in doing so have cemented their place as one of the top live bands on the circuit, the whole of Hyde Park would agree to that.
As a footnote, I failed to get to see any of the bands on the Birdcage stage. ‘The Foxies’, ‘Bad Nerves’ and ‘Grade 2’ for that guys I’m sorry. I wish you all well, and like James and the Cold Gun, come back next year to grace the Rainbow stage.
G&R Photography by Guilherme Nunes Cunha Neto / @guilhermeneto
