Review by Gary Spiller for MPM
It’s very leafy and green here in the countryside of South Gloucestershire, it’s also rather refined hereabouts too.
It’s a very pleasant Sunday afternoon, in between the blustery downpours, for The Who to ‘Hit Bristol’ as their tour poster for today proclaims. Splitting hairs, here at Badminton Estate, we’re about a half hour’s drive and as far removed from the hustle and bustle of Bristol’s city centre as one can be.
Still, we’re amongst a crowd of many thousands gathered to take in the spectacle of British rock legends The Who take their music to another level with the most capable assistance of The Heart of England Orchestra.
Whilst, nestled in the shadow of the Worcester Lodge – the estate’s Northern entrance, we’re a little way away from the 12th Duke of Beaufort’s front lawn (more of him later …. The Duke not the lawn in case clarification is somehow required) there pervades a well-heeled, genteel air of gentrified respectability. Not quite the mods and rockers tearing up Brighton’s seafront, in fact it’s all convivial between the once rival factions.
The home of the internationally renown Badminton Horse Trials and where the sport that shares the estate’s name was popularised in the 19th century this estate is much lauded lands. There is, after all, a double decker Routemaster bus serving Pimms near the back of the temporary arena. Tonight’s headliners, in terms of rock n’ roll history and nobility, are in my books on at least parity with their surrounds.
A career, rammed to the gunnels with notoriety, spanning across seven decades and a round dozen albums of which all bar two have graced the top ten of the UK charts. It’s a safe bet that founding members Pete Townshend and Roger Daltrey have much to be rightfully proud of. In any doubt? Then check out their seminal live album ‘Live At Leeds’ of which we will ravenously gorge upon a considerable percentage of the extended recordings tonight.
Bang on the allotted time opening band The Listening Device walk out on to the vast acreage of the stage, right on some twisted cue so the darkened clouds let fly with a short but incredibly accurate squall. Vocalist, and frontman, Harry ‘Bunter’ Worcester (aka The Duke of Beaufort as mentioned previously) outstretches raised hands in symbolic disbelief. “Welcome to Badminton!” he proclaims before introducing his cohorts and himself.
It’s not every day that googling a rock band takes you to the upper-class online pages of high society magazine ‘Tatler’. It’s herein I discover the identity of the beholder of the seemingly rain-induced bemusement. In fact, it’s not every day one gets to ‘rock out’ with the landed gentry. From a personal perspective I can safely state that this is a first.
Slightly psych, the gentle atmospherics of opening number ‘Faded Man’ draws in the early doors crowd and by the time they end their 40 minutes with a searing uptempo’ed ‘Eleanor Rigby’ they have well and truly introduced themselves to one and all. Their prog tendencies are prominent and there’s sprinklings of Marillion in ‘Laughter in Her Eyes’ and utter deluge that does its absolute best to dampen the vibe.
‘Gothic Wedding’ stirs the spirits as a watery sun vainly attempts to break through high above the stage prior to interloper ‘September Sun’ shining a piercing beam through the darkened ethereal prog-aesthetics of TLD. Worcester the self-proclaimed, with tongue firmly inserted cheekwards, “rock god and talentless golfer” (according to his Twitter account) notes “You might have been getting the idea that we specialise in the darker end of the spectrum.” Must agree with his observation that this was the track to break that particular mould.
‘Magic Potion’ invokes the essence of Pink Floyd and Genesis with an uncanny Bowie-infused edge in the vocals department, a heady brew. Thoroughbred ‘Beautiful’ rounds off a comprehensive introduction to The Listening Device’s most recent album ‘Path To Redemption before tearing up the form book with their raucous set closer.
The music of this tour’s special guests, UB40 featuring Ali Campbell, reverberated about my teenage years, in fact it’s worth noting that, alongside, Madness UB40 spent the most weeks on the UK singles chart in the 80s, an incredible 214 weeks to be precise! The Badminton gathering are about to be regaled with an hour-long journey from their late 70’s roots and social observations through to 2008 and ‘TwentyFourSeven’ the last album to feature the distinctive voice of Ali Campbell.
UB40’s contagious ska riffs and melodious reggae beats remain a personal favourite in amongst my strong leanings in the direction of rock and metal. Carefree in their very nature it’s music of a timeless essence. Nominated for the Grammy Award for Best Reggae Album on four occasions the rock-steady lineup that came together in early 1979 and remained intact for nearly three decades. A stunning length of time considering the Midlanders were an eight-piece outfit throughout this period.
Following a somewhat acrimonious split in 2008, citing management issues which were subsequently vindicated, from the band Ali Campbell forged ahead with solo projects before regrouping with fellow classic line-up members Astro and Mickey Virtue to take the music of UB40 forwards. Now minus Virtue and the sadly departed Astro the legacy remains with Campbell at the forefront with an energetically driven octet.
In an hour long set with a nucleus focused upon the first two albums of the ‘Labour Of Love’ trilogy we’re treated to two of three UB40 singles that graced the pinnacle of the UK Singles charts. It’s joyous and unbridled in its kinetics as the vibrancies chase away the threatening clouds to leave the evening mercifully largely rainless.
A quartet of nuggets from ‘Labour of Love II get the ball rolling with Al Green’s ‘Here I Am (Come And Take Me)’ the starter for ten. This and the following track ‘The Way You Do The Things You Do’ – both top ten Stateside hits yet curiously barely denting the singles charts on this side of the Atlantic – set the tone neatly. It’s bright and breezy encapsulating all that’s great about UB40.
Big Frank, Ali’s sidekick, rallies “I’m not being funny, and pardon my French, you gotta make some more fucking noise!” ‘Homely Girl’ brings the Caribbean to Gloucestershire whilst The Newbeats’ upbeat essence of ‘Groovin’ (Out On Life)’ manfully keeps the rainclouds at bay, is there a hint of blue above?
Playfully nipping at the crowd’s heels Big Frank turns motivator, bantering throughout and insists, at the chagrin of those lovely security folks in yellow, that the crowd get up, come closer for a boogie. “I you wanna dance do so!” chirpily adding “Ignore the guys in fluorescent, fuck ‘em!”
With the opening notes of the legendary ‘Cherry Oh Baby’ the overwhelming majority, myself included, more than happily comply. Ali shoulders a red Telecaster – the first appearance of a six-string in the set – and the rest is history.
It most certainly is a beautiful evening for some reggae classics such as the enduring ‘One In Ten’ – a top ten smash from 1981 – its hard-hitting lyrics protesting against the Thatcherite government of the time as relevant nowadays as then. “A statistical reminder of a world that doesn’t care” laments Ali.
An acuminous ska riffed rendition of Prince’s ‘Purple Rain’ sees Ali, Frank and co. taking the very essence of the Labour of Love series, bringing down the house in the process. ‘Stick By Me’ and ‘I’ll Be There’, the latter with delightfully prominent brass, ensure the river keeps flowing as the set builds towards a crescendo.
The ageless and undeniably soulful ‘Many Rivers To Cross’ raises the hairs on the back of the neck. Jimmy Cliff would, no doubt, wholeheartedly approve of the spinetingling delivery. Spanning a decade, the set-closing trio sandwiches number four smash ‘Kingston Town’ in between a brace of chart-toppers as the Badminton Estate grooves to the chilled-out vibes emanating.
Big Frank punches a familiar line, “People try to put us down!” in the intro of the vividly shimmering ‘Red Red Wine’, Campbell’s vocals haven’t diminished with the passage of time, has it really been 40 years? The closing track ‘Can’t Help Falling In Love’ is a bonafide crowd pleaser with the sun descends horizonwards. Yes! The sun has made an overdue appearance as Ali and his band soak up the thoroughly deserved love of the crowd. It’s been a quality packed sixty minutes that has been lapped up by rockers and mods alike. As Big Franks says “Yoh you’ve been wicked!”
With the mellifluous talents of the Heart of England Philharmonic on board The Who have set sail to the lands they must have longed for when writing their epic rock operas ‘Tommy’ and ‘Quadrophenia’. From the powering of the former’s powering ‘Overture’ right through to the latter’s spine chilling ‘Love, Reign O’er Me’ it’s insurmountable evidence that these wondrous tracks lend themselves to this expansive vision.
Roger Daltrey, crashing a pair of tambourines together, and Pete Townshend hammering a golden Stratocaster might never have envisaged being titled ‘visionaries’ at their offset in the mid-sixties but it’s a most accurate indictment of the two remaining founding members. We’ll, of course, never know how things would have turned out if Keith Moon and John Entwistle had reached this juncture but I’d like to think that this grandiose scaled adventure would meet their approval.
Getting underway Townshend thanks the crowd for coming out and supporting, along with UB40 for warming the crowd up, “As you can see, we’re playing with an orchestra” he comments the master of understatement as ever. There’s a touch of southern in ‘1921’, Simon Townshend faces off his older brother Pete as they flank Daltrey. It’s a family affair with Simon’s son Josh (guitarist in Welsh rockers Scarlet Rebels) designing the tour’s official poster, in fact the finish-line video of Josh completing his first ever Ironman event is shown on the big-screens earlier.
Daltrey’s vocals are opulent and wide-ranging in tone, statuesque he holds his mic at shoulder height whilst Pete’s guitar howls at the heavens. The thunderous drums of Zak Starkey herald the explosion of ‘Amazing Journey’ evoking memories of being at Hyde Park in ’96 when he made his first appearance with The Who. Where did 27 years go?
Atop the thundering earthquake of ‘Sparks’ a bluesy fabric is woven with the slick basslines of Jon Button entwining clematis-like. Four tracks in and it’s undeniable that the production is anything other than phenomenal; the strings and wind sections are truly storming. They canter at a fair lick in ‘The Acid Queen’ whilst the silver spherical of ‘Pinball Wizard’ careers gloriously wild about the estate. Simon blasts out the acoustic intro with Pete, along with the massed ranks of The Heart of England, building up the atmosphere. The Bally table is torn asunder with the thunder of the gods.
An errant cloud masks the sun, seeking a script busting moment, as the rousing ‘We’re Not Gonna Take It’ completes a romp along ‘Tommy’ Avenue to a rapturous roar of cheers. “At last, the sun came out” Daltrey notes before adding, sardonically, “Fucking July in England!” Pete offers a sincere shout-out to the orchestra, but their name eludes him (we’re all human after all) “Can I have my piece of paper [to remind me]” he politely requests. “They’re getting sharper and stronger” he adds.
The services of the orchestra are welcomingly retained as one question is asked ‘Who Are You’, an enquiry to which the crowd respond riotously. It’s stupendously superb, a fully expansive raging beast with Daltrey storming “Oh who the fuck are you?” The crowd provide pin sharp “Who ooohs” aplenty. Right off the smoking mean city streets ‘Eminence Front’ Pete offers “Come join the party” warning as he continues “but if you join the party you may have to dress to kill!”
The orchestra file off stage for a mid-set break, It’s humorously noted they share the same union but get differing ‘conditions. Scaling back to “being the little band we’ve always have been” as Daltrey puts it The Who crash headlong into the pure mod-fuelled rock n’ roll of ‘The Kids Are Alright’, producing a resounding despatch. Age defying classic ‘You Better You Bet’ is a kaleidoscopic effulgence.
Pete trades his Stratocaster for a red and white Rickenbacker for ‘Anyway, Anyhow, Anywhere’ as he and Roger banter between themselves. “Technically this is South Gloucestershire” the six-stringer correctively observes before a comedic ‘mix-up’ with the running order with the frontman hitting an equaliser heralding with the opening line of ‘Substitute’. Marauding bass and cart-wheeling riffs enmesh with impactful vocals as the gears are cranked up through.
Rain threatens but doesn’t materialise with ‘I Can’t Explain’ rounding off a seminal triple on non-album singles from the compilation ‘Meaty Beaty Big and Bouncy’. ‘My Generation’ follows in one almighty explosion prior to morphing into a segment of ‘Cry If You Want’.
The stampeding ‘Won’t Get Fooled Again’ trucks along the freeway with those unmistakable keys taking front stage. Daltrey stomps with his mic, hanging close to floor-level, picking up his heavy footedness which adds to a tangible atmosphere. Violinist Katie Jacoby and cellist Audrey Snyder are welcomed back to the boards for stunning rendition of ‘Behind Blue Eyes’ before their counterparts from the Heart of England rejoin proceedings for an, in the main, ‘Quadrophenia’ infused finale.
‘The Real Me’ is full blown, striking in its resonance oh Doctor! With Daltrey on harmonica ‘I’m The One’ is spellbinding “I just blend in the crowd” he emotes. The album these tracks are drawn from is one of my personal favourites and long the memories of witnessing Daltrey, Entwistle, Townshend and a much-lauded cast perform it at Hyde Park will live with me. To now be a voyeur upon their further evolution achieves parity.
‘5:15’ is ushered in with Starkey’s clicking of his sticks as Daltrey whirls his mic in large circles. Dusk encroaches as Pete’s red and white Strat wails in melodic drama. Glimmery cymbals and regal keys of ‘The Rock’ reverberate as archive footage of world strife and trouble play upon the big screens either side of the stage. It’s poignant and powerful stuff.
A solitary white beam shines upon the keys for the intro of ‘Love, Reign O’er Me’. Daltrey, fists held aloft firmly clenched, and a blue towel wrapped about his neck unfurls his fingers one by one. It’s 150% captivating. A fine spray rains down upon the vocalist, his white shirt sodden. Wild vocals echo across the stately lands with a steam hammer band delivery battering down the ramparts. Extended introductions are given by Pete prior to the showstopping ‘Baba O’Riley’ provides a truly memorable set-ending aspect.
The night skies are clear, the clouds firmly driven away in a no-nonsense fashion, as teenage wastelands are explored. We’re left wondering, and indeed hoping, that next year’s 60th anniversary is celebrated. In a summer of goodbyes from the likes of Elton John and Kiss there’s room for thought. Either way we’ve been richly entertained by two of the elder statesmen of British rock in an insurrectionary manner that genuinely belies their years.
Photography by Kelly Spiller for MPM
