Review by Gary Spiller for MPM
‘It sure been a cold, cold winter,
My feet been draggin’ ‘cross the ground,
And the fields has all been brown and fallow,
And the springtime take a long way around.’
‘Winter’ – The Rolling Stones
On what is one of the coldest nights of the winter thus far we trek Somerset-wards for our first gig of the new year.
With the mercury recording figures in the negative the much-revered British Lion await us in the friendly surrounds of Frome’s Cheese And Grain.
It’s, without a doubt, one of our favourite venues to work, always a warm welcome and a relaxed yet professional environment. This evening the heating system, mercifully, is in on the welcoming too with the environs of the spacious hall plenty warm.
Formed in 2012, about the nucleus of founding Iron Maiden member Steve Harris, you could be forgiven for assuming that British Lion is merely a side project for this most pragmatic of musicians. Quite the reverse in fact with Harris flitting about the spotlights’ beams he appears keen to step back to give the focus upon his colleagues.
Taking temporary leave from his Maiden activities – they’re not touring until September according to their website currently – Harris seems to revel in the majesty that is Richard Taylor on vocals. Up front and central there’s the underpinning meld of elements of luminaries such as Dickinson and Bayley within Taylor however the frontman isn’t a carbon-copy being more than able to plough his own strengthened furrow. Alongside is the six-string partnership of David Hawkins and Grahame Leslie that entwine and entangle with equal pleasure. Whilst all the awhile, behind the fronting quartet, drummer Simon Dawson lays down a percussive foundation that matches each and every galloping low-beat from Harris’ quadrumvirate of heavy-duty strings. It’s a volcanic fusion that emanates forth.
However, prior to British Lion embarking upon their freight-train of a set there’s a Maiden-related treat in store for the already healthy-sized ensemble gathered within the Cheese And Grain. Special guest for the entire eighteen dates of the tour is onetime Maiden keyboardist Tony Moore who prises open the lid upon the wondrous rabbit warren that represents the journey this most enigmatic of characters has undertaken in his sixty-five years upon planet earth.
From the outset, taking to the stage by a heraldic thunder and lightning, Moore cuts an instantly likeable and affable figure chatting amiably, between tracks, through his exploits and experiences. Envisage an alloying of the larger-than-life spirit of Eddie Murphy’s Nutty Professor and the sparkling intellect, and indeed humour, of Sir Tony Robinson and one is heading on a bearing headlong towards the madcap realms this talented individual inhabits.
With sequined skulls winking in the half-light Moore heads off with the bluesy intro of the 12-minute opus ‘Awake’; if Jean Michel Jarre were a guitarist this is the sort of presentation I would expect. It’s flash yet not in the slightest overbearing, fully five minutes in and Moore’s vocals, reminiscent of David Gilmour no less, kick in. this track along with the gently soaring Pink Floyd-esque set-ending ‘Asleep’ happily parenthesise a captivating hour-long set in which the inspirations of wanting to be Elton John, Alice Cooper, Genesis and Pink Floyd all at once shine through.
It was back in 1977 that Moore undertook a brief stint as Maiden’s first keyboardist, quickly realising the direction the nascent metallers were taking didn’t require keys but has since maintained a friendship with Harris to the day. One that has seen Harris embrace Moore’s endeavours to the point where late-night creative sparks resulted in the seeds of the quirky, up-tempo stomp of the two-toned fringed ‘Crazy In The Shed’. “Ain’t nobody who can fix what’s in my head” notes Moore.
The darkened dystopian vibes of ‘The Clock Has Started’ sweep across the desolate barren lands whilst the striking ‘Love We Need You Here’ stands at the “crossroads of darkness and light.” The interchange between Moore and his expansive array of backing tracks and visual imagery truly makes this experience more than a ‘one-man show’. A love and ambition of performing is told in a rousing ‘Just One Night’; into the second half of the tour a further six dates lie ahead before the full shebang is taken on the road by Moore for a set of headline dates with “a full two immersion” promised.
Through the comparative dimensions of the cosmos the comparative scales of humanity and its existence are drawn in ‘Dear Life’, whilst an emotive tribute is paid to Moore’s recently departed mother. It’s all about perspective in the end.
A skeletal troupe dance an eerie jig, as the brass section regally trumpets a crescendo of bats in ‘Not Normal’ before Moore takes to the synth for the Beatles-infused psych of ‘Remember Me’. It’s been one of those enthralling performances that’s come right out of the leftfield I conclude as the closing notes of ‘Asleep’ reverberate. The wide-ranging skills leave me wondering why Moore hasn’t yet reached a large audience of which he’s most deserving of.
In what was originally planned to be a sixteen-date tour, stretching as far north as Aberdeen and as far south as Bournemouth and beginning at London’s famed Cart & Horses, additional dates were added in the East end of the capital city. Tongue inserted firmly into the cheek referred to as a ‘warm-up for the warm-up’ and a ‘warm down or worn out’ the Cart & Horses had snared a famous hat-trick. Acknowledged as ‘The Birthplace of Iron Maiden’ it is highly apt that the tour is ‘book-ended’ with sold-out dates here.
In fact, it’s not that far off from being sold out this evening with somewhere close to the region of 750 souls drawn to deepest Somerset, it’s bustling within the Cheese And Grain and levels of anticipation palpably expand with each and every passing minute. AC/DC’s anthem ‘Highway To Hell’ – somewhat ironic given that Maiden were branded ‘satanists’ some four decades ago – ebbs away, the lights darken, and an orchestral intro blazes forth, heralding sixteen slabs of metal bearing rock across an unrelenting hour and a half.
It’s a well-constructed set that airs seven tracks apiece from British Lion’s two albums – 2012’s self-titled debut and ‘The Burning’ released eight years later – plus turning the spotlight upon two new numbers that hint at the possibility of a future release. Roaring and galloping a charge emblazoned in pride ‘2000 Years’ – new for this tour – pounds forwards, “You won’t see me coming!” triumphs the expressive Taylor; whilst the quintet splendidly romp, tight as you like, through the stampeding invasive demon that is ‘Wasteland’.
The set-opening splendour of the stirring beast ‘This Is My God’ – off the eponymous 2012 debut – explodes with a trademark growl, the rumbling bass of Harris and Dawson’s drums prominent. Unleashed the Lion wreaks its particular brand of heavy metal havoc unbridled. The punky-fringed stomp of ‘Judas’ follows seamlessly in the wake untroubled by the broiling atmospherics.
Attentions are switched to ‘The Burning’ with a triumvirate of the most recent of studio offerings enwrapping themselves around ‘2000 Years’. Taylor rallies “C’mon I wanna see your hands” in time honoured fashion; in truth those gathered herein don’t require uplifting, they’ve been onside from the off. Stage left the beanie-hatted David Hawkins shreds in pleasure during ‘Father Lucifer’ as Dawson’s drums cascade over the rapids. With its neoclassical fringes the stage is fully prepared for the clamorous turbulence of the titular track ‘The Burning’. Taylor’s echoey vocals embrace the beguiling guitars of Hawkins and his counterpart, across the stage, Grahame Leslie.
The gentle into of ‘Legend’ soon detonates chockful of Celtic pride; with raises horns Taylor salutes the crowd’s singing with sincere appreciation. Given that Harris’ beloved West Ham had suffered a shock FA Cup exit the previous night just a few miles north up the A37 at the hands of Bristol City the bassist somewhat bravely, sports the claret and blue colours of The Hammers about the strap of his bass. Pride in your roots.
The Maiden-fuelled strains of ‘These Are The Hands’, inspired by the changes in Taylor’s East Anglian hometown, is well loved. The exalted shadowy tones of ‘A World Without Heaven’ is consummate in its metallic offerings, treading the halls inhabited by the likes of Maiden and Queensryche fists and horns, alike, punch the air in pugilistic acknowledgement.
‘Spit Fire’ is dedicated to his father by Taylor, “Everything about this band is in our songs, our words, our music” the vocalist explains by way of introduction. Hand-picked notes from Leslie and Hawkins punctuate the intro before the band, as one, accelerate hard with an explosive gallop, the stage bathed in an ominous orange for this mini opus.
Bright and effervescent ‘The Chosen Ones’ sees a touch of acoustic guitar layered atop an underpinning gnarl. This is Marillion heavied up on the scale with a touch of early Hogarth about the vocals. A sumptuous twin-guitar delivery is despatched by Leslie and Hawkins with the latter giving a big thumbs up to the Cheese And Grain audience as Harris lifts his trademark Fender Precision bass in the vertical.
There’s absolutely no fuss in the output from the stage, no thrills or gimmicks are necessary, none required whatsoever. One senses this is precisely how Harris wishes it to be, he clearly revels the more intimate surroundings. Whilst a bona fide rock legend there’s not even the merest of hints of an ego. It’s a well-oiled machine that fires British Lion, industrious levels of endeavour and a good honest measure of elbow grease ensures a precise end result.
The rousing spirit of ‘Land Of The Perfect People’ rolls uninterrupted into ‘Us Against The World’, a rollickingly good ebb and flow as the guitars chime Maiden o’clock. A lupine howl as lunar forces tick.
There’s no encore, none is expected. Instead, we take a hard-hitting trio squarely on the metaphorical chin to wrap proceedings up most tidily. ‘Lightning’ is very well received, compelling matter with hammer blows delivered heftily from towering cumulus nimbus.
Leslie enquires about a singalong, and we get a chorus or three of woahs somewhat reminiscent of ‘Hallowed Be Thy Name’ before launching into ‘Last Chance’, rampaging in top gear. Clearly fired up by the crowd’s mighty efforts Leslie fires a solo as he moves across to his partner in crime Hawkins, the Cheese And Grain are in fine fettle vocally.
The metal masterclass concludes with a stampeding ‘Eyes Of The Young’, its summery feelgood vibrancy beaming through sending us out into the chill late evening air with fires burning brightly. It’s been a truly memorable way to get the year’s gigging underway for us.
Iron Maiden’s bass player, founding member and primary songwriter, Steve Harris takes temporary leave from his Maiden activities to concentrate on his side project British Lion returning to the UK for a 16-date winter tour to kick off the new year, starting on 4th January at London’s famed Cart & Horses venue in Stratford, where band leader Steve Harris played his very first gigs.
Photography by Kelly Spiller for MPM
