Review & Photography by Manny Manson for MPM
Yet again, Rock City is the place to spend bath night. Another Sunday another gig, this time it’s the Legend that is Johnny Marr, ending a short run of his ‘The Spirit Power’ tour, this run of shows being to promote his latest offering, the fifth solo album alongside the fifteen studio albums he’s played on as part of other bands. To say the man is a creative genius would not be out of place, and whom today is as big as he ever was, the fans waiting to see him perform tonight are already up the road and there’s still 30 minutes before the doors open.
Along for the ride, in support, is Gaz Coombes, the one and only man of the big lamb chops who fronted the three-piece indie rock band Supergrass, formed in 1993, in Oxford, they went on to have hits with ‘Alright’, ‘I Should Coco’ and ‘Pumping on Your Stereo’. The band became a 4 piece in 2002 when Gaz’s brother Rich joined on keys.
They released six studio albums before taking a hiatus citing band differences in 2010. A seventh album remained unfinished and unreleased. After a few reunion shows the band played a short set at the Taylor Hawkins tribute concert in 2020, after which it was later confirmed on social media that it was the bands last live appearance. Gaz embarked on a solo project in 2010, releasing his debut single in March 2012 entitled ‘Hot Fruit’ and his eponymous debut album ‘Here Come The Bombs’ following on in the May, to critical acclaim, may I add. Another three solo albums followed, ‘Matador’ (2015), ‘World’s Strongest Man’ (2018) and just over a year ago, ‘Turn The Car Around’ (2023).
Gaz hits the stage with a full band, on time, and to a very partisan crowd. Rock City has been filling up nicely in the 45minutes since the doors opened. In fact, it’s one of the fullest I’ve seen in a while for the support band, a great nod to the nights line up. With big smiles from behind the microphone, Hat wearing Coombes gets straight into ‘Salamander’ the 2019 single. The stage is smoky and the neon blue and magenta lighting add drama, as the show gets under way. The repetitive, chain saw guitar riff cutting through as the bass bounces around the triplet feel to the drum beat. Saxophone swells and blows alongside the stabs on the keyboards. This opener is met with huge cheers as it finishes.
With a quick “good evening, Nottingham” and a thank you to Johnny Marr he’s into ‘Don’t Say It’s Over’ from the 2023 album ’Turn The Car Around’. Battered acoustic sounding out he’s hugging the microphone as he seductively allows this one to run free on an audience who are receptive to Coombes brilliant song-writing, they sway along to the emotional words of this seemingly short four and a half-minute love song. ‘Wounded Egos’ from 2018 continues the theme. The band are smothered in smoke and magenta lights, the constant key drone in the background supporting the layers of instruments giving the song substance. It’s another slower deliberate delivery and goes down well with the fans.
The title track to the latest album follows ‘Turn The Car Around’. It’s another guitar change and from my rather oblique vantage point I’m not sure if the bass player and guitarist have swopped instruments. I know that’s something that’s been done in previous shows. Coombes has proven he’s the master at soulful and this is another example of his mastery, slow and deliberate, a great foil for his song writing. The fast and Furious sounds of Supergrass long gone as he now delivers sophistication and emotive music. He roams the small area of stage that he has be given as he delivers a tasty guitar lick or two.
The moody vibe is lifted as we get a guitar change and the fuzzed riffs of ‘Feel Loop (Lizard Dream)’ another from the latest long player. With arms flailing Coombes delivers the lyrics, punctuated by a filthy guitar sound from his Fender Jaguar, frequent use of the tremolo bar give the song its distinctive vibrato wail. A quick call to the crowd has him walking the stage ripping out a filthy lick until the sudden conclusion of the song.
The Keys burst into life with a drone, the drum picking things up as we descend into the Bluesy ‘Deep Pockets’ another from 2018’s ‘World’s Strongest Man’. ‘The Girl Who Fell To Earth’ gets a dedication but Coombes’ voice is so soft and folk around me are boasting, loudly, about how great their lives are as they spill their beer everywhere, I can’t pick out who or what it was dedicated too. This one has a gentle acoustic guitar backed by a gentle drum beat and subtle lead guitar and a swirling keyboard, again great song-writing as less is definitely more. The twirling backlights adding to the ambience of this gentle tune.
A last visit to the latest album for ‘Long Live The Strange’ has the crowd cheering in appreciation. The striking guitar riff has the crowd light in their loafers as this one bounces along. This is a sold-out final night and it would seem everyone is in to catch Gaz Coombes as he once again thoughtfully wanders around the stage, riffing away as he does so; there are people pushing their way through the crowd trying to get a better view of the stage, all the prime vantage points have been taken, the balcony is crowded with folk, its packed out to overflowing, like a muffin top (forgive the analogy).
This is followed by ‘20/20’ from 2015’s sophomore album, Matador. With acoustic guitar hanging again, Coombes laments the beginning of this one, supported with a steady stabbing on the keyboard. Bathed in that horrible neon blue light, he sings, arms spread out wide, he rocks back and forth from the microphone, and then with a foot-tap of a pedal his acoustic comes to life, its tightly enveloped by a forthright percussive beat and a low rumble from a tight bass, A fast picked guitar cries back and forth as occasional white spots break the flood of the hateful neon blue lighting.
The band are introduced as the band as the last song of the set, ‘Walk The Walk’ is introduced. This has been a strong set full of great song writing proving Coombes is no novelty act. This, another one from The Worlds Strongest Man, is full of tasteful distorted guitar and a solid backbeat, The swirling sound of the keyboards filling the gaps nicely. With cheers and applause, the band go into an instrumental breakdown, the electric guitar is soaring before the song is brought down and Coombes thanks the crowd, who are lifting the roof for him and the band as they slowly leave the stage. That’s a great set, completely different to my last gig and so much the better for it.
As is the norm, The Rock City crew are on it, clearing the stage, making room for tonight’s headliner, the legend that is Johnny Marr, a guilty pleasure. Having watched his set down in Hyde Park a few summers ago, it brought back memories of the 80’s, a great decade for the UK music scene as things were happening. With shows like Top of The Pops and even Radio 1, playing a proper eclectic smorgasbord of varied music.
Air raid sirens go off as the stage is swept by red strobe lights, the atmosphere in the venue is electric as the band come on stage, Johnny bounces across the stage, he faces his amplifier stack which is bathed in red light. He’s so up for the show as ‘Sensory Street’ starts the night off. In a pink shirt (thank you for some colour)and dark waistcoat, he’s up front, a glitter Fender Jaguar guitar hanging low as he rips the hell out of this opener, trademark Marr, that charismatic look of arrogance touching everyone watching this enigmatic opening. Obviously with being such an integral part of The Smiths, we are going to get the jangly riffing from several of their tracks, starting off with the crowd all singing along to ‘Panic’ from 1987. I have to state now that this is an earworm of epic proportions as not only did, I found myself singing it on the way home, I had it in my head as, those of a certain age will know, I made a trip to the loo in the middle of the night, and despite being woken by a thunderstorm this morning, it was still in my bloody head! Marrs slide work on this one brings the crowd back singing about burning down the disco, they totally get behind this one, hands and phones held high as we all hang the DJ.
‘Generate Generate’ from 2013’s The Messenger keeps things rolling along. With familiar hand gestures he made sure he played to each of the photographers in the pit. Pouting as he plays, he’s on form, bouncing back and forth singing with the crowd, the jangly trademark sound cutting through the mix. ‘New Town Velocity’ from way back in 2013 is up next. The rhythm guitar allows Marr to play the lead riff over the top as the intro leads into an emotionally delivered lyric. The crowd are respectful as Marr plays this banger that means a lot to him personally, the crowd can’t help but join in with the catchy lyric.
They continue to singalong as ‘This Charming Man’ is up next, another from his time with The Smiths. The smile is all over his face as he relishes in this one, his jingly-jangly sound is on point, as the bouncing crowd enjoy this trip down memory lane. The final strum getting a huge cheer from the collective gathered in for this, the final night in this short run of shows. Now with an Acoustic in hand, Marr delivers ‘Somewhere’ this is from 2023’s, Spirit Power : The Best Of Johnny Marr, a 24-track album of some of Marrs finest work. This new one is no exception, there is a falsetto on the backing vocals but from which one of the front line its coming from I couldn’t say. But who cares, the crowd love it, in fact I get the feeling Marr could put music to the phone book and the crowd would love and sing along to it.
‘Walk Into The Sea’ starts off with picked strings and a steady kick drum, the swell of keys builds and the deep bass joins in. The drums have an almost tribal beat as Marr, hand in the air sings the lyric to this 2018 song from the ‘Call The Comet’ release. Marr uses the tremolo on this one giving it a great vibrato. Leaning back, he picks the jangly riff, as the drums continue to march time with the regularity of a metronome. As the song plays out, Marr stands and stares at the crowd before playing the last couple of notes of the song.
The Answer’ the second from the latest release is up next, the faster pace of this one has the crowd bouncing along, the bass is rumbling hard as this one motors along into another from The Smiths. ‘Please, Please, Please let Me Get What I Want’ starts with Marr casually strumming an acoustic, there are a few shouts from the crowd but for the rest they are restrained as this golden oldie builds. Marr has said in interviews that he thinks that “this is The Smiths most enduring record,” “It’s most people’s favourite”, he added “ I Think”. This is a cut down version of the longer, original seven-minute masterpiece of song-writing. This is delivered with restrain from both the crowd singing along and Marr, who, again, holds his guitar up high as the song finishes.
Another Smiths song follows, 1987’s ‘Stop me If You Think You’ve Heard This One Before’, from the Strangeways Here We Come album. This song features one of Marrs, few guitar solos on any of The Smith’s songs. For this one, Marr is joined on stage by Gaz Coombes on acoustic guitar. With arms held aloft, the crowd are full on behind this one as they join in with the singing once again. Outside of The Smiths, Marr has been involved in a few projects including playing with The Pretenders, The The, and Electronic who he played with up until 1999.
The next song, ‘Get The Message’ is from his time with them, it being the first single from the self-titled, debut album. Back then it featured New Order synth player, Bernard Sumner. Marr has his guitar slung to the side as he sings the opening to this one before picking it up and strumming out the jangling riff, a sound that features heavily in Marrs song writing. As lights punch out from the back line, Marr is at the edge of the stage playing the simple lead lick to a cheering crowd.
‘Bigmouth Strikes Again’ from the 1986 album, the Queen Is Dead, has The Smiths fans bouncing and singing along again. As the crowd clap along, Marr is once again strumming along at break neck speed, before singing along with the partisan crowd, whose hands are pointing skyward as, animatedly, they dig in deep and get behind this one. ‘Hi Hello’ from 2018 keeps the tunes coming. It bounces along, the fat solo ends the song to huge applause.
The riffing of ‘How Soon Is Now’, another by The Smiths, has the crowd cheering, the hands are again held aloft as they sing along.
The crowd, as you can probably guess, is of an age, although there are a good few younger souls in who are singing along, evidence that Marrs work is current and very much of the now. ‘Easy Money’ from 2014’s album Playland moves things along to the set closer, another from his time with Electronic, ‘Getting Away With It.’ The London show had Neil Tennant of Pet Shop Boys fame join Marr on stage as he played on the original, sadly this never occurred her in Nottingham. With the drums slamming out and a steady drone from the keys, Marr breathes into the microphone, this largely goes unheard due to the driving sound and pulsing bassline. Marr picks up the riff and sings into the microphone, this instantly recognisable song from 1991 comes to life.
Naturally the crowd are all over this one too. Telling each other they love each other just as the lyrics dictate. It’s a great tune to finish the set with, and as the light bounces from the mirror ball, Marr plays out the songs jingly-jangly lead lick, rocking back and forth as he does so, the drums marking time, before everyone joins back in with the lyrics, obviously there will be more, as this seven plus minute song finishes to massive cheers and applause.
The encore starts off with Iggy Pops ‘Passenger’. A cover ideally suited to Marrs sound and laid-back playing style. Iggy released this in 1977 on the now infamous Lust For Life Album. The crowd quickly join in with the “lah, lah, lah, lah, lahlahlah, lah’s” whilst Marr plays them on his Fender before going back to the microphone to finish the song off. Gaz Coombes has now joined Marr on stage for the last two songs of the night, and yes, you guessed it, they’re both from The Smiths.
First up is ‘You Just Haven’t Earned It Yet, Baby’ from 1987’s The World Won’t Listen. Happily, sung along to by the crowd and the night closer, ‘There Is A Light That Never Goes out’ from ‘The Queen is Dead’ released in 1986. Marr duets this one with Gaz Coombes and the crowd who have been on form all night. It’s not until you experience a partisan crowd that you realise just how big this music is, nearly 40 years on and it’s still a stirring tune in the hands of a great performer and band. The crowd take over and it’s a goosebump moment. Like I’ve mentioned already, his is a crowd of a certain age and they sure as hell hold nothing back as they share the love for this timeless classic. Johnny Marr raises his guitar over head as the drums fire off a finishing salvo.
The cheers and applause from the crowd are deafening as they salute their hero as he leaves the stage.
That’s it, a stunning night of music provided by a legend. It’s been a night of putting the song before the acrobatic antics of a lead guitarists, of reliving your youth with the man that made it special. After watching so many, million miles an hour guitarists it’s been refreshing to hear a melody, where quality and song writing stand out over ‘look at me’, although you couldn’t help looking at him, Johnny Marr has the star quality, a cheeky arrogance that isn’t condescending or belittling and an ability to write songs that stand the test of time, that’s why he sells out venues time and time again. With shows continuing through-out the summer, if you get a chance, take a punt, he really is rather good!
