Home Gigs Gig Review : Living Colour ‘UK Tour’ 2024 Rock City : Nottingham

Gig Review : Living Colour ‘UK Tour’ 2024 Rock City : Nottingham

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Review & Photography by Manny Manson for MPM

Tonight, sees me, once again, heading back to Nottingham for the yet another great night of Music. ‘LIVING COLOUR’ have just completed their UK run of shows with Mr Big and are now off on a couple of shows of their own, Steelhouse Festival in Wales is the one their aiming at but before then we have tonight and another in Liverpool on Saturday.

After a great run of shows which saw them supporting EXTREME before Christmas and then continuing well into the new year, to picking up dates with Mr Big who are on their farewell tour, has meant the boys have been pretty busy. If tonight’s headline show is anything like the support show they played in Wolverhampton in December, they’re going to blow the roof off.

With them they have brought along a monster guitarist in Jared James Nichols, he’s played Rock City several times over the years so is just about on first name terms with all the staff. I’ve been luckily enough to cover several of his shows over the years, the first being with Walter Trout, and he was mind blowing, since then he has continued to blow the bloody doors off each and every time he’s played here.

His charismatic personality has endeared him to the UK audiences and his blood n guts approach to rock n roll just pins you to the wall and splits you open like an axe through a water melon, a sonic god who thrashes vintage Gibson guitar’s to within an inch of their very existence. His playing is full on balls to the wall, the overdriven screams from his guitars are a result of just turning everything up, the guitars are biting at the bit ready to massaged by the big hands of their master, and he doesn’t fail to live up to their expectations.

Kicking the night off the trio set about ripping the faces off everyone gathered in Rock City for Living Colour. Those who are frail and timid are about to get their nose bloodied as one of my favourite guitarist, all smiles and curls, picks up “Old Glory”, plugs her in and unleashes the pent-up fury that been angrily waiting to be un shackled, and unshackled it is as we roar into “Easy Come, Easy Go” from his third and self-titled album, in fact 6 of the 9 songs in the set come from this raucous album. This is dirty, nasty and stunning guitar work.

There is but one pedal, the floor around his booted feet is full of effects for Living Colours Axeman, Vernon Reid, Jared has a single, I think, boost pedal for pushing the amps into melt down during his manic solo passages of which there are several. This little pedal sits alone at the foot of his mic stand.

The mix of smoke and lack of front lighting give Jared an air of mystery, but if you like your guitarists you want to see them play, which at times is hard to do as a birthday candle holds more light, never the less Jared rolls into “Down the Drain” and un-fettles “Old Glory” as he battles with her like she’s some multi armed space creature. Diggin’ in hard he’s got the screaming beast under control thrashing her neck with his fore arm like he’s trying to teach her a lesson, my guess is that she likes it and continues to howl and scream like a hoard of banshee’s. Over the top of this Jared is giving it the vocal, it’s equally full of grit as he delivers this, a slower song in his repertoire. It finishes with the guitar held high howling like a bitch on heat.

Jared quickly introduces himself and then asks the crowd who hasn’t seen him before, there’s is a good show of hands, this gets a “Shit” exclamation from Jared. He quickly mentions the band, Brian Weaver on Bass and Ryan Rice on drums, before kicking it “Hard Wired”, the third from the latest, explosive album. There’s a hippy psychedelic vibe to this one especially when the screaming bitch of a guitar is let loose on the solo. Nestled snuggly, like an old girlfriend, in Jared’s crotch, her neck vertical we get the classic hard rock stance of Wylde and Slash as it gets the Nichols brutal treatment.

We have to remember that this is no spring chicken of a guitar, for many this would be an expensive piece of wall art, but not with Nichols, it’s all part of his balls out sound, vintage Gibson and Seymour Duncan P90 pick up’s, Its massive sounding. Rice on the drums are grooving hard as is the bass, rumblings, from an attentive Weaver, shrouded in swirling lights on the other side of the stage, he’s watching Nichols, getting his markers from this mountain of a man as he introduces the new boys and girls to his brand of Blues “Mother F&%king Power” guitar playing.

“Threw Me To The Wolves” continues this masterclass in destruction, released back in 2020 as a single from the album, it’s a great song, but live! It gets wings and becomes another vehicle for some explosive playing from the band. It rocks and it rocks hard, the crowd are seemingly loving it as Jared drops in the customary “Miss You” licks which catch many out. He then shouts out to the bass and Mr Weaver gives us a seismic rumble before Ryan Rice gets called out on the kit and we get a run around the ‘tubs’ from this accomplished drummer. Jared picks up the what’s left and brings song four to a close.

“Skin and Bone,” the 2021 single, keeps things ripping along, still from album three. More guitar shenanigans bring this song alive. It’s dark and heavier than the album version, its blood n guts nasty as Jared, hits the strings with his thumb and fingers, no pick used here it’s flesh, blood and sweat that’s making these strings cry.

As you will no doubt by now imagine, the break downs are a sonic chainsaws of guitar magic. Playing through his Blackstar Signature head and stack, the sound is never going to be anything but crushing, These amps breath fire when they being force fed hard rock guitar., and boy are they singing! “Bad Roots” is up next.

There is no keys like the album version, but who cares, Weaver is down and dirty with a great bass riff, its pealing the floorboards back as the gritty guitar joins in, Jared is lamenting over the top, albeit on steroids, the song gallops along to the percussive timings of Rice on the kit. Its building all the way through to go supersonic and as Rice gives us a snare groove, Jared takes flight with a beauty of a solo, the fat tone from those P90’s is sublime. The big organ sound is forgotten as the guitar fills every airspace in your body. The sustained hold to finish shows Nichols class.

Jared shouts out “Who’s ready For Living Colour” before dropping into “Good Time Girl” the last from the new album. Furious nasty guitar fills the venue once again, it’s ridiculous how good this player is, the crowd seem to agree as there is a lot of head nodding going on, and this is a crowd, the majority of who, had never heard of Jared before tonight. On its conclusion, its greeted with huge cheers and applause, Jared is beaming.

He’s at the stage edge, smothered in smoke as someone on the barrier shouts out for “Nails In My Coffin”, funnily enough he smiles and we’re off into said song, this was single back in 2019 and features on the “Black Magic” album from 2017. It’s another dirty Southern rock vibe with a slower tempo, not that you’d guess. Jared sings into the microphone, he’s picks out notes and phrases as he plays along to a walking beat from Rice. Naturally you can see ‘OLD GLORY’ straining as she is kept under control. The strobes flash with epilepsy inducing frequencies as Jared steps forward and delivers a slow purposeful solo which finishes in a huge double stop string bend, the sustain is monumental. The guitar looks tiny against his huge frame as he gently ‘plucks the notes to finish this great tune.

With a call out to the crowd to join in we go into the last song of the set, traditionally it’s always been Mountain’s “Mississippi Queen”, however Jared has changed it up recently and as the guitar soars the opening riffs to “WAR PIGS”. The crowd roar with approval and sing along as one, Jared and the band standing back beaming as we all give it our inner Ozzy. Jared stood in his stage wear of a denim waistcoat n jeans summons on all the demons in heaven and hell; and delivers a breathtakingly powerful rendition of this monster track by the masters of Heavy Metal, Black Sabbath. Singing into his guitar pick-ups one minute the next he’s back out the front of the stage for the outro barrage, the crowd join in with the “Whoah’s” as the song flies ever skyward, always on the edge of feedback, Jared paces the stage rocking out with the fans who are loving every picked note. Jared finally brings the song and his set to a close while the crowd scream for more. He leaves the stage while the crowd are screaming for more! That’s an opening set for you, Phenomenal Blues Power inspired RAWK!

If you’ve never heard of Jared James Nicholls then look him up, Google is your friend. Get and buy his latest album and then buy the previous two, they will put the muscle into your collection.

The usual efficient change over occurs as Jared’s kit is moved from the stage by the excellent Rock City crew.

On Time, Vernon, Doug and Will take to the dim stage, The cheers are ear drum piercing as this nearly originally band from the 80’s & 90’s take to the stage. Doug Wimbish, although he’s been in the band for years, replaced the original bass player, Muzz Skillings in the early 90’s, intime to record the third album, ‘Stain’. The one they celebrated the 30th year anniversary last year whilst touring with Extreme, a fellow chart-topping band from the same era.

A dred-locked Corey Glover saunters onto the stage and the racket notches up a level. Dressed in suit and tie, the suit is white with red stars adorning it, he stands in front of the microphone beaming as the crowd express their love for the band. They kick the set off with “Leave It Alone” from the third album. The lights get switched on, like Blackpool, as we get the pumping trademark sound of Living Colour. Wil Calhoun is sitting atop a riser; he sits low so you can only just see his beaming smile as he hits the beats. Vernon’s guitar is full of pedal effects as he stands stage right in his bucket hat. Doug Wimbish on the other side is doing anything but standing still, he’s playing the funk man, slapping and popping his strings to give the trademark concussive sound, while he’s going at it, he’s playing with the crowd, teasing and performing, he’s living his best life over on stage left.

The fizzed guitar and drum riff to “Middle Man” from the debut album “Vivid” keeps the house a-rocking. Corey’s voice is on point as he wafts his dreads from his face, he’s latched onto the mic as he delivers this timeless piece. Vernon is riffing out; the whammy bar is getting abused as he whammys and divebombs through-out this one. The crowd are loving this rocky number. “Bi” from the ‘Stain’ album follows. Coreys vocal cuts through the bass rumblings and Vernon’s sonic guitar screams. This is classic 90’s L.C. its laid-back groove allows Wimbish to play with the togs as they jockey for a good picture of him getting his funk on. The sonic squeals and screams from Vernon Reid are there giving this song the vibe of the era. A great inclusion to the set.

“Ignorance Is Bliss” drops the heavy groove, It harks back to the time and is the more powerful for it, it’s robust sound is pounding out, Vernon is busy on his guitar, screaming it as Wil is knocking out a steady beat, the hi hat splashes adding colour as he slam the snare with a concussive snap. Wimbish and his bass groove are monumentally busy, deep dark rumbled slaps followed with percussive pops help drive the song along. It’s amazing how dark and rocky this band is, the filthy Wimbish bass pulsates into “Ausländer.” It thunders along like a metronome hard and concussive, the beats slam into you face, Corey is standing back at the drum riser as the bass and guitar combination rip the stage up. “Never Satisfied” is the final track from ‘Stain’ album. The percussive delivery have the crowd light in their loafers as they bounce along to this staccato riff. Coreys delivery is deliberate and solid. He’s a cool dude although I think his dreds are a lot shorter than when I saw they play just before Christmas.

“Funny Vibe” from ‘Vivid’ keeps the sonic attack firmly kicking between your eyes. This 270 second instrumental gives Glover a chance to catch his breath as he picks up the vocal again with “Open Letter (to a landlord)”. His voice is sublime as he breathes the opening lines to this firm fan favourite. Vernon’s guitar is full of all kinds of pedal madness as he launches another screaming solo lick or two. Wil Calhoun takes over on the kit, despite the years he still knows his way around it. What follows is a masterful demonstration on how to fill in with a drum solo and make it interesting. He attacks each drum with precision, his timing is impeccable as he hits cymbal and snare creating a majesty of percussive sound before the band re-join him for their version of MC5’s “Kick Out The Jams”.

This is a popular cover and has featured on many setlists over the years but Living Colour marinade it in their own special sauce and give it their twist much to the huge cheers from the fans in front of them. The start stop teased intro gets the count in and we’re away, Coreys dreds are whipping around as he counts himself into this high-speed barrage of thundering nastiness. The guitar is crying out as Wimbish’s bass is pumping. Vernon’s solo is a veritable delight of panicked screaming shredded notes in keeping with the song. Glover is hammering the vocal as hard as Wil Calhoun is pounding around his kit. This is a powerful rendition of the song and it kicks ass.

This is followed by a tribute to Hip Hop, Doug Wimbish was there are the forefront of the Hip Hop generation so he takes over to huge cheers from the crowd. Wimbish explains how, at 18, he played with all the Hip Hop originals, Sugar Hill Gang, Grand Master Flash, The Funky Four + 1 to name a few. He explains it was Sylvia Robinson who ushered in Hip Hop, so she deserves the credit. He says he’s gonna play a medley and if the crowd know the dance to the songs, then they’re to do it. “White Lines (don’t do it)” by Melle Mel, kicks things off, its instantly recognised as that long-forgotten tune, “Apache” an iconic hip-hop anthem keeps the medley running along before Grand Master Flash and the Furious Five’s “The Message” finishes the trip down memory lane.

Another seamless change up from the nostalgic hip hop to 1990’s, “Time Ups” album and its big hitter “Love Rears Its Ugly Head”. This is filthy, full of sleaze and a scorching vocal by Corey. It was this tune that got me to go and see the band live for the first time. They were something special and I remember leaving the venue and going ‘Wow” stunning night. Tonight, is no different. All the guitar intricacies were there as I remembered it. A classic song nailed by the band and the crowd it has to be said. This is a favourite for a reason, its bloody good! “Glamour Boys” from the debut album, ‘Vivid’ takes over with its reggae beat. It’s a fun song and gets the crowd moving. It’s a great song after that banger. “Elvis Is Dead” the second from ‘Times Up’, pulses along, this was the song that had Little Richard appearing in its video when it was first released back in 1990. “Type” keeps the crowd fizzing along. Its dirt fuzzed guitar riff is punctuated with squeals and screams from Vernon’s fingers, he’s still got the chops.

“Times Up” the opening and title track from the 1990’s Sophomore album, the follow up to 1988’s ‘Vivid.’ For those of us who remember, it started with the ticking of clocks not unlike “Time” from Pink Floyd. It’s a fast confusion of sounds to start off with then it straightens itself out momentarily before going of the rails again. Its full of high-speed fret work from Vernon, picking, popping and slapping from Wimbish and thundering 32nd notes from Calhoun, who’s bouncing in his chair as he pounds the skins. The banger “Cult Of Personality” finishes the set off. The crowd are bouncing like boxer puppies at their window. This hard-hitting number is delivered with aplomb.

The percussive beats cosset Glovers vocal as he croons this fan favourite. The breakdown has lost none of its magic as the guitars screams and soars with a long-forgotten freshness. The crowd scream for more when it finishes. Talk about saving the best to last that screaming guitar is sensational, Vernon has killed it and kept the sound alive, it’s been magical.

For an encore we get a screaming rendition of the Clash’s “Should I Stay Or Should I Go”. Another killer track given the Vernon Reid and Living Colour Treatment. It appears on the live album, “Time Is Now”. Its high speed and fun, and the crowd dance around like loons when the music calls for it, It’s a great end to what has been a trip down Nostalgia Road, a hot n sweaty one at that.

Living Colour have nailed it yet again. At the moment they seem to be permanently on tour having been in the UK with Extreme, Mr Big and then straight into a few headline gigs of their own, for it all, they don’t seem to be stage worn, in fact they seem as fresh as when I saw them in December. It was yet another brilliant example of 80’s and 90’s music standing the test of time and still having a huge fanbase who want more. Its mad to think that this band have been going since 1984 in one form or another. They should be on every one’s bucket list, they are fabulous live, just go and catch em as soon as you can, and be ready for that nostalgic run down memory lane.

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