Review by Gary Spiller for MPM
Orden Ogan and TesseracT – two completely different bands that are firmly rooted in the here and now of the metalliferous present with their own unique perspective upon modern-day relevancies. Two bands whom we’ve had the privilege to witness live within the last few months. Two bands who have their own reasons to express their gratitude for the sensibilities of tonight’s headliners and their craft.
Mainstays of British rock since their formation in London over half a century ago prog-demons Uriah Heep continue to endure through to the present day. As frontman Bernie Shaw reflects, early in the headliner’s set, “55 years of Uriah Heep to try and cover in the next hour!” continuing “We will try and cover each decade, if we don’t, we’ll have to come back!” Following a triumphant 90 or so minutes not a singular dissenting voice is to be heard if such a return translates from conjecture to reality.
One gets the sense that Heep are far from done with hard gigging and hard rocking once this calendar year’s efforts are completed. Ahead lies a schedule with several dates in South America before a lengthy autumnal jaunt across the European mainland. If this is to be a ‘farewell’ then the constituent components of this much-loved quintet will surely be keen to make it as extended a one as is humanly possible.
Stepping into the impressive entrance foyer of the rebranded Bristol Beacon I’m immediately struck by the vibe of a gathering of clans. Ones from our adopted Welsh homelands and others from along the Westcountry way, a true coming together of friendships borne of the love of music. It’s one of those nights; nay, on second thoughts, it’s more of an occasion no doubt of it. Heep have that abiding grace to ensure such and they’ve brought along a couple of stellar outfits befitting of such a moment.
The initial course for our delectations, afront a sizeable early-doors crowd, is an evergreen Tyketto. Fronted by the seemingly ageless Danny Vaughn, the band’s sole remaining founding member, this finely polished quintet’s quickfire set proves the perfect aperitif ahead of the evening’s main course. Their razor-sharp take on AOR is well received with the main focus of their seven tracks concentrated upon their 1991 debut ‘Don’t Come Easy’.
Vaughn, every inch a bona fide star, connects with The Beacon’s crowd from the moment he steps out front. If this guy is supping from the fabled fountain of youth, then he’s keeping quiet about its location! His powered vocals in the set-opening sparkle of ‘Reach’ shine brightly; bear in mind that these guys haven’t long stepped off a plane from Australia!
About him Vaughn has gathered together a stellar lineup with Harry Scott Elliott (Kane’d and Chez Kane), recently recruited in the guitaring department, stepping forwards to deliver the first of several blinding solos. The freeway rocking gemstone of ‘Wings’ follows captivating all along its way as does the hard-driving melodics of ‘Rescue Me’.
There’s much experience in these ranks with well-journeyed bassist Chris Childs (Thunder, Atak, Russ Ballard amongst many) slotting in alongside keyboardist Ged Rylands and drummer Johnny Dee. The latter reuniting with Vaughn following their shared time in the mid-80s lineup of Waysted.
With a touch of late-80s glam metal the anthemic ‘Strength In Numbers’ sees Vaughn on bended knee in front of Elliot as the six-stringer bends his fret into a fourth dimension. Childs gets in on the warping action with some funky lines in ‘Lay Your Body Down’ before Vaughn takes charge of a 12-string acoustic for the balladic atmospheres of ‘Standing Alone’.
‘Forever Young’ motors hard along the rock n’ roll highway with a touch of Survivor about it. Imperious AOR with the time-honoured crowd participation it’s well received and a befitting finale for a fine, if a touch too short, set.
The middle order bridging act duties fall to Canadian hard rock outfit April Wine. Although this quartet can boast a lengthy career stretching back to 1969, rivalling that of this evening’s headliners, and spanning some 16 albums they’re a band I know precious little about.
My solitary ‘encounter’ with them amounts to a single track of theirs I recollect upon ‘Metalmania’. Nestling amongst offerings from Whitesnake, Scorpions and Iron Maiden on this 1981 EMI released compilation was the iconic ‘I Like To Rock’ with its memorable lines “Journey to the stars, rock n’ roll guitars”. Suddenly I’m that teenager once more as the band introduce themselves by steaming straight into this number.
Off 1979’s ‘Harder…Faster’ album a little of its punch, quite understandably, has diminished with the passage of time and progression in metal realms. What was once jostling at the forefront has been, over time, superseded. That said however, the enjoyment factor hasn’t faded, and a snippet of The Beatles’ ‘Daytripper’ woven into the outro brings an additional smile.
Much like Dr. Feelgood no originals remain in the ranks nowadays, but guitarist Brian Greenway has been there since those heady days of the late 70s. The solitary member who can recollect touring in the UK under the April Wine banner.
It’s safe to say that this is a band that are certainly strangers to our shores with their last noted UK dates being a tour with the supporting Diamond Head in 1981. Sadly, a middle-order appearance at the inaugural Monsters of Rock at Castle Donington didn’t prove the springboard it should have done.
With multiple platinum and gold awards in their home country it would be most foolhardy to label this group a ‘flash in the pan’. With Greenway steering gently, but firmly, at the helm, the mainstay tends to eschew the spotlight leaving the frontman duties to his guitaring sidekick Marc Parent. However, from time-to-time Greenway does take on the lead vocals as in the evocative ‘Before The Dawn’.
The raw hard rocking of ‘All Over Town’ demonstrates the accelerator is still fully functioning and the pedal is depressed further in the solid old school rocking of ‘Crash and Burn’. Parent notes “Think Brian was here in ‘81” referring to the band’s appearance here at the then named Colston Hall. Pin-sharp Greenway retorts “Can’t remember much, we partied hard.” Quipping “It all looked the same!”
There’s a touch of Queensrÿche’s ‘Jet City Woman’ in the muscle flexing ‘Big City Girls’ whilst the quadrumvirate flirt with a heavied-up Tom Petty in ‘Oowatanite’. Bringing their allotted three quarters of an hour to a conclusion a boisterously stomping ‘Roller’ with its hard chopping riffage follows one of the band’s enduring signature tracks the effortlessly soaring ‘Sign of the Gypsy Queen’. Best not to leave it another 40 years I reckon gents.
Having crowned off a busy 2024 with a closing night headline set at Planet Rock’s Rockstock Festival rock n’ roll institution Uriah Heep cannot be accused of resting upon their collective laurels. Having attempted the gargantuanly impossible task of condensing their career into 35 minutes opening for Judas Priest on their Invincible Shield Tour across Europe Heep then jetted across the States for 30 plus dates with fellow legends Saxon.
Although this tour is dubbed ‘The Magician’s Farewell’ it’s been noted that this a farewell that is going to take place across the next two or three years. Judging by the forever spirited 90 or so minutes served up tonight then there’s much more to look forward to with plenty of fuel ostensibly remaining in the tank.
It’s the latter decades that things under way following the triumphant cascade of a heraldic fanfare that ushers each member stagewards. Russell Gilbrook’s drums pound and the curtain falls as the tempestuous ‘Grazed By Heaven’ confirms that the Heep are in the finest of fettle. Phil Lanzon’s keys are prominent right alongside the flourishes despatched by Mick Box, The Wizard himself. Punchy and eloquent this Dave Rimmer penned track (jointly with Jeff Scott Soto) is every unit of measure UH personified.
Casting the net back just a couple of years ‘Save Me Tonight’ whistles along with a rapid tempo, it’s just the second track to come from the nib of Rimmer’s writing implement but on the strength of this opening brace nobody is going to be discouraging the Elegant Weapons bassist not to write further.
‘Overload’ is a captivating avalanche with the consummate Box evoking magic and myth from his smoking fretboard. The regal sweep of ‘Shadows of Grief’ is the first foray into the seventies. In fact, other than the incursions of the pomp of ‘Hail The Sunrise’ and the proggy tempest of ‘Hurricane’ the remainder of the set persists in the classics of the seventies.
An emphatic despatch of 1973’s ‘Stealin’’ brings the house down. Box sears a conflagrant course entwined with Rimmer’s resonant basslines. Effervescent vocalist Bernie Shaw wraps his right arm about Box’s shoulder amidst ‘The Wizard’ that comes hollering out of the mountain halls themselves. Shaw’s silken vocals complement the velvety despatch of the rest of the band serenely.
Box, croakily, jokes about having just returned from Miami, “I think I’ve left my voice there” he banters before leading into the hard rocking refrain of ‘Sweet Lorraine’ takes us into the second half of the set. ‘Free ‘n’ Easy’ is, as ever, a rampaging beast with Box’s ensorcellment atop Gillbrook’s percussive elements ensuring a tremendous approving roar is garnered.
As fresh as the proverbial daisy ‘The Magician’s Birthday’ is as fiery an invocation one is likely to experience. A conjuration of the highest order direct from the grimoire’s beating heart. ‘Gypsy’, looking back to 1970 and debut long-player ‘Very ‘Eavy … Very ‘Umble’ (the letter ‘H’ was seemingly being rationed back then), is timeless as expected whilst the uplifting emotions of ‘July Morning’ demonstrates why people from all over Bulgaria travel to the Black Sea to watch the first sunrise of July. Evocative stuff.
The grandiose opulence is continued into the demanded encore. An aptly yellow and orange illuminated stage for ‘Sunrise’ charms and the way is paved for the fantastical caper of the arresting set closer ‘Easy Livin’’. This 100% proof anthem lights up Bristol as Heep categorically demonstrate that with even 90 minutes it’s bloody difficult to hit every paragraph of a 55-year long tale without omitting something. That being said they’ve had a damn fine attempt and I’m pretty confident it’s a safe bet that all gathered herein this evening have left most happy.
Photography by Kelly Spiller for MPM
