Forthcoming EP All Returns to Hollow and Silence out 24th July via Seek and Strike

Before we start, I feel I should give some context. I’ve never considered the 90s to be my era. I know for many, it was the decade of grunge or Britpop, but for me, it was all about the Spice Girls. I can only apologise, but such is the nature of being born in 1991. And when I started to develop something resembling good taste, it was the classic rock and metal of the 70s and 80s that really floated my boat. As a result, it took me some time to discover Skunk Anansie, and even longer to give Garbage a whirl, a band who were never really on my radar until this co-headline tour was announced. So in writing this review, I cannot claim to bring any expertise, just the opinions of a music lover who is open to anything a bit ‘alternative’. Wandering into Dreamland tonight, it’s clear that this is a different crowd to the ones I usually find myself in; Younger and dominated by women (a situation that makes queuing for the toilets a bit ridiculous!), there’s a real sense of girl power (wait… are we back on the Spice Girls?!) mirrored by first act of the evening Du Blonde. And though I initially assume that’s the name of the band, it’s actually the stage name of singer and guitarist Beth Jeans Houghton. A talented songwriter with a knack for delivering upbeat pop-punk with attitude, she has a likeable, modest presence, acknowledging that she’ll probably “f*** up” her guitar parts before doing just that! But it’s all part of the charm, and doesn’t detract from the genius of ‘Next Big Thing’, a song that takes sleazy comments made by men and twists them into something actually worth hearing; Cortney Dixon’s lovely harmony vocals bring a smile to your face, at least until you remember what she’s singing about! Excitement is rising as inflatable spikes cut their shape across the rear of the stage. There’s a lady just next to me who’s struggling to keep it together, already throwing some unusual moves before the music has even started. But the unmistakeable, jolting riff of ‘Charlie Big Potato’ sends her into overdrive, and I almost get it. I’m not sure I’ve ever seen a more compelling frontwoman than Skin, who radiates wild energy despite the sweltering heat (and her striking leather threads!). Her voice is something else, at times delicate and beautiful, at others full of power and aggression. Initially frustrated by a noise limitation and problems making her voice heard, ‘Because of You’ gets started again, and from there, Skin really soars. The audience is utterly captivated, and the communal singing during ‘Hedonism (Just Because You Feel Good)’ and ‘Weak’ is so loud that being part of it feels almost spiritual. Whether crowd surfing, encouraging mosh pits or talking about the importance of acceptance, you sense that Skin does everything with absolute conviction. It’s this conviction that ensures ‘Yes It’s F***ing Political’ still rages 30 years on, and that the anger fuelling ‘Little Baby Swastikkka’ is impossible to miss. For me, Garbage feel a little subdued in the wake of the more explosive Skunk Anansie. Brooding and atmospheric, the cyclical ‘There’s No Future In Optimism’ is pretty far from my usual listening habits but delivered with an intensity that starts to win me over. The sinister, angular riff that anchors ‘Hold’ is better still, but unsurprisingly, it’s the classics that really build the momentum. ‘I Think I’m Paranoid’ kicks things up a gear before ‘Stupid Girl’ is dispensed early, with a dedication to Margate artist Tracey Emin who is somewhere in the audience. Shirley Manson is quite a talker, joking that it’s possibly the result of the “big whiskey” she had before taking to the stage; Given that she describes Margate as ‘dreamy’, I’m inclined to agree! Garbage are extremely good at what they do, and undeniably have some bangers in their arsenal. For me, ‘Vow’ and ‘Push It’ are the highlights, but I’m also enamoured by the darkness of ‘Have We Met (The Void)’. Though I’m not sure I’m ready to call myself a fan, I’m impressed, and sing along merrily to ‘Only Happy When It Rains’ with the rest. Shirley Manson probably sums it up best, when she utters the words “f***ing iconic”. I still don’t think I’ll ever consider the 90s to be my era, but I can accept that there were women around who made far more exciting and important music than I ever realised at the time. Skunk Anansie and Garbage are still making great music now, and prove worthy of their legendary reputations.  Photo by Laura DQ

SET FOR RELEASE ON AUGUST 28, 2026, VIA FRONTIERS MUSIC SRL

“You make concessions when you’re married a long time that you don’t believe you’ll ever make when you’re beginning”. – Anna Quindlen I’ve made a few concessions in over 21 years of years of marriage to the annoyingly ever youthful Mrs Griffiths and yes, they do indeed become more frequent as time marches on into the moans, groans and arthritic pains of middle age! Agreeing to accompany her to 90s boyband sensations Take That on the hallowed footballing ground of Hampden Park in Glasgow was one such concession. A gig on a Friday night in Scotland’s largest city without the joyful sound of hard rock and metal… inconceivable stuff for this writer! But then again, this year alone I’ve already accompanied the good lady to Robbie Williams and Carly Pearce. Maybe I’m just getting mellower with age! Driving up to Glasgow to the soundtrack of a Take That playlist, with Mrs G singing along, really put her in the mood to see the idols of her teenage years. The cold glass of Prosecco she downed when we parked at a friend’s house (let’s call it the Somerville Arms Park N Go!) near to the stadium also helped to lubricate the vocal cords! But hey, it was her night as the headliner and I was merely the support act, chauffer and sommelier (ie. getting her a cup of lukewarm white wine in a paper cup for £8.50 between acts!). Support was from former The Go Go’s singer Belinda Carlisle and Irish rockers (kind of!) The Script. It has to be said that Carlisle looks fabulous for 67 years young, entertaining the crowd barefoot with sing along hits such as ‘(We Want) the Same Thing’, ‘Live Your Life Be Free’, ‘Circle in the Sand’, ‘Summer Rain’, ‘Leave a Light On’ and of course the big one… ‘Heaven is a Place on Earth’. Be honest… you’re singing along just reading this, particularly if you’re my age or older and grew up with this on the radio… or your mum and dad’s record player! The Script certainly pulled out some of their bigger songs (meaning that even I knew them enough to hum along!) and a sizeable amount of the crowd seemed to go crazy for them. But in all honesty, I thought they were quite… well… nonde-script (see what I did there???). They are clearly talented musicians with a knack for a catchy tune and a huge fanbase but I felt the music was dwarfed in a stadium and didn’t quite hit the mark for me. But hey, who cares what I think, as ‘Superheroes’, ‘Rain’, ‘Man in the Arena’, ‘Breakeven’ and ‘Hall of Fame’ had much of the audience bouncing, even if the more heavy metal-like ‘single-hand-up-and-down’ thing didn’t quite work. Perhaps I need to see them in an arena to really get them! They’re releasing a new album and touring at the end of the year, so who knows! An impressive opening circus act (well, the tour is called The Circus Tour!) eventually saw the three remaining Take That-ers (is that what they’re called?) of Gary Barlow, Mark Owen and the other one appearing suddenly between a cacophony of clowns and balloons on the B-Stage at the end of the runway. The opening strains of one of the band’s reunion-era hits, ‘Greatest Day’, with the echoing tubthumping of powerhouse drummer Donavan Hepburn, really got the crowd going. It’s as catchy and inspiring as any pop song this old rocker has heard in years and I must admit to having a soft spot for it. ‘Hello’ led to Barry Manilow-composed ‘Could It Be Magic’, transporting many middle-aged women back to the carefree days and nights sharing stories about boys in their class over a Wimpey or a Woolworths Pick N Mix! ‘Pray’ kept them in that place, whilst ‘A Million Love Songs’ caused many a (bad) knee to buckle! Swoon, indeed! The ever catchy ‘Back for Good’ (I’m sure Mrs Griffiths tried to winch me at a youth disco when this played in the mid-late 90s… but I could be wrong!) caused a mass sing-along, with even me knowing the bulk of the words, whilst desperately trying to remember if it was that song at the disco… or if it was even Mrs Griffiths!!!). It was a quite phenomenal start to the show… and for the record, I know “the other one” is Howard Donald! It was an attempt at humour that will land with some and crash with others! The three heroes made their way from the B-Stage to the impressive Main Stage on a superbly constructed mechanical elephant, that slowly ambled from one point to another as they sang the wonderful, soaring chorus to ‘The Garden’. It’s a strange song, as I’ve never felt that the dirge-like verse really goes with the brilliance of the chorus… but with the accompanying visuals, it worked superbly! The ever-catchy ‘Smile’ (I’m sure it was used in a Morrison’s advert!) opened the main stage, followed by ‘Up All Night’ (I’d never heard that one!) and the ballad ‘Babe’. Brand new song ‘You’re a Superstar’ led to snippets of ‘Love Ain’t Here Anymore’ and ‘Nobody Else’ and piano-led versions of ‘The Circus’ and ‘What is Love’. Amongst all this, there was a bloke on a tightrope walking half the width of the stadium, marching bands and high-flying trapeze artists! Breathtaking stuff! Another old cover song made famous by the then Manchester quintet, ‘It Only Takes a Minute’, was part of a wider medley section that included ‘Promises’, ‘Take That and Party’ and another few songs before ‘Said It All’ and a We Will Rock You-stealing hand-clapping, hand-waving ‘Never Forget’ brought a party atmosphere. It was back to the B-Stage for reunion hit ‘Patience’, which apparently reminds Mrs G of pushing our oldest son around Debenhams in Ayr in his pram. Music really is the best time machine. One of Take That’s most famous covers, Relight My Fire’, brought the main set to an end with some of the most impressive visuals I’ve seen at a show for many years! How did they get that big inflatable voodoo figure to talk and sing! It was huge… and competed in the size stakes with Gary Barlow’s son!!! There was no Lulu in her Glasgow hometown… but lots of flames made up for it! An encore of ‘Hold Up a Light’ and the wonderful ‘Rule the World’ (used as the soundtrack to every awards show for the last decade!) with fireworks in the Glasgow sky ended the show but not before a well-deserved final fling instrumental for the excellent band of musicians, including long-time musical director Mike Stevens and longtime guitarist Milton McDonald. The party atmosphere continued as the stadium emptied with the whole stadium singing and dancing (badly) to the seminal end of wedding, everyone’s drunk song ‘(I’ve Had) The Time of My Life’. Mrs Griffiths wanted to run and jump at me…but you know, arthritis and middle age. Wasn’t happening! What did happen was a happy wife heading home to her normal life of wannabe rock n roll husband and two ever-mood-changing teenage sons after rewinding the clock and literally having the time of her life with her one-time teenage idols in Take That. It was indeed a special night and was a timely reminder of how music can transport you back in time, causing mass happiness and togetherness… and that’s something the world really needs right now! For that and for an evening of supreme entertainment, Gary, Mark and Howard (the other one!) should take a bow. As for me and Mrs G, it’s Metallica and Def Leppard over the next few weeks. Concessions and all that…… Take That continue The Circus Tour with a second concert in Glasgow followed by dates in Cardiff, Manchester, London and Dublin.

Review Elaine Button - Photos Andy Bradley

Review Elaine Button - Photos Andy Bradley

OUT JUNE 26, 2026, VIA FRONTIERS MUSIC SRL

13TH ALBUM "CHAMA" OUT NOW VIA NUCLEAR BLAST

TAKEN FROM THE UPCOMING 20 TH ANNIVERSARY EDITION OF KISS OF DEATH OUT 3 rd JULY ON EXPANDED DOUBLE LP AND 2CD