By Darren Grayer.
The summer sessions continued last night (20/6/26) with what was for many, the high point of the two weeks, with a headline set from Paul Weller.
Tickets sold out weeks ago for an artist who has played such a pivotal part in the lives of a whole generation and beyond of music fans, as well as influencing a whole plethora of artists in making their own music.
Included in those would be support act Miles Kane, who was born four years after The Jam decided to call it a day. Kane’s musical trajectory started in 2004 with the band Little Flames, a Liverpool four-piece who played 60s inspired indie rock and toured with The Coral during the three years they were together. After disbanding, Kane then formed The Rascals, who toured with The Arctic Monkeys. By that time, a friendship had already been struck, and Kane formed The Last Shadow Puppets with Monkey’s frontman Alex Turner in 2007. With The Arctic Monkeys rapidly becoming an almost household name, The Last Shadow Puppets were guaranteed a fair amount of spotlight and the release of debut album The Age Of The Understatement saw a slight musical shift for both of them, with a sound somewhere between the baroque greatness of Scott Walker and the psychedelic pop of The Electric Prunes.
The Rascals were still active in the background, but in 2009 Kane decided to pursue a solo career and in 2011 released the first of his six studio albums, Colour Of The Trap. This evening,with an expectant crowd already building, Miles Kane and his band took to the stage amidst glorious sunshine beating down on Guildhall Square.
The glam rock influenced Cry On My Guitar kicks off a set that never relents in pace with Kane and band looking ultra cool surrounded by Leopard skin amps and drum kit. The twin guitar laden Troubled Son fairly rattles along, before the slightly more gentle sound of last year’s single Electric Flower.
Inhaler, from Kane’s debut album, is a huge crowd pleaser, with a killer guitar riff that could have been spawned from The Nazzs’ wonderful 1968 power pop gem Open My Eyes, and Rearrange from the same album is more authentic indie pop, driven along by Jennifer Walintenski’s superb drumming.
Miles Kane wraps up his set with two more older songs, Don’t Forget Who You Are, and debut single from 2011 Come Closer, that both display his influences well, from The Jam to sixties beat pop. If the crowd weren’t already sweltering in the sun, they’re now suitably scorched with anticipation for Paul Weller.
Talking of whom, where do I even start? When Going Underground hit the number one spot in March 1980, I was 12 years old, and just starting to really discover my love of music. I can recall a group of older girls at my secondary school walking around the playground with a small transistor radio closely gathered to their ears. It was Monday lunchtime and therefore the latest top 40 was being announced on Radio 1. “Yes, straight in at number one” came the shriek of delight from one of them.
And that was how things were for so many of that young generation, a band who spoke to them directly. The music of Paul Weller still resonates with so many people from that era if tonight, and indeed, recent tour dates, are anything to go by. Guildhall Square is absolutely packed by the time Weller and his band take to the stage, and when they do, the place erupts with noise.
Unless those gathered would have been checking in on Weller’s performances in the last few days, even the most ardent fan wouldn’t have guessed the set opener. Never one to compromise, he kicks off with a track you can only find on the expanded edition of 2008 album 22 Dreams, Rip Up The Pages.
Precious, from The Jam’s final album is another less than obvious choice, but the funky guitar riff not necessarily familiar in their music gets people into head nodding mode, before seamlessly morphing into a cover of Curtis Mayfield’s disco classic Move On Up. Then it’s into solo material with the belting Come On/ Let’s Go, The Weaver, and A Bullet For Everyone, all tracks from different albums.
A segment of Jam songs follow, with classic single, Strange Town, and The Man In The Cornershop from 1980’s Sound Effects album.
More solo material, with another four tracks from different albums, including Hung Up, another outstanding track from the excellent Wild Wood album.
After The Jam split in 1982, Paul Weller took a short hiatus before forming The Style Council with Mick Talbot. It felt like a quantum leap from the sound and style of his previous band, with a soul/jazz, arty pop sound that felt very mainstream. I’m pretty sure it would have attracted a partially new audience while perhaps alienating some of the die hard Jam fraternity.
The set reaches the point where some Style Council tunes are about to make an appearance, but not before Weller engages with the audience. He expresses a little bit of frustration at those suggesting politics should be kept clear of his music and performances and states that much music has a political edge to it. The roots of folk music are firmly entrenched in political awareness.
“It doesn’t matter what your politics are, on a humanitarian scale, what has been happening in Palestine is a fucking disgrace”, he states with great emotion.
“This is a song that offers a little bit of hope”, he states before launching into My Ever Changing Moods. That’s followed by Ever Had It Blue and Shout To The Top, completing a short Style Council segue.
The set continues with more from all spectres of the Weller song book, Stanley Road, and then You Do Something To Me attracts a sea of mobile phones held aloft. That’s Entertainment ensures a huge singalong echoing around the Square, before Peacock Suit and the melancholic ballad, Shadow Of The Sun bring the set to a close. The band leave the stage to cheers and applause, but not for long. We know there’s more to come, it’s only just gone 10 o’clock.
The encore starts with English Rose, one of The Jam’s most poignant songs, followed by another reflective piece, The Pictures On My Wall, again from Wild Wood. Then it’s into what many would consider to be Weller’s ultimate solo piece, The Changingman.
The Eton Rifles is the last of the classic Jam singles to be played, and I didn’t quite catch what Weller said after it, but I think it was a huge swipe at some of the entitlement that has been born from some of those that have been through the doors of that place, and the damage they’ve inflicted on this country. Still relevant, 47 years on.
Wild Wood, for me, reflects peak Paul Weller, a song about hope and seeing light at the end of a tunnel, written at a time when he was openly displaying his love for Nick Drake. Rockets has a distinct Bowie feel about it, but it feels perfect as dusk sets in, but over two hours and 30 plus songs are brought to a close by A Town Called Malice. Again, the huge crowd echo it all around the arena, before Weller and his quite brilliant band bid farewell. I’ve heard lots of comments from various forums suggesting that all these recent shows have seen Paul Weller performing at his absolute best.
I’m guessing some of those who caught The Jam at their peak might disagree, but at 68, one thing is for sure, he still has that passion and swagger that makes him such an iconic figure, and the fire in his belly is still there.
From a personal point of view, I’ll always prefer the bread and butter of attending gigs at places like The Joiners and Heartbreakers Bar. There is something about the intimacy of a small venue, but tonight was very special, and along with many others, it will remain in the memory for years to come.
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