1,313 BIG COUNTRY, Icicle Works (acoustic), Bristol O2 Academy, Friday 9th February 2024

 

Two weeks and two days after my long-awaited knee operation, and I’m already back on the gig trail! A bit mad, maybe, but I am, after all, me… In all honesty, however, this one was totally thanks to old friend and tonight’s gig buddy Rich; we’d booked this one, a 40^th (!) Anniversary Celebration of old “live” favourites and 80’s Celtic post-punk icons Big Country’s sophomore album, the imposing “Steeltown”, when tix went on sale last year, however the rescheduling of my knee op from late December to late January put my attendance in jeopardy. Rich, however, was having none of it; if I can get on my feet even with crutches, he said, he’d get me there; and he was as good as his word. Good man! 

So, I’d phoned the venue to arrange seating and early entry, and Rich, along with friend Nikki, picked me up in ample time to hit the venue at 6.20, even given Friday night Bristol traffic! He dropped me off outside the venue and went off to park the car, then we had a swift drink in the Hatchet before queueing up, thence grabbing three of the dozen or so bar stools located in the main bar area, immediately behind the mixing desk and affording an excellent view. Not the comfiest of seats, in all honesty, but at least I’m up off my feet! Old Brunel/ Level 3 mates Steffen and Adam unexpectedly walked in, so we had a nice chat and catch up before openers The Icicle Works at 8. An acoustic version tonight, comprising a duo of former IW main man and barking mad maverick Ian McNabb, resplendent in rocker double denim and steampunk hat, and old IW sidekick Chris Lay, they ploughed through a selection of “nostalgia” from the Scouse rockers’ impressive post-punk/ pseudo prog 80’s back catalogue, revealing extra levels of songwriting prowess in this stripped back format. Opener “Hollow Horse” was a melancholy wallow before the soaring chorus, McNabb encouraging singalongs throughout, “Little Girl Lost” was a plaintive tale reminiscent of The Doors’ quieter moments, and “Evangeline” a drawling Southern road movie vignette. Throughout McNabb was his usual effusive, sardonic self, introducing one number with, “here’s a track from 1985; it wasn’t a hit so fits in well with the rest of the set!”, and encouraging us early comers to meet up at the merch stand; “you don’t have to buy anything, but fucking do!” A very Country and Western-inflected “Understanding Jane” (“UJ” – the Yellowstone years?) was far removed from the soaring full band belter but my set highlight nonetheless, and after the intricate campfire picking of set closer “Love Is A Wonderful Colour” I took the man’s advice and hobble out to the foyer for a pic and a brief chat! 

Back in as I overheard the dark, pulsing “Steeltown” intro music, and I was back on my stool for the band’s arrival dead on 9. The snaking guitar riffery of “Flame Of The West”, delivered in fine homage to his sadly lamented former bandleader Stuart Adamson by beaming guitarist Bruce Watson, already in fantasy band camp and caring not a jot that the place was probably only 2/3rds full, opened proceedings, with “new” (I say “new”, he’s been in the band 2 years now…) vocalist Simon Hough delivering the lead line with his low, nasal and surprisingly Adamson-like voice. Good start!

 For me, there’s little to choose in terms of songwriting quality between “Steeltown” and its predecessor, Big Country’s debut “The Crossing”; however “Steeltown”, reflective of the turbulent industrial times of the mid-80s, is a more politically-charged and social commentary-led beast, often bleak of mood and atmosphere. That said, the title track and subsequent “Where The Rose Is Sown” was an early double highlight, the respective choral hooks soaring and singalong despite the subject matter, both powered along by drummer Mark Brzezicki’s economical yet commanding style. “Winter Sky” was an unexpected galloping highlight, and album closer “Just A Shadow” a fine, plaintive lament, yet the mood changed markedly with the subsequent and considerably more upbeat “Look Away”, the crowd suddenly in full anthemic voice, continuing the singalong into the subsequent “Chance” and set highlight, the euphoric “In A Big Country”. A thunderous “Fields Of Fire”, including a vignette of “Whisky In The Jar”, capped an imperfect (a few bum notes, but no surprise for the opening night of the tour) yet fine 1 hour 20 minutes, with “Lost Patrol” an unexpected choice for the sole encore. 

Grabbed a list and a chat outside with Big Country guitarist Jamie Watson as Rich got the car, slow egress from the city centre nonetheless getting us home for ¼ to 12. Not as singalong as previous Big Country gigs, maybe, but a fine night out and an apt celebration of a notable album. Thanks Rich!