1,028 BOSTON STANDS WITH THE ACLU, featuring NADA SURF, JULIANA HATFIELD, BELLY, EVAN DANDO, THE SHEILA DIVINE, THE GRAVEL PIT, BILL JANOVITZ, The Paradise Rock Club, Boston MA, USA, Saturday 18th March 2017; 1029 THE GRAVEL PIT, Kevin Stephenson, Atwood’s Tavern, Cambridge MA, USA, Sunday 19th March 2017

Yup, that’s Boston…!

Damn, it’s been a long time since I’ve ventured over to “The Hub”, almost a second home to myself and Rachel in the early 2000’s, with 9 trips over 9 years, before a 9 year absence… Even with the kids a little older now, and with time and a little bit of redundancy money on my hands, it would still have taken Something Very Special Indeed to justify such a jaunt. And such proved to be the case, in part “thanks” to Donald Trump…

I don’t profess to be an expert in politics, yet alone the convoluted machinations of the US political machine, yet I hope I’m a decent enough human being to recognise when fundamental human rights are being breached. Number 45 has taken office and launched swathes of attacks on the civil liberties of minority groups, in the process putting a national focus on the work of the American Civil Liberties Union, a non-profit body set up with the express purpose of defending those rights. Many right-minded people seem to be looking to the ACLU as a rallying banner to oppose Trump’s policies and defend their rights, and it was within this climate that folks within the Boston music scene, most notably my good friends in The Gravel Pit, initiated the concept of “Boston Stands With The ACLU”, an intended series of events to raise money for this eminently worthwhile and currently much-needed cause. And, not wishing to ease themselves in, the line-up for their first event was an utter corker, a jaw-droppingly awesome collection of Boston Rock Royalty from the 90’s and early 00’s, topped with NYC’s Nada Surf, not only a band with a huge affinity for “The Hub” but, along with The Hold Steady, my consistently favourite music makers of the past 10 years or so. Not a surprise then, that this event sold out within 2 days, but luckily enough, following “permission to fly” being given by my dear wife, a quick message to TGP’s bassist and old friend Ed Valauskas resulted in my securing a ticket on the door. A similar facebook shout out to my Boston friends resulted in my good friend Corin Ashley (formerly of The Pills, the band who provided the soundtrack to my proposal to Rachel, back in gig 634) offering his studio futon for my short stay, and it was all systems go!

A visit from Winter Storm Stella earlier in the week, dumping a foot of snow on the Greater Boston area, briefly threatened to throw my visit into chaos, but the USA know how to handle such things, rather than in the UK, where a single snowflake shuts schools and cancels train journeys. So I had a bumpy flight in on a chilly Thursday evening, arriving to piles of snow on the sidewalks, but a very navigable city, so easily made it over to Corin’s place. Friday was shopping at Harvard and Davis, a quick trip to Q Division for catch-ups with Jon Lupfer and EdV, and the Boston Red Sox Fenway Tour! Saturday saw more shopping and lunch with Boston-domiciled old school friend Richard Wood, before I headed over to the Paradise, killing time in nearby “In Your Ear” before a quick chat with Nada Surf’s Ira Elliott outside the venue.

Michael Creamer turned up at 5 and ushered me in for the soundcheck, and I took a watching brief and tried to stay out of the way whilst saying “hey” to various folks as they arrived. EdV had suggested that soundchecks might be done by 5, but they were still in full swing, and I watched Belly, The Gravel Pit, Juliana Hatfield (along with Matt Caws of Nada Surf, on a Minor Alps song - Juliana and Matt’s excellent 2013 collaboration – which sounded verrry promising…) and Bill Janovitz all soundcheck. Wandered out to the Paradise Lounge as door-time approached, being greeted with a fulsome bearhug by an arriving Pete “The Peach” Stone and being introduced to his lovely fiancée Meghan. We wandered around trying to sort out wristband passes, eventually hanging in the upstairs “backstage” area with tonight’s performers as the venue filled up (luckily the lady manning the backstage entrance took my “VIP list” status at face value, and let me come and go throughout the night with impunity) and ultimately running into Creamer again, who advised he’d sort me one later – “got to see to the artists first”. Fair enough, totally understandable, I felt, whilst hoping this wouldn’t come back to bite me on the bum – which it subsequently almost did…

Met up with Corin before the witching hour became due, and I took to the already well-attended floor for Buffalo Tom frontman BILL JANOVITZ, kicking off with a solo acoustic set at 7.30. Sounds like a nice, understated way to ease into the evening, right? Hell’s teeth, no! Bill was absolutely on fire from note one, sparing us none of his passion, ire and bleeding raw intensity with a frankly awesome reading of the Tom’s finest moment “Larry”, followed in quick succession with “I’m Allowed”, both so strident and stunning that even Peach (who got, “to see Bill play guitar every week for the last 20 years…!”) was impressed. Bill commented, “[tonight] is like a post-college reunion for me!” and gave props to the ACLU and their work, before “Summer” featured a modified “where’ve my heroes gone today...” lyric reference to Chuck Berry, news of whose death earlier that day at 90 had been filtering through backstage. Typically, Bill turned this into a celebration of one of his personal icons and one of rock’s root metaphors, with an upbeat, inclusive and audience singalong run-through of “30 Days” which earned the comment, “that was wicked good, Boston!” and would have had the great man smiling down from up high.

A stellar “Taillights Fade” brought us back to the Tom’s usual brooding oeuvre, before the final number, a cover of New Order’s classic “Age Of Consent” was slowed to a hushed yet no less potent ballad, ending a stunning opening set. Wow Bill, you totally killed it… and this was only for starters!

I then took a loo trip in the downstairs gents (which I didn’t realise was shared between the club and the front lounge), then had my bum-bite, as the steward stationed by the bar wouldn’t let me back into the club as I didn’t have a pass – despite the fact he’d seen me walk past him to go to the loo in the first place! This just before THE GRAVEL PIT were due on, too… he was having none of my stammered and increasingly angry arguments, yet fortuitously Creamer popped up as if by divine providence, with a, “he’s alright” comment and a precious blue wristband. Thus freed of the nimby steward, I was able to squirm down the front for the Pit’s arrival, being introduced onstage by co-host Angie C Shaw. My first time seeing The Pit since 2003, when for me they were the most overtly dynamic, visceral and immersive “live” rock’n’roll act on Planet Earth (a position likely currently occupied by the mighty Titus Andronicus), and also likely the first time they’d played together for a number of years themselves, it was inevitable that their raw power and seething fire would be diminished with the passing years. Nonetheless, this merely gave their virtuoso musicianship, band chemistry and Jed’s songwriting prowess space to shine instead; opener “Where The Flying Things Go” and the bouncy, modish “Baby Gap” sounded excellent, crystal clear, before ceding to newie and more showtune-esque “Mr. Baby”, before “Why”, darker and more brooding.

A plug for tomorrow’s Pit matinee show at Atwood’s Tavern followed (“that show’s a benefit for The Gravel Pit!” announced a playful Jed) before a couple of other newies followed, the galloping “Wreck Of The Triple One” a highlight. A timecheck for the already late-running schedule (Jed, “what’s the time?”; EdV, “don’t care!”) preceded a jaunty “Bucket” with EdV’s bass solo and Jed’s cod-reggae guitar licks a duelling feature, then closer and set highlight “Something’s Growing Inside”, grungy and growling, left us with a taste of the “old” Pit, a vignette to finish a superbly judged, low-key yet wonderfully sounding set.

I popped up backstage to offer congrats to the Pit boys just as Evan Dando arrived, so took a quick opportunity for a pic but didn’t hold him up as he was due onstage next. Just as I’d thanked him and was making my way out, however, I heard the slash of a familiar “live” guitar riff and an unmistakable strident voice from downstairs… fuck me, that’s Aaron Perrino’s voice!! And sure enough; Angie C Shaw had announced to the crowd, “it wouldn’t be a 90’s celebration without THE SHEILA DIVINE!” and there they were… well, two thirds, anyway… turned out that Creamer had gotten wind that Evan might be a late arrival or even a no-show, and primed Aaron and TSD bassist Jim Gilbert that they might be needed as short notice stand-ins, then apparently told Gravel Pit drummer Pete Caldes (who’d drummed one tour for the Sheilas back in 2000, between drummers Shawn Sears and Ryan Dolan) to stay put after the Pit set! A powerful, screamingly emotive run-through TSD classics “Like A Criminal” and “Hum” in front of a frantic and incredulous audience ensued, Jim as usual owning it, looking 10 feet tall on the Paradise stage, and Aaron cheekily slipping in a “Rudderless” lyrical reference (Angie told me at Atwoods that Evan, preparing backstage, had noticed this, prompting him to get a hurry-on!). Following “Hum”, Aaron announced, “here’s Evan!” and EVAN DANDO took the stage, bearded and dishevelled and with Bill Janovitz’ guitar on hasty loan, opening with a sweet “Being Around”. As this finished, I briefly popped backstage to greet Jim and Aaron, chatting for a couple of minutes only, before decamping to catch the rest of Evan’s set… which comprised a further 1 ½ numbers; a half of “Down About It” which was then abandoned in favour of a cover of country act Florida Georgia Line’s “Round Here,” which he’d introduced as, “a JA Happ number” – hang about, isn’t he a pitcher for the Toronto Blue Jays? Anyway, that was that… very short and a little frustrating, but hey, it’s Evan… what else do we expect?!

The place was proper old school rammed by this point, and I was also re-acquainted with the Boston gig-goer habit of simply not moving an inch when someone wants to squeeze through (usually offering a pithy or irate comment in the process), so I abandoned my attempts of getting towards the stage and instead pitched up in the VIP viewing area on the balcony next to the mixing desk (where I overheard a passing Creamer comment, “so Evan did 4 numbers and now we’re back on schedule!”). This actually afforded me an excellent view of BELLY’s superb and clearly recent road-tested set; from the off their patented dreampop/ college rock collision sounded tough, tight and together, their reunion tour clearly re-igniting the spark of band chemistry between Tanya, Gail and the Gorman brothers. A plangent “Gepetto”, a frantic “Dusted” and a creepy “Super-Connected” (preceded by Gail initiating an, “A-C-L-U!” chant and announcing, “[The ACLU is] the only thing that’s standing between this administration and the end of civilisation as we know it!”) rocketed by, Gail all leant-back Ramones rock poses, Tanya stomping the stage in her stilettoed boots, totally owning it. It wouldn’t be Belly of late without some technical issues, though, and sure enough, Gail’s onstage monitor threatened to give up the ghost before “Feed The Tree”, the roadie’s remedial work perhaps affecting the sound slightly during this and the subsequent “Now They’ll Sleep”, the latter particularly sounding ragged. Nonetheless, Belly powered through, and a feisty, frantic and effervescent “Slow Dog”, my set highlight, preceded the band introducing Tanya’s husband Dean Fisher onstage, to provide subtle bongo accompaniment for an excellent newie “Shiny One”, a woozy sway-along with an anthemic chorus. Nice! Techy hiccups notwithstanding, Belly smashed it tonight!

A bit more backstage hanging out, joining Corin who was happily handing out cards advertising his “protest song!” (a ditty called “Vulgar Stain” which still retains his trademark Beatle-esque love of melody), meeting facebook friend and fellow Sky Heroes aficionado Steve Latham, and grabbing selfies with the artistes (who all seemed to take my pestering in good humour, thankfully…) before hitting the VIP balcony again for JULIANA HATFIELD. The sole performer tonight whom I didn’t grab for a selfie and the one whom I’d lost touch with about 5 or 6 albums ago, I confess I wasn’t anticipating her set with as much relish as the rest of this stacked bill. However, backed up with the Pit’s rhythm section of EdV and Pete Caldes, you’re not going to go too far wrong, and I’m pleased to report she put me in my place with a damn fine performance of material which was largely unfamiliar to me, but which still retained an easy, laconic and melodic college pop sensibility. EdV had been bigging up her forthcoming album “Pussycat”, and newies “Wonder Why”, a slow burner with a big soaring chorus, and “Touch You Again”, a balls-out rocker, were standout tracks, boding well for the new release, and were, along with the older chugger “Candy Wrapper”, delivered with urgency and potency. We then had the promised Minor Alps interlude; Juliana introduced Matt Caws onstage, and the subsequent “I Don’t Know What To Do With My Hands” was superb, brilliantly smooth yet eerie, followed by a more relaxed cover of the old standard “Bad Moon Rising”. A few more of Juliana’s own numbers convinced me at least to hunt down the new CD, as overall this set was a pleasant surprise.

A lawyer from the ACLU then took the stage and gave a fire-breathing rallying cry for her organisation, shouting out the benefits they’ve provided and emphasising the work left to do, whilst also announcing tonight had raised $22K! Yikes! A fantastic effort (which would ultimately rise to close to $25K), which I was proud of my ticket/ merch contribution of $100 or so… This bumped us up to 11 and the floor thinned out slightly, so I risked the dancefloor, squirming forward for a vantage point stage left for NADA SURF. A racy “Cold To See Clear” opened, gorgeous and bouncy as a whole field of Spring lambs, then the plaintive yet pointed “Whose Authority” followed, Matt Caws’ yearning vocals already a feature. By the growling, galloping “High Speed Soul”, I’d pitched up at the front, in perfect view of the kinetic Daniel Lorca’s splendid menacing bass work and low-slung rock star poses, rocking out for all I was worth.

Matt Caws is one of those rare performers with the talent of making you feel as if you’re the only person in the room, that he’s addressing you directly, making the surrounding large hall melt away and giving the performance a personal, almost intimate feel. Tonight he let the music and lyrics primarily do the talking, so this gift was most effective on the likes of the touching, lovelorn “Rushing” and the penultimate “Always Love”. In between, a double of the incendiary, almost punk rock “Way You Wear Your Head” and the slow build to massive crashing crescendo of a stunning “See These Bones” ensured I’d be waking up tomorrow with sore knees. Then, all too soon, set finale “Blankest Year” saw a shout out from Matt to organiser EdV, and the modified hook of, “fuck it, we’re going to have a benefit!” featured 2 false finishes before the final denouement, each more raggedly cacophonous than the last, stretched and elongated, as if they never wanted this party to end. Further proof of that, if needed, was the encore; I’d caught a glimpse of Da Surf rehearsing “I Fought The Law” backstage, and the work proved fruitful, Tanya Donelly and Jed Parish joining the boys on backing vocals for a rambunctious rendition of which The Clash would have been proud. An utterly appropriate and all-inclusive way to end a quite epic night!

Headed off with Corin for my last night in Boston; then the following morning saw a splendid late breakfast in a Greek restaurant, my treat as a “thank you” to my gracious hosts, and a trip to Staples for a packing tube for my signed ACLU Benefit poster, before I bade farewell and headed over to Atwood’s Tavern, scene of the last act of my Boston weekend!

Hit the quiet early doors venue at 2.15, a small long bar with a stage set up at the far end, so I took a table nearest to the stage to the left, watching the place fill up and spotting and greeting familiar faces Jim Haggarty of The Gravy, and Matt Burwell, who’d been the Pills drummer during their UK jaunt (gig 634, again!). I also introduced myself to The Rationales’ mainman David Mirabella, a facebook friend since my pledging on their very fine “The Distance In Between” CD a few years back. The Pit turned up, as did last night’s co-host Angie C Shaw, who joined me at my front table, with her partner Dave and friends Dennis and Michelle, for some buoyant and entertaining rock chat. Kevin Stephenson played a short set to the assemblage at 4pm, a couple of blues standards interspersed with his own, vintage rock’n’roll influenced compositions, which dovetailed well together and provided good background music to the rock chat.

The Pit took the cramped stage at 4.30, Jed welcoming with a, “good afternoon!” and easing into “Bolt Of Light”, Pete Caldes’ rocksteady drums and Jed’s intricate farfisa organ tampering a feature. By a groovy “Favorite”, they were in their stride, yet, as last night, this was not the growling rock behemoth Pit of old, probably a good thing too given the size of the venue and the proliferation of children of all ages at this matinee performance. An easy, relaxed performance, picking and choosing as the mood took it, rendering the set-list pretty much useless, chatting and interacting with the crowd of mainly friends and family.

A galloping “Triple One” saw Jed move off the keys; “I get to play the guitar [this time], it’s an exciting instrument especially when electrified!”, and, following some teasing from Jed (“Ezra Messenger”! Remember that one? Well, keep remembering it…”), an unexpected “Rise Of Abimelech DuMont” (“part 4 of the fear trilogy!” quipped Jed) was as overtly “rock” as it got this afternoon, Jed nonetheless still reining in the big smoky voice during the strident denouement. “Mosquito” featured a lengthy stripped back middle 8, “Favorite Scar” was muted and slower than usual but still fun and “Tangled” was surprisingly rocking; then Ted Taylor’s 60’s standard “Love Is Like A Rambling Rose” ended this entertaining, relaxed and, dare I even say it, “mature” 1 ½ hour performance. A celebration of The Gravel Pit!

(The list ended up as: Bolt Of Light, Mr. Baby, Favorite, Bucket, Triple One, Stingray, Crybaby Vampire, Flying Things, Baby Gap, Don’t Do What You’re Dying To Do, I See Red, Abimelech DuMont, Mosquito, Favorite Scar, Why, Tangled, Something’s Growing Inside, Rambling Rose)

Fond farewells all round, then David Mirabella very kindly dropped me off at the airport, enjoying a chat about his band, Nada Surf and REM in the process; then an on-time and much smoother red-eye flight home got me back to Blighty at 7 a.m. UK time. National Express wouldn’t let me board an earlier coach home without a transfer charge, though, so waited for my scheduled 9.50 bus, home at 11.15 to be greeted by my lovely wife at the bus station. Thus ended my return to Boston; that was indeed Something Very Special!

494 THE SHEILA DIVINE, Ivory Coast, The Paradise, Boston MA USA, Thursday 29 March 2001

Another quick trip to my favourite rock'n'roll bolt hole, namely Boston, MA! This gig, the first in a double-header of CD release shows by The Sheila Divine was ostensibly the reason for the trip this time, although the real reason was to get away from my unhappy marriage for a few days on my own, talk things through with good Boston friends, and get the impetus to do what needed to be done. So, a direct flight then over to my digs, then walking to the Paradise via a circuitous route from Coolidge Corner!

Get there and have to queue up; my "guest list" status apparently means squat to the bouncers! However, I get in for 8, at which point there were only 10 tickets left; this is going to be one hell of a show! Meet up with TSD bassist Jim Gilbert as soon as I get into the club, a large (for Boston) hall resembling the Bristol Studio or old Hammersmith Palais in layout if not in size. Jim's pleased I made it over, but keyed up for the "showcase" homecoming show. The support, Ivory Coast, do their job well with some vaguely emotive pop and choppy powerpunk, an appropriate combination considering they feature a vocalist who is the spitting image of Sebadoh's Lou Barlow!

Make my way to the front, annoying some locals in the process but Jim, setting up onstage, notices my location and stops for a quick chat, which prompts another nice chat with a fellow punter. The Sheilas then come on with a swagger and a strut (mainly from big Jim, over 6 feet tall but looking double that size onstage!) to a rapturous welcome, kicking off a clutch of newies from the CD "Where Have My Countrymen Gone?", the release of which these 2 shows celebrate. The opener, "Sideways", is an insistent groover, but it's 3rd number in, "Every Year" which is the gem, a true Sheilas classic with power, emotion and a brilliant hook. Jim is massive onstage, all movement and huge rock gestures, circa mid 80's U2, drummer Shaun Sears wrestles with the rhythm like an angry octopus, and new boy Colin Decker throws angular shapes. But it's vocalist Aaron Perrino who is the real star. Pale, McCulloch red-lipped and innocently boyish, Aaron's voice is choirboy pure one moment, and grizzly-bear angry the next, but always huge, resonant and capable of filling the hugest venue on it's own, never mind The Paradise! The voice perfectly fits the Sheila's brilliantly emotive, soaring powerful rock, so reminiscent of 80's pop geniuses Kitchens Of Distinction, early Buffalo Tom or even my late teen "home team" Echo And The Bunnymen, but mainly all their own work.

"Opportune Moment", which just builds and builds to a pressure-cooker intense crescendo, is superb, but it's "Hum", with its' towering hook, and Aaron's bulging red-faced vocal intensity, which is the real highlight of a set packed full of them! After a couple of newies, The Sheilas encore with a frankly appalling version of Kim Wilde's "Kids In America" which Aaron needs a lyric sheet for (!), and is frankly out of step with the rest of this awesome set, but I can forgive them that.

I hang out afterwards with the crew, meeting the rest of The Sheilas for the first time, or so I think; Shaun tells me he remembers my name from his time at Q Division, mailing out their stuff to me! Aaron reveals himself to be a huge Kitchens fan (surprise, surprise) and fends off a comically drunk fan, but is pleased to sign my list and talks about his ambitions to bring The Sheilas to the UK, as do they all! Before heading off, I also meet up with Michael Creamer (TSD and Pit manager), and Mike Deneen (ace Q producer and also nicknamed "Sheriff"!) for the first time!

495 THE SHEILA DIVINE, plus support, The Paradise, Boston MA USA, Friday 30 March 2001

After a day doing some seriously brain dumping with a sympathetic ear in EdV - I know what I've got to do, I just have to do it now - and avoiding the rain, we're up for the second of this 2 night TSD CD release stand. "The Peach", Pete Stone, EdV's "date" for this evening (his "+1" on the TSD guest list!), picks me up from my digs at 1/4 to 8. He's his usual acerbic self and Ed keeps rolling his eyes and saying, "aah, the Peach!" We hit the venue early for this advance sell-out to get good viewing places, only to find it packed out already and the punkish but unfocussed unnamed support act already assaulting the crowd's eardrums.

Hit the bar upstairs and EdV introduces me to barman Bill Guerra, new Senor Happy guitarist and roommate to James Horrigan! Take a wander to the balcony, stage left, where I chat to Fly Seville vocalist Jesse Blatz. The Sheilas come on at 9, opening with familiar slow-burner "Automatic Buffalo", then really kick-start things with strident newie "Every Year", which I remember clearly from the previous night. In fact, all the new "Countrymen" numbers in this rejigged and reshaped set are instantly memorable and recognisable from last night, starting with the title track, 3rd number in, which is similarly slow-burning and features serious vocal gymnastics from an in-form Aaron.

By this time I've eschewed my balcony spot and I'm once again pissing off the locals by barging my way forward, stage left, and trying to get this sell-out and supposedly rapturous local crowd to dance! The Sheilas do their best too; "Awful Age" is a brilliantly angry growl of a song, newie "Kiss Army" is a thrilling rush, and "Like A Criminal", with its dramatic guitar slashes, is an excuse for bassist big Jim Gilbert to jump about like a scalded cat, arms flailing Pete Townshend style around his pitifully small-looking bass. But my own personal favourite "I'm A Believer", and "Hum", two absolute top drawer slices of emotive, spine tingling dynamic guitar rock, are the superb climaxes to the set, "Hum"s middle eight vocal line being seemingly sung by the whole crowd. Passionate, haunting and brilliant!

A couple more encores, including a surprisingly superb "Eleanor Rigby" which features some almost scat-vocalising from Aaron, are followed up by champagne onstage, and an unscheduled last "Modern Log". Brilliant stuff, but my night's not over yet; I meet up with EdV and Pete and we're off to gig 496!

530 THE SHEILA DIVINE, Lester, De Kreun, Bissegem-Kortrijk, BELGIUM, Friday 12 October 2001

Yup, that's right, Belgium! Our Boston friends The Sheila Divine were attacking the Lowlands, and Rachel and I were up for a piece of that action! So, with the aid of the AA and a superb hired Skoda Octavia to replace our battered Rover which had developed radiator problems the previous night at the thought of going Continental, plus 3 hotel bookings (which turned out to be 4!) and a great big road map, we were away! A re-arranged crossing saw us Sea-Cat over to Ostend the previous day, staying in Ostend (which smells of freshly baked bread and has lots of old baroque churches!) overnight, then moving on to Ghent on the day of the opening gig. Eventually found our hotel after driving (on the wrong side of the road, of course!) down some pretty but confusing roads, spending the rest of the day checking out Ghent and the Castle Of The Counts (ah ha ha!), before heading off early evening after planning our gig beat-route to Bissegem-Kortrijk!

Took a wrong turn off the E-Way, but found the gig nonetheless after asking at a local petrol station. "Straight on - you will not only see De Kreun, you will also feel it!" was the advice. Hmmm! Parked up by the nearby railway station and went into the pub which was attached to the venue. Hit the pool table, then Sheila Divine vocalist Aaron Perrino came wandering through, joining us to hang out, so I introduced him to Rach and we caught up with this softly-spoken and personable chap. He in turn introduced us to a new Sheila - drummer Ryan Dolan, Shawn Sears having left amicably and now managing Merrie Amsterberg. Ryan is a long-time TSD fan from Portland, Maine, so is well chuffed to be drumming for them, even if it means he can't wear his TSD t-shirt out anymore!

Bassist Big Jim Gilbert, our main TSD contact and the man who put us on the guest lists for these shows, joined us. Jim mentioned during an extensive catch-up that The Gravel Pit are "taking a break," well hopefully this means more Gentlemen material instead! We also find out the main reason why The Sheila Divine come over to Belgium so much; the beer!

We wander into the venue - a big back hall resembling an old barn, no less - to catch some of local support band Lester. They play a trad rock set which doesn't really inspire overall, but has some nice touches a la Daryll Ann, another band from the Low Countries. However, Rach and I decide to wander back into the pub for a drink, there being no bar in the back room, and run into the 4th Sheila, guitarist Colin Decker, and old friend of new drummer Ryan, who tells us TSD are due on at 9.30.

By now the venue is really full, so we head back in at the end of Lester's set and take our places - stage centre, down the front! The sense of anticipation is pretty high, particularly with Rach, who's not yet seen this lot, and it's heightened by Jim mentioning they're going to try 4 or 5 new songs on us.

After tuning up, The Sheilas kick off their set at 9.45, with a moody new song, "Calling All Lovers", which follows the usual TSD recipe of building to a spine-tingling crescendo before releasing it all in one "pop". However, "Sideways" and "Every Year", the strident and thrilling duo from recent album "Where Have My Countrymen Gone?" really kick-start things, and get Rach and I rocking for all we're worth. After that, it's superb all the way; a brilliantly paced, light and shade coloured set of this unique heart-crackingly emotive band's work. From "Countrymen", which builds and simmers like a pot coming to the boil, then overflows with the huge hook, through "Like A Criminal", with its' dramatic slashes of guitar and thrilling, "rock you, yeah yeah yeah!" finale, to "Wanting Is Wasted", where Aaron out-Mac's Ian McCulloch for downright vocal surliness, this lot have all bases covered. But it's a couple of newies which win through for me; "We All Have Problems", as straightforward a rocker as they've written, and dramatic finale "Running With The Devil", which I believe was called "Kiss Army" at their CD release shows earlier this year, during which Aaron eschews the usual stationary cool persona, and throws a wobbler, shuffling across the stage like a demented crab, wrestling the mikestand and screaming for all he's worth; "Back To The Cradle", indeed!

Elated and sweaty, and swept up in the tide of emotion this band generates, we take some time to gather our thoughts afterwards. Catch Jim after, who gives us free t-shirts (good thing too, as ours are soaked!), and to and about whom I remark, "looks of Andy Partridge, moves of Adam Clayton!" despite the fact that onstage in his green shirt, he looked like EdV tonight... We chat to the rest of the boys afterwards, particularly Ryan, who turns out to be another old fan of Big Dipper, Dumptruck and the like. We're also introduced to Jim's Belgian friends Geno and Helga, who are responsible for getting TSD over to Belgium in the first place! Then photos and final thanks before leaving, grabbing bratwurst and chips from a kiosk by the level crossing, and driving back to Ghent. No trouble at all this time!

531 "ROCK TERNAT", Saturday 13 October 2001

Day 3 of Belgium, and this one's all about Rock Ternat! We packed up and left our hotel in Ghent, then zoomed along the E40 to Ternat, finding the Festival site 3 hours too early, so killed time by visiting Ikea! Returned to the site, parking the car on the road verge then wandered down a dirt track to the collection of fenced-off small fields and big tents that comprise Rock Ternat, an annual festival with a 4-5,000 capacity. Picked up free passes at the gate, big Jim coming through for us again, then after gaining entrance at 2.45, we got the beers in to watch the first band! This is YUM, whom we watch down the front in the single big band tent; they're a good start, all rhythmic and unorthodox, similar to Darkstar, but occasionally rocking in a haunting, Gothy manner. Also, their vocalist has good taste in red velvet shirts and knows how to hold a tune - he sang in English and introduced the songs in Flemish, however, which has to be confusing, or so I thought until meeting him afterwards and finding out he was half Canadian, half Dutch! Good band, though, so we buy merch.

BASTION are next up; they're unfortunately the kind of Euro disco pop bollocks that got Euro disco pop bollocks a bad name! There's 10 of them onstage and they're all shit! So we wandered around the festival site and caught the sun, killing time before the main dish of the day.

THE SHEILA DIVINE are up next, just after 5pm, and by now there's a hard core of fans down the front - including us! Once again, they open with newie "Calling All Lovers", which calls for a stellar performance from guitarist Colin Decker - and gets it! The slow-burn of "Opportune Moment", which builds like pressure then erupts in a joyous, "it's my life!" hook, follows, giving Aaron ample opportunity to exercise those gymnastic tonsils of his. Once again, the man hits every note he's called upon to hit, be it at angelic schoolboy pitch, or at a screech like a scalded badger. "Countrymen" is a particular tour de force, calling for a choral falsetto which he nails - every time!

By now, we're surrounded by a manic moshpit, and crowdsurfers - yup, Sheila Divine crowdsurfers! So much for Rachel's idea that it'd be calmer down the front today than at De Kreun last night! Also, we're being regaled with an insistent chant from the Belgian TSD massive of, "we want "Hum"," egged on in no small part by big Jim Gilbert! So the boys abandon the set order, and the familiar opening bassline is met with a rapturous ovation, as "Hum" is let loose by the Sheilas. The band lap this reception up, especially Jim, whose huge frame and extravagant gestures are totally accentuated by the big stage he's allowed to let rip on today! "Automatic Buffalo" closes the set, but the boys are ushered back on again for one final number, which fittingly is the tense, raucous "Running With The Devil", with its increasingly familiar hook, "back to the cradle," which preceded, once again, another flip-out from Aaron, his face red and pulsing with passion. Again, breathtaking and superb!

That's what we were here for! So we emerged from the front, totally sweaty, and grabbed some eats before next band MAURO. They featured a floppy fringed Jonathan Ross lookalike with a silly pencil moustache on vocals, but peddle very trad 70's AOR, like the Stones after they'd gotten too old and boring. Needless to say, we don't stick around for long but head for the bar tent instead. Back in to check out next band STARFLAM, who were an even worse idea - a French rap act which was as bad as it sounds. You couldn't fault the eclecticism of this bill, but one wondered why; after all, everyone (except us, so it seemed) was primarily here for the Sisters Of Mercy!

We ran into Belgian TSD friends Geno and Helga, who were just heading home at this point; not a bad idea as it turned out! We'd resolved however to stay to hear THE SISTERS OF MERCY, partly because they were the only other band on the bill that we'd heard of! However, they came onstage swathed in so much dry ice you'd be forgiven for thinking there was a fire, and worse, they had no "live" drummer, instead employing a very loud drum machine which suffocated all the other sounds and rendered the Sisters songs, often haunting and powerful, instead turgid and impotent. Even the sinister power of "Temple Of Love" was wiped away by the swathes of drum machine, and we could hardly see the strutting and preening Andrew Eldrich through the smoke. So we left.

That was nowhere near the end of the night, however! First we had to contend with a double-parking-mare, then an event photographer - who'd recognised us as, "the English fans following The Sheila Divine around Belgium," from our car's UK plates, although we'd never seen or met him before! - kindly directed us to Brussels, whence we spent ages driving frustratedly around the one-way system before finally finding and parking near our hotel - at midnight! However, it was too noisy to sleep, thanks to a bar opposite our hotel, so we went out to drink ourselves asleep with Belgian beer. If you can't beat 'em, join 'em!

532 THE SHEILA DIVINE, Lester, Club 9, Koersel, Belgium, Sunday 14 October 2001

Day 4 of Belgium; awoke thick-headed and almost late for breakfast, then headed out of the crowded and dirty Brussels city centre for a day out at the Atomium and Mini-Europe! Back early afternoon, then "checked out" of our hotel without checking out- we've got another night left but we're not planning on returning if we can possibly help it! Headed off to the North of the country getting off the E-Way at 6ish and driving around trying to find either a hotel, or the gig, or both! Eventually we stopped in a pub, where a kindly patron drew us a map to both! So, we located the venue - down an alleyway off the main drag, next to a kebab shop! - then found the suggested hotel, a rather sumptuous looking but competitively priced country house! Result!

Had a little rest before changing and heading off to the venue. Bumped into Jim in the lobby of this youth club type building, in the corner of a large car park. Jim's selling TSD merch from a large sofa, so we joined him for a chinwag as he greeted a lot of people arriving for the gig. Not a surprise really, as this is the 8th time The Sheila Divine have been to Belgium! Ryan passes through as Lester kick off their set. Once again they sound unobtrusive, occasionally nice and pastoral in a Daryll-Ann manner, but don't tempt us off the sofa, particularly as Jim ran off at one point and left us in charge of the merch!

Eventually we wandered in as The Sheila Divine are setting up and turning up. Once again they're straight into their set, no nonsense, with "Calling All Lovers", followed by "Every Year", a personal favourite sadly omitted from the Rock Ternat set. Once again with a bit of elbow, knee and leg room, Rachel and I take our last chance to dance with both hands, rocking out in extremis, showing these Belgians how to dance madly! As for TSD - well, what can I say about these boys? The Music - soaring, majestic, emotive rock that builds and then releases the tension in joyous measure, similar to the heroism of early U2, the thrust and sensitivity of Buffalo Tom and the melancholic plangent cool of the Kitchens Of Distinction, but alone and unique. The performance - Jim all angles and extravagant hand gestures, Pete Townshend meets Adam Clayton; Ryan laid back and cool, applauding his own band during song breaks, so obviously a fan and loving it up there; Colin all effort-led facial expressions and doubled-over shapes; and Aaron, immobile, varying between the white faced angelic voice and the red-faced angry howl to the heavens. What else to say? I think I've said it all; quite quite brilliant!

"We All Have Problems" is once again superb, Aaron bellowing at a statue of David that a Belgian fan has inexplicably put onstage, but my own favourite was "I'm A Believer", asked for in tonight's set, and got! This requires the full throttle scream all the way from Aaron, and he sensibly comes down an octave once or twice, without the song losing any of its potency. The final encore, again "Running With The Devil" kicks up the noise and fuss before "Automatic Buffalo", fittingly the last song we hear from The Sheila Divine in Belgium, calms it all with heart-wrenching emotion and cool.

This is our last night - tomorrow's just about travelling home via Bruges for some sightseeing - so we stick around to catch our breath afterwards. I grab a poster and get the boys to sign it as our official tour souvenir, before the Belgian hosts usher The Sheila Divine into an interview in the (rather foul smelling and extremely cerise-coloured!) girls toilets! Nevertheless, we stick around, determined to wring every last drop out of this one, and we're rewarded as Jim emerges and ushers us to the private bar, where much after-hours drinking is going on and Ryan is acting as barman! We chat for ages, mainly to Jim and Ryan, before reluctantly (and extremely tiredly!) saying our final farewells to the Sheila Divine. 3 brilliant shows and on the guest list for them all - boys, you really did us proud!

546 THE SHEILA DIVINE, supporting Ben Kweller, London Camden Monarch "Barfly" Club, Tuesday 26 February 2002

Amazingly, The Sheila Divine, the band I flew to Boston for a weekend to see, and whom Rachel and I went to Belgium to follow, both last year, finally organised a gig in London! Self-financed and all, so what more could we do than to make an overnighter of it! Coached to London and booked in at our hotel, barely 100 yards from the venue! After an afternoon shopping and recreating, we hit the Barfly at 6, sneaking into The Sheila Divine's soundcheck (which sounded spot-on at this notoriously dodgy venue!).

Met and greeted the boys, then after a short wait while they ironed out their set - cut at the last minute to half an hour, damn! - we hit the local Wetherspoon's with bass player Jim Gilbert and drummer Ryan Dolan for an entertaining hour of booze, catching up and swapping Boston Rock anecdotes, particularly about Pete (+1!) Stone, and Hilken Mancini's Punk Rock Aerobics! Back to the venue and met up with travelling Swindon friends in the already-filling-up-nicely crowd - apparently this one was a sell-out, so The Sheila Divine had a chance to impress a good crowd!

Rach and I hit the front, stage right, for the Sheila's entrance at 9, with the shimmering, haunting title track form their "Countrymen" CD. Despite the poor sound, (it sounded better in soundcheck!), the set thereafter was predictably yet joyfully brilliant; the edgy, itchy rant of "Ostrich", followed by newie "We All Have Problems", familiar to us from Belgium, so we could sing along to this hooky punky number. But "Criminal" really ignited us, with its angular guitar slashes painting the way for Aaron's intense vocal performance, particularly the "rock you, yeah, yeah, yeah" finale, breathtaking and cacophonous, yet still melodic! After a couple of newies, more studied and slower paced yet no less dramatic and emotive, the finale "Back To The Cradle" once again brought melody and cacophony in equal measure, with Aaron abandoning the guitar to wrestle the mikestand in the song's thrilling crescendo, whilst howling primally and dramatically. At the end we were once again drained yet elated; that's what this band does to us!

Moved to the back for Ben Kweller's set, bumping into a late-arriving Kevin Hendricks and the rest of his Seafood bandmates in the process! Had the distinct honour of introducing two of my favourite bass-players - Jim and Kevin - to each other, and it was a nice surprise to discover Jim already owned Seafood's first CD! After The Sheila Divine's drama and intensity, Ben Kweller's lightweight solo acoustic limericks didn't really gel, so we left the bursting crowd for a seat downstairs, hanging out with the Sheilas and their supporting cast of friends and relatives for beer. We eventually left at 11.30 after a fun hour with the Sheilas and Co. Now we can't wait for them to come back again!

563 THE GENTLEMEN, THE SHEILA DIVINE, Creature Comforts, Brownies, New York City, NY, Wednesday 26 June 2002

Having arrived in Boston yesterday, our first full day this trip was spent travelling down to NYC on the Greyhound bus! Following a breakdown and bus swap, and torrential rain in the Bronx, we arrive at Port Authority way late at 6.15, checking into our hotel then pretty much immediately taxi-ing over to tonight's gig, our reason for being in New York in the first place! We hit the venue just before 8, spotting Gentlemen drummer Pete Caldes in a group of blokes hanging out outside Brownies. We shake his hand, then realise that the guy with his back to us - whom I'd just stiffed - was a now longer haired EdV, Gentlemen bassist and our best Boston buddy! Whoops!

We chill and catch up with Ed before popping into this venerable NYC venue for the last time - they're closing it in August. Say "hey" and have a surprisingly long chat with the normally recalcitrant Mike Gent, before catching the Creature Comforts. A band from Lawrence, Kansas (I later make the connection that this is also the home town of Big Dipper predecessors The Embarrassment!), they churn out a fast-paced, expansive sounding rock set which on this evidence falls midway between the jagged and emotive rock of Buffalo Tom and the laid-back, slightly countrified lilting US rock of the Gin Blossoms. Not bad at all, and toes are duly tapped.

We'd run into the guys from The Sheila Divine outside the show whilst hanging out with EdV, surprising the living fuck out of them all in the process (a contextual thing, you see - Aaron, who we met inside the venue, said "hey" to us before the penny dropped as to where he knew us from!) they explained that this was an important showcase gig for them with a number of labels, promoters etc. on their guest list, so I hoped they'll appreciate a couple of Brits freaking out down the front. This we do, from, the opening bars of the slow-burning epic "Automatic Buffalo", through to the dying howl of last number "Ostrich", and all points in between!

Tonight, The Sheila Divine needed to deliver a stunning performance, one which they are well capable of, and delivered in spades despite any undue pressure which they may have felt under. They were no less than inspired and jaw-droppingly brilliant tonight; the straight-ahead rock dynamism of "We All Have Problems", a superbly strident "Hum", a jagged, bruised "Like A Criminal" with its passionate climax "yeah, yeah, yeah"s, and even a discordant but fascinating new number "Black River", dedicated by Aaron to, "everyone who made the trip down to see us from Boston... or England!" They all worked perfectly tonight, and the set is easily as good as I've ever seen The Sheila Divine.

We catch our breath after their set and are surprised by the guy who'd danced in front of us at the show. He'd made the trip down from Boston for the gig, and he presents us with a TSD "live" CD of the first Paradise "Countrymen" CD release show, which I'd been at last year! Cool! We stay stage front and centre for the next set, leaving my post only to get a beer for the soundchecking EdV.

The Gentlemen join us at 10.15, a little past their allotted slot (but hey, it's been running late all evening) and are immediately "on it", with the blow the cobwebs away rock riffery of new CD opener "Let Us Know". They trot out the first half-dozen from their newie in formation order, with the practiced ease of a by-now well bedded-in live unit. It's easy to see how they won this year's WBCN "Rumble", as this Gentlemen group are a quantum leap ahead of the tentative line-up I'd seen back in the Summer of 1999, during my first Boston jaunt. Vocal chores are swapped around, Lucky Jackson taking the mic for the Stones-like rawness of "Show Me How You Rock'n'Roll", and EdV growling out the nevertheless much poppier, Costello-esque beat of the brilliantly titled "It's Not So Much That I Disagree With You, It's That You're Wrong". But it's Mike Gent's performance which anchors the set; angular, agitated and acerbic ("all the suits left, I see; funny how the richest people always want to get in free!", he noted, which I hope was a swipe at TSD's "guests" and not us guest-listed Brits!), Gent was always a captivating presence and is clearly the captain of this team, directing the Gravel Pit trio through a damn fine, strident and well-rocking set.

We're knackered and not a little hungry by now, so we say our farewells and grab a cab along Avenue A, unfortunately only finding a MacDonalds open near our hotel to grab grub from. So much for the city that never sleeps!

575, 576, 577 THE SHEILA DIVINE, The Realistics, London Spice of Life, Camden Dublin Castle and Islington Buffalo Bar, Monday to Wednesday 14-16 Octob

It's October, so this must be The Sheila Divine! October had been looking a pretty slow month for gigs - we'd gotten tix to see Australian mod ruffians You Am I for this Thursday - but we then found out TSD were in London so we resolved to get to as many of their 4 London shows as possible, before our car, our money or our energy and tolerance levels gave out on us!

So, off to number 1, at a downstairs pub venue in Leicester Square, opposite "Les Miserables". Ady joined us for tonight only, which we found out shortly beforehand would be the only acoustic show of the 3! He came along anyway, unfortunately for him! We found the pub fairly straightforwardly and got drinks in, meeting TSD bassist Jim Gilbert in the process. Spent time catching up with this most open and thoughtful of chaps. It was during this that we learned that tonight's set was not only acoustic, but it would be a) Aaron only, and b) as it was part of an "Open Mic" might, it was likely to be only 2 numbers long! Not so much of a problem for us, as we'd enjoyed catching up with Jim and would see them the next couple of days, but a real pisser for Ady. Still, at least it was free!

The rest of The Sheilas joined us in the car before we popped downstairs to catch some of The Realistics' set. This NYC band are The Sheila's travelling partners on this trip, so it was only polite. Acoustically themselves, they sounded energetic and spiky; I remarked to TSD drummer Ryan that they weren't a million miles removed from The Figgs, to which he agreed.

Aaron was up next, so we grabbed a seat before he came on. Sure enough, the set was a mere 2 numbers; a long, convoluted newie, and a haunting version of "The Swan", sounding stark and dramatic when delivered with pure voice plus guitar only. Aaron's vocals were soaring and strident, and rose impressively above the confines of the acoustic delivery. A real appetite whetter for the next 2 nights.

We then met our London friend Lisa at the bar, and chatted until I tired of being shushed by the soundman. So we headed to the bottom of the steps, chatting with Aaron and a visiting Q Division producer Matthew Ellard, before Ady tired of this acoustic nonsense and we decided to hit the road at 10.30.

Despite offers of a lift and guest-list slot, Ady couldn't join us the next night, so it was Rachel and myself venturing forth to the Camden Dublin Castle, a venue I'd passed on numerous occasions on the way to other Camden venues, but had never actually been to before! Parked up pretty much directly outside, and met the Sheila boys - plus guitarist Colin's wife, who'd just flown in to join him in the UK - for chilling and chatting in this most English of bars. Just like being back in the Britpop days of 1995, as they blasted out The Jam and Supergrass over the PA.

In on the guest list for this one, so we took a wander in to this dingy back-room venue, to check out the Realistics. They leapt onstage with a flurry of energy and enthusiasm, kicking off a set at odds with the studied cool of most current NYC bands. No, this one was more in line with the frantic mod-ish superfast powerpop of The Pills, with some Stones-like raw rock licks reminiscent of The Figgs thrown in for good measure. And energetic? I've rarely seen a band so kinetic onstage since the first sighting of The Gravel Pit. Compliments don't get any higher than that!

Went back into the pub for a breather before popping in and down the front for the late arrival of The Sheila Divine, on at 11. Luckily I'd loaded up with Red Bull to keep awake - so had Aaron! Unfortunately, most of the crowd had left (bloody Realistics fans - bah!), which in turn meant the sound, spot-on for The Realistics in a packed venue, was now glaringly over-loud, and took a couple of numbers to sort out. By "Dramatica", however, The Sheilas were well into their stride, and delivered a powerful set of their soaring, hauntingly intense rock. Lacking the kinetic stage presence of The Realistics, they relied on the brooding magnificence of their performance to catch the attention, and threw in a clutch of newies, of which the slow burn of "Ice Age" sounded best at this point. A screamingly jagged double whammy of "Like A Criminal" and "Back To The Cradle" completely exhausted the emotion and energy in the room, and knackered this sore-kneed dancer! Also, as this took us to 1/4 to 12, Rach and I hit the road pretty much immediately, with renewed enthusiasm to make it along to the next night as well.

And a good thing we were enthusiastic, as the Wednesday night journey was an absolute nightmare! The boys had told us that they were first on at The Buffalo Bar, which we'd ascertained was right by Islington tube, so Rach and I left at 5.45 for a slightly longer journey. It all went pear shaped when we turned left at the Angel; the worst kind of roadworks all along Upper Street, the kind that just don't budge! After sitting in these for over 15 minutes, watching lorries crawling along in the opposite direction, and people on buses in front of us getting off and walking, we parked the car in desperation in a poorly signposted disabled space, then got out and walked!

Good thing too; as we hit the venue 1/4 hour later after a half walk, half sprint, we were greeted with the strains of The Sheila's opener "Black River" emanating from the downstairs room! Threw a tenner at the ignorant tosser on the door, after he'd failed to find us on The Sheila's guest-list, and bolted downstairs to the front of the stage, rocking out immediately to second number "Portugal".

I have to say, that despite all the other problems getting here etc. etc. etc., I enjoyed this set far more than the other 2. The sound was superb, clear and well balanced, and The Sheilas gave a consummate performance of haunting, resonant and shimmering emotive rock. "Swan", third number in, sounded better than I'd heard it before, but its' elegiac tones were merely the taster of what was to come. Jim had warned us that they were planning a cover by a band who were, "a primary influence" on The Sheila Divine, and sure enough, they delivered a supreme rendition of... Echo And The Bunnymen's "The Killing Moon"! This was made their own by Aaron's superb performance; it didn't hurt that it was dedicated by the singer to me, either!

A truncated performance ("I hate this venue! We're never playing here again! They made us cut a number!" moaned Aaron later, with some justification) was capped by a ragged wig-out of "Back To The Cradle", which left these dancing Brits sweaty and breathless. The Sheilas. along with The Gravel Pit, are on a totally different plane from the rest right now, and no mistake!

After congratulations to and from the band - primarily for the Bunnymen number - Aaron and I talked rock, planning out the Sheila's next cover; "Transmission" (with Aaron amazed that I'd nailed this as his Joy Division cover of choice). We then had pix and fond farewells, before recovering the car (thankfully not clamped!) for an easier journey home.

And thus endeth 3 nights in October with The Sheila Divine, Take 2! Hopefully we can make this an annual event!