Review: Steelhouse Festival 2022 – Friday

Steelhouse truly is a unique festival. Aimed at a Classic Rock audience (ie middle-aged in the main and looking for comfort, good beer, and bands from their past) it somehow found a home in the most unlikely location, on top of a Welsh Mountain, on a sheep farm. Created by two rock fans, known to one and all as “Max and Mikey”, the entire infrastructure has to be created just for the festival and then taken down afterward. All undertaken by a band of proud and incredibly cheerful volunteers.

That logistical challenge is made all the more interesting by the only access road; a forestry track with ruts and potholes so deep that I suspect some cars may still be hidden within them! Yet somehow, every year, it comes together. A tide of vehicles, first those able to provide their own live-in accommodation, bounce and scrape up the hill in a cloud of clutch smoke to enjoy early access on the Thursday. Then, on Friday, cars full of day visitors and tent campers make the same trek around the hairpin bends and up the hill. Once there, and a deep breath has been taken, you become truly aware of your surroundings and get the BBQ on whilst enjoying one of the best, if not the best, views at any UK festival. This year, for a change, that journey took place on a glorious summer evening. I have been attending Steelhouse for many years and have experienced everything from warm sunny days to Biblical wind and rain. Sometimes on the same day!

Camper set up, BBQ, and beer consumed. Sunset admired. Ready for music.

Friday has grown dramatically. From a handful of mostly local bands to a pretty much full day of music. On entering the arena you are faced by a wide, white structure: the sun shade (or massive umbrella depending on your levels of optimism). To your right curve a series of food vendors (including, this year, Bunny Chow (go look it up. It was gorgeous and no rabbits were harmed whatsoever)) concluding with a large bar tent. To the left, traders of all sorts from clothing to fine art. In front of the shade, the stage has grown enormously, now having room to set the next band up behind the one playing and a deep overhang to keep any rain off the stage. The stage is also a lot higher (I am 6’3” tall and find myself looking up so goodness knows how the more diminutive amongst the photographers managed!) In front of the stage is a long and much-used ego ramp, ending so close to the crowd barrier that crossing photographers got to know each other far more intimately than intended!

After greeting a few old friends it was time for us to head to the stage for the opening band, Valhalla Awaits. Featuring one of many Steelhouse regulars in the form of vocalist Andrew Hunt, they got proceedings underway with a set of loud and riff-based rock. Previously seen with Buffalo Summer and a certain Welsh hero – Mr. Campbell and his lads – Hunt has a strong rock voice that is perfectly suited to the vibe of this particular vehicle. The vast majority of the set comes from their previous EP ‘Condemned’ and promises of new music on the horizon get a great reaction from the growing crowd.

Never has there been a more complete change in tone than that from the black jeans and leather of Valhalla Awaits to the arrival on stage of The Hot Damn! An explosion of primary colours that gleams in the sunshine and a bunch of balloons start the show as the quartet party up the ramp. This relatively new project, the bastard (bitch?) progeny of The Amorettes, Tequila Mockingbyrd, and Aaron Buchanan and the Cult Classics set out to have a good time, and my goodness they succeed. I’m not sure what some in the crowd quite know what to make of them – vocalist/guitarist Gill Montgomery in a bright blue flared suit, guitarist/vocalist Laurie Buchanan in glowing orange, bassist/vocalist Lzi Hayes in dayglo pink, and at the back the minute powerhouse that is Josie O’Toole in green – but if catchy, foot tapping tunes are your thing, these are your gals. ‘Dance Around’ and ‘I Didn’t Love You Anyway’ get my vote from the set as well as a bastardisation of ‘Hot Stuff’ that didn’t even try to be subliminal in selling the brightly coloured tie dye merch.

A late addition to the lineup came next in the shape of Kira Mac, aka Rhiannon Hill. Unfortunately, their set was somewhat delayed due to some technical issues, but once they finally got going the Amazonian powerhouse showed why they are a band that is going places rapidly. Playing only their fifth live gig together they made the most of the huge stage and runway. Playing their music to my other half when I got home her first thought was of the American artist Dorothy in terms of range and power, and I would have to agree. ‘Mississippi Swinging’ (leading into ‘Tush’) and ‘Chaos is Calling’ got my vote in a most enjoyable set.

I am pretty sure that if this time last year, someone had told local Llanelli boys Scarlet Rebels what 2022 had in store, they would have smiled indulgently and wondered what you were smoking. Today they took to the stage the proud holders of a no 7 position in the national music charts with ‘See Through Blue’ and showed just how good a rock band they are becoming. Opening with a leap from lead guitarist Chris Jones and ‘I’m Alive’, they surge through a set of what are becoming new classic rock songs. A warm-up gig had been cancelled due to vocal issues but although you could hear the rawness in Wayne Doyle’s voice, it was clear nothing was going to stop them from giving it everything. A brief technical gremlin led to one of those hairs-on-the-back-of-the-neck moments as the crowd spontaneously serenaded the band with one of their own songs ‘Let Me In’. If you wanted to encapsulate what the Rebels are about though it comes with a shout of “Fuck the Tories” and the delicious, top-down, summer anthem of ‘These Days’.

More classy rock follows with The Dust Coda; a somewhat more bluesy feel than the anthems of the Rebels, with John Drake’s powerful yet soulful vocals leading the sound, ably supported by the guitar of Adam Mackie. For me, TDC is a band to savour like good wine rather than down like a pint. Their songs are more complex than many bands around, both musically and lyrically. After the three songs in the pit, I find myself chilling on the grass as the music washes over me and appreciating it without spectacular stage presence or effects. ‘Sweet Love is Gone’ is a perfect example of that vibe with so much to listen to and appreciate, while ‘Best Believe It’ keeps the energy going right to the end and leaves a lasting memory.

The penultimate entertainment for the day showcases two talents at, unfortunately for us, opposite ends of their careers, as Myke Gray, who has graced so many stages during his career, but is playing his last gigs before heading to the States, teams up with Revival Black vocalist Dan Byrne, who surely has so much ahead of him. The pairing is inspired. I could listen to Dan sing the phone book as he manages to wring emotion from every word and he brings a great interpretation to the set of classics from Myke’s past. Then there is the man himself. Playing havoc with every photographers light meter as he is clad in black and white and playing a black and white Flying V. He is full of smiles. Wringing glorious solos from that iconic guitar effortlessly. A brief setback as the PA goes silent is simply ignored, then a huge cheer from the crowd as the sound reappears louder and deeper than ever before. ‘House of Love’ leaves the crowd ecstatic and is swiftly followed by ‘Take me Down to the River’. Myke finishes to an extended ovation from the crowd. Is it really the end? Let’s see!

Finally the headliners. I am a huge fan of Inglorious. I love the utter commitment to a classic rock sound, the twin guitarists that feed off each other, the power of the rhythm section, and the incredible range of the man himself: Nathan James. Last time he appeared at Steelhouse he walked on stage in a kimono and in his first chat with the crowd he points out that it has been left behind tonight. The set is drawn from the entire back catalogue, from ‘Unaware’ (the first song James ever wrote) to a stunning cover of Heart’s ‘Barracuda’ and a note from James that had to be heard to be believed. The interplay between guitarists Danny DeLa Cruz and Dan Stevens is excellent to watch and listen to, particularly when they take the spotlight for ‘He Will Provide’. ‘Medusa’ features Danny playing the dirtiest slide guitar heard up the mountain and on ‘Holy Water’ the two again play off against each other after James leaves the stage only to return clad in that kimono. Irony or ego? Who knows, but it was a great touch either way. ‘Until I Die’ ends a superb set and sends us off in the warmth of a summer’s evening to our tents and campers, or for the hardcore a planet rock disco in the sunshade.

Review and photos – Rob Wilkins/Celtography

Saturday review, here

Sunday review, here