Devil's Gate Music
Related Articles
Not many people would have had Deep Purple producing one of the best Rock albums of the year on their 2024 bingo card. But, with ‘=1’ that’s exactly what the British veterans have done. To be fair though, given the hot streak that the band has been on since releasing ‘Now What?!’ in 2013, is it that much of a surprise?
What might come as a surprise though, given the enviable legacy of the band now in its seventh decade, is how frequently the band turns to the new album on the lengthy ‘=1 More Time Tour’ that began way back in the Summer.
“Here’s a new one for ya” usually means a band performing a few new tracks for an audience looking on in a perfunctory manner while they wait on the hits; not so with Deep Purple. It’s obvious that the band are having a blast playing the new material, and just as important; the fans are enjoying hearing the new songs.
For a set opener though, there is only one candidate and that is of course ‘Highway Star’.
Routinely picked by Joe Perry as one of his top five favourite songs (“This was constructed back when real players knew how to hold your attention with a solo for three minutes,”) it is the quintessential set-opener. And once the huge, booming intro of Holst’s ‘Mars, Bringer of War’ fades out, the familiar, steady-as-a-rock drum intro from the ever-reliable Ian Paice begins. His partner in perhaps the most underrated rhythm section in Rock history – bassist Roger Glover – peels off a throbbing, pulsating bass groove, before keys maestro Don Airey and new guitarist Simon McBride combine to add to the anticipation. The nonchalant figure of Ian Gillan is seen strolling between the drumkit and keyboards to take his place centre stage with perfect timing to deliver the famous opening lines “Nobody gonna take my car/I’m gonna race it to the ground”. And that solo that Joe Perry mentioned earlier; dispatched with ease by Norn Iron’s own Simon McBride. Damn, these guys make it look effortless.
What follows over the next two hours is not only a lesson in how to blend new with old without losing your audience but also in how to carefully construct a setlist with one eye on ensuring that for your vocalist, the tour goes smoothly. ‘Highway Star’ leads into the first visit to ‘=1’ of the night in the guise of ‘A Bit on the Side’ before Gillan shows on ‘Into the Fire’ that he can still hit those high notes and the lengthy note that he holds as the song ends is spectacular.
After the vocal gymnastics of ‘Into the Fire’, and with no pause for a breath between the opening trio of songs, Gillan introduces “The immaculate Simon McBride” and the rest of the band retreats for a brief break while McBride dazzles with a guitar solo that highlights his playing chops (a fleeting burst of ‘Enter Sandman’ in there, perhaps?).
Hugely experienced both as a player and as a teacher, McBride performed with Gillan and Airey before he officially joined Deep Purple in 2022, and has obvious chemistry with his four bandmates. There is a lovely moment when McBride’s solo ends and the band returns to the stage and a beaming Gillan walks up and shakes McBride’s hand. In the world of high-fives and fist-bumps, nothing quite beats an old-school handshake to say well done, mate.
The spotlight falls on McBride figuratively a great deal of the show as he has some big shoes to fill, later on during ‘Black Night’ the spotlight is literally on him as he is “pushed” to the front of the stage to coax some call and response from the crowd during the familiar opening strains of the classic track; and who is that standing at the drum kit looking on with a huge smile on his face? That would be Mr. Ian Gillan – as if to confirm how much of a great fit McBride is.
Once Mcbride’s solo fades out, ‘Uncommon Man’ begins with regal, triumphant parps from Don Airey and leads to another lovely, heartfelt moment when the song ends and Gillan looks to the sky and dedicates the song to the much-missed Jon Lord (“But the man/Is still alive/Oh, oh, oh/It’s good to be king”) and mentions that Jon is here in spirit “Jon says Hi!”. Cue mass applause in honour of the man regarded as Purple’s leader in the early years.
Airey plays a blinder all night, especially during his two solos where amongst other things; a waiter comes on and serves him wine; he doffs a cap to his famous keyboard intro to Ozzy’s ‘Mr. Crowley’; makes his synth sound like bagpipes and casually drops in some bars of both ‘Scotland the Brave’ and ‘I Belong to Glasgow’ – the only thing missing from his solos is the Benny Hill theme tune. Great entertainment.
Ian Gillan is also in fine form. The pacing of the set allows him to rest his voice throughout the 2-hour show and keeps it strong without relying on the audience to fill in for him like so many other veteran vocalists do. ‘When a Blind Man Cries’ is show-stopping and the note he holds at the end is hair-raising. His introductions to certain songs are hilarious. Instead of going with the usual “This one is about – insert cliche here” he’s off on a ramble about a bordello (“I was never once in a bordello” with the emphasis on once), ‘Anya’ (so great to hear this one live) is introduced by Gillan spinning a yarn of falling off an iceberg and landing on a soft polar bear – it’s almost like the Fast Show character Rowley Birkin QC with his “You see, I was very, very drunk” catchphrase. Breaking out of character he speaks with fondness of being back in the city where he has “Happy memories…” and adds that it is “Nice to be home”.
Slotting in seamlessly alongside classics such as ‘Lazy’ (still packing one of the greatest guitar hooks, ever, and comes with Gillan on harmonica), ‘Space Truckin”, ‘Smoke on the Water’ (naturally), and such a groovy, funky version of ‘Hush’ are new moments such as ‘Lazy Sod’, ‘Portable Door’, ‘Bleeding Obvious’, and ‘Old-Fangled Thing’ – all of which are of the highest-quality that proves that there is still life in the old dogs yet. Undoubtedly, one of the gigs of the year.
Highlighting how much of a class act Deep Purple are, support act Reef are given a 45-minute slot and full use of the stage and the Holy Grail for support acts – decent sound and lights. Now, if only other acts of similar standing would follow suit instead of support acts performing with one striplight and a sound system that sounds like someone farting through a foghorn. Foghorns aside, Reef grab the opportunity afforded to them with both hands and amble through an 11-song setlist that has the Somerset band taking to the stage after the last strains of Van Halen’s ‘Running With the Devil’ fades out.
Better known for their earlier mid-90s monster hits such as ‘Naked’ and ‘Place Your Hands’, the outfit are still a formidable live act, and 2022’s studio album ‘Shoot Me Your Ace’ was rammed with bangers. So laidback, and never in a rush, frontman Gary Stringer is easy on the eye as he ambles back and forth, breaking into sporadic bouts of dancing, sometimes with a tambourine, sometimes not. The trademark raspy voice is still there and as commanding as ever. The highlight of the set was surprisingly not ‘Naked’ or ‘Place Your Hands’, which are both dispatched early on, but a gorgeous version of ‘Consideration’ where the hopeful mantra of “It’s gonna be alright” is like being wrapped up in a huge hug from the likeable Stringer. Reef would be well-advised to capitalise on these dates by coming back as soon as possible for a headline tour of their own.
Review – Dave
All live images – Dave Jamieson
