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Steelhouse 24
Hafod Y Dalal Farm
Saturday review, HERE
Friday review, HERE
Review and photos – Rob Wilkins
Sunday dawns, and, incredibly, there is every chance of this being a completely dry and sunny Steelhouse!
It makes such a change to head to the arena and not need wellies to slog through the mud and instead feel the hard, dry ground underfoot.
The opening act has certainly had quite a journey to appear in front of us, having come all the way from Australia! As always there is much evidence of overindulgence around those getting through the gates early and the queue for coffee is longer than that at the bar, but the effervescent Cassidy Paris – with a band consisting of two related parts as Dad is on bass and brothers Alex and Tom (from much closer to home) completing the lineup – is currently creating a few waves in the industry and her set showcases why. Her music is accessible and tuneful, as you can imagine giving her tender years. There is influence from the classic rock past, but also a freshness from more current influences, and the result is some real earworms such as “Danger” and “Walking on Fire” delivered with a smile. Past opening acts have included Ashen Reach and Mother Vulture, so it is certainly a gentle pull to the stage rather than grabbing by the throat with menace, but in the sunshine up a mountain it was pretty much perfect.
Following on was a gentleman who by now must have stepped on every inch of the stage having completed an acoustic set and a role in the Friday supergroup, Dan Byrne. There can be few people in the business that balance both such prodigious talent and self-effacing approachability and if anyone at the festival deserves success at higher levels it is Dan. His band are superb support, featuring Max Rhead (yes, a name attached to the mountain) on drums, Colin Parkinson on bass, and Glen Quinn with some searing guitar they provide a foundation for that stunning vocal to ring out over the valleys. “Hard to Breathe” is a song deserving of the widest audience. “Easier” showcases the ability to inject emotion and, from Dan’s past, “Wide Awake” continues to be a classic. Add in “Like Animals” and “Death of Me” and the set receives a warm and genuinely appreciative ovation.
Following the diminutive Mr Byrne, Jared James Nichols is an implosive figure, making his guitar look toylike but sounding nothing of the kind. His set is a showcase of guitar wizardry coupled with some delicious “feel” that captures your attention and refuses to give it back. Favourites in a hard-hitting set are undoubtedly “Down the Drain” (showcasing the feels) and “Keep your Light On” which feels very Deep South and real. To really wake the crowd up a raw version of “War Pigs” gives those of us unfamiliar with his material a chance to yodel along and he leaves the stage with echoes of those staccato chords bouncing off the surrounding hillsides.
A band new to me, but a real find up next in Canada’s The Commoners. I have no idea how a band from so far North manages to have such a Southern Rock sound but boy does it work. Vocalist Chris Medhurst is constantly active around the stage and down to the end of the ego ramp and his delicious vocals underpin their sound, as does his chatty manner with the swelling crowd. Amongst many songs that had me smiling were “Who Are You?”, “Devil Teasin’ Me” and “Find a Better Way” and their set flew by and left me smiling and energised, which is unusual for this slot at a festival as I know it is more often than not my energy drops.
Little did I know that the next band were going to take that energy and provide me with my “find of the festival”. The Last Internationale were totally unknown to me, but from the moment Delila Paz danced on stage I was utterly enraptured. Possessing a holy trinity of stunning vocal range, stagecraft, and crowd connection this was a Steelhouse set to rank amongst any. The reaction from the crowd was muted, but this appeared to be a Sunday issue rather than a performance one as the unexpected heat appeared to leave many glued to their chairs in torpor rather than responding appropriately.
“1984” and “Mind Ain’t Free” start to have an effect but it is “Wanted Man” that really starts to hit home just how good these guys are with extraordinary vocal range, six-string fireworks, and a rhythm section that is probably still causing collapses in the surrounding mine works. Where the set goes on to greatness comes when Paz climbs into the crowd to get them to kneel and leap up with her, realises she isn’t dealing with the youngest of audiences and instead rubs knees and gives hugs as encouragement followed by the most arthritic of rises to the drop ever. It is sweet and beautiful and the presence of Billy Sheehan of Mr. Big joining in on bass simply completes the perfection. A huge new fan, and just a few weeks later I got another opportunity to catch them at Firevolt Festival in Greater Manchester.
One of my favourite bands from a previous iteration of Steelhouse was the enigmatic Living Colour. Having seen an incredible set from them a few years back at Ramblin’ Man Festival I was set for something special but when they took the stage it was as if they had met in the car park ten minutes before. I swear at one point they all played a different song and looked confused that the others weren’t playing what they were. Suddenly it gelled and their unique brand of laid-back brilliance took over.
Today was much the same. One song stopped as it started badly along with a comment “We play live, it happens”. I adore the laid-back style coupled with musical brilliance. Vernon Reid, with a Mission Control pedal board is extraordinary to watch, bassist Doug Wimbish slaps out flunky bass and vocalist Corey Glover wanders down the ego ramp in no hurry whatsoever. A high point for me also caused controversy on the festival fan page as they ripped out three contrasting covers. The segment was dedicated to Bernie Marsden, who played with them on their last appearance, and consisted of “Nothing Compares to U”, “Sunshine of Your Love” (the track they played with Bernie), and “Rock n Roll”. Add to that the unique and genre-blending “Cult of Personality” and its cousin “Love Rears Its Ugly Head” and I considered it one of the sets of the weekend.
Unfortunately, the next band, and special guests, became a sad memory rather than the glorious one I had hoped for. “Lean into It” from Mr. Big is one of my classic albums and I still play it often, so that, coupled with the musical virtuosity of Messrs Sheehan and Gilbert meant for the first three songs the issues that become apparent are well disguised. However, as the set goes on, the vocal issues faced by Eric Martin become more and more apparent and what should have been the highlight of the set, “To Be With You”, sung by a Welsh choir in the sunshine, was destroyed completely. I rarely leave a set due to disappointment, in fact, I think this was the first time, and I headed back to my van. Musicianship, was brilliant, simply astounding, and so many songs to love, but as a live set, almost certainly their last in the UK, I could have cried with frustration.
Finally to the closing band of the weekend. Ricky Warwick is a staple at Steelhouse, with Black Star Riders and Thin Lizzy but this was different. This was the legendary The Almighty back together, playing just their fourth gig with the original lineup. What a catch for Steelhouse!
Alongside Warwick are Andy ‘Tantrum’ McCafferty, Floyd London, and Stumpy Monroe, and what we get is a set of no-messing, brilliantly performed, rock and roll. Personally, I am not sure that they were headline status, maybe a special guest slot would have been more appropriate, leaving space for a crowd-generating attraction and the refusal to sign anything other than product purchased at the festival felt too “diva” but credit where it is due and the set flew by.
“Resurrection Mutha” was immense and immediately apparent was the 70s punk vibe of much of the delivery that went right through to the set closing “Crucify”, “Jesus Loves You…But I Don’t” and “Wild and Wonderful” (with a cover of “Run to You” blended in).
As is traditional at Steelhouse, as the last cheers rang out fireworks lit up the sky and showed us back to our tents and motorhomes.
In summary, a slightly unusual Steelhouse. Sunshine and heat rather than rain and wind. A smaller than usual crowd and social media dissatisfaction with the lineup. A crowd slow to respond and “rock”, preferring to chill in their chairs much of the day. All that said, however, so many great memories, some amazing performances, and as always, genuine sadness as I drive back down that dusty track to reality.
See you next year.
Review and photos – Rob Wilkins
