The Ultimate Classic Rock Show – Floral Pavilion

Can’t hope to please all of the people all of the time, but you can have a damn good go; it’s not too difficult with a huge amount of remarkable material to draw upon. And I like the way they’ve juxtaposed Ultimate and Classic when basically either would do, but that suggests it doesn’t get better than this. They may well be right. Only a couple of my personal favourites tonight, however, the packed audience was thrilled to bits, and dancing in the aisles. Well, I say dancing – too energetic a term for the kind of ubiquitous left shoe/right shoe shuffle people of a certain age indulge in.

The good humoured atmosphere was because of the band’s badinage, with the audience and with each other. And each member had their place in the sun, even just to deliver a line or a riff. Lead singer and guitarist, Rory Bridgeman was a showman and a half; with audience participation, he got away with murder, encouraging everyone to practise yodelling, for ‘Hocus Pocus’ by Focus, which I barely remember. And no idea at all about Dallas, but two out of maybe two dozen, not bad. As for Gareth Kedward, he had a key role, on the keyboards… as did Pablo Roberts on bass guitar while guest guitarist, Jack Griffiths, was incredible, singer and musician, particularly with the poignance of ‘Hotel California’ (which, ironic in this instance, I’ve always taken as a metaphor for Celebrity itself).

Brilliant lead guitarist in Luke Bradshaw, who set this up around a quarter of a century ago and was duly deferred to by the other band members. Amazing drummer too, Rhys Roberts, but although his solo was tremendous, it seemed to go on forever and coming pretty late on in the show slowed down the momentum somewhat. And it was distracting the way rock chick clad Samantha Broad faffed about the stage chatting and giggling with the others, but fair play, a dab hand on the cowbell, and she came into her own with Patti Smith’s ‘Because the Night’, then ‘Nutbush City Limits’ by Tina Turner, as well as duetting as Cher: Meatloaf’s ‘Dead Ringer For Love’.

I wonder how long it took them to decide on the opening and concluding numbers, as well as those either side of the interval. But off with a bang to Queen’s ‘One Vision’ while end of Part I was John Miles’ ‘Music’ such a good summing up of the actual show. Interesting contrast, starting off the second half with Pink Floyd’s sinister ‘Comfortably Numb’ and it’s even more sinister video. And finally, not just the traditional encore but three in all, the last one being Status Quo. We were also treated to ‘Mr Blue Skies’; ‘Purple Haze’ and no less than three helpings of Fleetwood Mac, amongst other memorable songs, including ballads like ‘While My Guitar Gently Weeps’.

The staging was a picture, or several rather, a montage of faces and album covers with a helpful video screen; or not, in the case of Bad Company: typical 1970s – but not these days.

And lighting design ranged from mood enhancing to psychedelic if a bit too dazzling on occasion.

I’ve always felt ambivalent about tribute bands, or rather their popularity, though they perhaps succeed best when the original has disbanded or members are deceased. It’s also fun when bands produce videos paying homage; Red Hot Chilli Peppers’ ‘Dani California’ for example. A whole show in its variety is another thing entirely, especially when delivered with such detailed expertise and passion.

Reviewer: Carole Baldock

Reviewed: 2nd August 2024

North West End UK Rating: