Tom Morello

Having not seen Morello, Commerford and Wilk rock live in over 26 years when Rage Against The Machine were ploughing their trade in the early days, I was looking forward to seeing if they still had the same fire and intensity that fuelled them back then.

Chuck D

At their core, Prophets Of Rage functions not only on a love of music, but a deep belief in its power as a tool and a weapon, with the band forming in 2016 as a kneejerk response to the political situation in the United States at the time. The band continues to partner with activists and social justice organizations in cities along the way, contributing a portion of the proceeds to the fight against hunger and homelessness.

DJ Lord starts his 15 minute DJ warm up set

It’s not long before DJ Lord appears onstage, he certainly brings a party element to the proceedings as he manages to mix tracks such as, Raining Blood, Smells Like Teen Spirit and Seven Nation Army, which the crowd are more than happy to sing along with reciting every lyric as if it was just another drunken night at a rock club.

Finally the stage lights dim, Tom Morello, Tim Commerford, Brad Wilk, Chuck D and B-Real emerge from the shadows to join DJ Lord, they all stand facing the crowd, arms aloft before building up and launching into Prophets Of Rage (Public Enemy), they explode into action with Commerford pogoing with a huge grim on his face.

Chuck D blasts into the lyrics “I roll with the punches so I survive, try to rock ’cause it keeps the crowd alive” whilst Morello is pulling an all manor of moves that shouldn’t be possible from a human, if the opening song is anything to go from these superstars we’re in for one hell of a show.

Testify (RATM) and Unfuck The World are up next followed by Guerrilla Radio (RATM) which sets the audience alight, as soon as the opening lick to Know Your Enemy (RATM) comes in the place is awash of crowd surfers. The Prophets are an intensely fiery unit capable of playing with equal parts precision, passion and muscle, with Morello contorting like an alien crab, pulling out every move in his arsenal to the delight both the crowd, and us photographers while unleashing his jaw-melting riffs. It was difficult to know where to look at times there was so much going on, I’ve never sweated so much photographing three songs before that’s for sure.

Tim Commerford

Commerford and Wilk are a solid force to reckon with, their musical chemistry is apparent having being playing together since 1991 and that’s very much intact still in 2019.

Brad Wilk

Chuck D and B Real

Both Chuck D and B Real, who is adorning a headdress, gloves and black Adidas tracksuit, works the crowd masterfully with racing textures and manically playful party energy. They run through a medley of songs from their respected bands including Bring The Noise, Insane In The Brain, Can’t Truss It and Hand On The Pump. B Real announces “Hip-hop is alive in Manchester”.

The most poignant and symbolic moment of the night comes when Morello takes to the mike to thank the crowd, paying homage to sadly departed former band mate and friend Chris Cornell, who sadly died in 2017.

Before playing Cochise, Morello asks the crowd to sing along if they know the words as they play in the shadows instrumentally with only the mic stand lit up by a spotlight, I found this to be such a touching and quite powerful moment and it certainly gives food for thought of how depression can effect someones life.

During Bullet In The Head, Morello flips his guitar to reveal his thoughts on the new Prime Minister of the UK, the Fuck Boris slogan is welcomed with raptures of applause, Bulls On Parade is up next followed by crowd favorite Killing In The Name, with this the entire place erupts into a frenzy of bodies, beer and clothing being flung around whilst everyone recites the infamous lyrics back at them.

The band raises their fists in unison a final time and offer thanks to the Manchester crowd before finishing such a phenomenally energetic and passionate show with Bombtrack.

To say Prophets Of Rage were amazing and mesmerising would be an understatement, they exceeded all expectations and were on a different level to anything I’ve ever seen or photographed before. Their set list was insane playing through some of their huge back catalogue of their respected bands, if you thought Rage Against The Machine, Public Enemy and Cypress Hill songs couldn’t sound any better, then you’d be mistaken.

Words & Photography by Mark Bromham at Manchester Academy for Prophets Of Rage on 13th August 2019. To view more of Mark’s work please visit his photography site here: www.howayman.photography/livemusic

Biffy Cyro

As I arrive in Scarborough, memories of day trips when I was a young boy come flooding back. Fairground rides, candy floss, donkey rides on the beach and the god awful four hour bus ride without a toilet on board was torture for a eight year old.

This trip however wasn’t to take in the delights of the coast and amusements, it was to catch the mighty Biffy Clyro rock the Open Air Theatre, their only UK mainland live date this summer and a warm-up show before the band embarks on a series of headline appearances at festivals across Europe.

Arriving At The Open Air Theatre for Biffy Clyro

The theatre is steeped in history, back in the 1930s when English seaside resorts were at their peak, this amphitheatre drew thousands each night, offering theatrical productions and lavish musicals on a scale that few of today’s producers can even hope for. By the 1950s the venue had attracted 1.5 million people, and the casts of performers alone could range up to 200.

Since it’s refurbishment in 2010, some of the music industry’s biggest stars have graced the stage from Elton John and Status Quo to Olly Murs and Boyzone.

Simon Neil

The theatre itself is built on the site of Hodgson’s Slack with the stage set on an island in the middle of a lake. Before arriving I had images of stage divers taking a raft so they could reach the stage, fortunately for them and the rest of us, flooring is laid over the lake for shows such as this.

To kick things off tonight we have Ghostpoet, a London based vocalist and musician who states that he does not identify his music as belonging to a particular genre. I like his response to a fan, via Twitter, to the question “WHAT are you?”…

Ghost Poet

“So Interesting. Why is it so important for me to be part of a predetermined genre with its parameters and rules? I’m just an artist who experiments with sounds and loves guitars. It’s ok to be confused, not everything in life needs explanation, sometimes we just have to go with it”

This will be interesting to review! As Ghostpoet takes to the stage, Obaro Ejimiwe is donning thick-rimmed glasses and a black leather jacket, and moves with a confident swagger. They open with Many Moods At Midnight, which sounds very atmospheric along with Ejimiwe’s low-key vocal delivery, this is followed by X Marks The Spot which reminded me of Editors.

Ghostpoet are a humble band, thanking both the crowd for listening and Biffy for the opportunity. This was probably not an ideal show for them in terms of gathering new fans, but they played well and in my opinion, having such a diverse contrast on the bill has been a welcome break.

As we await Biffy, the clouds engulf the theatre shadowing the stage as the first speckles of rain fall, the whole place is a sea of £2.00 yellow rain ponchos purchased from the ticket office earlier, we have a smart bunch in Scarborough.

They are in a good spirts too, chants of “BIFFY, BIFFY” pulsate throughout the theatre and, after a short wait, Simon Neil and brothers James and Ben Johnston take the stage.

Neil sporting a new shorter hair cut and whiter than white suit announces ‘I have f***ing missed playing live’ before launching into Balance, Not Symmetry, which happens to be their live debut of the track. There’s a palatable fury to Biffy tonight, having not played live in a while they seem to have a point to prove and are pretty much all systems go from the off.

Bassist James Johnston

Dripping in sweat Simon Neil screams into the mike with intense purpose but yet in the most tuneful and melodic way, and they keep things moving with Living Is A Problem Because Everything Dies from the album Puzzle.

As Neil discards his white jacket, they run through their hits including The Captain and God & Satan (triggering on stage fountains of fire which seem very fitting), followed by more big hitters in the way of Mountains, Bubbles, Wolves Of Winter and That Golden Rule.

Biffy have certainly nailed the art of writing great arena songs with massive sing along choruses which their devoted fans are delighted to join in with.

After a short, well needed breather, Biffy are back out for what seems to be their encore. Things are slowed down for a moment with a solo acoustic rendition of the brilliant Machines, before finishing off with the absolute banger Stingin’ Belle from the album Opposites.

This has been one hell of a performance. Although this is a Scottish band playing in North Yorkshire, there is a homecoming feel about all of this. I guess this is maybe down to the size of the loyal fan base Biffy now have and, immaterial of where they play, they feel at home.

Photography and Live Review by Mark Bromham on 14th June 2019 of Biffy Clyro at Scarborough Open Air Theatre. Mark has his own great photography site here: www.howayman.photography/livemusic

As the crowds form an orderly queue inside the confined stairwell at Belgrave Music Hall, Leeds, it looks to be an eclectic mix of music fans; from the ones who weren’t even born when Dinosaur Jr was tearing it up in the early to mid 90’s, to the ageing group more than familiar with J’s back catalogue, who have been there and got the t-shirt.

I could feel the anticipation in the air and I was looking forward to seeing the indie rock hero in action again. The last time I saw him live was in 2015 at Brudenell Social on the Tied To A Star tour, where he was his usual charming miserable self with little communication with the audience, letting the music speak for itself.

First on the bill tonight is Philadelphia singer-songwriter, Rosali Middleman. Whilst I’m not familiar with her work, having J’s seal of approval as an opener was enough for me and I was looking forward to hearing her.

Rosali walks out wearing a long black evening gown, picking up her red Fender electric guitar she quietly introduces herself as she eases into the first song.

As her set continues she runs through her collection of contemplative rock songs that are seeped in heartache and vulnerability, swaying from side to side as she delivers her psychedelic folk rock with sincerity.

The emotion in her voice draws the audience in and everyone seems caught up in their own thoughts as they soak it up, letting the music guide them. In her diminutive voice she says “thanks for having me” and finishes her short but beautiful set.

Most of her set list included tracks from her second solo album, Trouble Anyway, released last year and it’s safe to say she’s gained a few more fans tonight.

As the time gets ever closer, everyone inches forward to secure their positions and rest against the stage. Looking around the venue, it’s certainly filled up in the last ten minutes and there’s barely any room to move around.

Although I adore the craftsmanship and layered instruments of J Mascis’ albums, there’s a lot to be said for the live stripped back versions. One man and his acoustic, albeit using a vast array of effects which J builds a wall of sound with.

A subdued Mascis walks out wearing his trademark baseball cap and Mishka eyeball t-shirt, picks up his acoustic, says “Hi!” and launches into the classic Thumb, way back from Dinosaur Jr’s Green Mind album, which opens up with the great line “There never really is a good time, there’s always nothing much to say.”

It’s a nice surprise to see J standing as opposed to his usual seated position for his solo shows; you definitely get a better view of him in action without having to navigate through the crowd to find a vantage point.

Everything She Said is up next followed by the broken and fragile vocal tones of Listen To Me. Besides his solo material, Mascis also lays into more Dinosaur Jr such as the brilliant Out There which ends with a stomp on his overdrive pedal, J unleashing a solo dripping with technical excellence and fretboard wizardry.

J is a man of few words, I personally find his limited banter dry and humorous and I also love the fact he doesn’t have an act. To coin a phrase from the movie Singles, “Not having an act, is his act”. His loose and casual demeanour feels like you’re watching a friend jam a few songs at a party.

Elastic Days and new crowd favourite See You At The Movies are up next as he works through his set list. Drifter from Tied To A Star album follows; this is a great instrumental song and a nice little interlude which J cuts loose the shackles of his singing duties and just rocks out.

With that, he puts his guitar on the stand and leaves the stage without muttering a word. A mere 20 seconds later he returns uttering “Thanks for sticking around”. This raises a wry smile amongst the crowd as he’s not even given people the chance to realise he’d walked off in the first place.

With that he breaks into a rendition of The Cure’s Just Like Heaven which is received to great applause and raptures of singing. He completes the evening with the brilliant Fade Into You by Mazzy Star, after which he walks off for the final time.

I get a tap on the shoulder from one fan asking, “Did he play Freak Scene?” “No, I said, I think that’s it, he’s done”!

Photography & Live Review by Mark Bromham of J Mascis at Belgrave Music Hall & Canteen, Leeds on 11th May 2019. Mark has his own great photography website right here: https://howayman.photography .