Live Review
Ocean Colour Scene – Liverpool University
Their 21st anniversary is celebrated in style as Ocean Colour Scene launch straight into ‘The Riverboat Song’ and ‘The Day We Caught the Train’. In spite of overcoming three false starts (you guessed it: ‘technical difficulties’ AKA beer chucked at the sound desk) during the latter, these two AK-47s rip through the room. It’s an exceptional beginning to an exceptional album. Moseley Shoals’ original track listing is followed to a tee and has not aged since its roaring success in the 90s, but OCS are by no means stuck in the past. After a ten minute interval we’re treated to B-sides like ‘Travellers Tune’ as well as ‘Saturday’ from their most recent album of the same name. It’s a good crack at a sturdy tune considering how long they’ve been going.
Even before OCS take to the stage tensions are high as a fight breaks out – either The Real People have a knack of pissing people off or Oasis fans have nowhere else to go tonight. The Real People’s heyday passed in the blink of an eye, but apparently they still tour and write with innovative acts like the defunct Atomic Kitten’s Natasha Hamilton. Coming out with a loud flash in the pan type set, the half capacity audience are left feeling a little confused and unsure of what the hell just happened. However, for Ocean Colour Scene’s last encore The Real People make another appearance designed to bewilder; armed with maracas. Obviously. As both bands overrun the stage for this unusual rendition of ‘Day Tripper’ there’s a big lads’ gang ethic going on which has the gig finishing on a high.
With ‘Lining Your Pockets’ it’s refreshing to see Simon Fowler put down his acoustic in exchange for camp dance moves, even pulling his pockets inside out for added effect. Shy and retiring Oscar Harrison gets his own fabulous drum solo too, and the crowd love it. It seems the whole place, though about as sweaty as a used jock strap, knows the words to every song on the bill. ‘100 Mile High City’ without a doubt receives the best response of night, proven by the sudden surge of bodies flailing roughly around. It is easily the stand-out track on album two Marchin’ Already and gutsy enough to deserve its position on Lock, Stock and Two Smoking Barrels’ soundtrack.
Steve Craddock is a man who knows exactly how to handle his Gibson SG. Phenomenal poise and control is displayed in his lead playing with the kind of aggression you can’t hear on a record. Whilst occasionally elaborating on solos Craddock, for the most part, stays right on the mark – when live he comes across as a humble man unaware of his talents. With the exception of big fans, stripped back solo moments with Fowler e.g. reminiscing of 80s acid moments in ‘Robin Hood’ were lacking and could drag on. Rather than an alternate take on a song they burned kinks into the set, presumably being used as a vehicle to give the band some downtime. Regardless of the Medusa-like woman working on the ticket desk, the kind of enthusiastic(?) audience that sings ‘We Are the Mods’ between songs, as well as a band that have maintained a solid standing in music for decades, are well worth watching.