The Hollies - Concert Review

King's Lynn Corn Exchange, 9^th November 2004 - by Richard Harrison

I saw The Hollies for the first time since the mid-1980s at the Theatre Royal, Norwich, back in February this year. It made me realise just what I'd been missing- the band had been really on form, and Carl Wayne truly magnificent on lead vocals. The whole evening had been so sensational that I soon booked up for the King's Lynn show on 9th November, and spent the weeks and months looking forward to the concert as a cheery beacon midst deepening dark and gloomy Autumnal nights. When I learned of the death of Carl Wayne I was stunned and saddened - would this mean the end of The Hollies?

Although I breathed a huge sigh of relief when I heard the King's Lynn date would still go ahead, I was wondering how new lead vocalist Peter Howarth would fit into what was a very unique band with a very unique sound. I need not have worried.

I got off the train and made my way through the drizzling rain to the Corn Exchange (initially taking completely the wrong turning entirely understandable in the darkness, I assured myself). After drying off in the foyer, buying a sumptuous LP-sized programme and looking around, I made my way to the auditorium doors and was amongst the first inside. The decor was wonderful and I instinctively thought 'this is one of the nicest theatres I've ever been in'. Unusually, the first few rows look straight at the stage, the incline not starting until one goes several rows back. I took my seat in plumb centre 3rd row and soaked up the atmosphere.

Several keen Hollies fans arrived and took their seats with a degree of excitement, and I picked up odd words of conversation- someone said the sound inside the Corn Exchange wasn't good (I don't know who provides his hearing aid, but the sound was stunning- as brilliant as anything I've ever experienced). Gradually the seats filled up, and a full house awaited the lights dimming and the priceless aura of mounting expectation that comes from any kind of staged production or event.

Promptly at 7.30, the lights did indeed dim, and the music began with an atmospheric 'mood' synthesiser before the band came on to applause and launched into 'Stop In The Name Of Love' (which I've never heard The Hollies perform before). A great, powerful 'show opener', this paved the way for 'Here I Go Again' (sung in a style reminiscent of Allan Clarke rather than the version Carl Wayne formulated at the Norwich show in February), 'Sorry Suzanne' and 'Just One Look' in quick succession.

Next came 'On A Carousel'. This is the sort of song that tests the strength of the vocalist- Peter was perfect and the band reeled back the years to recreate the Manchester sound all over again.

After this very up-tempo start to the concert, the mood was slowed down with the superb composition of Springsteen’s 'Sandy', then 'Gasoline Alley Bred', both lovely acoustic performances. Then came 'Look Through Any Window'- the new version (I have to be honest) is less appealing than the old 'Rockier' version, but, once again, still a great song.

Tony then talked about Carl- his sincerity and appreciation for his friend clearly evident. This was a poignant moment, supplemented by a backdrop of Carl, which led into 'Flowers In The Rain' as a tribute- a really nice, tasteful part of the concert.

'Soldier's Song' came next, which was accompanied by the filmed backdrop of World War One soldiers going off to the trenches- and almost certain death. This is one of the most underrated recent Hollies songs, and one I love. The performance here was emotional and powerful- the band working brilliantly with Peter's strong vocals which was amazing considering the recent nature of his joining the band.

The first half closed with 'We're Through' and the anthemic 'Blowin' In The Wind'.

As this faded away into interval chatter I sat back in deep satisfaction. Having made complex travel arrangements and agonised over timings and accommodation I did not regret a moment of this trouble- the first half was well worth it and the second half promised to be equally so.

Kicking off after a 25 minute interval, dramatic music began the second half as the band took to the stage again. Peter looked fabulous in a old-fashioned style suit and a hat tipped rakishly on his head as he sung 'The Day That Curly Billy Shot Crazy Sam McGhee' with great energy and charisma. With the applause barely fading, the band launched into 'I Can't Let Go', one of my (many) Hollies favourites. The performance again made me think of Allan Clarke, but this again featured a superb vocal from Peter as did the next track- 'Jennifer Eccles'.

After this, Peter teased the 'new boy' Steve and linked to the next song ('Yes I Will') with a little joke. 'Bus Stop' followed, and the impeccable standard of band, harmonies and lead vocal continued. It was particularly nice to see on-stage camaraderie and that everyone was enjoying themselves so much- this communicated itself to the audience and I was glad I was there.

As in the first half, there was a brief period of more acoustic songs, and 'I Can't Tell The Bottom From The Top' began it, with Steve on lead vocals and Peter shaking maracas as part of the backing. The Hollies always have been (and still are) amazingly versatile, as evidenced by Tony taking lead vocals on 'Too Young To Be Married'.

Then, Tony said he'd seen Peter (with Cliff Richard) on 'Parkinson', but a lady (in front of me!) interjected 'you were in Germany that night!' semi-accusingly, to which Tony quipped back in good humour 'are you in the television industry?' which was a wonderful ad lib and brought a laugh from the audience. Tony continued undaunted, and introduced Peter with a brief precis of his credentials.

Next was a total surprise- Peter doing his own arrangement of 'Here I Go Again' as a solo acoustic song. This was a beautiful moment, and everything seemed to stand still as everyone focussed on one man and his guitar as he held the spotlight. I was initially slightly apprehensive, as such 'arrangements' can be total disasters, but Peter's voice and the arrangement were stunning and I was extremely glad this was included in the show.

After the quieter songs, the up-tempo show was resumed with 'I'm Alive', which was followed by 'Carrie Anne' with its Caribbean flavoured melody. Another favourite that did not disappoint!

I was awaiting the next song with eagerness as I remembered it being brilliantly performed in Norwich back in February- 'Stop Stop Stop'. Tony's almost frantic banjo playing set the beat for the strong vocals and this line up of the Hollies matched up to that I'd seen in February.

Something else I remembered clearly from the Norwich show was the excellent filmed backdrop to many songs, and 'The Air That I Breathe' included clouds in a blue sky and a rolling aerial panorama of coastline which beautifully complimented the lyrics of the song.

I began to feel sad as the evening was drawing to an end but there were more songs still to come! 'Long Cool Woman In A Black Dress' was sassily sung and the vocals once more came over with great clarity.

Peter then introduced Ray to sing the Mud classic 'Tiger Feet' which prompted a chap in a front-row seat to my left to go semi crazy as he got into the music, but it was impossible not to be totally won over by the passion in Ray's amazingly energetic performance- he was simply incredible!

With the audience rocking, the tempo was then taken down for the final song- 'He Ain't Heavy, He's My Brother', which was a high quality group piece, sung with emotion and magnificent harmonies. This was an appropriate song to finish on, although the audience called out for more, a standing ovation accompanied The Hollies as they left the stage shortly after 10.00.

I remained sitting for a moment afterwards, proving an obstacle to the two women to my left, my semi-apologetic remark 'I'm still recovering!' being a spontaneous and accurate summary of my feelings. There is simply no way I imagined The Hollies would be this good with two very recent new members, and there is no way that they shouldn't still be doing concerts when I am a lot, lot older. This was, quite simply, one of the great bands of the 1960s giving the type of concert that makes you glad to be alive.

Setlist

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