LIVE REVIEW: Black Stone Cherry & The Darkness @ OVO Arena Wembley, London
Arena tours can be a difficult beast to tame at the best of times. Throw in a cost of living crisis and the beast becomes a behemoth. Though this is nothing new to BLACK STONE CHERRY who last headlined Wembley Arena in 2018 – back when the OVO was SSE. Though this run comes with the added challenge of being a co-headliner with pals THE DARKNESS. Rumblings of discontent within one fanbase haven’t been a secret on social media. Yet with each headliner playing one hour 15 minutes each, on top of a support act, we can understand where some of the displeasure may come from. With this in mind, the Kentucky brood bring the UK party to a close on a chilly February night.
The task of opening the evening falls to a relatively unknown DANKO JONES. The Toronto trio formed in 1996 so we’re left wondering why more of us haven’t heard of this band before. Striding onto the stage, guitarist/vocalist Jones and crew quickly took their places and launched into the raucous Saturday. The speed of Rich Knox’s drums remind us of punk’s glory days while Jones’ vocals bolster that image. We couldn’t help but notice some confused expressions in the crowd as the band powered through anthemic I Gotta Rock. A trio like this does brew some trepidation but by the time I’m In A Band rolls around, the infectious beats and hooky chorus convert more than a few patrons.
An issue for the band comes from its namesake. Talking at a thousand miles an hour as if constantly huffing cocaine, Jones at times can be hard to understand. The same goes for some of his lyrics. Though the choruses are catchy enough to pick up the melodies regardless of whether we know what we’re singing or not. Speaking of lyrics, once we dive into them, it’s not hard to tell this is a band from the 90s. The repetition of “I’m in a band and I love it” grates after a while and does become an earworm for the rest of the set. First Date’s asking “do you kiss on the first date” feels somewhat juvenile to an audience in their 30s. Something more appropriate comes with the cunnilingus themed Lovercall, accompanied by a demonstration of gurning from Jones and a beautiful bassline from John ‘JC’ Calabrese.
As My Little RnR closes DANKO JONES’ set, we can’t deny this is a talented trio of musicians. However we’re left questioning whether a support band was needed at all. Could the extra half an hour have been split between the two headliners? On the other hand, would THE DARKNESS want to come out to a cold audience? It’s a good job they brought some pyro with them.
Rating: 6/10
What imagery comes to mind with the name THE DARKNESS? We’ll wait. Lycra and Justin Hawkins’ insane vocals, yes. So imagine our surprise when after the dulcet tones of ABBA’s Arrival, Hawkins struts out in jeans and a t-shirt. The t-shirt may well have had the band’s faces on it a-la QUEEN’s Hot Space artwork but that’s besides the point. Have faith fashionistas within Distorted Sound’s readership, the lycra is coming.
What better song to open this band’s set than Growing On Me. This is a band which has had to appeal to BLACK STONE CHERRY fans, which they have done over this tour for the most part. Frankie Poullain’s bass licks slither through the track with the greatest of ease, bobbing along on Rufus Taylor’s beats. As if the pressure of playing Wembley Arena isn’t enough for Taylor, the knowledge of his father – QUEEN’s Roger Taylor – sitting to the side of the stage is bound to have been sitting in the back of his mind. Though the professionalism oozes from this band as Black Shuck’s thunderous instrumental and wicked stage show blows many away. The pyro is also more than welcome for this thawing crowd.
Motorheart seems to breeze past us and become somewhat forgettable amidst the myriad of bangers within this set. One Way Ticket is an early highlight for THE DARKNESS. Dan Hawkins’ opening riff soothes the itch for a groove based instrumental. It isn’t long until the more extroverted Hawkins bounds around the stage showcasing his incredible vocal range. This human dynamo commands the crowd’s attention and they’re more than willing to give it to him, screaming the words back at the extravagant frontman. This and Solid Gold are gloriously heavier than what they are on recording though the QUEEN inspired melodies and harmonies are still prevalent. In a bid to further stand out from the crowd, Hawkins busts out a keytar solo, cutting an impressive silhouette against a spray of fireworks.
“What are these words you’re uttering in my direction?” Hawkins laughs as two zealous fans scream at him between songs. “You told me last time Wayne’s here and he’s the band’s biggest fan. Have a plectrum and shut the fuck up” comes with an awkward chuckle to introduce Japanese Prisoner Of Love. With its heavier instrumental balancing the harmonies of the vocals almost perfectly, this is another highlight for THE DARKNESS. It also marks the return of the Hawkins lycra. Givin’ Up carries on the fist pumping singalong as many do their very best to emulate Hawkins’ impeccable range. The explicit Get Your Hands Off My Woman celebrates its 20th anniversary later this month and gets its regular airing – though not on Radio One like it had done back in the day. “Took them three motherfuckers and a cunt to realise their mistake” Hawkins says rather proudly.
Rather predictably, I Believe In A Thing Called Love is the jewel of the band’s set. The crowd is encouraged to put their phones away to fully immerse themselves within the moment and “intensify the bounce” during the iconic chorus. What is a surprise to us is the quality of Hawkins’ voice almost 20 years after the release of this breakout song. While it may have aged slightly, his ability to hit the notes and sustain them is nothing short of impressive. Closing out with Love On The Rocks With No Ice, the pyro is amplified to ten – without setting lighting rigs aflame – and THE DARKNESS leave the stage on an incredible high.
Rating: 9/10
With the appearance of a drop curtain comes the anticipation for the final act of the evening. Who knew a piece of linen could evoke such intense excitement? In a shake up for BLACK STONE CHERRY’s live set, what’s to come is a true testament as to why this band has been so successful since their formation in 2001. “Mummy don’t know daddy’s getting hot/ At the body shop, doing something unholy” prompts some confused looks from stalwart Cherry Heads wondering if they’d come to the right show. Though the silhouette of vocalist/guitarist Chris Robertson getting his groove on on the other side of the curtain assuages those last minute thoughts.
The tell tale smokiness of Robertson’s vocals power through the curtain with the tried and true Me And Mary Jane. While the curtain could have been dropped a touch earlier, that stops nothing and no one from belting out the ode to marijuana. With a blast from the CO2 cannons the pocket rocket that is guitarist Ben Wells springs back and forth on the stage leaving people not knowing where to look. Accompanied by the slick bassist Steve Jewell Jr, these two dynamos drew attention and many the female onlooker for Jewell.
Shifting from Me And Mary Jane to Burnin’, John Fred Young commands his drums with the greatest of ease and an energy akin to Animal from The Muppets. The set may have been plagued by slight technical issues for the band’s monitors but rather than stop the show to rectify, BLACK STONE CHERRY do what they do best and put on a great show through those problems. The confidence seeping from Jewell as he dances around the stage comes so easily that many wouldn’t have known this is only his second UK tour since joining the band. He fits in seamlessly and the band sounds tighter than ever.
We’re taken back in time to Folklore And Superstition (2008) for the rambunctious Soulcreek, in which Robertson is drowned out by the army of Cherry Heads for the chorus. Soulcreek may not be a literal place but tonight it’s where everyone wanted to be. BLACK STONE CHERRY may not be as in your face and extroverted as their brethren in THE DARKNESS, but the energy radiating from them is just the same. So much so the arena comes unglued for Blind Man. The idea of the rain man “begging for sunlight” ringing truer for those of us who yearn for longer and brighter days ahead. With singing voices in tune, In My Blood follows the natural order. Instruments quiet for a few moments as the noise of the crowd floats into the ether outside the arena.
Having received its live debut in Cardiff on the opening night, recent single Out Of Pocket slots into the set list perfectly. Jewell’s rumbling bassline compliments Young’s thunderous beat for what should be a staple in BLACK STONE CHERRY’s setlist for years to come. Though the Southern rockers have always lived in the sphere of a mature sound, the newer track in the live arena ushers in a sense of urgency and edge for the band, leaving us anticipating the announcement of a follow up to 2020’s The Human Condition. To pass the time between now and then, Like I Roll lightens the atmosphere and encourages us to accept ourselves for who we are, the ethos of BLACK STONE CHERRY in a nutshell. The light and breezy tune brings the crowd together in a moment of true escapism.
Though it cannot be said that BLACK STONE CHERRY isn’t a collective of incredible musicians. As mentioned, Young’s ability to shift between songs on a sixpence is truly impressive. Slipping into the heady Cheaper To Drink Alone, the slow swing of Wells’ riff marries into Robertsons’ melody as they tell the story of a lover we wish we’d never met. Flowing into the usual jam session, it’s here we see the talent on display. With Wells, Robertson, and Jewell leaving the stage, the scene is set for Young. We’ve said before this man’s command over the drums is impressive but something about this evening’s drum solo feels different. The crowd stands in stunned silence, many on their phones capturing this moment of sorcery. Is John Fred Young one of the most underrated drummers in our music scene? Absolutely.
Attention fully garnered, the lights dim as Robertson approaches the microphone. Many know what’s about to come as the vocalist thanks those in the crowd who attended the band’s show at Royal Albert Hall in September 2021. During Things My Father Said, Robertson was unable to finish the song as he was mourning the loss of his father, Steve, and the crowd carried him through. Fast forward to this evening and we see a healed man at peace, smiling through a song which once brought him immense sadness. Robertson may have been smiling and the song may have felt somewhat cheerier with its full accompaniment but there isn’t a dry eye in the crowd. “Let’s bring this shit back up now” Robertson states as he spots people on the barrier wiping tears. Cue White Trash Millionaire, a popular song among the Cherry Heads for its unapologetic attitude and infectious mantra of “count your cash and kiss my ass”. Looking around, we see many converts within the pockets of THE DARKNESS fans, as there had been for the reverse which is a wonderful notion.
The tandem of Blame It On The Boom Boom and Lonely Train close the core set. The latter feels wonderfully close and heavy. Arguably the heaviest BLACK STONE CHERRY song, it soothes the craving of good old fashioned heavy riffs and bone rattling bass. Blame It On The Boom Boom’s celebration of all inclusive sex isn’t as tongue in cheek as THE DARKNESS but it didn’t have to be. Throughout the tour, there seemed to be a sense of competition from the fans but this welcoming atmosphere from THE DARKNESS and BLACK STONE CHERRY themselves proves there didn’t need to be this strange animosity.
It’s here where Peace Is Free, the band’s usual closer, would have been appropriate. Accompanied by a speech from Robertson that music unifies people would have cemented that sentiment. Instead, we’re treated to a cover of ELECTRIC LIGHT ORCHESTRA’s Don’t Bring Me Down. For those who think this is a new move, the cover is featured on The Human Condition. Robertson’s bluesy vocals add a touch of smoke to the otherwise upbeat song. Wells’ riff sprinkles heaviness throughout and this becomes a great substitute for the show’s closer. Is it something we want to see as a permanent fixture? No, but we understand Robertson’s desire to end the night on an upbeat note.
As the night and the tour come to an end, we’re left with a little to contemplate. The night we’ve just had was nothing short of spectacular. With stories of shows on the tour criminally underselling, we can’t help but feel as though a disservice has been done to all the acts on this bill. Though as it becomes more expensive to tour, and international bands face yet more hoops to jump through, co-headliners may become commonplace in order to fill arenas. With this in mind, if BLACK STONE CHERRY or THE DARKNESS roll through a venue near you, we implore you to go as both have proved themselves to be true gladiators within the live arena.
Rating: 9/10
Check out our photo gallery of the night’s action in London from Sarah Tsang here:
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