Ah, London. The worst that arena venues have to offer. Officious, fussy security staff overpriced, poor choice beers, disgustingly stinky fast food with no nutritional value, and the most entitled gig-goers in the country. But sadly, the only place to go if you want to see the Texan legends on a rare UK show.
In over 50 years since Billy Gibbons, Dusty Hill and Frank Beard formed the lil ol’ blues band, ZZ Top have only played the UK 48 times (Source: Setlist FM) in their entire career, so it’s hardly surprising that the English Capital scoops the bulk of the shows. It’s the first time the band has played the UK since Dusty’s death in 2021, and our first chance to see Elwood Francis, long-time guitar tech for the band alongside Billy and Frank.
The setlist isn’t going to change that much. The band’s last album, La Futura, was released 12 years ago after all. And they aren’t going to extend the set time. It’s 75 minutes of superb quality rock n roll with their distinctive blues driven style that they make look so easy. And it’s just magical from the opening bars of Got Me Under Pressure to the final freestyle magic of La Grange, this is a band who many accuse of being boring, but who I say are the absolute masters of their craft.
In Billy Gibbons, you get one of the most revered guitarists of all-time. He’s dexterous, fluid, and sharp. All delivered with a laisse faire approach which belies his precocious talent that he’s been plying and developing since those pre-Top days when he toured with Hendrix. He’s released fabulous Blues albums, but the main vehicle for his blisteringly impressive lead work is ZZ Top.
Anchored by Frank Beard, who does everything with precision from behind his huge drum kit, and supported by new right-hand man Elwood, who raises more than an eyebrow when he starts the set with the ridiculous 14-string bass, this is a collective, despite Billy’s obvious dynamism that leads the band. He’s the mouthpiece, regularly checking if we are “having a good time now”, and delivering those smoky, sensual vocal lines that get the ladies swooning and the men simply jealous. It's accompanied by several guitar changes, although once Elwood jettisons the huge yellow instrument, he settles in on the Fender bass for most of the evening, and some snazzy jackets. Billy has a sparkle on his coat, his trademark hat, and the twinkle in the eye (hidden under those cheap sunglasses).
Elwood is just as exciting, bringing colour with his bright red trainers. They change for the encore and add a bit more bling to proceedings with a dusting of diamanté.
They have the moves, but they need the music and boy do ZZ Top have the songs. I doubt their setlist has changed much in the past 20 years, but who really cares. There are the obvious crowd pleasers from Eliminator which make those here only for them happy, but plenty of the classics and the odd choice cut too.
Brown Sugar from ZZ Top’s First Album is delicious, whilst the appearance of Tube Snake Boogie gets me singing along. Elsewhere, A raucous I’m Bad, I’m Nationwide is welcomed by the old school and the cover of Merle Travis’ Sixteen Tons dedicated the band’s long-time friend Jeff Beck moves the emotions.
It may not be that long, but it’s quality over quantity with ZZ Top, and the quality is top drawer. As they troop off after La Grange, and we file out into the drizzly night, one can only hope that the band can make another appearance or two before they call time.
It’s a brave band that’ll have such a strong undercard and Rival Sons push the headliners all the way. The Californians should be, in my view, headlining such venues after 15 years in the business, and they deliver a show that sets the spine tingling. Eight studio albums give them plenty of scope for their 45-minute set, and they drop back in the main to 2019’s Feral Roots and 2014’s Great Western Valkyrie for the bulk of it.
Clad in a pink three-piece suit with no shirt and bare feet, frontman Jay Buchanan is simply irresistible. He covers the entire stage, reminiscent of a certain Robert Plant in his heyday, and I’m making that comparison as probably the biggest compliment I can find, although I’ll admit it’s a bit lazy, given the man cites Van Morrison amongst his biggest influences. His vocals are staggering, his range off the scale, and timing impeccable. He has presence that he imposes without effort, alongside his muse, guitarist Scott Holiday, who plays a blinder. One can see why this band is virtually unstoppable in the live arena. Holiday is as always immaculately addressed, and tonight his guitar work is as sharp as his attire. His work on the double neck during Feral Roots shines across the full arena.
Of course, it’s not just about the front two, and Rival Sons are one cohesive unit from front to back. You cannot underestimate the power that drummer Michael Miley brings to the band; his ferocity tempered when needed by a more restrained control. Bassist Dave Beste is unassuming but ensures that the low end is fully covered whilst the ivories of Jesse Nason ensure that the band add lush layers and harmonies. If there are any complaints about the setlist, Rival Sons blow them into next week with their bruising finale, Electric Man from Great Westen Valkyrie. It’s a stunning climax to a set that leaves you wanting more. I heard someone on Planet Rock complain that the band haven’t got any ‘songs’. To that person I just hope their hearing returns soon.
They are slowly getting familiar with playing in arenas, especially after their supporting run with Hollywood Vampires in 2023, but it’s still a big step for Bridgend’s Those Damn Crows. They may not have had a full house to play to, with many opting for an extra pint or delaying their arrival. That’s their loss, for the Crows, like them or not, are slowly pushing into the next level. They do that for several reasons.
Firstly. The band have a swagger that allows them to command the whole of the stage, including singer Shane Greenhall, who as usual, finds himself off the stage and in the upper-level seats during the final song, Rock N Roll Ain’t Dead. Secondly, the band all bring 100% every show. Every time. And thirdly, they have the songs. They have a 30-minute set so pick the bangers. Who Did It get the Crow Family present up on their feet, whilst Blink of an Eye sees Greenhall lead the singing from his piano before the band kick into the heavier part of the song. They rightly pull a couple from 2023’s Inhale/Exhale, including a fine Man on Fire which possesses one infectious riff. By the end of their set, there are far more people aware of Those Damn Crows, and for the Welsh in the audience, a proud feeling that ‘their boys’ did good.
Review and photos by Hutch.
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