After much hype, will-the-won’t-they stories and die-hard fans crossing every finger and toe The Stone Roses are back!
With festival appearances making the headlines to start off their sideshows appearances in Sydney and Melbourne sold out quicker than a t-shirt can be tie-dyed.
Dudley Road’s iconic venue was filling up nicely ready for a gig that many could hardly believe would ever happen. Ian Brown’s solo career has been a successful ride for the monkey man releasing many greats such as ‘F.E.A.R’, ‘Stellify’ and ‘Set My Baby Free’. Guitarist legend John Squire’s projects including forming indie flash-in-the-pan band The Seahorses and having a go at being an artist - often used for initial Stone Roses releases (just don’t mention Jackson Pollock). Gary ‘Mani’ Mounfield played with Primal Scream after The Stones broke up and drummer Alan ‘Reni’ Wren seemed to step in to obscurity after leaving the band in 1995. Needless to say that in 2011 they put their differences aside and we’re going to give being one Manchester’s greatest bands another go. A communal sigh of relief could be heard from their global fan base.
Opening with ‘I Wanna Be Adored’ with Mani’s driving bass combining with Reni’s steady beat, Squire’s rhythmic guitar and Brown’s part-hushed, part-elevated vocals came out of nowhere. Well, it came it out after the crowd had calmed down from screaming in excitement that it was actually The Stone Roses standing in front of them. The brief introduction and almost no pause for ’Mersey Paradise’ meant that they intended business. No fan expects them to talk too much – the music can do that. Reni didn’t miss a beat and gave the drums a workout for one of their strongest B-sides.
The start was going well but ‘(Song For My) Sugar Spun Sister’ somewhat lost its way with the crowd. One of their lesser known tracks that might explain why but it stands out as one of the band’s favourites – they clearly enjoyed playing it and watching that more than made up for the muted response. But then as soon as Squire started the riff there was an obvious sense of thrill – ‘Sally Cinnamon’ got spirits going through the roof.
The first of only two songs from Second Coming seeped with Reni’s drumming solo carring on from the last song. Mani changed basses as quickly as his wirery frame could allow. As soon as Brown starting to utter the first lines ‘Ten Storey Love Song’ changed the tempo and allowed for introspection and a chorus sing-along.
‘Where Angels Play’ gave Reni to show his percussion prowess; light in touch, quickly building, stopping and starting but mostly giving the baggy vibes a dancey feel. Despite Mani’s bright shirt and even brighter collection of bass guitars he stared out, check where his fret hand was, looked band at the crowd with a knowing gaze. All the while Squire was showing his energy and poise.
To get the biggest reception of the night you’d expect it to be one of their memorable singles but then you’d be wrong. The simple yet beautiful ‘Shoot You Down’ sparked more audience participation. Relaxed rhythms and 60s guitar riffs gave Brown’s tranquil vocals a slight breather. But he wouldn’t need it for the next offering.
The distinctive drum loop started at ‘Fool’s Gold’ had arrived. Admittedly some of the recording gloss is lost – not much, but it’s noticeable. But Squire and Mani easily made up for it. They more than made up for any weaknesses by playing the extended version. Those in baggy hats (Renin included of course) were getting their indie sway/march going for over ten minutes. Brown got his shakers out and got the crowd frenzied with every wave and peace sign. Uncontrolled shouts greeted the front man every time he went near the audiences. If you asked anyone in the crowd ‘did Ian Brown look at you and give you a wave?’ They would have said ‘fuck yeah!’ All the while ‘Fools Gold’ is still pulsating away in the background.
Another crowd pleaser followed up in quick succession. ‘Waterfall’ complete with drifting tinny guitar flecks and Madchester-style drumming elevated the ecstasy even more. There were a few flat notes from Brown but they weren’t any complaints. Merely more singing along. The ending gave way to more shoulder-shaking for the Warrington-born singer. Squire’s bouffant hair covered just enough of his face to give is pseudo-shoe gazing an air of self-absorbed delight. The simple chord picking of ‘Waterfall’ more than explains his posture.
The psychedelic rewind-wonder ‘Don’t Stop’ effortlessly emerged giving Reni even more credibility as a great drummer. The temperature was already high. The crowd were perspiring, Mani’s hair was covered with sweat – swinging his head to get his moist mane out of eyes were proof of it. But playing so many upbeat dance songs must be tiring even for a young drummer. Reni is nearly 50!
Then one of their and arguably indie music’s greatest songs ‘Made Of Stone’ creeped out of Squire’s guitar (by this time he’d changed guitar nearly every song). The bass line happily helped in the moody vocals and before the screams had died down the drums were going.
Then came the time for the minority of Manchester United shirt wearing fans their time to shine. With crashing drums and choral voices it swings from almost silence to towering cacophony – ‘This Is The One’ got underway. It’s like so many Roses songs – it starts with instantly identifiable guitar strums. Each time the crowd realised what song was beginning they were stoked into fiery delight.
The final outing of their ill-fated second studio album was the rock’n’roll, bluesy ‘Love Spreads’. If Squire hadn’t shown why he’s one of the UK’s best guitarists so far then now was his time to shine. And the impact was immediate. The rest of the band fell into line and gave his guitar licks and riffs a foundation to flaunt his flair.
The 90 minute set was drawing to a close and those who’d bought a tour t-shirt (for a ridiculous price) and put it over their other t-shirt had soaked both successfully. But then the bass line of ‘She Bangs The Drums’ came from Mani’s toby-mug topped amp stack. By now a lot of energy had been happily spent but the uplifting effect of 1989 release got the audience frothing like a jug of milk in the hands of a egocentric barista. Brown’s vocals sounded perfect. It seemed nothing could top this.
Yet there was the anthemic song that gets every indie lover going. Drunken karaoke nights have been ruined by someone thinking they can do it justice. But this is what everyone had been waiting for; the entry fee alone would be acceptable for witnessing it. ‘I Am The Resurrection’ started with the first few hits of the snare and bass drums. Joined by the twangy bass and Brown’s voice ‘wild’ wouldn’t even come close to explaining the crowd’s response. After 3 minutes of singing along the prospect of getting your swagger on while Squire mashed, plucked and strummed his guitar got everyone up. Even those in the seated areas were on their feet. The instrumental ending was brilliant. Tighter and more rewarding than the original recording it gives even more praise for how far they’ve come as a band.
To cap off the night and despite being stood as far away from each other and barely talking as well there was a group hug and a hand-in-hand bow. They mopped up the rapturous applause for five minutes. And they deserved it. After all this time they’re still as good as any band and the fact they haven’t been together all this time make it even more astonishing.
Set List:
I Wanna Be Adored
Mersey Paradise
(Song for My) Sugar Spun Sister
Sally Cinnamon
Ten Storey Love Song
Where Angels Play
Shoot You Down
Fools Gold
Waterfall
Don’t Stop
Made Of Stone
This Is the One
Love Spreads
She Bangs The Drums
I Am The Resurrection
