As bands always do, Reef take a picture for social media. That, reasons Gary Stringer, the band’s singer for 30 years, “makes us look a lot more popular than we are”.
They were in the mainstream back in the late ’90s, but arguably by the time the opener “Stone For Your Love” came out, those days were behind them, and they were doing what they liked. That’s what they do, as they come on after “Running With The Devil”, but it’s “Naked” that grooves, and Stringer both looks and moves better than me despite our similar years on the heavy “Higher Vibration”.
A more “Greatest Hits” set than usual, perhaps given the nature of things, and “Come Back Brighter” has lost none of its power, although its “get up” refrain falls flat (perhaps “getting up” ain’t on the agenda here for many of the crowd until they have to).
“Consideration” slows the pace and allows Stringer to do his falsetto, “I’ve Got Something To Say” is built around its acoustics, and maybe the textures don’t come over as well as they might in front of their own audience.
Then there’s the small matter of that hit, before “Refugee” brings things up to date and is, in honesty, better. “I Would Have Left You” is likewise class, and by the time “Summers In Bloom” ends things, it’s obvious that Reef just chill and do it their way. And thus, it’s business as usual.
From that song to that riff, and the main set ends with arguably the best ever, and as Simon McBride starts it up, all of a sudden the crowd are up, but there’s a chap who’s a steward, and he’s walking around doing that involuntary head nod thing that people do when there’s a riff you can’t ignore.
But here’s the thing about “Smoke On The Water”, it’s recognised the world over because it’s fantastic.
There are many in the course of this hour and 50 minutes, but for every “Highway Star” here, there’s something new.
Deep Purple deserve all the credit in the world for the fact that with a new album, there’s always a new set. There are six from the recent “=1” record.
They have fitted in exceptionally too. “A Bit On The Side” dovetails with the classic, “Into The Fire” but everywhere you look, there’s something.
“Uncommon Man” is a journey, dedicated to Jon Lord, “Lazy Sod” is one of the best from the new record and is here too, while “Now You’re Talking” adds some rock n roll to things.
They structure their set around plenty of solos, to allow Ian Gillan the breaks he needs, and his voice holds up superbly on “Lazy” or “When A Blind Man Cries,” which has been dusted off for this run.
Gillan, as ever, has some idiosyncratic things to say on stage, with “Portable Door” particularly bizarre, but the songs – like “Anya” – are mighty.
Don Airey plays his solo, and it’s the best keyboard solo in rock (pun intended) after which, “Bleeding Obvious”, the forever groovy “Space Truckin'” and the one about the fire in Switzerland are a race to the finish. Or at least to the encore.There is a blues tinge to “Old Fangled Thing,” a funky strut mixed with a jam that ushers in “Hush,” underscored as ever by the wonderful organ.
“Black Night” surprises, though, by dint of it being particularly psychedelic and trippy, with graphics to match. McBride, who is in brilliant form throughout, appears to particularly enjoy himself here.
So, as ever, this was a parade that celebrated one of the greatest bands in the history of rock, but somehow this felt like more.
Largely because they had a new album, and perhaps because they don’t fit in with the rest of their peers, is it time to acknowledge that Deep Purple is the best band of their vintage? No pyro, no real histrionics, yet still making new music, still playing it live instead of just chucking one in as a token gesture. When you couple that with the unique sound they have, it makes Deep Purple truly sensational.
