For singer Tom Harris, this Cruel Knives show is a hometown affair, as he was born just up the road in Dudley, and he is clearly delighted to be back.
Cruel Knives have been around for a while (I reviewed their debut record in 2019), and it seems like they are ready for a final breakthrough.
From the ashes of the should-have-been massive Heaven’s Basement, Sid Glover remains a wonderful guitar player, and Rob Ellershaw holds it down on the bass. They’ve embraced a modern take on the classic rock sound, and they do it exceptionally well.
There’s a muscular quality to “Black Eye Friday” and a tuneful aspect to “If This Is The End (I’ve Been A Fool From The Start).”
Their highlight, “All Your Heroes Hate You,” showcases their skill, but it’s a song they haven’t even recorded yet that oddly convinces us that they are here to stay. “Shotgun” and its wonderful solo need to be released.
Given 40 minutes to stretch out, Cruel Knives are obviously looking to make the most of it, and “Crawl” – their last song – underlines that. They’ve been a slow-burner, but they’re ready to cut through.
What is a month and a few days between friends? It’s been nearly seven years since an unsigned band sent me their debut album to review. It was magnificent. I gave “The Murder And The Motive” a 9/10 rating and wrote: “Those Damn Crows are arena rock in waiting.”
With a sense of pride, I’m sitting high up on the balcony of the newly refurbished Wulfrun Hall, watching 1,000 people losing their collective minds at the same five blokes from the Welsh Valleys.
“Who’s been with us since the start?” asks Shane Greenhall as “Blink Of An Eye” from that debut starts. In all honesty, for TDC, it’s a case of the more things change, the more they stay the same. What I mean is, the band hasn’t changed massively in those seven years, beyond the natural progression of a now experienced band. Still, their last album “Inhale/Exhale” crashed into the top ten, so they play most of it.
Before the customary opening, Greenhall stands above the rest – there are a few ramps on stage – and screams: “We are Those Damn Crows!” Such a greeting isn’t needed, but what it does is get them into “Who Did It.” The answer is they did it through hard work, superb performances, and fantastic songs.
“Man On Fire,” the first of the “Inhale/Exhale” songs, is greeted like an old friend, and the adulation of the crowd is palpable. Greenhall has them doing his bidding entirely on “Find A Way,” and by the time they perform “Lay It All On Me,” you can’t help but look forward to when they do this on huge stages (note the “when,” not “if” – the truth is inescapable).
Performing “Go Get It,” the anthem for not settling for second best, carries an irony not lost. The anthem “Rock N Roll Ain’t Dead” sees Greenhall race up to the aforementioned balcony, climb onto it, and command his flock.
Still no encores (which earns them bonus points here), but “This Time I’m Ready” (“it’s a special song for us,” offers Greenhall) has a real grandiosity.
Last one, “See You Again” is more a statement these days, and frankly, Stereophonics have gone gold for less.
Mention of Kelly Jones’ band is deliberate, though. Almost 25 years ago, I saw them play at the Civic Hall next door. Their second album was due out, and it was as clear as day that they were going to be huge. Six months later, they were playing at the NEC in nearby Birmingham to 10,000. It’s hard not to have the same thoughts here. This was, in every way but room size, an arena show.
As their singer pointed out again at the end, “Those Damn Crows.” Soon, everyone will know that.
