In many ways, Tyketto are the great lost band of US ’90s hard rock, and there’s a parallel universe where they headline tonight. They are that good.
The problem—if it can even be called that—comes before “Rescue Me.” It’s a superb song, yet Danny Vaughn says: “We’re just gonna try and hold our own tonight, and whether you know us or not, we’ll hope you leave humming a couple of our songs.”
And yet, 33 years after they started, this version of the band—including Thunder man Chris Childs and gunslinger Harry Scott Elliott on guitar—is arguably better than ever. Listen to them play “Wings” or “Strength in Numbers” and try to come to any other conclusion.
Back to the debut and the strip clubs of New Jersey for the funky, sassy “Lay Your Body Down,” while Vaughn gets his acoustic out for the wonderful “Standing Alone.” Again, he’s bashful: “I wasn’t sure whether to do this one since we only have such a short time,” he admits—like you could leave this out!
As “Forever Young” ends their 40-minute set with all the skill and class you’ve always seen, Vaughn seems to be relishing what’s almost a second career—certainly, his jump off the drum riser said as much.
Look, all impartiality out the window here—MV has loved this band since first hearing them on the Friday Rock Show, so forgive us: bollocks to humming the tunes. Buy the albums.
Vaughn had pointed out in their set that it “had been forever” since April Wine was here, but if there were any nerves before “Oowatanite,” they didn’t show.
Longest-serving member Brian Greenway sang that one, while relatively new member Marc Parent took the next, “Anything You Want, You Got It”—both class hard rock. However, it’s when they come together for harmonies on “Say Hello” that they truly excel.
With typical understated Canadian charm, they deftly craft their set. “I Like to Rock” is tough at its core, and another Greenway-led track, “Before the Dawn,” is a proper melodic highlight—the solo is absolutely on point.
Elsewhere, “Big City Girls” brings the sleaze, and “Sign of the Gypsy Queen” sounds a damn sight fresher than its 44 years—its soaring solo is straight out of the top drawer.
They roll on with “Roller,” and the twin-guitar work is absolutely on point. Whether a band well into their sixth decade can truly fly under the radar is open to question, but what isn’t in doubt is that April Wine remains a fine proposition.
Look, the other two bands have been great, but somehow, there’s a shift in gear when Uriah Heep comes out.
This is their show, and dammit, they’ll own it. Frontman Bernie Shaw is a mighty presence, and he almost demands that you enjoy “Grazed By Heaven.”
What sets Heep apart from most of their peers is their desire to keep things fresh. “Save Me Tonight,” a track from just a couple of years ago, proves that here.
The way Phil Lanzon’s organ drives their sound is always delightful, and “Overload” (another from this century) is a perfect example of their hinterland. When Mick Box rips into a solo out of nowhere, you begin to get some sense of why their longevity has endured.
Shaw has people out of their seats at this point, and it feels like an event before the ominous “Shadows Of Grief” dusts off an old one, wandering gleefully off into prog.
The bass of Dave Rimmer anchors another classic, “Stealin’,” and while there’s an epic quality to so many of these songs, perhaps that’s especially true of “Rainbow Demon.” You can pay the new(ish) “Hurricane” (written by drummer Russell Gilbrook) no higher compliment than to say it belongs in this exalted company.
Box gets his acoustic out (“I haven’t seen that guitar in years,” laughs the singer) for “The Wizard,” and there’s a “party song” to celebrate the party animal that was “Sweet Lorraine” as they dig deep into the vaults.
But why fixate on the past when your present is as good as the supremely grandiose “Hail The Sunrise”? Heep knows this.
Shaw reckons that back “in 1970, good rock music was just that” (there may have been some F-words in there too) and that “Free ‘N’ Easy” was the “real McCoy.” He’s not wrong.
The onset of age is laughed off as Gilbrook cramps before the stunning “The Magician’s Birthday,” a kind of centerpiece here, with Box proving that although he might have the flu, good grief, he can still play guitar!
“Gypsy” is a staggering 55 years old and makes it clear that Heep has always been outliers to an extent—a thought only reinforced by the follow-up, the ballad “July Morning.” It’s a glorious end to the main set, seamlessly carrying into the encore with a huge “Sunrise.”
There’s one more, though. Of course. “Easy Livin’” is a beauty too. It’s a scandal it was never a hit in their homeland. And actually, if you think about it, tonight was about a trio of acts with 150 years between them. That’s pretty special— even more so when you consider they’ve packed this beautiful venue without a UK hit single between them.
It’s the first show of their 2025 tour, and it doesn’t look like they’re ready to call it a day when it comes to touring, whatever they might say. They’re Heep. Still ‘eavy, still ‘umble. Still brilliant.
PHOTOS COURTESY RICH WARD
