The Hollies - Concert Review

Northampton Derngate, 19^th November 2004 - by Uli Twelker

As a long-time Northamptonite Hollies fan, you closed your eyes that sold-out Friday night and were riveted: The Hollies sounded just like 1983, when – like tonight – they started their show with their then-current US-hit “Stop In The Name Of Love”. You opened your eyes, and you were in for several surprises. The voice that sounded like The Hollies of yore was neither Northampton’s very own Allan Clarke, retired since ‘99, nor the sadly deceased Carl Wayne.

It was Peter Howarth, new charmer and frontman, but first and foremost the owner of a fantastic voice. Not necessarily in Clarke’s style – both sport their own – but with the formers power: The whole range needed for this great vocalizing band, and then some! The amazing Tony Hicks on your right, stage left, fine. But who was that coming in on the left? Enter Steve Lauri on guitar, Peter Howarth’s pal from the Cliff Richard Band and leader of 5000 “I’m On fire” Volts. – The familiar faces and skills of drummer Bobby Elliott, singing bassman Ray Stiles and keyboarder Ian Parker must have been reassuring, sure, but you could somehow feel it in the air that some people needed time to adjust.

It was time well spent! Following the crisp renditions of “Here I Go Again” and “Jennifer Eccles”, the compère-duo of Howarth & Hicks led through a rousing revue: “Just One Look” and “On A Carousel” from the Sixties, with Peter covering the latter well for Alan Coates, the Hollies’ long-time guitarist and singer, who recently left The Hollies amiably in order to concentrate on his booming TV Soundtrack career.

Then Howarth, accomplished classical guitar player that he is, opened “Sandy” on his own, leading the band into a romantic little Unplugged set with 1970’s grossly undervalued single, “Gasoline Alley Bred”, and “Look Through Any Window”, sung by Steve Lauri, and soon comprising the whole band again, with Bobby Elliott smoothly directing the subtle build-up.

Suddenly, a huge backdrop of a Carl Wayne portrait illuminated. It was time for Tony Hicks to give a moving eulogy of a singer who had become very much a part of the band for more than four years. When Ray Stiles came centre stage next to deliver “Flowers In The Rain” – one of the memorable hits by Carl’s The Move – with much more panache than nostalgia, he had the crowd one hundred percent. Numerous fans were singing along now.

You couldn’t help but applaud these Hollies for their care, stamina and power. Obviously, the 40-year mark was but a nice cornerstone on the way. If a Cliff Richard and a BB King can do five decades, why can’t Manchester’s Beatboys approach their very own silver jubilee?

The drama of “Soldier Song”, which Peter Howarth has managed to make his very own in an incredibly short time, was enhanced even more by some warfare film footage from several centuries. This showed the relevance of a band that can make you happy as well as thoughtful.

An acoustic “We’re Through” made a change from the calypso version of recent shows (as well as the Boxed Set “The Long Road Home” rarity), complete with Ian Parker’s always popular accordion showcase. “Blowing In The Wind” added the peace tag to the previous war theme, while you were forgiven for neglecting the song’s message – with Peter Howarth’s sheer vocal power and range to enjoy, who would want to concentrate on mere words?

The second half started out with a truly haunting rock riff. Just before it gathered momentum, you could see smiles on many a disciple’s face, sensing the song in question. Soon young Peter Howarth, appearing in full Cowboy regalia, confirmed our notion. Yes, this was “The Day That Curly Billy Shot Down Crazy Sam McGee”, Allan Clarke’s Western showdown single which saw him back in the band in 1973. Tony Hicks may be forgiven for claiming The Hollies hadn’t played this for 35 years – he was only twelve or so at the time… Another shot at the Glorious Sixties came next: “I Can’t Let Go”, “Sorry Suzanne”, “Yes I Will” and “Bus Stop” were delivered with reliable accuracy and fire.

An acoustic set beckoned again, and The Hollies seem so comfortable with their latest newcomer Steve Lauri – a seasoned performer of course – that they gave him another solo spot for the rendition of “I Can’t Tell The Bottom From The Top”, the ballad which in early 1970 had the difficult task of follow-up to the blockbuster “He Ain’t Heavy”.

Tony Hicks stepped forward to present his composition “Too Young To Be Married”, a still valid little kitchen sink drama that became an Australian Number 1 for The Hollies, and which Tony transferred into a more Country Folk orientated style, something the band have often toyed with successfully. Tony’s soft vocal style and a heartfelt, accomplished acoustic guitar solo were really special.

It was this folksy notion that motivated Peter Howarth to completely revamp “Here I go Again” with the help of his six-string. The audience had reassuringly been presented with the original version in the first half of the show – now it was time to relish the possibilities this composition has on offer helped by Howarth’s imagination.

“I’m Alive” And “Carrie Anne” featured the whole new band in full swing and at ease with their Sixties heritage. Peter Howarth explained that he would have loved to share the band’s experiences during these heydays, when belly dancers inspired their songwriting: then the film backdrop revealed snippets of New York City’s famous “Paramount Theatre” in the mid-Sixties. With the camera approaching the venue’s neon signs, you could see that The Hollies were part of the all star presentations. Tony’s banjo confirmed our guess: “Stop Stop Stop” got the sold-out auditorium really shaking and shuffling.

They needed the romantic break of a meticulously enacted “The Air That I Breathe”, and it’s reassuring that Peter Howarth loves that ballad as much as his now faithful audience. Tony was deeply involved in his guitar work, with Bobby concentrating on his always great build-up to the breath-taking chorus. Caught your breath?

The party could continue: An epic “Long Cool Woman” had them all clapping along, and soon Ray Stiles was centre stage again to get everybody on their “Tiger Feet”, his hit with Mud, the band he’s famous for but hasn’t worked in even half as long as in The Hollies.

How could this fantastic band say goodbye after such a rousing finale? It had to be “He Ain’t Heavy, He’s My Brother”, another song that really shines in its 2004 rendition.

Yes, this is a different band. But Tony Hicks and Bobby Elliott have managed to keep the original Hollies spirit going once again. My impression is – and I haven’t felt and said this in a long, long time – that it’s this incarnation of the great group which will resume recording in a big way. The talent is all there – and with a look at this audience, so are the takers!

Uli Twelker

Setlist

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