Manchester Academy 3 – 03/02/24
After what seems like an eternity, Florence Black have finally released their second album, Bed of Nails, into the world and they are now champing at the bit to bring these songs to life on a stage near you. And judging by the sell-out crowd tonight at Manchester’s Academy 3, the audience is equally thrilled to experience Florence Black once more. However, before we get to the main event, there is the prospect of not one but two support acts to relish.
The opening slot for this tour has changed each night, giving a different band an opportunity to start the party. As I arrived at the gig, I didn’t know upon whom that honour was going to fall tonight, so I was over the moon when I saw the poster detailing the set times announce that the mighty Trucker Diablo were on first. Over here ostensibly to play Planet Rock’s Winter’s End festival, the Northern Irish 4-piece are making the most of their weekend by playing a warm-up set in Manchester before heading down to Trecco Bay to wow the Sunday festival crowd. The Trucker sound is big and brash and a hell of a lot of fun.
Opening with The Rebel from 2013’s Songs of Iron album the intent is clear: we are here to have a good time and the already packed Academy responds in kind. Next up we are treated to a new song, Stop The Bleed, and a promise from frontman Tom Harte that a new album is on the way – eventually. If this song is anything to go by, the wait will be worth it as it is another driving, rollicking juggernaut in the fine Trucker tradition. Pausing only to ask if anyone here remembers the 80s (I’m going to guess that the answer to that is yes for a majority of the audience!), the band segue into Rock Kids of the 80s which recalls those heady days when hair was BIG, spandex was oh so tight and MTV was king.
The mood changes for the reflective Fighting for Everything which acts as a battle cry for the underdog and features a tasty solo from guitarist Simon Haddock. This is stirring stuff, with a gang vocal chorus and a hooky riff that refuses to let go. A slight departure next, as the band strike up Proud Mary by Ike and Tina Turner which morphs into the Trucker’s signature song Drink Beer, Destroy. What’s not to like about a drinking song on a Saturday night when everyone is up for a party? Judging by the smiles on the faces of both the band and the crowd this is just what the doctor ordered. Sadly, time is not on our side, and all too soon the end of the set approaches in the form of Drive, another reflective and, dare I say it, radio-
friendly tune with a big chorus, a memorable melody and a singalong section for the crowd. This just leaves the final song of the evening and it’s another new one in the form of Dig. Big and boisterous like an over-excited labrador puppy, this is a walloping tune that leaves everyone wanting more. Look out for the Big Truck as it rolls back into town for Firevolt Festival in August.
The main support throughout this tour is James and the Cold Gun, who started life as a garage project for duo James Joseph and James Biss. Expanded to a 4-piece for gigs, the band’s sound leans towards 90s alt-rock and post punk: they cite Queens of the Stone Age’s Songs for the Deaf as their favourite album and it shows in their noisenik approach. Angular, jangly and abrasive in equal measures, the emphasis is on short sharp bursts of energy.
Kicking off with Seven, the tone is established for the rest of their set which attempts to capture the restless energy of disaffected youth. Eschewing the usual classic rock tropes, the band focus instead on angst-ridden lyrics and abrasive riffs; although not overtly punk that is certainly the energy that they bring to the room in songs such as Chewing Glass from their self-titled 2023 debut album. New song Fragile addresses mental health issues and once more kicks hard in a 90s anti-rock style. Which is not to say that the guitars aren’t loud and in your face: James Biss has both the guitar hero looks and the licks when required. Yet more often than not these are held in check, avoiding self-indulgence in the pursuit of an economy of sound, as exemplified by Cheating on the Sun which evokes big desert skies. Rattling quickly through Something to Say and Long Way Home, the set comes to a close with a final explosion of sweaty noise.
Expectations are running high in the packed Academy as Florence Black finally hit the stage. The tension that has been rising in the room is finally released as the maelstrom is unleashed and the band launch into Bed of Nails. With its stuttering, stop start approach this might not perhaps be the most obvious choice for a set opener, but it certainly hits the spot and demonstrates the dynamics running though the songs from the new album. After the merest pause, Start Again kicks off and the madness continues. Crashing like a wave on a rocky shore, the monstrous riff batters the audience relentlessly. There is no let up in sight as On the Ropes ups the ante even further with its brutal riffs and a vocal balancing precarious on the precipice of a full-on scream. This is heavy as f**k and all the more beautiful for its ferocious energy. People who don’t ‘get’ heavy music don’t understand just how cathartic it can be to experience a full-on assault on your senses and the joy that can bring.
The songs from Bed of Nails continue with Solid 9 and Don’t Hold Me Down, which slows the pace just enough to allow you to catch your beath and appreciate Tristan’s vocal range. Yes, he can scream and shout with the best, but he can also carry a melody with equal passion. This is what first stood out on Weight of the World after the more aggressive approach taken on the early EPs and it has continued to develop on Bed of Nails. The maturation in sound shows just how much the band has grown and suggests that they have bigger and better things ahead. But that is for the future, right now we contend with the crushing riff that is The Deep End. After a slight setlist cock up (it’s still early in the tour!) there is some relief from the remorseless riffing with Look Up which has a lighter more melodic approach before
segueing into Taxman. Although the band are probably not earning as much as George Harrison was when he wrote the Beatles song of the same name, the anguish at having to hand over your hard-earned cash to the tax man is just the same.
Warning Sign shows that Florence Black can do ‘gentle’ just as well as they do fierce. This has radio-friendly single written all over it, but that doesn’t mean that it has any less impact. Instead, it shows a different and more mature side to the band with a catchy melody and restrained vocals. Similarly, Back To The End has a light and airy feel which belies the story of a break up played out in the lyrics. There is a brief pause in the proceedings during which the stage lights are dimmed and the momentum is lost somewhat before the band regroup for Black Cat which speaks of the inner battle with depression against the backdrop of another angry, brutal riff. When Tristan calls for everyone to scream the whole crowd joins in, banishing the beast once more.
The Forest follows a similar pattern, starting gently before building to a heartfelt chorus underpinned by a hooky riff and a lovely, distorted solo.
After displaying their lighter side, the rest of the set returns to those crushing riffs which we all know and love. Can You Feel It ramps up the energy before we’re invited to get a mosh pit going for Rockin’ Ring. With its Metallica vibe, this is one of the heaviest songs of the night. Building from a simple guitar refrain, the riff soon turns dark and heavy demanding a physical response. If this doesn’t get you moving then nothing will! Breadfan is another monster; the original was unsophisticated and bludgeoning and so too is the cover. Tristan asks everyone to turn on the torches on their phones for Bird on a Chain, which is an
inspiring sight to see before we’re treated to the epic Zulu. I just love this song; it worked well as the set opener for the Weight of the World tour and works just as well at the tail end of the set with its relentless driving energy.
Finally, we come to the end of the night and there’s only one song to close the proceeding: Sun & Moon. One of the first songs on Weight of the World to suggest that there is more to the band than brutality, a hit on Planet Rock and a genuine game changer. It combines what we have now come to appreciate in Florence Black as the band has matured and developed their style. It is both heavy and restrained; it has a huge sing along chorus and a catchy melody; the lyrics are thoughtful yet they can be screamed out at the top of your voice. In other words, it shows that you can balance full on, face melting riffs with intelligence and feeling. Florence Black are surely one of the most exciting bands around at the moment, and they can only get bigger.
Words and Photos by Nick Ashton
