Lordy, is it over a week since that gig in Ronnie Scott's? I must be working too many night shifts. Anyway, FWIW, here is my review....

I was going to indulge myself with a long intro - bollocks to that. Suffice to say that my convoluted trip to Birmingham last Saturday involved a strange set of circumstances concerning a dispute over flat rental, a lost telephone number, three timely (though decidedly unnecessary) visitors to a barber's shop in Redcar, and a missed opportunity to shag some bird at a mate's barbie. (OK, snog then. Can't help being in optimistic mood, I've just listened to "May You Always" thrice over).

Anyway, the gods eventually smiled upon us, and me and travelling compadre Dave Gibson emerged from a black cab outside Ronnie Scott's around 8.00PM. Immediately spot a group of four thirty-something blokes, hang-jaw looks, greying, over-long haircuts. "I wonder what they're here for," I ejaculated (ahem) as they trudged into the somewhat posh, glass fronted entrance of Ronnie Scott's. We decide to embrace the Birmingham atmosphere and some local brew at the expense of the support acts, only to be thwarted by Broad Street's "Sorry lads, no denims" admissions policy. Fortunately, the beer, skittles and straw flooring of the canalside "Tap and Spile" beckoned.

Suitably fortified by a double round each of local beverage, we decide to take our ringside seat in Ronnie Scott's itself - ha ha. Never having been in Ronnie Scott's before, I didn't realise there was no chance of sidling through the thronged masses to embrace our hero's performance at close quarters - instead, we were reduced to admiring from afar. (In hindsight, this may have been a wise move: soon into the set, Ian issues his customary "sorry about the spittle folks!" warning to the front row..:)

Back on topic. The MC gives Ian a huge build-up (I forget the exact enunciation, but words like "genius," "marvellous," "talented," etc spring to mind). And there he is on stage, with a huge grin, and a wide-armed welcome to the rapturous audience. "Good Evening, music-lovers!" Yes folks, this is surely going to be a night to remember. I'm not to be disappointed as Ian shoulders his acoustic guitar, and as the front rows draw in round the mike, (aside - I can't help thinking that they remind me of the pattern that iron filings make when drawn to a magnet. Memo to self - must get out more), he launches into the perennial set-opener "Hollow Horse" (a personal favourite of mine since I first saw The Icicle Works at Kentish Town and Country Club in 1986 - "'Ello, we're back - this is 'Ollow 'Orse"). Marvellous stuff, much appreciated by the (albeit mainly partisan) crowd. The opening few songs continue in a similar vein (I forget the exact set list, but you've heard and loved them all before - see end of this message for an assortment of songs that I remember Ian playing) - Ian, self proclaimed God of rock guitar, delivering a treasure-trove of gold nuggets in his typical, heart-in-cheek (or should that be tongue-in-sleeve?) manner - songs which we are accustomed to hearing with an accompaniment of drums, strings, keyboards, guitars and backing vocals, this time delivered in laid-back acoustic mode - perfectly suiting the mood of the venue and audience alike. Ian "knows no bounds" (quick quiz #1 - which song?) when it comes to choosing tracks from his entire back-catalogue: by my reckoning, he revisited every album he has released, and probably played the odd track off the forthcoming new album too.

[Some 7 or 8 songs into his performance, I feel a call of nature is due. In the gent's, I overhear (eavesdrop) a conversation between two poorly endowed (well you've got to compare, haven't you?) punters, discussing Ian's performance. Astonishingly, it is something along the lines of (he's got good songs, but there's something missing, he hasn't quite got the crowd with him, the atmosphere just isn't there, I've seen him a few times he's never quite done it for me). I suppose even traffic wardens are allowed a night out occassionally. Palestines and Sasquatches, shame on you! As far as I was concerned, this was a roomful of Ian's most ardent supporters listening to him play some of his best songs in intimate surroundings - almost a homage. He had no-one to convert here, nothing to prove, no album-ful of unheard material to promote. Once again, he was magnificent - Ian gave the crowd a night we'll long remember.]

Mid-set, Ian discards the acoustic, and moves to the grand piano which consumes much of the stage. He then gives a marvellous rendition of "Little Bit of Magic" - more upbeat and up-tempo than the album version, followed by a song of, ooh, I'd describe it as "wondrous beauty" - a new one on me, and I can't for the life of me remember the name. Hopefully it will make the new album, due out sometime in 2001. Some lucky bastards had seats on stage three feet away (must remember to quell my thirst for ale-houses and get to the wedding on time in future...). Then it's back to the acoustic guitar/occasional harmonica numbers. One of the outstanding tracks for me was "Rapids" - first time I've heard it live, and one of my favourites when Small Price of a Bicycle was released.

Eventually it had to happen (I forget if this were mid-set or during the encores), and Ian succumbed to the lure of his trusty electric guitar for renditions of "non-acoustic-friendly" favourites such as "Understanding Jane" and "Evangeline." We, the crowd, sing chorus and verse to many of the tunes - more as the night goes on, as inhibitions fade away, like "tears in the rain" (quick quiz # 2 - which film?). Roy Corkill joins Ian on-stage for bass accompaniment to a few songs. Another personal highlight was "Little Princess" - f@*?ing brilliant, and a fitting vehicle for Ian to showcase his playing ability, as well as his song-craftmanship.

[Throughout the night, Ian amused us with a sprinkling of asides and witticisms - I only wish I could recant a few of them, but sadly some of the details of this occasion have dissolved. The fantastic atmosphere created by a combination of Ian, the crowd, and Ronnie Scott's, never will.]

During the encores we were treated to a variety of covers, from The Doors "Light My Fire," through The Who's "Magic Bus," right on to - "Fluff," by Black Sabbath? Oh yes. Ian was nearly tempted into covering "Rock DJ" by Robbie Williams, but personally I think he was a bit shy about having to remove his trousers. The night concluded with Ian's fourth encore (we just did not want him to go!). How on earth could he cap tonight's performance? My overly loud exhortations for "May You Always" went unheeded, and Ian climbed down off the stage, wound his way through the maze of tables until he ended up near the back, and proceeded to gently strum his way (on an unplugged, electric guitar) through "Love is a W.C." The mental image you need to conjure up is that of camping trips in days of our youth, the crackling embers reflecting in our innocent faces as marshmallows melt on sticks, the camaraderie, the feeling of "belonging", of being at peace with the world: and the reassuring warmth in Akela's face, as he fondly urges us into the second verse of "Ging-gang-Gooley."

Bliss.

Here ends my review. Took 60 minutes to type, 15 to edit. Marks out of ten for style, content and grammar will be completely ignored. If you want to hear a sample of Ian's live music, check out the link on www.ianmcnabb.com for details on Live at Life- worth £14.95 of anyone's hard-earned corn.

Cheers Ian, for an unforgettable evening's entertainment.

Dave

P.S. A few songs I seem to recall Ian playing (definitely in no particular order, E&OE):

• Hollow Horse
• Rapids
• Love is a W.C.
• Birds Fly (Whisper to a Scream)
• When It All Comes Down
• Understanding Jane
• Evangeline
• Looking for a One True Love
• Permanent Damage
• What She Did to My Mind
• Great Dreams of Heaven
• I Believe
• Fire Inside My Soul
• Still Got the Fever
• Merseybeast
• Living Proof
• Why Are the Beautiful So Sad?
• Little Bit of Magic
• Little Princess
• Liverpool Girl (I think!)

And, no doubt, many others! TTFN