Philip Sayce (Page 2 of 6)

That was an explosive gig in Glasgow last night. A much heavier sound live than on record. He deserves to be successful and let's hope he is. Brilliant brilliant show.

Kenny

Later today hopefully, my head still hurts, so I don't think I'll match ClaptonIsGod's fine review.

Well last night was a good one at the Caves in Edinburgh, as we approached the venue we spotted a familiar figure standing outside the door, Marcus Bonfanti. Tom (trdb) and Jamie (BornInHell) arrived shortly after and we caught a beer upstairs before the show started.
Marcus then took to the stage with harp for What Good Am I To You. I remember seeing a couple of young guys smirking to each other about this young hippy on stage, yet by the end of his set they were applauding and queueing up for his CD. As I've said to Marcus, I've never heard anyone see him and not enjoy what he does, great voice, guitar playing and stage presence. He sold over 20 CDs, not bad when you consider that was around 25% of the audience!

Sayce and his band came on shortly afterwards, opening with One Foot in the Grave and Powerful Thing from Peace Machine. Bitter Monday was to follow, with Sayce's fine vocals sounding as good as ever. Fritz Lewak was really impressive with his powerful drumming, notably on Changes which had a great improvised midsection. Then the set was slowed down for As The Years Go Passing By. The song really stands out for Sayce's melodic playing and really I think many of us would like to hear him play more songs of this style. There was one major gripe of the show, the band were playing very loud, almost painfully loud, bouncing off the stone walls in the venue. Therefore I chose to take a step back to further back in the venue. It was apparent some people had heading to the smoking area, bar or even left the show. Tennessee Girl stood out before the set closing Cinnamon Girl and the finale of took us through Wishbone Ash and the Beatles. By this time however, there was only a hard core of around 30 up close to the stage. The superb melodic instrumental Alchemy was the encore. As soon as the band has completed packing up their gear they met and greated the remaining fans and it was nice to chat with him for a while. He is a sincere and enthusiastic individual, who was keen to share guitar tips, sign guitars and just generally chat until the last person had left.
After the show we took the short trip accross the road to Bannermans where we were joined by Marcus for a few beers to end a great evening. There's pictures on my friend Robben's facebook, which includes live shots within the venue and a few of us with Philip and Marcus.

http://www.facebook.com/home.php?#!/alb … 1240839754

In summary, Philip's a star and has the right attitude and talent to make it really big, but he does need to turn it down a little (I'd enjoyed him more the last time when the sound was more manageable). He maybe does need a little more variety to the live show which is pretty relentless (unlike his album, Innerevolution). As far Marcus, one of the nicest guys in the industry and it's not long before he'll be headlining venues of this size in his own right.

Thanks for the great reviews ClaptonIsGod and Duncan as I have bee unable to get to one of Philips's gigs yet again. I will definitely see him next time he visits these shores. My sister is going to see him tonight in Liverpool and I have warned her to take some ear plugs!
It does rather spoil the enjoyment slightly when the volume is painfully loud. Something I have never felt at a Joe show.

T

Marlies (Bonapostle) pointed out Philip is playing LOGO in Hamburg on the 30th so I will be checking him out.

I'll take the ear defenders, but really, someone should be telling these guys how to do it. It just isn't necessary to blast out good music at these volumes. Has he ever thought thats why he has 'a moat' at the front of the stage?

Everyone here comments that Joe's guys seem to get it just about right and I would agree with that. But his venues are getting bigger so his sound always has to take account of that. But back in the day with him it was not necessary wear in ear protection.

I had this issue with Henrik Freischlader earlier in the year and it led to me leaving the auditorium without even hearing my favourite songs. It was THAT painful.

On Sunday in a local bar there was one of their regular 1st class sessions, featuring 2 sets by different singers with a great band of session musicians backing them. 1st song, was absolutely spot on for the size of venue. Thereafter, drums and bass was raised and then the first singer was asking for more on his monitors to compensate. As usual the bass, and bass drum concussion was flooding the room and it was clear it was too loud for the venue.

A fact clearly demonstrated when the police barged in during the second set! Later I saw it was a mate of mine doing the sound! he had no excuses. He was fading up on the lead instrument spots but overall felt it needed a boost based on what he had been doing the previous 3 nights with this band. But the venue was smaller and here was a classic case of a well mixed band sound being undermined by overenthusiastic volumes.

So I shall be interested to see Philip not just for his music but how they adapt to LOGO, which is small, with a very low ceiling. If it is headsplitting loud and there is a chance to meet him then hopefully I can tactfully mention it to him.

Be interested to see if he is an artist or a guitarist. The first will take it on board, whereas the second won't give a toss.

Well, since Lyn's either still asleep or nursing burst eardrums, could someone please let me know what time Philip has been appearing on stage on recent dates? I'll be there early tonight, but a friend can't get there until later.

Thanks
Phil

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Good point Mike, I was tempted to ask why he played so loud. I hope you get an answer, unless someone has asked him in London tonight. I agree he needs a far better website too.