Appreciative crowd are given the Elbow

BILL BROWNE

Published 12/07/2014 | 12:00

Pixies on stage at the Live at the Marquee, Cork. Photos: Miki Barlok.
Pat Buckley and Gena Duggan from Millstreet were at the Christy Moore concert
Avril Twomey from Mallow and Jennifer O’Callaghan from Ballincollig pictured at the Elbow concert.

THE Live at the Marquee music festival continued with arguably the best gig of the series so far.

An air of unbridled excitement permeated through the venue as fans waited for Elbow to take to the stage, greeting the band with a massive roar of appreciation.

The five-strong band does not do histrionics or extravagant stage shows, instead letting their superbly crafted songs and musicianship speak for themselves.

Kicking off with 'Charge' from their latest album 'The Takeoff and Landing of Everything', they also included other tracks from the LP in their set including 'Fly Boy Blue/Lunette', 'New York Morning' and 'My Sad Captains'.

However, it was tracks from their 2006 breakthrough album 'The Seldom Seen Kid' that really set the crowd going with 'The Bones of You', 'Mirrorball' and 'Grounds For Divorce' setting the tone for the night.

An encore of 'Lippy Kids' and 'One Day Like This' had the audience buzzing and in no doubt about why Elbow are considered one of the best live acts in the world.

The following night Robert Plant and the Sensational Space Shifters warmed up for Glastonbury with a blistering Marquee set that included versions of Led Zeppelin classics such as 'Babe, I'm Gonna Leave You', 'Black Dog' and 'Whole Lotta Love'.

Plant also showed that he has not lost his ability to create good music, showcasing tracks from his and the band's eagerly anticipated new album due out this autumn. While he may qualify for a bus pass, Plant showed he still has what it takes to whip up a crowd into a frenzy - proving the old Jethro Tull adage that 'your never too old to rock 'n' roll'.

American rapper and dancer Jason Durelo turned up the style as well as the volume when he took to the stage at the venue in front of a packed audience of young fans.

A string of tracks including 'In My Head', 'Talk Dirty', 'Wiggle' and 'Trumpet's' accompanied by a pulsating light show and tightly choreographed dance routines had the audience eating out of Durelo's hands.

Even those outside the venue were given a taster of what the crowd experienced - with one waiting parent remarking that his car was even swaying with the sheer force of the sound emanating from the venue.

While the distinctive sound of Scottish rockers Biffy Clyro might be poles apart from Durelo's, the packed crowd reacted the same way as the band belted out a set that had eardrums ringing and fans singing.

With songs such as 'The Captain', 'Bubbles', 'That Golden Rule' and 'Many of Horror' and 'Mountains', the trio showed in no uncertain terms why they are well on the way to joining the aforementioned Robert Plant as bona fide rock legends.

With a career spanning three decades Canadian rocker Bryan Adams has no shortage of material for his live shows with his Marquee gig a stunning retrospective of his career.

During a 24-song set Adams showed his versatility, switching from the brash rock that set him on his way during the 1980s to ballads such as 'Everything I Do' and 'All For Love' with the consummate ease of a man who knows exactly how to get a crowd going.

Arguably one of the most influential acts of the past three decades, the inimitable Pixies showed they have lost none of the drive that made them the darlings of the indie scene.

Opening with the distinctive bass riff of 'Debaser' the band raced through a 27-song set that contained a generous spattering of tracks from their 'Doolittle' album as well as favourites such as 'Hey', 'Nimrod's Son' and 'Where Is My Mind?' as well as tracks from their latest offering 'Indie Cindy'.

The fact that lead singer Black Francis never once spoke to the crowd during the performance did nothing to take from the atmosphere of a night that few who were lucky enough to be there will ever forget.

Corkman

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