It’s taken 45 years for The Skids to visit Australia, and that of course is a literal lifetime for many, but you now what? It was worth the wait! This is a night of perfectly executed punk, a glorious telling of tales and a chance to see the legendary Richard Jobson dance like a boxer in training whilst delivering arguably the most frenetic and unique songs of a bygone era that still sound as impactful and cutting as you hoped they would 45 years later.
The Rosemount is full of an older crowd tonight, even Richard Jobson sees that from the stage, lauding a 55 year old in the crowd ‘a youngster’ and indeed he is compared to the rest of us! I almost saw the Skids back in the day but sadly a lift didn’t turn up (he’d been grounded) and so a teenage me never had the pleasure and I had to wait another 42 years for the pleasure.
The 70’s were simpler times for sure and that’s when The Skids exploded out of Dunfermline and onto Top of the Pops with what seemed like incredible regularity. It’s sad that there’s only a half full Rosemount but the joke really is on everyone who didn’t come tonight. This was a night you only dream of – a band that seems so incredibly hungry. From the off it’s clear that all of the power and the directness is still intact, and yes Richard Jobson is still one incredible frontman. He talks a lot but there’s purpose in his ramblings even if poor Leo Sayer isn’t here to defend the various allegations levelled against him. (Leo lives Downunder you know).
Sonically the twin guitars sound wonderful and the bass is inspired and aggressive as you like. The drums are rather interesting too with Nick Henrandez’ mid-stick hold and a look of ‘Viv Savage’ about him making him an intriguing watch. There are strains of a sound that would be perfected by the exiting Adamson in Big Country, but it’s Jobson’s lyrics that stand out especially when on his favourite subject of the Great Wars.
Jobson indeed is a ball of energy and always on the move, like a sparring boxer he’s all jumps and piston-like arms, and after two songs he confesses he’s fucked, but continues with the ritual for the rest of the night. His stories as you’d imagine for a man who went on to be a TV presenter are golden – especially when he gets into the songs though I fear Leo Sayer may be after him.
Tonight is a masterclass that leaves few stones unturned and makes you realise when a fucking cool band these guys were and absolutely still are. Tonight Jobson may be the only original but his band are on fire and note perfect. We explode into action with ‘Charade’ (always a favorite) but it’s not long until you realise that the setlist is near perfect. Of course the early set placement of ‘The Saints Are Coming’ and ‘Working for the Yankee Dollar’ gets the crowd all fired up, but it’s when Jobson politely asks if he can play a newer song ‘Destination Dusseldorf’ that you realise that these guys just didn’t write a bad song…
Jobson then goes on to argue that they do indeed write bad songs, maybe, he ventures, maybe even the worst song ever written citing ‘TV Stars’. We don’t think so though – surely the sheer heartwarming nostalgia of a song that not only namechecks some of the greatest characters in Bristish Soap but also the greatest Scottish footballer of all time in ‘Kenny Dalglish’ just can’t be bad?
The Clash’s ‘Complete Control’. a homage to the band’s early heroes, is sublime; ‘Masquerade’ that follows was one of the best of the night and rolled beautifully into the whole room sing–along that was ‘Into The Valley’ – that song that Top of the Pops introduced us all to. It’s a wonderful show from cover to cover…
Returning for an encore Jobson regales us with the story of the bands first recording session where they attempted 25 songs in an hour and how only one ‘Charles’ came out not sounding shit. That was of course the big break. ‘The Olympian’. always a favourite closes the main set in style. They’re quickly out again for an encore of ‘Here We Go Again’ infused with snatches of Lou Reed’s Walk On The Wild Side’. It’s a classic closing number, or so we think…
Richard Jobson appears again after the encore to perform ‘And the Band Played Waltzing Matilda’ the emotionally charged reflection on Gallipoli. It’s a heart wrencher at the best of times and Jobson nailed it completely. Just a man with a microphone on the edge of the stage reducing a room to tears. It was a wonderful way to end the first ever tour and so emotionally charged you couldn’t help but feel that you’d witnessed something very special indeed. The perfect gig. So much more than your memories warned you it would be.
Skids Gallery
