We return again to Maltby, for the Wesley Centre’s awesome, “Wesley Centre Live”.
Wesley Centre Live have grown a committed and enthusiastic fan base for folk musicians coming to South Yorkshire, and it is all a very friendly affair. As we take our seats, it is nice to see returning, keen faces in the audience, and there is a feeling that Phil Beer is going to be extremely popular here again. As an ethos, Wesley Centre Live looks like it looks after it’s core musicians, as many of them are more than happy to return, much like Phil Beer here. It is easy to see why, it has a good capacity, inviting and spacious, and has a neat little bar. Tonight there is a queue outside the door before it all opens, the first time in memory I have seen this; Phil Beer has clearly made a mark previously that has not faded (No need to reach for the Daz Brilliant White).
Phil is without full band and his sound engineer is off playing with a Bay City Rollers tribute band, but we can’t imagine that this will be too upsetting for those wanting the full acoustic experience. It is always good to see Phil himself rolling into town with his love of songwriters and singers full of passion and full-bodied optimism from a time when things were starting to look better. One track that brings the fun but without the calypso and warm climes vibes is the joy of Chuck Berry’s “The 13 Question Method”. As with the original, it misses the full compliment of questions; perhaps there is a project there for someone to complete the song. I have heard that people think the last question might be the future offer of marriage; in modern times (as Phil mused), this might have meant something somewhat more physical. It probably was, as back then pop music seemed very concerned about getting close to someone (as it always was and probably always will be).
With his warm jibes about staying away from material by Steve Knightley (Phil’s band member in Show of Hands), Phil gave us a rendition of Knightley’s “Transported” alongside some other stalwart hits. It must be heavily requested or anticipated as Phil seemed to have long decided to play this one. It is a great tune, Beer conveys the wit and comedy of a thief born in the right (or wrong?) time as he navigates the trials of stealing livestock, a flat tyre during the rain, and a person being stuck in the toilets. Beer has that kind of twinkle and love of old folk parables, so he is well equipped to portray this tongue-in-cheek, modern song with it’s old time morality tale.
As a fiddle student ourselves we were amazed to see Phil Beer getting a somewhat good sound out of a £90 violin he found behind the counter of a shop when he played the version of “Blind Fiddler” that was closest to his heart. Full of quick slurs, Beer brings the energy to this old number, and elevates our goals for our violin at the same time. Beer also performed, one we remember from previous, the band’s well regarded “Cold Frontier”. Cold Frontier puts the “West” in the West County, as it is a song from the perspective of a Roman sent on duty to these shores from the warmer climes of home and in doing so waves a flag for that corner of our Isles. It talks of the, “men we couldn’t tame” being driven to the West while also being wistful around history and the building blocks of UK identity; something Show of Hands has picked up and built over many many years, and many songs. We always look forward to this one, and it did not disappoint.
In the second half, Beer notes there is more Blues influence. A very welcome addition is Phil doing a cover of John Martyn’s (1967) “Cocaine” that bittersweet, sorrowful yet funny ditty about looking for the score. Melodic and sweet, this version of “Cocaine” is always genius in that on the face of it the lyrics are somewhat mundane, the main character does not appear to be moving mountains and its simple and streetwise. It perfectly communicates the all-encapsulating search for the drug and the self-denial of the addict; the song elevates the majesty of the drug as the high point in the person’s existence as they shuffle across town. Phil puts his heart in, and as always has some great, clean guitar chords.
There was much much more to enjoy. Our favourite, that we hadn’t previously heard, was a cover of Dik Cadury’s “Paper Round”. Being the light-touch, jokey kind of song that raises the spirits with it’s clicky, springy tune, it is the perfect number going into the warm days of Spring. It is a joy hearing its little dig at those people you know who blame something rather inconsequential on why they did not get successful (for example, how many times have you heard about someone who almost played for a national football team?) Beer manages to capture the beautiful simplicity hiding the great writing within with this number.
Phil Beer is a solid bet for a good night out. From a young perspective he is steeped in songwriting and a scene that feels like it is from another world. Beer is like a conduit to another time and place to many, he is the cool relative who has too many musical instruments and knows the names of every influential musician you have never heard of but will gladly spread the word of them in the spirit of friendship. To others he will be the warm reminder of the music of free-spirited youth, simpler times and a hint of nostalgia. Beer’s do indeed bring a memory of yesteryear, but he does not go for all the obvious Blues numbers and both old and new fans have a lot to gain from Beer’s introduction to his wider band’s catalogue too.
Check out Wesley Centre Live on Facebook to keep up to date with all future gigs happening here in Maltby!
Phil’s page is also worth a look, and several of his performances are on YouTube.