Who
Half Man Half Biscuit
Support
The Humdrum Express
Where
Bilston The Robin 2
When
8th February 2018
Price
£20.00
Who with
Reno, Dean
Position
In the middle
Comments
I doubt very much I've ever attended a concert the day before I go on holiday, and considering that it was an ambitious two week trip to Cuba, and I simultaneously had to prepare for Friday at work, the fact that I attended this show is a testament to how determined I was to see The Biscuit! I got my ticket months in advance and this was to be my 15th time seeing HMHB, and I think 9th time at the Robin in Bilston. It was a Thursday night and I had been asking Reno if he wanted to join me, but he kept quiet until the last moment, whereupon he confirmed that not only that he would be going, but our mutual friend and fellow Biscuit Head Dean would also be joining us. As a bonus, Reno offered to drive us both to Bilston, which came in very handy as it meant that I could go home from work and enjoy a much-needed hour or so to myself, enabling me to prepare that little bit more for my trip. I had busied myself the week before to write up my holiday planning notes, also feeling the need to prepare for the possibility that I wouldn't be able to get on the internet at all. I decided not to risk taking my laptop or iPod to Cuba after reading that they are at risk of theft, and also thinking that I could just about manage without. I even found time on the day to go out and vote in my local elections, being surprised that the Green party representatives were hanging around the polling stations - surely that's not normally allowed? I didn't vote for them anyway, and to be honest such a thing would only have put me off them. But anyway, I'm writing all this up over a month after the show (and two weeks after returning from Cuba), so by my standards this may be a short review as I can't remember much beyond what I've scribbled down immediately after the show once I got home!

Reno was kind enough to pick me up promptly at 7:15pm as promised, then with Dean already on board we ventured toward the Wolverhampton ring road, struggling to stay in the correct lane without being shot off toward one of the suburbs. It was a rather chilly day, albeit nothing compared to the cold snaps we experienced both before and after this date, and this time we parked in the car park immediately next to the venue. Unfortunately we then lost the time saved (and more) by walking into Bilston to find a cash machine, but after receiving a free lift and with time on our side I was hardly going to gripe. We passed a most undesirable-looking curry house with cheap seats by the window, and Reno/Dean had no issues whatsoever buying HMHB tickets on the door again. Conversation turned to the late Mark E Smith and his similarities with HMHB. I can't say I know enough about The Fall to really make a detailed comparison, although I suspect that Half Man Half Biscuit are far more overtly humorous, and that the comparison largely stems from the fact that both acts are unique, witty and northern. I enjoyed two beers but was a little embarrassed by how little cash I had on me, as we first went to the merch stand, and I decided to purchase a lovely Back In The D.H.S.S. blue t-shirt, plus what was supposedly an original pressing of Dickie Davies Eyes on vinyl for something crazy like 50p. I also had to save some cash so I had change for the bus the next day. We agreed to pick up our goods after the show, which for me meant a struggle to ensure we didn't forget and just walk out. Like before I got to enjoy my Newcastle Brown Ale out of the glass bottle, in contrast to Dean who got a pint which was transplanted into a plastic cup. Although I appreciate the glass, the lack of consistency is most unusual, perhaps they are mainly worried about the pint glasses being broken, whereas a bottle is of less concern since it will be disposed of afterwards?

I was wearing my black Achtung Bono t-shirt and noted a few others were too, and Reno hung at the back for the duration of the support act so he could talk to the guy behind a Wolves fanzine that he had been so thrilled to meet the last time around, much to Geoff's amusement on the merch store. I also spotted the inflatable seal from concerts past - Ron Seal I remember! - meaning that he must have been reunited with his owner after the glory of spending much of a set onstage. Dean and I agreed we should check out the support act, who as is so often the case was The Humdrum Express. I think it's the fifth time I've seen him so the style has become familiar, although surprisingly the tunes haven't really sunk in. I'm unsure if it's because he changes the setlist each time, or if the gap between viewings clouds my memory. He was wearing his trademark cap and read out a particularly fiery poem which seemed to ring a bell, and Dean and I tried to pay attention rather than chatting, although by my standards we were a little far back, and had already missed the start of his set. In contrast to before, the rules around photography had changed, now proclaiming that snapshots were ok. This was good to hear and much appreciated, although simultaneously so they bloody well should be! I took a few shots (not videos like some others did), which looking back on now I should have seen the warning signs that my new and expensive camera isn't up to scratch. Frustratingly it didn't seem the tiniest bit better at taking clear shots than my older and cheaper models, and after my holiday I sense it is on the verge of breaking anyway, although it has since clung onto life. I sadly got little out of my extra investment! I'd spent some time on the day of the show establishing which attractions I could freely photograph in Cuba (luckily most of them), and it's only by virtue of the sheer volume of pics I take that the best ones are good enough to be sortable into an impressive selection. After Humdrum we headed to the back to drag Reno away from his bromance with the Wolves fanzine guy, moving forwards to stand relatively far back on the right, where I think there were also some tables dotted about to give a little bit of a cafe culture vibe to a medium-sized room in Bilston. We then waited for the show to begin.

HMHB walked on stage to what was apparently Georg Pommer's Penny Pennies at 8:45pm, which I didn't recognise. Nigel asked it be turned off so they could get going as it's rather a long tape, but he then immediately faced problems trying to adjust the mic stand to his preference. Nigel was also trying to extract the dregs of an already nearly-empty and enormous bottle of water, but the real shock when they walked onstage was that Ken was nowhere to be seen! Having no idea what was going on we never would have dreamed of heckling - and indeed who would? - but I'm surprised to read afterwards that Ken had in fact left the band in 2017. The new guy was younger, and also called Karl, which seems to break some unspoken rule of band member names, although as the drummer Carl was spelled with a C I guess it may be allowed? Karl clearly knew the material - which is no mean feat given how many tunes the guys have amassed over the years - and as he was keener to join in on the backing vocals, he gave a more energetic edge to the show. However, after seeing the same four guys over 14 occasions, it is sad that Ken was no longer part of the Biscuit Experience, and I just hope that he's doing ok and that the break-up was amicable. But anyway, the set started quite originally with Stuck Up A Hornbeam, before a romp through Bad Losers On Yahoo Chess. Nigel wasn't happy with the sound levels and asked for "the far guitar" - also known as Karl - to come through to his monitor. He had a sore throat - not that it harmed the set in the slightest - and eventually decided that the sound was better if he just shifted toward Karl and steal one of his monitors, although he feared that the conscious effort being made onstage to sort out the sound was ruining their stagecraft! The sound and voice problems though had no negative effect whatsoever on the concert, and the vibrantly new start to the show excitingly switched into some of the classic old favourites.

I particularly enjoyed A Lilac Harry Quinn, which is a strong contender for my favourite, and I couldn't resist loudly singing along, joining a few others who were proud to know so many of the words. The world of HMHB is an extraordinary one, as there are so many unique references that it feels like the band have amassed a Lord Of The Rings style world of rich imagery and excitement, that makes much more sense with a deep appreciation of how it all fits together. Reno was mainly versed on the debut album - which shockingly wasn't represented at all tonight - whereas Dean had revised a bit and knew a good few of the songs, but I was the only one who had all the albums, although I must admit that my knowledge of 90 Bisodol (Crimond) and Urge For Offal isn't as rich as I'd like. I fear that the lack of a fully functioning iPod over so many years has held my listening back! There's also something glorious about Running Order Squabble Fest that just sounds fresh each time, so I'm surprised to observe that the guys had played it the gig before last I'd watched, and it makes the setlist more often than I give it credit for. This fantastically strong opening continued with Outbreak Of Vitas Gerulaitis, and Reno and Dean seemed as enthused as I was by how it was all going, even though their knowledge of the music isn't as detailed. It's good to know it makes sense to the first time listener as well! Twenty-Seven Yards Of Dental Floss had clearly hit the spot when it made its debut the last time around because it remained in the set, and perhaps the biggest newbie of the night was See That My Bike's Kept Clean, which I really struggled to recognise until it got going. Dean went to the bar and/or loo at this point and missed the fun and, although I wouldn't have minded a trip myself, I couldn't bear to miss out on a second of the action, although if it came down to it I would skip National Shite Day! Bob Wilson: Anchorman was deployed to great success, and Nigel took a moment to enjoy a cough sweet, before acknowledging that it wouldn't magically make him sing it tune, although in my mind everything was going wonderfully, and anyone expected a Jeff Lynne style polished performance was most definitely in the wrong place!

It's only via reading the setlist and cross-referencing with previous reviews that I learn that Something's Rotten In The Back Of Iceland was another newbie for me, which is a surprise because it's a belter, so perhaps the ludicrously high standard of the set is the reason why it hasn't stayed in my mind? A rare disappointment in this crazy-fine setlist was Rock 'N' Roll Is Full Of Bad Wools, but that's mainly because it contributes to the excess of natural closing songs that HMHB often cram in, and in my mind as this one is always played and is surpassed by similar numbers it doesn't serve much purpose in the set. I'm shocked that the energised Ode To Joyce has seemingly never made one of my setlists before, so some analysis reveals that the setlist was even more dynamic than I realised! The Unfortunate Gwatkin is listed as part of the set but it may well just have been the ending bit - after a month I just don't remember anymore - and proceedings went from nearly top to top gear with a very ragged romp through The Bastard Son Of Dean Friedman. It surprisingly was the oldest tune in the set tonight, and it will never quite live up to the rendition with Dean Friedman himself, but even when changed to be performed on normal guitar without the studio flourishes, it still hits the spot. There was an extensive discussion about the route between Bilston and Birkenhead, with Nigel confessing that they've never stopped at Knutsford Services before, and also throwing in a reference to Sandbach Services. I think there was also a mention of dead celebrities (which for me was more of a 2016 thing, but no doubt it's still happening!), and Nigel's poor mate Sid, who'd fallen victim to ID theft, and now was just called S! Just as Dental Floss had been a success the last time around, King Of Hi-Vis was again an unspoken tribute to the man himself near the front, and I do wonder if the band would have dropped it from the setlist if he hadn't been present and correct in the audience? As I was with two friends, had had a couple of beers and was standing a little further back I didn't spot as many of the familiar faces as I normally do, although I have little doubt that most of them were present and correct as expected.

I gave Dean and Reno a heads-up for the Shit Band No Fans chant in Emerging From Gorse, although the relative obscurity of the track meant that it wasn't shouted quite as loudly as it deserved to be. Took Problem Chimp To Ideal Home Show made its first appearance in my setlist since September 2010, and with Karl on backing vocals it really gained an extra edge. Give Us Bubblewrap kept up the pace, before it was gently lowered for the ever-fantastic For What Is Chatteris? I think Dean had a cigarette break and got his fourth beer at this point, but due to my embarrassing lack of cash and desire to stay put I was not tempted. Luckily Dean was back for Everything's A.O.R., which I announced as my favourite, and it's a tune so strong and immediate that even my Dad has expressed admiration for it. I asked the guys to listen carefully to the lyrics on When The Evening Sun Goes Down, and the more I think about it, the more I wonder if a reference to Mark Chapman is one of their wittiest ever moments, or a step too far? Less than one week after this show I'd actually be in John Lennon Park, Havana, although if I start to relay all the details of that holiday here, things will quickly get too long for their own good! Although by now I was struggling a little, I resisted a loo break during National Shite Day, and particularly enjoyed the "Midge Ure looks like a milk thief" chant on Bane Of Constance. The main set then drew to a close with a dizzying rendition of Joy Division Oven Gloves, where Nigel confirmed that there was a lot of shouting in it, but we all helped him out and also waved our hands, and I was proud to spot a pair of Joy Division Oven Gloves in front of us. It's been a while since I remember a HMHB concert moment so exciting and energised, but this glorious song certainly achieved that. The encore opened with Restless Legs, and my unease at the lack of the one ever-present number was settled thanks to a stand-alone rendition of Vatican Broadside. I thought they'd forgotten to do it, and I fear one day they will do just that! I had no idea what the cover version they played was, but have since learned that it was Something Better Change by The Stranglers. It seemed alright, but my lack of knowledge amid a set of familiar classics made it a bit of an anti-climax since we were now in the encore.

Reno excused himself to head to the merch stand to pick up our goods, missing out on closing number - for my third show in a row - The Light At The End Of The Tunnel (Is The Light Of An Oncoming Train). It's hard to imagine the set without it, although for some reason I feel I've never quite took to this tune as much as it deserves to be loved. There was no second encore, and the guys departed the stage, as I dashed upstairs to visit the loo at last. I picked up my ticket on the way out and was relieved that after an unusually expensive concert outlay, that we'd remembered to pick up our HMHB gear. Reno and I in fact had purchased "identical" t-shirts, although in reality they were different shades of blue. It took a while to depart the car park and get through the crowd, and Reno revealed that he'd learned that Nigel is a full-time Biscuiter, whereas Neil in fact works for a museum in Liverpool. It rained a bit on the way back and my ears were whistling, and after going our separate ways - agreeing to meet again later in the year for the beer festival circuit - I took some time to write up my notes. I'd got back at 11:15pm, which really wasn't too bad, and much better than I'd had managed via public transport. I really should consider driving to more concerts. and if it wasn't for my distaste of driving I would surely do this. Certainly leaving my car at work so I only have to tackle the onward journey would be a great help. It was fantastic that the HMHB middle period was well-represented and I'd really enjoyed the setlist. As so often happens, my never-heard favourite list remains unchanged, but the experience was still worth the effort, and I feel I've gone beyond the point where the novelty of seeing the guys can wear off. Right now I've been listening to HMHB a lot on my iPod and am tempted to travel a bit and see them around the country, but I will manage to resist and wait for what I hope will be a return visit to Bilston in 2019. No new songs were played, which is a surprise because I have since learned that a new album - wonderfully titled No-One Cares About Your Creative Hub So Get Your Fuckin' Hedge Cut - is on its way in May. I can't wait to add it to my collection!
Setlist
Stuck Up A Hornbeam
Bad Losers On Yahoo Chess
A Lilac Harry Quinn
Running Order Squabble Fest
Outbreak of Vitas Gerulaitis
Twenty-Seven Yards Of Dental Floss
See That My Bike's Kept Clean
Bob Wilson: Anchorman
Something's Rotten In The Back Of Iceland
Rock 'N' Roll Is Full Of Bad Wools
Ode To Joyce
The Unfortunate Gwatkin
The Bastard Son Of Dean Friedman
King Of Hi-Vis
Emerging From Gorse
Took Problem Chimp To Ideal Home Show
Give Us Bubblewrap
For What Is Chatteris?
Everything's A.O.R.
When The Evening Sun Goes Down
National Shite Day
Bane Of Constance
Joy Division Oven Gloves
Restless Legs
Vatican Broadside
Something Better Change
The Light At The End Of The Tunnel (Is The Light Of An Oncoming Train)

Mark: 8.5/10