Who
Half Man Half Biscuit
Support
Jd Meatyard
Where
Edinburgh Liquid Rooms
When
19th May 2023
Price
£20.00
Who with
No-one
Position
Towards the back
Comments
This was my 18th time watching Half Man Half Biscuit, putting them just one show behind Super Furry Animals on my most seen list. This was never planned, and the accumulation is due to seeing them pretty much every year, and sometimes twice a year as is the case in 2023. Their near-residency at Bilston's Robin 2 certainly helped, and it was a surprise to see them switch to play Birmingham Institute in 2022, and even visiting Wolverhampton Wulfrun Hall later this year. Also without realising it, HMHB were kicking off a trilogy of three of my favourite ten bands ever on consecutive weekends. This was my first show in Scotland but I can't claim to have visited specially, incorporating the gig into a long-planned two week jaunt around the cities north of the border. It feels strange to watch a concert in a far flung city and a bit of a departure from my usual relentless sightseeing of churches and museums, but it was too good an opportunity to miss. I think after England, Wales and France, this made Scotland my fourth country for an official gig. I have seen live music in other countries of course, but it only counts if I go out of my way to see the artist. Otherwise I'd be including AC/DC in Adelaide (when I wasn't even inside the arena) and a whole host of obscure acts who just happened to be gracing a stage as I walked past or was out and about, or when I was focusing on another activity. I got tickets quickly and was a bit worried about if it would be posted to me before I went on holiday, but fortunately it was received pretty much immediately. It was a bargain £20, although when I first started gigging £10 or maybe even less (even £3.50 in the case of Mo-Ho-Bish-O-Pi) would have been the equivalent price. Darned Tory inflation...

I'd been facing the usual drama trying to persuade anyone to see HMHB with me for the Wolves show in October, but enough already, I won't keep asking. It's too infuriating to be begging others to join me for incredible life-defining experiences. If they don't want to join, then fuck 'em. A long term gripe I hate having to repeat, but one that can only be fixed by better taste and better choices by others. I'm lucky I don't let the failure of others deny me these astonishing events, and just go by myself, as otherwise I'd have missed so many epic life experiences. I did wonder if The Biscuit were hanging around up north and partaking in some sightseeing, or just making a quick visit for the gig. It seems a wasted opportunity to not stick around, and I doubt this was coinciding with a Tranmere Rovers away fixture. This show was on the Friday night before I returned from my holiday on the Sunday, and this could very quickly turn into a review of my holiday if I say much more on that score. I drove to Glasgow, then Perth/Dundee and Aberdeen before finishing in Edinburgh, and the HMHB gig dictated the order of the trip. But it felt a logical way to do it, and the day itself involved a trip to all three cathedrals of Edinburgh, including a pesky three-spired one that had entirely escaped my knowledge last time I visited in 2010. I also popped into the National Gallery and made a start at the National Museum, not realising this would be a struggle to finish the next day even when dedicating my full attention to the task! Yesterday I'd gone to Edinburgh Zoo to meet the pandas after climbing aboard the Royal Yacht Britannia, and the weather was improving after a mixed start to my trip over the Coronation weekend.

After successfully finding a place serving haggis stuffed inside chicken the previous day that was let down by poor service (they fucked off the second the main dish was plopped in front of me, or else I became invisible), I tried to find somewhere good to eat for similar, also quite fancying a chip shop. So discovering Bertie's Proper Fish And Chips was ideal, as I had battered haggis and chips in a decent restaurant space with friendly service. It combined chip shop food, Scottish cuisine and the comfort of a restaurant atmosphere and hit the spot. So much so that I didn't dare to order the battered Mars bar with ice cream dessert I'd so wanted to. I just couldn't eat another bite! It was only when checking my phone afterwards that I realised this place was literally next door to the venue The Liquid Rooms, but unfortunately for me I was determined to have a McFlurry, and it took a long time to find a McDonalds. It was a long walk too which perhaps I needed, and I got into the place almost an hour after doors had opened at 7pm. I had no hassle getting my camera in and headed downstairs to the venue. This basement vibe meant it was hot and with limited internet, and the place was already pretty full. It was a struggle to get in front of the overhanging balcony and I was not especially impressed. The place was small, hot and with restrictive views. However, presuming you get in front of the overhanging balcony, you were naturally close, and the sound and atmosphere was good. I suspect the Birmingham Academy effect had given me a permanent distaste of overhanging balconies, but after visiting Wolves Civic the week after this I can see the huge benefit and difference from having high ceilings and no overhang. Easily 100 times better!

The venue was also very central and I got the impression that the upstairs was operating as a normal bar too. It's strange to have been doing a central Edinburgh activity that let me escape from the tourists, as the city was very, very busy. Which I don't mind too much, it's a truly great destination, but feels strange that the other cities of Scotland are comparatively overlooked when I'd spent two weeks proving that they all have a lot to offer. Fortunately I'd already accepted that I just wasn't going to do justice to Edinburgh and was planning to modify my 2024 trip to "north of Newcastle and the North West" to focus on Edinburgh too, with perhaps just a flying visit to Preston on the way back. I made some notes on my phone to pre-empt this review, which I'm writing up just 10 days later. It was my second show of 2023 after Suede and I had a pretty awesome slate ahead, including two viewings of Blur, The Supernaturals (with Dodgy playing after them for some reason), HMHB again, Kraftwerk in Limerick and Sparks at the Civic Hall. Life can be good if you have great taste, but I'm very aware that my radar for new music has pretty much faded sadly. I did wonder if I'd have been allowed to go up in the balcony with my ticket, and turned my camera screen off so I could film more discretely as and when needed. After this show my camera does appear to have picked up a bit of a shake, but it doesn't come through in the snippets of footage I took. When I entered the room, support act Jd Meatyard was already onstage, who was one guy with a guitar, beard and glasses. I think he was very near the end of his set and I can't claim to have noticed much. I was surprised that proceedings had kicked off so early and that the rest of the crowd seemed to have pre-empted this by turning up for 7pm on the dot, but I got the position I wanted in the end so it all worked out well.

Neil was helping the one roadie set up the stage and do the soundcheck, and I carried my coat in my arms but felt really hot throughout the show. The venue had played a Smiths song or two and this was echoed by the HMHB intro tape of There Is A Light That Never Goes Out. This was to commemorate the sad passing of Andy Rourke and quite a few places I'd been to were playing Smiths songs. It was a positive touch and Nigel said RIP before launching into The Light At The End Of The Tunnel (Is The Light Of An Oncoming Train)! Normally it's a closer, but perhaps the guys felt that it would be a good counterpoint for the light that never goes out to be an oncoming train? Clever, devilishly clever! I shot my first video capturing purple lights and a persistent habit for my camera to get blurry whenever I tried zooming in or out. It was a great start, and continued with Bob Wilson: Anchorman! A guy heckled "what did God give us Neil" and Nigel commented that he remembered him from 20 years ago, or at least that he remembered his shirt. He asked if he'd encountered him at the Scottish Owl Centre yesterday, and claimed it should have been called Hoots Mon'. I wonder if this was the famous guy who'd spent one show heckling continuously for God Gave Us Life, but fortunately he didn't repeat it. Nor did the guys play it! I've re-recorded my HMHB greatest hits and it meant I appreciated I'm Getting Buried In The Morning, but inevitably Fuckin' 'Ell It's Fred Titmus was going to get a much bigger reception. A guy was presumably crowdsurfing and was pulled out by security, going past Nigel, "like a fully clothed streaker", and Nigel checked afterwards to confirm he hadn't been chucked out by the bouncers. He also pointed to him as being the representation of Fred Titmus. Nigel was chatty as usual, talking about booking being absolutely essential (in block capitals), even though it was a free event, which is always a silly one. They also played Twenty-Seven Yards Of Dental Floss, fittingly on my 227th "official" gig!

Awkward Sean felt like a rarity and it was good to hear Petty Sessions but even better to enjoy Tending The Wrong Grave For 23 Years. Nigel said that it was based on a true story, albeit one that hadn't happened to him. After an impressive flourish on Karl's guitar he was compared to Jonny Greenwood by Nigel, and it was fascinating to see the guys in a far flung city who undoubtedly have developed some banter with the band. Time Flies By (When You're The Driver Of A Train) was introduced as one they hadn't done in a while, but that isn't really true when they'd played it in Birmingham in September 2022. But I doubt there were many others who'd been to both shows, so I'll let that one go as a regionally appropriate comment. I shot a second video, commencing partway through the roll call and cutting off in the middle of the word Camberwick. The bass sounded amazing and it was unusual that no-one else was filming. But at least I did it properly with a camera, and the sound quality was also excellent. My video captured the huge head blocking my view, and I'm surprised that this annoyance didn't distract me more from my enjoyment. One of the delights of the evening was Eno Collaboration, which apparently I'd not heard them play since 2009! It's a storming rocker but always feels a bit overlong on record, and this was followed by Nigel swapping guitars with Karl, apparently as it needed tuning. I'm not sure how swapping them solved this problem, but there you go! I correctly anticipated that the unknown song Rock O' My Soul was the build-up to Vatican Broadside, and judging from Google I suspect this was a Lonnie Donegan song? I also correctly recognised Terminus, but think I failed entirely to note Big Man Up Front as from The Voltarol Years, thinking it a new number.

All I Want For Christmas Is A Dukla Prague Away Kit feels like a mainstay in the set, but apparently they hadn't played it in Bilston in 2018 so it isn't always performed. For What Is Chatteris... meanwhile is always present and correct and so it should be, and it's interesting that such an English ditty should be appreciated by a Scottish crowd. I'm not quite sure why Hedley Verityesque was announced as an unseasonal one they'd play anyway when Dukla Prague hadn't been flagged by the band for the same reason, but it was a pleasing rarity. As is becoming sadly too common through, HMHB didn't knock any of the great "unheard" tunes off my list, which is a shame as I'd felt that this could be my opportunity to hear Sponsoring The Moshpits at long, long last! Maybe in Wolves guys? Karl played briefly with his guitar behind his head and Nigel was compelled to compete and upstage him. The heckle for the drummer to do it was sadly overlooked by most, but as it echoed my thoughts maybe it's a bit obvious? They played When I Look At My Baby which was another one from The Voltarol Years that entirely escaped my knowledge, before I shot the first video on my phone for National Shite Day. It's another mainstay that I'm not sure deserves to always be in the set, but it's quite tough to take a dislike of. It was a surprise to listen back to my footage and discover that my phone makes the sound too loud and booming and frankly shite. Also the image quality is lower, which is a surprise as my phone frequently upstages my camera when it comes to photos, and yet it can't do the same for videos. Also my footage was a bit blurry, but I'll have to remember this in future as otherwise my main criticism of my phone is how easily glare gets on the images, and I don't mean people being angry with me. I'm constantly having to clean the phone lens to try and stop it generating lens flare that would make JJ Abrams blush, but as it so frequently thrashes my camera for image quality I'm always trying to use both. For concerts though, both for its video quality and zooming ability, the camera always seems to come out on top!

I shot my fourth video for the brilliant Everything's A.O.R., starting it a little late on the intro. The lightshow was fairly low key and my camera struggled with blurring a bit, but this sounded great and it was lovely to see a bit of a moshpit but not to feel forced into joining. Now this is a tune that should always be played!! I'd moved forwards and a little to the left to escape the freakishly large head in front of me, and it was interesting to listen back to The Supernaturals from 2019 on my old camera and realise how much better this footage was here. Also I was watching some old vids from Paul McCartney in 2010 and by comparison they're just terrible, both for image and sound quality! At least it's one area where my camera seems to be improving with each new purchase. Nigel delved deep into his Sainsburys bag to look for a capo, ignoring a heckle asking if he had a meal deal handy. Silly, as obviously that would have been put in the fridge! He decided he'd left it upstairs and exited the stage to find it. The rest of the guys were at a bit of a loss briefly before launching into an outstanding take on Busy Little Market Town. They timed it perfectly for Nigel's return and he gave a rare shout-out to his band as a result. The main set was now in its home straight and The Trumpton Riots sounded particularly energised, with Karl's guitar strumming seeming quite thrilling, whereas Nigel was having to deal with his guitar lead coming out instead! Revenge for the upstaging earlier maybe? The main set ended in brilliant fashion with Every Time A Bell Rings, which is a newer number that deserves to become a mainstay. I shot my fifth video, starting it partway through the verse and endured it blurring as it zoomed in on Nigel in his black top. I wanted to capture that chorus and this mission was accomplished! The band left the stage, but we had next to no doubt that they would be back very shortly.

Nigel thrilled us by bringing out the caravan guitar for We Built This Village On A Trad. Arr. Tune. He told us what it wouldn't be... In tune! It was though, and the unknown cover version of the evening was Germ Free Adolescents by X-Ray Spex. It seems a bit of a tradition so I won't begrudge it, and it wouldn't be very Biscuit like to play some obvious crowd pleasing cover anyway. The set ended - inevitably given Tunnel had been dispatched at the start - with the glorious Joy Division Oven Gloves. Nigel wished us all a good weekend, weatherwise and otherwise, and I shot my sixth and final video. As it was on my phone though it was shite and didn't end up on Facebook as I'd planned, with the sound muffling on the loud bits. Also someone else was recording on their phone, but it's a pleasant situation when not too many are filming, but of course it's only holding it above your head and blocking the views of those behind that really causes annoyance. Nigel was animated and putting his arms out, and it was a delight to capture the caravan guitar on video! We made our way out, and the very slow exit to the street was a bit concerning if there was ever a fire. I spied the merch store but was already committed to exiting, and the show had ended ten minutes shy of 10pm. Maybe the venue becomes a club, but the guys had played a long set and I appreciated the early finish, getting back to my hotel on the same train as I'd done the night before. St Giles Cathedral strangely wasn't lit up and I have to give HMHB the usual 8.5/10 rating to reflect their consistency, and now I'm happier to accept whatever gets played, the peaks and troughs of 8/10s and 9/10s in their reviews are becoming rarer. I could reel off a list of omissions but I've done that enough times before. What Made Colombia Famous... would fit beautifully in with the mainstays, and the third album era of A Lilac Harry Quinn and that ilk was missed entirely. Also Len Ganley Stance was mentioned (I think as a heckled request) so it's a shame that wasn't performed, as it may be the only tune from the debut I've yet to hear live. But anyway, great show as always, and lovely to think I've been watching HMHB for more than half of their career now!
Setlist
The Light At The End Of The Tunnel (Is The Light Of An Oncoming Train)
Bob Wilson: Anchorman
I'm Getting Buried In The Morning
Fuckin' 'Ell It's Fred Titmus
Renfield's Afoot
Twenty-Seven Yards Of Dental Floss
Awkward Sean
Petty Sessions
Tending The Wrong Grave For 23 Years
Time Flies By (When You're The Driver Of A Train)
Eno Collaboration
Rock O' My Soul/Vatican Broadside
Terminus
Big Man Up Front
All I Want For Christmas Is A Dukla Prague Away Kit
Consolation Prize [snippet]
For What Is Chatteris...
Hedley Verityesque
When I Look At My Baby
National Shite Day
Everything's A.O.R.
Midnight Mass Murder
Busy Little Market Town
Oblong Of Dreams
The Trumpton Riots
Every Time A Bell Rings
We Built This Village On A Trad. Arr. Tune
Germ Free Adolescents
Joy Division Oven Gloves

Mark: 8.5/10