Gig review: Spike at Camden Underworld, London

Live review: Spike at Camden Underworld, Friday, September 8 2023

THE MC draws the battle lines early: “How many of you got free tickets?”

His challenge to the half-full Underworld is a clear reference to the gig we covered last week, the Quireboys without their only previous singer not far away in Islington.

On that occasion, we attempted to tell you what the English rockers were like without Spike. Tonight we’re checking out Spike without them on a hot north London night.

Central to this discussion is how people are illogically drawn to singers much more than guitarists, bass players and drummers. One associate who was at both concerts tells me that to him this was a nine out of 10 concert.

(Spoiler alert: as far as I’m concerned it wasn’t)

My wife is very much a mainstream consumer of popular music; she walks into the living room and says ‘Alexa, play music’. She was far more interested in seeing Spike than the Quireboys without him.

But a few songs into tonight’s show, she was shaking her head in … well, not disgust but disbelief.

The 55-year-old former Jonathan Gray started proceedings with a set that consisted mainly of covers by his favourite artist – not Rod Stewart but Scottish singer/songwriter Frankie Miller, who dueted with Phil Lynott on “Still In Love With You”

He serenaded a couple down the front who had just got married and threw in two solo songs, “Have A Drink With Me” and “Rise Above”.

At this point, eight songs in, he took a break. Yes, a break. 

Spike’s voice is raspy by nature but it was especially so tonight. For some reason it sounded better via the speakers in the bar than from anywhere in the vicinity of the stage. 

The first set had had the the visage of a lounge performance. I was put in mind of David Lee Roth gravitating towards Sinatra after leaving Van Halen. It was somewhat haphazard – certain a very loose and un-rocking performance

At ‘halftime’ he was tracking behind the other gig up the road, which itself had suffered some drawbacks. I would say well behind.

For his return, Quireboys alumni Nigel Mogg (bass) and Chris Johnstone (keyboards) joined the band on stage and this was to be a taste of the new line-up. The amount of rehearsal that had taken place can perhaps be measured by Spike surprising himself with the statement “there are two Chrises up here now!” as they attempted to count in a song.

But the music became more up-tempo and the energy started to fill the room. Johnstone was able to play music of the old repertoire with one hand – a fact his singer was only too happy to highlight to the crowd.

There were seven Quireboys songs, including crowd favourites “There She Goes Again”, “Hey You”, “Seven O’Clock” and “I Don’t Love You Anymore”. Our encore was a new song, “Jeez Louise”, on which I can’t really pass judgement with one listen.

Everyone left reasonably happy and Spike saluted the drinkers at the nearby Black Heart as he walked by with his suits slung over his shoulder later in the evening.

But I wouldn’t term this a triumph.  Yes, the show was saved, to finish level with – or just ahead by the sliver – of the other one a week earlier.

It’s clear from attending both that the Quireboys line-up of a year and a half ago had a ramshackle, story-telling raconteur of a singer who liked to be paid in cash and a group of serious musicians who were precise, organised and well rehearsed.

And that’s why it worked.

Going to see those two paradigms unfold separately is something I would do again – but not in a hurry.