Exclusive review by Karl Shone

An early dart from work on a mild Wednesday evening, followed by a 2-hour drive and I was about to witness something I had waited for, for what seemed like an eternity. I have been a fan of Irish music for a long time after getting hooked on a band called "You Slosh" about seven years ago, who used to play regularly at a local club. I've been into the Corrs for the best part of two years, but the chance to encounter them live on stage had unfortunately eluded me. Until now.

A 1930hrs bell informed Steve and I of the start of the gig, so along with the other attendees, we found our seats & Picturehouse took the stage. Informing the crowd of who they were and that they were from Dublin, the band then embarked on a half- hour comical, but perfectly executed journey of feel-good tunes.

Headed by Dave Browne on guitars and vocals, the band showed that they were on the stage for one reason, and for one reason only - they were there to have fun and they wanted the whole crowd to have fun aswell. And that we did. Three tracks that particularly stood out were "The world and his dog", a fine easy-going track with some good flowing harmonies, "Somebody somewhere" which again stood out for great use of harmony; but most of all one of which the title escapes me. Believe me though, if you see them live you'll know the song I'm referring to immediately.

The lyrics refer to a chap who in plain terms is a total fruitcake, and aspires to gentlemen such as Jeffrey Dahmer, Son of Sam, Charlie Manson, and other rejects of society who enjoy three sided segments from Silence of the Lambs (The song is called "Fanclub" - I've bought the album.) If you get the opportunity, I seriously suggest you check out this band. You'll feel better for it I assure you.

After acquiring various goodies during the interval, 2020hrs arrived and Steve and I took our seats again with baited breath. The band took to the stage with monstrous applause along with a synthesised rhythm. Sharon's' savoury violin skills then grabbed me and I was mesmerised by the incredible ceremony of sounds filling my ears.

This led effortlessly into "When he's not around", & the pair of us were spellbound. Next I think was "What can I do". Andrea's vocals rang out giving some of the crispest, purest tones I've ever heard live. Careful scanning of the stage and you could see that Jim was seriously enjoying himself whilst Caroline was skilfully beating seven bells out of the drums. She can really hit those things, which leads neatly onto something which has bugged me ever since.

I know from reading various articles that Caroline has taken some flak because on "Talk On Corners" she did little of the drum work apart from the bodhran on many of the tracks. After seeing her efforts live, I can only say that there is no reason for this musically, because her drumming capabilities are real. I know that Simon Phillips played on "Forgiven Not Forgotten", but I considered having such an accomplished musician play on the album an honour not a necessity. The reasons other drummers played on "Talk On Corners" is unknown to me but this is the only thing that matters

- yes Caroline can play. ( I've seen Bozzio, Colauita and Wackerman, and yes she can play - Steve)

Simply the entire performance was flawless and these were some of the highlights:
1-
This for me really stood out - the band performed "The Minstrel Boy" which led onto a further instrumental. If you have it taped, watch the Albert Hall gig the BBC showed as it is on that (even though they made a complete pigs ear of the sound all the way through - the BBC that is, not the band). Caroline does this incredible rhythm thing on the high hat and then swipes really hard for the snare prior to the high hat thing again. Here the band really gelled each doing their little solo bit.

Sharon's violin skills were as always exquisite, Andrea's tin whistle was exceptional, Jim's keyboard playing was laying down a superb groove with Keith Duffy's bass & Conor Brady's guitar taking it to the max.
2-
Sharon's solo spot since her playing really was just soooooo good (and I have a thing for violin playing) which was led neatly on with Jim on the keyboards again. This melted seamlessly into "Carraroe Jig" and Caroline again showed a superb grasp of rhythm, this time on her trusty bodhran. Andrea's whistle tones were again superb. Unfortunately, I do have one minor criticism:

Conor's solo did seem out of place on this occasion. I'm not going to take anything from the guy musically, but to me he did not seem to be locked onto the same vibe. As one who has fiddled with guitars myself for many years, I could not understand where he was going with the lick he produced. This would have been fine for many others solos but not when chilling with a Celtic groove. (Sorry - but it's my opinion.)
3-
"So Young", since this really got everyone dancing on the spot.
4-
"Toss the Feathers", since it is brilliant anyway and it was performed perfectly.
5-
All of the above plus everything else, and more. (He forgot to mention the quiet bits, and the bits between the bits as well - Steve)

To summarise, go and see them yourselves. It is an impossibility for you not to enjoy yourself. If you have to travel - so what!

the Corrs:
Sheffield City Hall.
22nd March 1998

Another mild evening, this time however on a Sunday; and Steve & I left Chester with another 100 mile plus journey ahead of us. Here's a quick tip for you. If you're going to Sheffield, leave yourself more time than you think. Not only did we get stuck in loads of traffic, but finding a parking space once we got into town was a nightmare; the result of which was that we missed most of Picturehouse. We were picking up our tickets from the box office when they were doing the fruitcake song, and there was only "Somebody somewhere" after that!!!!! Take it as read that we were not very happy.

Anyway, after a trip to the bar in the interval ( bottled Guinness at a decent price - nice one, a venue that doesn't rip off the punters..) and a quick swally, we took our seats on the left hand side of the stage on the balcony (fairly naff seats but you can't have everything.)

The set itself was the same as the Nottingham gig and again, as was expected, the performance was tremendous. The items below are what particularly stood out this time:
1-
Again, "The Minstrel Boy" leading into the other instrumental was a pleasure to behold. I'd love to get this on CD since it really is just that good. If you get the chance, you should try to study this when it is played since there are plenty of great hooks occurring at the same time. It is a real compliment to the band that they all fit together perfectly.
2-
Sharon's solo spot again - words fail me I'm afraid. The same criticism still stands however towards Conor's solo since there again was the same bit out of place, as to the direction of the vibe in progress. In contrast to this however, his playing in several of the other tracks stood out well.
3-
"Queen Of Hollywood" was superb. This is a truly great song and was made all the better by faultless execution. Also in this fold was "Love To Love You". I particularly like the subtle differences Andrea uses when she sings this live.
4-
I would be guilty of a heinous crime if I did not include "Toss The Feathers". This really is one which got the crowd going, myself included. It is a treat to witness live.

Simply put, another great night was had by all - but for some of us it was made even better by having the pleasure to exchange a few words with the band themselves. Yep, my CD's now carry some rather special signatures. Not only are the Corr family incredibly talented, they are extremely friendly and a pleasure to chat to. I feel I must also say this - as far as the sisters are concerned, it is great to know that their personalities stand out as brightly as their beauty.

Karl Shone. (New e-mail address soon since I'm changing ISP's.)

If you would like to add your personal review of a Corrs concert, simply send it to: Peter Shevlin