![]() ![]() ![]() In this gig of two halves, that meant the second set would consist of out and out rockers, preceded by a touching collage of photos across the years including portraits of former members, most sadly no longer with us, all to the strains of ‘Your Turn to Remember’ and adding to the sense of occasion. It segued into one of my favourites in ‘Paradise’ then ‘Circle of Hands’, but there could only be one song to end the 45 minute acoustic segment in ‘Lady in Black’ with again Bernie getting people to their feet as he conducted the wordless singalong. Mick then introduced a trio of ‘Demons And Wizards’ songs: ‘The Wizard’ is of course one of their two most famous acoustic songs, though it did show up my one reservation, that the trademark Heep harmonies are not as rich and layered as they were when Trevor Bolder and Lee Kerslake were still in the band. He then left just Bernie and Phil Lanzon for an acapella medley of ‘Confession’ (a real obscurity this from ‘High and Mighty’) and ‘Rain’, Bernie carrying off a splendid effort on one of the songs original singer David Byron most made his own. Mick, who told the stories behind the songs, then rightly said ‘Come Away Melinda’ had fresh resonance in today’s dangerous world and this disturbing, haunting song was brilliantly executed. ![]() They opened with two such in ‘Circus’ and ‘Tales’ before Bernie Shaw unexpectedly took to his feet to get the crowd to do likewise and orchestrate a singalong to ‘Free Me’. It’s a format they briefly dabbled with over 20 years ago and unlike many bands there are enough quieter and folkier songs in their catalogue to carry it off without needing to reinvent heavy numbers to fit the new format. Having seen them post-pandemic at Stonedead and supporting Saxon, I was keen for something different so was delighted that a month or so before the show it was announced they would play two sets, effectively acting as their own support band with an acoustic set. Actually the 50th anniversary and the big shows to accompany it including the prestigious London date at the Palladium should have been in 2020, but there was no way the occasion could be unmarked with a little poetic licence for the now 52 year old band. Yet the opening montage of tributes from various greying and balding rock greats, from Rob Halford to Brian May was a touching sign of the affection in which they are held by those who followed in their wake and have toured with them. Through that time the band, and sole remaining original member Mick Box in particular, have been an object lesson in persistence, in that time being critically reviled, ignored and criminally underrated, receiving a fraction of the attention and adulation given fellow heavy rock pioneers Purple, Sabbath and Zeppelin. I wonder what the famous critic of their first album who threatened to commit suicide if they made it would think of Uriah Heep celebrating 50 years. Share the post "Gig review: URIAH HEEP – London Palladium, 5 October 2022" ![]()
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