Live Review: Woody Woodmansey’s Holy Holy // Belfast’s Cathedral Quarter Arts Festival, 08.05.15

0
667

Admittedly, my spare ticket to see David Bowie’s ex-drummer’s new band wasn’t the most tantalising invite of the weekend. Nevertheless, I managed to persuade my sister to join me for Woody Woodmansey’s band Holy Holy’s gig at Belfast’s Cathedral Quarter Arts Festival, the group’s first ever performance outside of England. As a self-confessed Bowie geek, the thought of an original Spider from Mars playing Bowie’s albums from the early seventies – a period when album tracklistings read like greatest hits sets – was exciting. Encompassing The Man Who Sold the World, Hunky Dory, The Rise and Fall of Ziggy Stardust and the Spiders from Mars and Aladdin Sane, Holy Holy comprises an outfit of musicians who’ve worked with everyone; from The Cult, Generation X and Bob Geldof to Brian Eno and Ian Dury, Woodmansey tackles Bowie’s early material with a stellar line-up.

As things get under way at Custom House Square, local New Found Glory-esque pop punks Stop Stop Start Again – whose drummer looks uncannily like Green Day’s Tré Cool – play a catchy and enjoyable set despite the audience’s apparent disinterest.

When Holy Holy appears onstage in front of the small crowd who are, oddly, seated around tables, they look like a bunch of people who may have met at a bus stop, but as they launch into ‘Hang on to Yourself’, it is clear they really do have a good thing going on (boom tssh). Dressed in suitably seventies attire, the band have a fantastic ally versatile catalogue of songs to choose from, leading on with ‘Queen Bitch’, ‘Star’, ‘Lady Stardust’ and of course ‘Ziggy Stardust’ itself. Woodmansey attacks the drums with skill, merciful force and enthusiasm, even if he’s done it a thousand times since 1973.

“Are we doing alright?” asks lead vocalist Malcolm Doherty, as the iconic guitar intro to ‘The Man Who Sold the World’ fills the venue. Under the fairy lights against the darkened interiors of the Marquee, it’s an atmospheric performance and certainly a highlight of the show. The band certainly captures the authentic spirit of Bowie and, on the eve of the election results, Doherty starts into Ziggy Stardust opener ‘Five Years’ with a remark for those who like to mix their glam rock and their politics: “It’s a bit ironic this one, isn’t it?”

Doherty and backup vocalist Lisa Ronson are undoubtedly powerful singers, and Ronson’s Stevie Nicks-like stage presence adds a feminine touch to a unique rendition of ‘Watch That Man’. Apparently happy to take requests from the floor, ‘Life on Mars’ sees two girls next to me throw some seriously bizarre shapes, complete with air guitar and grinding, and makes me wish I was drunk enough to dance like them (although, if that were the case, you wouldn’t be reading this review). ‘Moonage Daydream’ and ‘Suffragette City’ showcase some brilliant guitarmanship, as well as expertise from the allegedly tallest left-handed bassist in the world.

Returning for an encore, the surprisingly quiet Woodmansey steps up to the mike to thank former bandmate and Spiders from Mars guitarist Mick Ronson and, of course, the man himself, and everyone’s favourite glittery alien, David Bowie. The crowd – made up of a range of people, from students to middle-aged couples – sings along to ‘Starman’ (“The moment it all started for me,” says Doherty), and the band closes with an impressive version of ‘Time’ and a stripped-back ‘Rock ‘n’ Roll Suicide’.

You might be forgiven for mistaking Holy Holy for a pub rock band – but even at that, they’re a hell of a good one.

Words by Kristen Sinclair

LEAVE A REPLY

Please enter your comment!
Please enter your name here