2023.06.30 - BST Hyde Park - Hyde Park, London, England

Still Only Getting Started: Guns N Roses at BST Hyde Park, 30/6/23

Nostalgia triumphs

By Harrison Smith

Following on from a mixed reaction garnering Glastonbury headline slot, Guns N’ Roses, the legendary titans of 80s sleaze rock, now grace the stage at London’s BST festival in Hyde Park. Recently home to a two-night residency by international pop superstar P!nk, the park now shifts gears to more nefarious goings-on, brimming with devilish riffs, iconic lyrics, and banshee-like wails filling the air.

Once considered a hopeful dream, the reunion of lead guitarist Slash, vocalist Axl Rose, and bassist Duff McKagan has become a reality. Despite the passage of many years, Guns N’ Roses have successfully embarked on several world tours since regrouping, finding their footing once again and solidifying their legendary status in the rock music scene.

Tonight’s performance underscores their enduring appeal as they, in an uncharacteristic manner, take to the stage on time, shedding any remnants of their past tardy selves. The familiar bass riff of 'It’s So Easy' reverberates across the field and it’s go-time. It’s all singing and dancing for the first hour. From the Bluesy groove of “Bad Obsession” to the wheeling out of 'Chinese Democracy,' the 2008 Axl-penned single, which sees the band inject new life into a once sluggish number.

Having put their debauchery days behind them, the group now presents a well-crafted set that seamlessly takes the audience through a journey of their greatest hits and album deep cuts. 'Welcome to the Jungle,' 'Rocket Queen,' and 'Nightrain' serve as powerful reminders of the enduring brilliance of the debut album Appetite for Destruction, even in the present day.

While these big hitters command the spotlight, there are also lesser-known gems from their repertoire, such as 'Coma' and 'Double Talkin’ Jive,' which are a delight for dedicated GnR aficionados. However, these less familiar tunes have a tendency to detract from the overall energy of the evening.

Nevertheless, it’s business as usual for Guns N’ Roses. After all these years, Axl Rose, whose ever-changing wardrobe tonight is remarkable, still hits those high notes that one imagines he curses his past self for. Slash, the mysteriously edgy lead guitarist, never misses a note and only cements his mythology not only as a musician but as a figurehead for those itching to learn guitar. And Duff, the no-nonsense Stooges-loving bass player oozes with the attitude of classic Punk rock.

Finishing up with the beloved 'Paradise City,' the night continues to sizzle with an electric buzz long after the last note is played. Echoing the Sunset Strip gigs of the 80s mixed in with the grandiose attributes of the big time, Guns N’ Roses feel like a band only getting started. If tonight is anything to go by, it’ll be worth staying tuned for what’s to come.

Guns N’ Roses Hit BST Hyde Park – Bringing Classic Rock To The Big Smoke
A triumphant performance...

Words: Maddy Smith

Following on from a Saturday night headline slot at Glastonbury the weekend prior, Guns N’ Roses stormed the third day of Hyde Park’s British Summer Time as the event welcomed its tenth anniversary year. Nestled between the backdrop of London’s skyscrapers, the iconic 80s rock giants were supported by the likes of Larkin Poe, The Darkness and The Pretenders, who each delivered polished and compelling shows as stormy skies fell over the capital.

As the mass of 65,000 punters trickled into the park, ominous grey clouds hung over crowds while The Darkness’ Justin Hawkins fronted a memorable, interactive set with trademark dry humour and wit, bringing infectious energy and unbridled vivacity. Chrissie Hynde’s flawless vocals fronted a hit-filled set from The Pretenders as Guns N’ Roses prepped to bring their anthemic brand of rock to the Great Oak Stage. While every performance will see its fair share of the artist’s band merch, the crowds at BST were like no other for sporting Guns N’ Roses distinctive emblem on shirts gig-wide.

Beneath the oak’s towering branches which entwine into the stage’s imposing frame, frontman Axl Rose, guitarists Slash, Duff McKagan and Richard Fortus, keyboardists Dizzy Reed and Melissa Rees and drummer Frank Ferrer bound onstage with opener classic track ‘It’s So Easy’ from debut record ‘Appetite for Destruction’; which sets the tone for the subsequent three hours. Blending old and new, the group proceeded to churn through a concoction of their discography through the decades led by 61-year-old Rose who maintained incredible energy from start to finish. Of the setlist, classics such as ‘Welcome To The Jungle’ were best-received, with almost as many outfit changes from Rose as solos from Slash. The set featured a handful of softer moments, with the 90’s release ‘Civil War’ became an emotive platform to pay respects to the conflict in Ukraine.

Paying homage to British Summer Time’s settings, the show celebrated the best of British talent with commanding covers of ‘Live and Let Die’ by Paul McCartney and Wings as well as ‘Down on the Farm’ by U.K. Subs; with a nod to Slash’s English heritage.

Ultimately, BST was a flawless arena to showcase 38 years of Slash’s effortless guitar solos, which shone through and set a glorious precedent – encapsulating the band’s sound and offering a pristine time capsule throughout the years. Erupting with anthemic hit after hit, Slash unveiled a momentous 10-minute solo as a prelude into the infamous ‘Sweet Child O’ Mine’, as the 65k-strong audience roared the lyrics back to Rose.

There’s no question that Rose’s vocals have sadly lost much of the power and ability for which he was so renowned in ‘87. Time and vocal stress sadly shows as he strains to hit some of the higher notes – starting proceedings off on a strong foot but then waning as the show draws to a finale with ‘Paradise City’. Nevertheless, Guns N’ Roses’ appearance at British Summer Time offered a powerful dose of triumphant classic rock nostalgia to the Big Smoke.

Gig Review : GUNS ‘N’ ROSES WORLD TOUR 2023 BST HYDE PARK, LONDON, 30TH JUNE 2023

Review & Photography Manny Manson for MPM

With a good wind blowing marking a definite change to the glorious weather the U.K. has bee bathed in recently, a good flurry of scantly clad rockers are making their way into Hyde Park for yet another superbly organised summer one day festival.

Today’s headliners are the formidable U.S. rockers Guns & Roses, after playing a killer set at Glastonbury only a matter of days ago, and a set in Glasgow for out friends north of Hadrian’s Wall, they now grace the Great Oak Stage at British Summer Time in Hyde Park. Already the stage has been graced by P!NK, Gwen Stefani and our very own Sam Ryder, Future artists include Take That, The Script, James Bay, the Boss himself, Bruce Springsteen, Billy Joel and Lana Del Ray, all of which have strong support cards playing on the Rainbow and Birdcage stages.

The day kicks off with ‘LARKIN POE’ consisting primarily of the Lovell sisters, Rebecca and Megan. Named after their Great, Great, Great, Grandfather who was a cousin to Edgar Allen Poe. Keen to carry on the family connection they now use the name.

The set kicks off with the Howlin’ wolf track ‘Spoonful’ being played over the ‘house’ P.A. as the girls, who now run out of the music capital ‘Nashville’ hit the stage and get into the first of five tracks from their latest album ‘Blood Harmony’ released in 2022.

Starting off with ‘Strike Gold’, the girls are all smiles as they battle against a strong breeze cutting across them from stage left. The sun is hiding behind grey clouds, we should be good as the weather has forecast a bit of wet later in the day.

Scorching lap steel rings out from Megan as Rebecca hits the mic as this slow burner builds into a great opening number. It’s a massive stage as the girls do their best to make the most of the huge space. From my vantage point it appears the girls are alone on the stage. Climbing higher Tarka Layman on bass and heavy hitter Ben Satterlee can be seen in the engine room as thy deliver a strong back line. ‘Kick The Blues’ continues this country rock sound; the lap steel sizzles under Megan’s fingers. Rebecca’s smoky blues voice croons effortlessly into the breakdown full of fast lap steel fingers and smiles as the girls clearly enjoy playing together.

The distorted sounds of Rebecca’s guitar cry out during ‘Summertime Sunset’ as the two play off each other, cheeky smiles flowing back and forth throughout. The crowd has grown to a decent size and are clearly enjoying the set.

The only cover in the set segues the proceedings, Son House, a Delta Blues man who passed in 1988, his emotive slide playing suits the girl’s style perfectly as they nail this stropped back tribute to another American legend before going back to Blood Harmony for ‘Bad Spell’. The guitar is all dirty and distorted as this one calls out, the guitar tone sounds very Rival Sons as this one stutters its way along before going into ‘Wanted Woman-AC/DC’, a righteous cacophony dedicated to the women amongst us.

With hair tied up, the wind is doing its best to make sure it’s in their eyes and mouth, it’s not let up for the entire set, the temperature hasn’t climbed into high double figures either, there are now a few with windcheaters on in the crowd. With that aside we have crashing drums and soaring strings as the girls “oooo” their way through this bouncy number from 2017’s album, Peach, to the songs mid-point where it takes on a new lease of life, pumping the energy up to a Spinal Tap 11 as it takes on an Indie, punk vibe full of angst to its conclusion.

The set is completed with ‘Bolt Cutters & The Family Name’, again full of angry lap steel and screaming guitar it brings the set to an untimely close. This has been a great introduction to this popular band. They have 4 dates in October this year scheduled in the U.K. I’m already looking to see which show is closest to be as I need to catch them in a smaller more intimate environment.

Right with feet barely touching the ground it’s now time to hoof it to the Rainbow stage at the top end of Hyde Park for NWOCR champions ‘THE DUST CODA’, with a new album ‘Loco Parise’, set to be release in under a week you know this band are going to deliver something a bit special. The tight four piece already has a huge following on the NWOCR circuit and today I’m sure they’ll win over several new fans.

Getting to the stage, the band are already under way with ‘Jimmy 2 Times’ from their debut album Mojo Skyline released back in 2021. Adam Mackie’s driving guitar is locked in tight as the drums of Scott Miller and bass of Tony Ho try to loosen your fillings, Tony is fighting with his long hair in the wind, its swirling around everywhere, no one is safe from it. John Drake is on fire delivering a great lyric, never wandering to far from the microphone as he strums his Merlot coloured Telecaster, he sing about rolling the dice before Mackie, his V on his thigh, rips out a stonking lead riff, his foot on the monitor as he does so.

‘Limbo Man’ backs this one up with a great dirty chugging intro from Drake before tribal beats thud from the drums and the band join in tight. Ho is throwing his head around, his hair only doing what the wind lets will let it do. This tune has a great foot stomping groove, those on the barrier are nodding like Churchill’s dog on a skateboard going down a cobble street, the guitar of Mackie cuts in a screams over the top of Drakes vocal and the thunderous backline. A great addition to the set.

Staying with Mojo Skyline the band crash straight into ‘Breakdown’. Its dirty intro riff thrashed out by Mackie as this builds into another blinding display of NWOCR. ‘Demon’ has a more laid-back bounce to it; however, Drake’s voice is fast, deliberate and full of grit as he thrusts with the precision of a surgeon’s scalpel as he lyricises about the Demon in his heart.

One of the new singles from the new album gets an airing, ‘Love Sick’ released earlier this month shows a different side to The Dust Coda. It still has a great lyric but the guitars are more restrained during this great ballad which has a more than passing nod to a bit of country rock not out of place with the likes of Chris Stapleton. Mackie has been kept on a leash for this one and it’s a belter for it, although it does go out of a crescendo of crashing drums and screaming vocals, a favourite for sure.

Normal service is resumed with another from the new album due out on the 7th of July. ‘Road To Hell’, released in March this year as a single, is a seat of the pants hard hitting rock anthem full of dirty guitars, soaring licks and thundering drums and bass.

Drake has an awesome voice and drips class as this one is forced down your throat like feeding a kid with a catapult, brutally delicious and a stunning end to a concussive set of NWOCR music. With a set like this is great to see that rock music in the UK is safe and powering forward. The new album is now top of my Must Have list.

Ok we’re off again to the Great Oak Stage, so called as there’s sodding a great big Oak tree wrapped around stage right. The stage is colossal, I’m sure the passengers on the overhead aircraft can clearly see who’s on the skyscraper screens that bedeck its entirety.

‘THE DARKNESS’ are up next, Justin and the boys have just shared the fact that they are going to tour the ground breaking album, ‘Permission to Land’ throughout December. If you like your rock with tinsel and glitter then having seen the band at Christmas and watched Rufus fall up the drum riser dressed as a Christmas tree, this promises to be a show not to miss.

Speaking of ‘Permission to Land’ this 20year old album makes up most of todays set starting with ‘Growing on Me’. Justin resplendent in a dark pin stripped suit, throw his guitar on oozing confidence, the familiar riff slams out as Justin’s heady voice has the crowd smiling like Cheshire cats. Justin is back and forth across the stage, again Rufus on drums takes a bit of over head camera shooting to catch a picture. Sadly, the Justin Jump is blocked by the house camera men and the stage front blinders and flame boxes. ‘2021’s ‘Motorheart’ is next, for this Justin has removed his jacket, sporting a black singlet he can move around showing off his ink as he belts out this faster tune. Fire is pumped from the boxes through-out the tune, these flames go up then sharply to stage left as the breeze takes the along, threatening to envelope Justin at times it makes for an exciting visual.

2019’s ‘Heart Explodes’ continues with Justin’s strip. His singlet is now removed as he stands stage centre encouraging the crowd to clap along to this almost Queen style drum beat. Frankie is pounding out the bass line in a dapper apple green suit, his glasses are sliding down his nose so Justin helps him out by pushing on his nose and dances away laughing.

Dan is back and forth, his locks blowing in the wind as he joins in the clapping. ‘Solid Gold’ from 2017 keeps the crowd engrossed, its riff driven power intro delivered by Dan, allows guitar free Justin to postulate, something that he has achieved ‘Boss’ level in, as he does so more flames scorch his eyebrows before he gets his guitar back on and proceeds to knock a red-hot solo. The crowd duly oblige in the clapping. The screens either side of the stage showing the bands antics as the song finishes and then it’s back to 2003 for ‘Love Is Only A feeling’ this is started with more hand clapping and that familiar ‘Scottish-esque’ guitar riff.

As Justin sing’s he has the crowd waving back and forth before going into ‘Japanese Prisoner of Love’ another from 2017’s Pinewood Smile, its pacy riff and thundering drums builds into a bouncing tune that has the crowd light on their toes as it plays out. Justin toys with the audience as he does so, he is the entertainer, the great frontman as he puts on yet another polished show.

Permission to Land continues with ‘Get Your Hands of My Woman’ its raucous rock classic from this debut album. Dans working over-time as Justin chooses to sing this one, stopping to throw his mic over his shoulder he walks and tries to get the crowd to sing, he says it sounds like gas leaking. Ethan gets picked out in the crowd to sing along with Justin, who reluctantly sings along, displaying he has the range to sing along with him.

The middle section has the crowd singing and clapping over-head, the crowd is a sea of hands. Roman candles go off along the front of the stage as the song is brought home with feedback a Justin jumped and flash bangs along the stage front.

A cracking set and a note of the date of my local The Darkness show in December. Get your tickets it’s more fun than Aladdin or Jack and the Beanstalk.

And its off again, back to the Rainbow Stage for the loudest band in South Wales, ‘JAMES AND THE COLD GUN’. These guys played the Bird cage stage here at BST last year in support of the mighty Pearl Jam. Kicking off their set with the Indie, punk vibe of ‘Chewing Glass’ this is a single from their up-and-coming debut album due out in July 2023.

The angry lyric slams in your face as the energy kicks off, ‘She Moves’ continues the onslaught of high energy, I’ve noticed that the guitarist has changed places with the bass player, in fact James mentions that their bass player is unwell and can’t make the show, I believe this is Al Jones ‘deping’ for Peter Smith. I’ve struggled to find the girl bass player’s name. She appears on lots of pictures, promo’s etc but like so many band websites, there is no bio or band names. So, apologies there.

The bludgeoning continues with high energy antics and ferociously fast beats as we continue with the debut single of the then ‘new’ James Joseph project. ‘She Moves’ is a raucous abuse of your ears as it blasts your senses, full of familiar Indie, punk energy it makes way for the first of three tracks from the 2022 E.P. ‘False Start’, the first being ‘Plug Me In’ which is followed with ‘Cheating on the Sun’ again from the new spinner due out soon. Its slow start gradually builds into a sound that is reminiscent of the early Seattle sound, a generation of music that put paid to many a classic rock band in the making.

‘It’s Mutual’ continues with its grungy down picked guitar. The crowd seem to be loving the sound as there is a good congregation enjoying these South Wales Alt-Rockers. They finish there set of seven songs with ‘My Silhouette’ from the new album with its feed-back driven start, again the familiarity to early angst driven post punk bands from the end of last century.

The E.P. gets the final slot with ‘Long Way Home’ with its stop start guitar riffing it soon has the crowds’ heads nodding, the tune knocks it out of the park as the energy levels go through the roof to finish with. Yet another Welsh triumph of a band, Cardiff seems to have the right chemicals in its water as it seems a melting pot of great young bands, these seem destined for greatness on the circuit if that short set is anything to go by, awesome stuff.

Despite the constant threat of rain, it has somehow remained dry as we put our heads down against the breeze and make our way back to the Great oak stage for ‘THE PRETENDERS’. Chrissie Hynde and the band are on it, kicking the set off with ‘Losing My Sense of Taste’ from the new album ‘relentless’ due out at the beginning of September, this is classic stuff as we wait in the side-lines like rabid dogs, before we’re let loose in the pic to gather our pictures. Chrissie continues with ‘Turf Accountant Daddy’ from the 2020 album ‘Hate for Sale’. The wind is blowing the sound around but Chrissie’s trademark warble on the longer words is still there and strong with it.

We finally get released into the pit, and we’re like a stampede of cattle, just as ‘Kid’ from the debut album, 1979’s ‘Pretenders’. Centre stage with a gold sparkle telecaster hanging from her neck, she croons into the microphone, her dark eyes watching the crowd, she smiles between words as the wind whips her hair about her face. Her band, although it has changed since 1978, it still has the original drummer in Martin Chambers, although he did have a seven-year hiatus, he’s is still as solid as ever with a thunderous back beat. Chrissie drops into ‘Time the Avenger’ from 1984’s learning to crawl as we continue to snap away, it’s difficult to get clear shots of this legend with the video screen cameras running back and forth in line of sight. As the song progresses, we manage a few clear shots as she moves into a clear space before the camera train catches up with her.

There’s a good variety in the set, due to the great back catalogue of tunes to pick from. The Sophomore album, the inspiringly named ‘Pretenders II’ brings back memories of a leather clad Chrissie on Top of the Pops. The jangly guitar sound is there as the crowd try to sing along to this classic as Chrissie tells us “You’ve Changed”, I know my knees are a lot older if that counts! 1984’s ‘Middle of the Road’ continues with its “Woooo ooo ooo”, the guitar rips the breakdown as James Welbourne rocks out along-side Chrissie, 1986’s ‘Him to Her’ has lost none of its lamentable charm as it did when it was released as a single back in the day.

Who can forget the classic ‘Back on The Chain Gang’, looking around the crowd, who are on their toes moving to this classic track from 1984, Its followed with the timeless ‘Thumbelina’ a rousing rockabilly kick ass of a tune, again from 1984’s ‘Learning to Crawl’ long player. The powerhouse on the drums providing a rocking shuffle beat as the guitars twang around it, Chrissie’s delivery always reminded me of early Elvis, in the film Roustabout from ’64. I digress. We get a second number off the forthcoming new album, ‘Let the Sun Come in’, is a vibrant number with a decent sing along hook. The video, for those who have checked it out, features a disgruntled cupid with boxing gloves, those with sharp eyes will notice that Chrissie’s guitar was sporting that as a sticker behind the bridge on her glittery telecaster.

2020’s ‘Junkie Walk’ continues with the new sound, which to be fair isn’t half bad, its definitive ‘Pretender’s’.

The back side of the set is a return to the earlier classic tracks. Who can forget Chrissie’s crooning delivery to 1986’s ‘Don’t Get Me Wrong’ along with its bouncy beat and snare snaps, has the crowd on its toes once again. Chrissie’s voice is on point as she peers into the crowd from behind her windswept bangs and that trademark dark eye make-up. ‘Cuban Slide’ from the debut album follows, the melody to this one always reminds me of ‘the Clash’ and ‘I Fought the Law’, I need to get checked in and my head sorted I know. Music has that power to take you to places that you had long forgotten, powerful stuff indeed.

The faster jangly riffs of ‘Tattooed Love Boys’ keeps the nostalgia flowing as this one pulses out hard. This thumping tune is relatively short at around three minutes, including the dead stops through-out, the windmill guitar licks keep the interest going as this breaks down into a guitar tune from 1979, just as the Punk sound was becoming more mainstream thanks to the TV shows that were prepared to show case it. Probably one of the most accomplished hits that the band had, was the stunning ‘I’ll Stand by You’ this 1994 banger will for ever be a stand out song. Chrissie’s warm vocal oozes sincerity. There’s a quote from Chrissie saying she felt better about the song when Noel Gallagher said he’d wished he’d penned the song. Some of you might recognise it as being used in the NSPCC adverts, a cover by Girls Aloud was used in a baby’s follow-on milk advert.

The set concludes with the more up beat ‘Mystery Achievement’ from the debut album. It wraps up a tasty set of classic Pretenders. A great trip down memory lane, and proof positive that the bands song are just as relevant today as when they were written.

And we are on the hoof again, a military yomp back to the Rainbow stage at the far end of the park. Weaving through the hordes of folk making their way to purchase beer, fodder and merch, of which the queue is as long as it’s ever been to by memorabilia of this fun day.

Reaching the Rainbow stage, I’ve just enough time to eat the wrap that I traded a kidney for. Its ok but I think they got the better side of the deal.

L.A’s ‘DIRTY HONEY’ are another band I’ve seen several times so I know this is going to be a cracking set. John Noto has put together a stunning band with LaBelle of Vox, Smolian on bass guitar and the recent addition of Bean on drums, he replaced Corey Coverstone on the throne. The set kicks off with ‘Can’t Find the Breaks’, the crowd are on the claps without asking, looking around there are plenty of Dirty Honey tee shirts on display. LaBelle’s sleazy voice slides around the dirty guitar of Notto as the front three patrol the stage. We are getting the full treatment as the lights flash around the large backdrop.

Notto and Smolian are up at the stage edge as the solo rips a new one to the partisan crowd. They are going down well. ‘California Dreaming’ continues this high octane set of filthy riffs and growling lyrics. This is head nodding at its best, the nasty riff has your face screwed up as you stomp along to Notto’s striking guitar work. LaBelle has the mic in the crowd as we get to the sing along hook, great stuff.

‘Heartbreaker’ sees the rain start, Notto notices it as he comes forward but quickly back steps with-out missing a beat, his eyes no doubt wide open behind his sunglasses to the near miss. His guitar is in the air as the solo rips out. LaBelle makes his way onto the bouncer step as he thrusts the microphone above the heads of the crowd who are happy to sing along.

Having just an E.P. and the one long spinner the band don’t have a huge back catalogue but what they do have is one rich in quality as a new one ‘Dirty Mind’ grinds out. Smolian looks like the love child of Slash and Glenn Hughes, his stunning head of hair must be due a hair care advert. There is a Black Crows vibe to the band as no doubt a few of the doubters will be saying, how-ever there is a tightness between the band members that the Crows don’t seem to possess. ‘The Wire’ continues with the dirty sleaze as LaBelle struts his stuff. The beats flying from the back of the stage a pulsing waves of thundering concussion, as Bean is all ‘Animal’ smacking the bejesus out of his kit. Yes, we know your there Jayden.

‘Don’t Put Out the Fire’ is one we’re told is relatively new to the set. Notto down strokes the LP in his hands as LaBelle growls his smoky voice into the mic. The double stops on guitar sound out as Smolians bass rumbles along locked into the kick drum.

This laid-back number has Notto join LaBelle on the chorus. It’s another foot stomper of a tune, enjoyed by the crowd who are clapping along. The single ‘Another Last Time’ from 2021 follows on. The guitar has a richness to it that drips honey, LaBelle’s voice has obviously been in the same honey point as it oozes warmth and depth despite the crowd around me singing along. This one has a Faces feel to it, you could be forgiven thinking it’s a young Rod Stewart on vocals. I’m liking this one as it plays out in a very mature manner.

A belting piece of work. ‘Won’t Take Me alive’ the single from their sophomore album follows on. The album is due out on the 7th of July so just a few days away. It’s a full-on balls out rocking number, LaBelle’s voice is on fire now it’s had a good warm up, centre stage he’s wrapped around his mic stand as he belts this one out. Its robust little number that again has the heads nodding, Notto’ soon has his LP screaming as he rips out the solo as the crowd join in with the over-head clapping. The dead stop has the crowd cheering for more.

We get what we want, The E.P. is revisited for the last to songs of the set. Up first is the banger, ‘When I’m Gone’ with its stunning breakdown leading us into the final song of the set, one of which no Dirty Honey show is complete with-out, and that’s the brilliant ‘Rolling 7’s’. We’re invited to sing along for this one. The band are spread across the width of the stage as this one plays out. The chorus has Notto join LaBelle on the vocals before he thrust’s his LP into his groin as he riffs out.

LaBelle has gone walk about as he laments to the crowd. Notto has his L.P. behind his head as he again shows the crowd what a great band this is, it’s a great set closer and one that kills it in a small intimate venue. The crowd clap and cheer as LaBelle says he “feels a little love” it’s a superb last note from this dynamic singer. A stunning band and my stand out set of the day besides the mighty ‘Guns’.

Dirty Honey are supporting the mighty Guns n Roses on their U.S. tour before embarking on a three-month headline tour of their own. They are a band to see in a small venue, catch them when you can its money and time well spent.

And now starts the march back to the press tent. Guns and Roses aren’t on for at least another 20minutes so were corralled back into the press tent where we’re given strict instructions that if we want to watch Guns n Rose’s we have to leave our camera bags there. We will not be allowed into the crowd with them. I lock mine to a table to prevent it going walk about.

I don’t want to come back to find it’s gone walk about; I’m not saying it would but you can’t be too careful. I grab a couple of Coke Zero’s from the fridge and head off to join the thousands in the arena. Luckily my media pass gives me access to the ‘Gold’ area at the front.

Standing between the two huge delay speakers gives you a great view of the colossal stage. It’s covered in screens which are animating their way through the programmed sequence leading up to ‘GUNS n ROSES’ arrival on stage. The whole stage gives the impression of being alive as various images and the bands logo appear and morphs on the screen, it is one huge display screen with high quality animations by way of an intro to the band hitting the stage.

As they do so, they appear tiny, its now obvious just how big the set is. Kicking off with the dirty riff of ‘It’s so Easy’ from ‘Appetite for Destruction’ has Axel nailing the vocal, it’s very high in the mix and from the off has no obvious signs of a problem voice, the obvious elephant in the room. Racing about the stage he makes way for Slash to nail the solo then we’re straight into ‘Bad Obsession’ from ‘Use your Illusion’. The crowed are on fire, in front of me is a sea of bouncing heads and raised fists as the sleazy slide guitar rips this great tune from 1991.

The cowbell is on point as Axel paces the stage belting out the words. The hanging speakers on either stage side are moving with the wind giving a surge to the sound as they swing back and forth. The animations are great as they dominate the main stage screen, either side cuts from shots of Axel to Slash, Fortus and Duff. Its good they’re there as from my vantage point, although great for the audio, it is too far away for a good view of the ants on the stage, it is an impressively oversized monolith.

‘Chinese Democracy’ is up third, this being the title track from the 2008, and latest album, and one of the few more recent numbers in the 20+strong set. The album took 14yrs to write and featured several players, including Bumblefoot and Buckethead, from various line ups, Slash didn’t re-join the band until 2016 after leaving in 1996 to follow a career that has seen him play with Myles Kennedy, Velvet Revolver and Slash’s Snakepit to name a few.

And as a nod to the great man himself we get ‘Slither’ from his Velvet Revolver days. A crowd favourite full of dirty beats and a hard-hitting melody. Axel’s voice is keeping pace as he runs from side to side. Ok some of the higher register bits are a bit on the thin side but taking his wild life into consideration along with his age and his racing about, he’s killing it. At least he’s trying to get there and doesn’t have someone else’s voice covering for him.

His voice is forgotten about for ‘Mr Brownstone’ as the crowd take over the singing duties to this 1987 classic. He still manages to strut around the stage while the band rock out. This is followed with the guitar riff that belongs to Link Wray’s ‘Rumble’. Slash is stood stage centre as he down strokes this little ditty before he drops in the phenomenal opening riff to ‘Welcome to the Jungle’ after a bit of teasing. This has the crowd on its feet, bouncing along with the beat as Axel comes back onto the stage. He seems slightly breathy as he crosses and leans into Fortus before asking London to scream as Slash gives his fingers a quick work out during the song’s breakdown.

‘Reckless Life’ from the ’88 sophomore album see’s Axel stumble as he backs in to the drum riser and nearly puts him on his backside, he never misses a word though as he grins at his clumsiness. He comments about hoping that it’s the only stumble of the night. ‘Double Talkin’ Jive’ takes over with Slash wandering the stage riffing out to this one from 1991’s ‘Use your Illusion I’ as a bit of trivia the opening line refers to a bodyless head found in a bin next to the studio, allegedly belonging to a Porn actor. Fortus with his black Gretsch opens the riffage to ‘Pretty Tied up’ from ‘Use Your Illusion II’ again from 1991. These last couple of songs have a different feel to them as they had gotten rid of Steve Adler from the drum throne for his addiction to heroin, his groove was a big part of the early ‘Guns’ sound.

‘Hard Skool’ and ‘Absurd’ which is dedicated to things you might read, and gets a huge cheer from the crowd, follows on, these were two songs used on the E.P. along with ‘You’re Crazy’ and ‘Don’t Cry’, both being live versions. This was the first recording made featuring the newly re-joined Slash in 2016. ‘Estranged’ from 1991 follows before we get the second cover of the night, ‘Live and Let Die’ by ‘Wings’ from ‘Use Your Illusion I’.

Queue the crowd to sing along as the mushrooms float about on the screens. Axel pulls that huge note out of the bag pre breakdown as Fortus and Slash riff out. The crowd join back in with the singing as the song continues to build, arms waving and fingers pointing as they do so. With a screen of orange and a close up of Slash’s fingers the song ends to huge applause.

They quickly followed up with ‘Rocket Queen’ from ‘87’s Appetite. Dizzy Reed gets a listen to on keys before Richard Fortus cuts loose showing that he’s more than just a rhythm guitarist to Slash’s lead. In fact, Slash has left the stage momentarily. Up on the riser stands Duff, his bass is locked into Ferrer’s kick drum as Slash reappears and gives it large through the ‘Frampton’ voice box over on stage left, his face appearing on the back screen as he plays along, the mirrored glasses reflect the grey sky beneath his now, infamous top hat.

Axel appears in time to bring the song to a timely end. A crashing car on the animation heralds the third cover of the night, this one being ‘Down on The Farm’ by the UK Subs. Its punky delivery by Rose buts a quirky edge to this one, the Firebird guitar in Slash’s hands completements the feel to this old banger which finishes with the big heart on the animation screen. The jungle drum beat continues as Slash is digging in with the start to ‘You Could Be Mine’ from 1991. Axel’s voice is standing up surprisingly well as he belts this one out. Once again, the crowd join in when they can. There is no denying that Axel is still one hell of a front man as he lets Duff McKagan take over lead vocals for the Stooges cover, ‘T.V. Eye’.

A tattered Ukrainian flag flies across the centre screen as Slash walks on with a twin neck guitar. ‘Civil War’ is greeted with respect from the subdued crowd as Axel softly sings the open lines to this 1991 belter. In front of me there’s guys linked together dancing to this lamentable ballad, obviously having paid a few visits to the bar. Axel whistles as the flag flies once again on the back screen signalling Slash to drop in Hendrix’s Voodoo Child before going into a solo of outstanding guitar showmanship. Say what you like about the boy from Stoke, he’s still got the chops as he hammers out scorching lick after lick to delight the bedroom guitar noodlers in the crowd.

As skulls float sky-wards on the screens, we get that sing along classic from Appetite, ‘Sweet Child of Mine’ with its haunting guitar. The crowd is a sea of phones as they record this seminal number to play to their kids. The guitar breakdown has several air guitarists thrash the moves out around me, brilliant. “Where do we go” sings Axel as the song builds to its triumphant finish. Axel now, quickly takes to the piano for ‘November Rain’ an animation of rain is falling on the main screen. Melissa Reese on synth is adding the orchestral parts to give the song that big sound as well as providing the BV’s. Slash’s solo is subtle as sparks cascade over the centre screen, it’s locked into his thigh as he makes it cry out, as both he and Axel bring the song to a climax, much to the crowd’s delight.

Walking on in a white leather biker jacket Axel whistles his way across the stage, the song is obviously ‘Patience’ from ‘GnR Lies’ he drops his mic away as the crowd are singing along with him. The signing from side stage has shown up on the screens, a great thing that BST have done to include those hard of hearing, they have done a great job all day, the screen has gone to a seated Slash playing the acoustic guitar, Fortus is sat next to him as they riff the song along, harmonising as Axel patrols the front of the stage singing “just a little patience”. With a drawn out warbled “yeah” the song finishes to yet more screams from the partisan crowd.

Tom Toms slam out as the guitar riffs build into ‘Coma’ from 1991. The riffs continue over the machine that goes Ping as Axel tells us “The world is full of shit”. This is probably the weakest song in the set for me although it goes down well with the collective. The “ooohs” start as the final cover of the night plays out, the seminal Bob Dylan anthem ‘Knockin’ on Heaven’s Door’ is sung by the crowd. Again, Slash kills the guitar parts played on the twin neck SG. All around the hands are up with phone torches lit up as this one plays out. Axel is now resplendent in a dark glitter jacket and what looks like the Harry Potter talking sorting hat at first glance. Richard Fortus plays the solo on a beat-up LP before Axel leads the crowd in a sing and recall in this extended version of Dylan’s classic.

The night finishes off with a return to ‘Appetite for Destruction’ an album that is filled with absolute knockout tracks, a breakthrough album but also an iconic one that needs to be in everyone’s collection. I’m pleased to say I bought it when it was originally released with the banned cover. As the trains horn blasts out the band rock into ‘Nightrain’, this has the crowd bouncing again as the energy increases once more. Axel’s voice is standing up to it well as Fortus shares the lead guitar duties once again. ‘Don’t Cry’ brings the energy down as Axel controls the tempo, as crowd sing-a-long. He paces the stage whilst singing this ballad from ‘Use Your Illusion I’.

There is, sadly, only one song left to play it can only be the mighty anthem that is ‘Paradise City’. At which point the screen explodes and Slash, displayed on both side screens belts out that well known riff. As Axel comfortably sings the open lines the crowd clap and sing along. All I can see in front of me is a sea of mobile phone screens, obviously capturing this moment.

The bouncing crowd continue to sing through-out. The guitar breakdown has a renewed energy as the crowd get a second wind as they start wildly jumping up and down as the guitars scream forth from the stage. Axel is postulating in the back, his foot stomping along before he joins back in with the crowd singing the last words to the last song before, standing front and centre, he screams, with his arms stretched out, “Hyde Park, LONDON U.K. Good F*&kin’ Night”. The crowd take this as a cue to return the screams as a sign of cheers for a great show and a greater night.

What did I think?…… WOW! Pure and simple!

I last saw GnR on the Appetite tour back in 1987, it was a shambles, the band were full of whatever chemicals and pharmaceuticals that they could get their hands on, and as a result they couldn’t perform, it was an embarrassment, and I lost interest in them as a live band ever since. Now, some 36yrs later I’ve just seen them for only my second time, and what a difference those years have made. Like every good rock band, they have lived a life of excess and come out the other-side all the better for it.

People will always call the vocals of bands that have been around for years, they called Coverdale, they slated Elton, but while they’re slating these icons, they fail to point out the lives they’ve led and the heady ages that they are now reaching, and they years of pleasure that they have already provided. I’m sure half of these naysayers couldn’t get out of bed in the morning if they’d lived the same sort of lives.

Forget the pathetic BBC coverage of ‘Guns N Roses’ at Glastonbury, tonight, Axel, Slash and the boys and girls who shared the BST Hyde Park Great Oak stage have delivered a stunning set of classic Guns n Roses, of that there is no doubt, and in doing so have cemented their place as one of the top live bands on the circuit, the whole of Hyde Park would agree to that.

As a footnote, I failed to get to see any of the bands on the Birdcage stage. ‘The Foxies’, ‘Bad Nerves’ and ‘Grade 2’ for that guys I’m sorry. I wish you all well, and like James and the Cold Gun, come back next year to grace the Rainbow stage.

Guns N’ Roses At BST Hyde Park 2023: Rock On A Scale Only Legends Could Achieve

Review of Guns N’ Roses at BST Hyde Park on 20th June 2023 by Lilen Pautasso. Photography of Guns N’ Roses by Guilherme Nunes Cunha Neto. Other BST photography by Kalpesh Patel

It’s the middle of summer in London but today the skies are quite characteristically moody. British Summer Time, now in its 10th year, seems to grow in size and caliber every year, with swathes of notable artists taking turns to headline. Friday night was all about Guns N’ Roses, a real coup for those that missed their bombastic and widely acclaimed performance at Glastonbury just a week before.

What’s enjoyable about a festival of this scale is to simply observe the types of revellers the main acts attract. With a classic rock lineup there’s the standard black T-shirts, leather jackets, bandanas, and a few Slash hat/sunnies/wig combos, but what’s also evident is the generational variety – from the very young, the long-timers, the families, and friends some of whom share how Guns N’ Roses has been a part of their lives since they can remember – “my parents would sing Patience when I was a baby, and I walked down the aisle to a rendition of November Rain” said one.

Preceded by their loyal touring companions The Pretenders – rock legends in their own right – it was a joy to see frontwoman Chrissie Hynde and her band back touring. Together they played an engaging set, blending hits with back-catalog tracks, looking classically cool while doing so. With the wind picking up on stage (would it be a rock show without a wind machine?) the group moved quickly through their set ticking off Talk Of The Town, Hymn To Her, Tattooed Love Boys and the classic I’ll Stand By You – “I promised Axel I’d do this one”, Hynde proclaimed. It was a smooth and easy exercise, and perhaps not before the type of crowd they had a week earlier, but an excellent opener no less.

Seven o’clock and the anticipation was palpable, the gaps between bodies promptly filling up.

Rock ‘n’ roll imagery beamed onto giant screens, skull caricatures with snakes moving slowly from one eye-socket to the next, before it transformed into a chaotic and dizzying spiral through buildings, waterfalls, mouths, forests filled with dinosaurs – a cacophony of nonsensical visuals all culminating in a nuclear explosion as the band runs on stage and soars into It’s So Easy. It’s the euphoric entry one might expect, and be disappointed to miss.

All the long-standing members are all there – Axel Rose with a bandana by his waist, Slash with his hat and blue aviators, and Duff McKagan donning his patched leather vest. Alongside them are Dizzy Reed, Richard Fortus, Frank Ferrer and Melissa Reese, all of which are more than capable of keeping pace – a pace so fast Axel himself fell over during the second song – “I don’t wanna jinx it, but hopefully I got all that slipping and sliding out of the way”, he joked.

There’s a surprise performance of Slither (a song by Velvet Revolver, a band born out of the GNR ashes), before a non-stop journey through Mr. Brownstone, Welcome To The Jungle and Pretty Tied Up. Civil War became an ode to Ukraine, TV Eye (with Duff on vocals) a tribute to The Stooges. And then there’s Live And Let Die (possibly their best cover) performed on its 50th anniversary.

Axel’s energy is as inspiring as it is exhausting – his signature sways giving us a renewed taste of the 80s. And there’s a moment for Slash, too, his solos are long and masterful, his facial expressions traditionally unreadable. And all of this is just two hours in. There’s a whole hour to go.

While it feels impossible that the show could dial up further, it effortlessly does. Sweet Child O’ Mine and November Rain both gleeful performances, fans singing in tandem and (somewhat annoyingly) recording the moment on their phones. Patience, Knockin’ On Heaven’s Door and Nightrain proved that there were still many bangers to come.

So as the stage went black and a voice proclaimed they’d be ditching the traditional “we’re not coming back… or are we?” encore it was a strong queue that this gargantuan 25-song, three-hour show was nearing an end. And what an end it was. Don’t Cry and Paradise City closed off the evening in emphatic style as Axel, wearing a union jack top hat, exercised some British politeness to thank the 60,000 people before him and asking them to “please get home safely”. Rock and roll can be sensitive, too!

Guns N’ Roses prove their mettle with three-hour Hyde Park concert — review

The band brought a manic energy to old favourites and avoided the technical woes of their Glastonbury set

By Áine Kim Kennedy

“You’re in the jungle, baby!” shrilled Axl Rose, Joker-red locks fluttering in the London wind and drizzle, “You’re gonna die!” Much of the crowd in Hyde Park were, in fact, shuffling off to the toilets, a regular sight over the next three hours. In a far cry from their heyday, Guns N’ Roses had turned up 10 minutes early, a mark of newfound professionalism since their 2016 reunion.

Dwarfed by screens magnifying every detail — HD shots of Slash’s nose hair as well as his shredding — the “most dangerous band in the world” took a stand against the dying of the light and won, avoiding the technical woes of their recent Glastonbury set. Their continued ability and the immense effort behind it were equally evident as they strained to recreate the devil-may-care sound of their 1987 breakout album Appetite for Destruction. “I think I have a couple more ya-ya’s in me if I dig a little deeper,” mused Rose, perhaps more to himself than to his audience.

With the exception of aptly named 2021 single “Absurd” — a well-earned chance to scream obscenities at the golden circle enclosure — the band chugged through crowd-pleasers with puppyish enthusiasm. Two songs in, Rose tumbled over a speaker, gamely popping up again without losing his place in “Bad Obsession”. Bobbing away behind him, bassist Duff McKagan and keyboard player Dizzy Reed of the “classic” line-up seemed equally chuffed to be back; Slash, sphinxlike under top hat and shades, was joined by drummer Frank Ferrer and recent addition Melissa Reese. The band brought a manic energy to favourites such as “Live and Let Die” and “Welcome to the Jungle”, Rose’s arteries a-bulge as he squeezed out the high notes.

Despite their status as karaoke favourites — “Sweet Child O’ Mine” alone has more than 1.5bn streams on Spotify — the band couldn’t resist a political statement, turning power ballad “Civil War” into a Ukraine solidarity anthem. “Look at the blood we’re spilling, look at the world we’re killing,” thundered Rose as Slash buried himself in his guitar. The nauseating CGI swoop-throughs of a bombed-out city onscreen were a reminder that subtlety and gravitas have never been Guns N’ Roses’ strong suit. Barely had the yellow and blue faded away when Slash was segueing into “Voodoo Child (Slight Return)”. The 10-minute solo that followed was accompanied by the squeak of expensive activewear as people made for the Aperol stand.

With the sun setting, the crowd warmed to a barrage of classics, Rose flexing his strangled-Elmo vocals in singalongs to “November Rain” and “Knockin’ on Heaven’s Door”. The galumphing cowbell and choo-choo sound effects in “Nightrain” roused both parents and children sitting atop Barbour-jacketed shoulders. Sprawled against the barrier, characters straight out of Hogarth’s “Beer Street” — tinny in one hand, ciggy in the other — swayed misty-eyed to “Don’t Cry”.

Rose’s tongue-in-cheek sign-off, “We’re Lloyd's of London”, was the only reference to the hell-raising past; the insurance underwriters sued them in 1992 after the band sparked a riot in Missouri and claimed compensation for gigs cancelled as a result. It seems the man who described himself as “a screaming two-year-old” has finally grown up.

4/5 stars

BST Hyde Park, London
Guns N’ Roses | Pretenders | The Darkness
30th June 2023

By Nils van der Linden

Guns N’ Roses perform for three nonstop hours at BST Hyde Park, resurrecting their platinum-plated classics, a couple of obscurities, and some choice covers with just the right amount of muscle, sweat, and grit.

In the 1800s, top hats would have been a common sight in Hyde Park. Nowadays, not so much. Unless, of course, Guns N’ Roses are headlining British Summer Time. Like wayward lipstick and backcombing at a Cure gig or feather boas at a Harry Styles show, Slash’s headgear of choice is being worn by fans all over the park today.

That includes fans like Ethan, standing at the rail during The Darkness‘ big-hearted Great Oak Stage performance. He’s holding up a sign asking for a guitar pick. “Fuck off!” responds frontman Justin Hawkins with mock-indignation. “Go buy your own. They’re 75p,” he adds, clearly joking. Later the loquacious singer/guitarist apologises and throws a plectrum his way. And so begins a beautiful (if short-lived) relationship. It culminates in Hawkins passing Ethan a microphone so that he can sing the high-pitched “fucker” at the end of a full-throated Get Your Hands Off My Woman. With the rest of the audience lending moral support, and the amateur singer growing in confidence with each successive attempt, the moment perfectly sums up The Darkness experience today: inclusive, entertaining, slightly unpredictable, and a little tongue in cheek.

So we get Hawkins teasingly berating the audience for not knowing the correct title of “the Christmas song” they’re shouting to hear (for the record, it’s called Christmas Time (Don’t Let The Bells End)); insisting everyone start bouncing before the band play their biggest hit (“Those are the rules”); being a half-hearted cheerleader (“Give me a ‘d’. Give me an ‘arkness'”); and, most importantly, leading the band through one all-out performance after another.

Motorheart surges like a long-lost Motörhead classic, Solid Gold sounds like it should have been a feel good hit of the summer, a stonking Japanese Prisoner Of Love packs everything from operatic vocals to metal guitars into five minutes, and power ballad Heart Explodes really shows off the oomph of Rufus Taylor’s drumming. But it’s still the moments from the debut album that connect most with an audience primarily here to see Guns N’ Roses.

Songs like balls-out set opener Growing On Me, the runaway Get Your Hands Off My Woman, lighter anthem on steroids Love Is Only A Feeling, and beautifully bombastic finale I Believe In A Thing Called Love are all still ridiculously catchy, despite being 20 years old. They’re the perfect antidote to the inclement weather when paired with the classic rock show staples of fire balls, sparklers, and smoke, plus Hawkins’ repertoire of jumps, high leg kicks, guitar hero poses, and that inimitable falsetto.

The Pretenders, up next on the British Summer Time main stage are somewhat less flamboyant. Theirs is a no-nonsense, uptempo set that’s all about playing with passion, intensity, and swagger. Chrissie Hynde and her three band mates kick off with a couple of newer songs: the not-yet-released Losing My Sense Of Taste from upcoming album Relentless is both edgy and catchy; the thrashy strut of Turf Accountant Daddy is a compelling reminder to the audience to revisit 2020’s Hate For Sale. What follows is a run through the past that sounds vital rather than nostalgic. Dedicated to “Pete and Jimmy, without whom we wouldn’t be here”, the debut album’s Kid still jangles vigorously; an especially thumping Time The Avenger has totally withstood the passage thereof; Middle Of The Road is simply unstoppable, with that big drum intro, those extended “woooh”s, James Walbourne’s guitar heroics, Hynde’s enthusiastic vocal, and her harmonica solo.

A moving Hymn To Her changes the mood and pace, touchingly dedicated (and sung) to Hynde’s childhood friend who wrote it and passed away last year. The almost a capella arrangement, with Hynde’s voice paired with little more than some guitar textures, only adds to the poignancy already in the lyric “She will always carry on”. It’s a true standout of the day. A jaunty Back On The Chain Gang restores the uptempo festival vibe; rockabilly rambler Thumbelina shows off Walbourne again and The Pretenders’ rhythm section — lesser musicians would have made this sound like bad barroom blues; pounding current single Let the Sun Come In doubles as a plea to the weather; stomping Junkie Walk pairs a scuzzy guitar riff with a lot of attitude from Hynde; and a nimble, seemingly effortless Don’t Get Me Wrong gets the perfect succinct intro: “Wanna dance?”

A return to the debut album follows with the swaying Cuban Slide; still-snarling Tattooed Love Boys; and big (LP and show) closer Mystery Achievement, with a brief detour for I’ll Stand By You, introduced by Hynde with an almost begrudging “We have to do this song now.” But, even if the anthem’s become a bit of a drag for her, Hynde still sings the hell out of it. At first accompanied by just guitar and bass before building to that big end, today in Hyde Park she gets right to the heart of the song that was inescapable back in 1994 and is smiling by its end. Hynde’s clearly enjoyed the set as much as the audience, judging by her stellar performance and playful conversation, from cheekily dedicating songs to Axl and Slash because “they’re listening backstage” (they’re not and everyone knows it) to describing Guns N’ Roses as every 50-year-old’s favourite band. (For the record, I’m 47.)

Hynde’s quip may not be entirely accurate; there are plenty of teenagers, born after the release of Guns N’ Roses‘ most recent album, wandering around Hyde Park in top hats and bandanas and G N’ R T-shirts. But she’s right about the passage of time. And so, with the passing years, the band who once claimed to be the most dangerous in the world have become something perhaps even more shocking: slick and professional. Since Axl Rose’s reunion with Slash and Duff McKagan, unpredictability has been replaced with efficiency, tardiness with reliability. Even the set list’s been meticulously drawn up: there’s one song for the guitarist, one for the bassist, one from Velvet Revolver, and one from Axl’s Chinese Democracy; all the massive hits are present and accounted for, carefully spread out between the two singles from 2021 and lesser known album tracks for the die-hard fans (all 10 minutes of Coma, anyone?); oh, and it’s three hours long, with no break for an encore.

What remains unchanged, though, is even more important: those platinum-plated songs masterfully resurrected with just the right amount of muscle, sweat, and grit. A trashy, punky It’s So Easy — all pummeling bass, Frank Ferrer’s booming drums, and that sleazy vocal — is the perfect kickoff to a set stuffed with highlights. Bad Obsession, a Stonesy honky tonk that’s certainly not the peak of Use Your Illusion I, sounds tighter (and frankly way better) than it did in 1991. The indomitable Mr. Brownstone remains the catchiest song yet about heroin. Welcome To The Jungle, the night’s first massive singalong, sounds as shamelessly cool today as it did to the 12-year-old who first heard it 35 years ago. Estranged — complete with whispered vocal intro, that elegant guitar riff, and epic solos from both Slash and keyboard player Dizzy Reed — seems to be a favourite of Rose’s too, if his smile and movements in time to the music are anything to go by.

A widescreen Live And Let Die remains the best of their cover versions (yes, better than Knockin’ On Heaven’s Door), although tonight’s barreling take on U.K. Subs’ Down On The Farm (thankfully free of the cockney accent employed on The Spaghetti Incident?) and blistering rendition of The Stooges’ T.V. Eye (with the eternally cool McKagan on lead vocals) are both surprising successes.

But it’s hard to beat the run of a visceral Civil War, brought bang up to date with depictions of the Ukraine invasion on the massive video screens and Rose in a camo jacket; faithfully recreated Sweet Child O’ Mine, which immediately gets voices and mobiles raised; magnificent November Rain (the frontman channels Elton John seated at a grand piano in a shiny leopard print jacket while Slash solos on a raised walkway instead of a mountain top); and the (mostly) unplugged, uncluttered ballad Patience. The night’s final three songs come close though: the rocket-fuelled Nightrain gives way to Guns N’ Roses’ second biggest power ballad, Don’t Cry (so good they recorded it twice), before Paradise City threatens to blow off Slash’s top hat and tear out Hyde Park’s trees.

All of this is delivered against the backdrop of intermittent drizzle and very expensive-looking animations — of a runaway petrol tanker, spinning jukebox and tumblin’ dice, underwater scenery, operating room, roller coaster, roses, pop-art racing cars and cows, balls bouncing down a street, and lots and lots of skulls — by a singer who seemingly just can’t stand still. Those high-speed twirls with the microphone stand behind his head may be in his past, but the 61-year-old Rose is still in perpetual motion. When he slips while walking backwards at speed, he bounces right back and, moments later, does the move again. As the song ends, he laughs off the fall with the good humour he shows throughout tonight’s performance: “I don’t want to jinx it, but I hope I got all that slip sliding out of the way.” He dedicates Absurd to “the things you might have read” (about Glastonbury maybe?). He sarcastically describes the stalkery You Could Be Mine as a song “about friendship, togetherness, and love — because I’m just that kind of guy”. Mock-forgetting Slash during the band introductions is paired with a knowing “You’ve seen me do this before, right?”. And after the trademarked vocal stylings at the end of Patience, he winkingly suggests: “I could have gotten a few more ‘yeah-yeah-yeahs’ in there if I’d just tried a little harder, dug a little deeper.”

But perhaps the single line that best sums up Guns N’ Roses’ sweeping British Summer Time show is Rose’s thrown away “I’m having a bloody good time.” In Hyde Park tonight, he’s clearly not alone.

Mick Jagger’s 6-Year-Old Son Dancing at Guns N’ Roses Show Will Make Your Day

By Lauryn Schaffner

One of the best parts about rock 'n' roll is that it transcends generations. Mick Jagger's 6-year-old son is apparently a fan of Guns N' Roses, and a video of him dancing during the band's June 30 show at London's Hyde Park will make your day.

The video clip was posted on the Guns N' Roses Reddit thread, and according to one of the users, it was originally shared by Sasha Volkova, who's been a friend of Axl Rose for a few years. She was supposedly in the VIP section during the band's concert with Jagger's fiancé Melanie Hamrick, the mother of Jagger's son in the video, whose name is Deveraux "Dev" Octavian Basil Jagger. The youngster was born in December of 2016, and is the 79-year-old Rolling Stones' frontman's youngest of his eight children [via National Today].

During the clip, little Dev Jagger shows off some killer dance moves in the VIP section as Guns played the Use Your Illusion II clip "Pretty Tied Up." "Mick Jagger's youngest son is a superstar and got daddy's moves," the caption in the video reads.

"Mick Jagger is 80 and has a 6-year-old son who’s inheriting his moves and dancing to 'Pretty Tied Up' at a GN’R show. That’s the world of rock n roll," one user commented on the video.

"Truth. Kids take to [Guns N' Roses] pretty easily. I've heard so many people say they started loving the band when they were small children, or that their own children love gnr. They're surprisingly kid-friendly for a band with such mature subject matter," another person added.

Guns N' Roses have a longstanding history with The Rolling Stones, who were a major influence on their sound and career, so it's nice to see that the connection will be carried on for generations to come. Volkova's personal Instagram is private, so check the clip out for yourself here.

Gig review: GUNS N’ ROSES – British Summer Time, Hyde Park, 30 June 2023

Review by Andy Nathan

The self proclaimed most dangerous band in the world are now comfortable enough elder statesmen to play the most mainstream of festivals, that back in the day they would either never have played, or the organisers probably wouldn’t have had them.

Just days after playing before 200,000 at Glastonbury (and many million more keyboard warriors watching the BBC broadcast) they played this headline show at the prestigious BST Hyde Park, the London location making it by reputation the most corporate date in the festival calendar. However the professional organisation must have been a relief to band and fans alike after the ill fated shows at Tottenham Hotspur Stadium last summer.

There is a second stage in the corner of the arena which boasted some bands I’d have liked to have seen in The Dust Coda and Dirty Honey, but it’s logistically difficult to flit between stages in time, so I had to content myself with a varied four band bill on the main (Great Oak) stage. The three support acts had no stage set of their own other than a band logo and with our hot summer momentarily deserting us for a cloudy and windy day, the stage made for rather monochrome viewing and they struggled to engage a G’ n’R supporting crowd.

First up was a long overdue first chance for me to catch Larkin Poe, the Nashville band raved about in many circles, expanded to a four piece, at least as a live act. There was a great musical chemistry between the two Lovell sisters, lead singer and rhythm guitarist Rebecca complemented by elder sister Megan with some superb slide playing on a guitar wielded at ninety degrees from her body, lap steel style. ‘Strike Gold’ and ‘Kick the Blues’ were extremely eye catching openers while ‘Summertime Sunset’ boasted a riff with an Aerosmith style groove.

After the sisters paid tribute to the blues, ‘Preaching Blues’ was an old Son House number which I recognised as the song The Answer have played for many years, ‘Bad Spell’ featured a jam between the sisters, then ‘Wanted Woman’ reminded me in part of Spencer Davis/Chicago’s ‘I’m A Man’, before a 40 minute set closed with The Black Keys-like boogie stomp of ‘Bolt Cutters and the Family Tree’, featuring the ‘fight out of me’ chorus line. In their adaptation of traditional southern music for a rock audience, I could see similarities with fellow Nashvillians the Cadillac Three in some respects, though a good set lacked the variety in the songwriting to make it a great one for me.

The Darkness opened with ‘Growing On Me’, with Justin Hawkins’ falsetto in fine fettle, but surprisingly for a festival set most of the early songs were more recent favourites including ‘Motor Heart’ and ‘Heart Explodes’ and the best of them all in ‘Solid Gold’, sadly undermined by a poor, wind-affected sound for much of the set.

The fact Justin mentioned they were playing a 20th anniversary tour of ‘Permission to Land’ in December may partly explain their reluctance to play too much off it, with the exception of ‘Love Is Only A Feeling’, featuring a sweet solo from brother Dan. ‘Japanese Prisoner of Love’ was more enjoyable than expected and after an introduction in French from the ever eccentric Justin, belatedly the set warmed up with ‘Get Your Hands Off My Woman’. He had been engaged in a running gag with a top hatted G’n'R fan at the front called Ethan asking for plectrums, and now the falsetto call and response between the two was highly entertaining.

What was not a natural Darkness crowd were now entering into the spirit of things even persuading the band, Slade at Reading-like, to play ‘Xmas Time (Don’t Let The Bells End)’. After a brief snatch of it Justin implored people to bounce to ‘I Believe In A Thing Called Love’ even before the song started and quite a few were doing so, amidst a greater number tediously filming on their camera phones. It had been a mixed set but ultimately a triumphant Hyde Park debut for the band.

The main support band were The Pretenders, given a significantly longer slot than the first two bands. They are a band I had never seen before, hard to pigeonhole and probably not a natural fit for a G’n'R audience. Yet few could accuse them of not rocking hard enough, notably guitarist James Walbourne, with a sharp and aggressive and direct sound, even if solos were kept short. Chrissie Hynde, one of the few rock stars genuinely deserving of the overused term icon, has hardly changed in vocal delivery and looks over the past 45 years and was a vibrant presence.

There was quite a lot of unfamiliar material to me – and presumably to most of a festival crowd – especially early on but a generous selection too of classic hits: ‘Kid’, dedicated to the memory of founder members James Honeyman- Scott and Pete Farndon, ‘Talk Of The Town’ and ‘Middle Of The Road’ ending with some feisty harmonica playing from Chrissie, before she dedicated ‘Hymn to Her’ to a recently passed friend.

‘Back On The Chain Gang’ was another highlight, then a fifties style rock n roller in ‘Thumbelina’ and an unfamiliar song in ‘Let The Sun Come In’ were unexpectedly lively. During the jangly ‘Don’t Get Me Wrong’, there were pockets of people around me dancing along, while ‘I’ll Stand By You’, the one song where Chrissie unstrapped her guitar to focus just on singing, is an overlooked power ballad. ‘Mystery Achievement’ was a good song with a jam in that choppy, funky post-punk style, seemingly setting us up for the inevitable climax of ‘Brass In Pocket’ but no it was the last song – a black mark on an otherwise excellent set which was something of a revelation for me, making me wonder why they have only vaguely been on my radar all those years.

Their days of poor timekeeping long gone, Guns n’ Roses came on promptly at 7.20 pm, looking from a distance rather small under their elaborate stage backdrops and lights. A throbbing bass intro from the ever cool Duff McKagan heralded ‘It’s So Easy’, Axl Rose singing in a low growl as he did for many of the opening numbers, and holding the mike out for us to shout a lusty ‘f– off’.

‘Bad Obsession’ followed with a Stonesy raunch driven by Slash’s slide, though the gig nearly came to a premature end as Axl stumbled and fell, but fortunately all was well and indeed his energy throughout was impressive as he rushed from one side of the stage to the other. The title track from ‘Chinese Democracy’ was decent with solos from both Slash and Richard Fortus, though the fact it was the only number from that album may mean Axl has belatedly realised it’s not one fans want to hear, yet in contrast Velvet Revolver’s ‘Slither’ nestles very comfortably in the set.

During ‘Mr Brownstone’ I was wondering how Axl’s voice would measure up but didn’t really get to hear, so loud was the singalong around me, then after an extended intro the first of their undoubted classics in ‘Welcome To The Jungle’ unsurprisingly got the best reaction yet with a few outbreaks of pogoing around me. To Axl’s credit he didn’t back out of a fast and furious ‘Reckless Life’ from the early ‘Live Like A Suicide’, going for it, while ‘Double Talking Jive’ took on a fresh dimension mid-song with a solo from Slash that to me had a positively Richie Blackmore spirit to its fluency, before going back to basics with the enjoyable old school sleaze of ‘Pretty Tied Up’.

‘Hard Skool’ was a song I wasn’t familiar with, enlivened by a solo from Slash with an amazing flurry of notes and Axl deploying the falsetto that was to prove his other default vocal setting, now that his menacing banshee howl seems to have deserted him. His sharp tongue against his detractors is still very much alive though judging from the diatribe of ‘Absurd’.

In the recent Classic Rock rundown of their best 50 songs, ‘Estranged’ revealed itself as the connoisseurs choice other than the usual suspects, so it was great to hear this epic semi ballad with its changes of tempo and a piano solo from Dizzy Reed. With Axl mentioning it was 50 years since a fellow Brit wrote the song, ‘Live And Let Die’ sparked a mini mosh pit near me then another classic in ‘Rocket Queen’ was, as usual, broken up and extended to 12 minutes with long solos from Richard and Slash, the latter’s almost Frampton like with his use of the talkbox.

As a total contrast, there were a couple of punky covers in a marvellously snotty ‘Down On The Farm’ and, after an enjoyable ‘You Could Be Mine’, with most people singing along, Duff singing a cover of the Stooges ‘TV Eye’. ‘Anything Goes’ was one of the surprises of the night and though Axl was not at his best there was an interesting musical arrangement with Slash again on the talk box and Dizzy boogie-woogie piano.

Gradually the set was focused on the epics, ‘Civil War’ a case in point with Slash playing a 12- string against a backdrop of the yellow and blue Ukraine flag. His own solo slot then culminated in that unmistakable opening solo to ‘Sweet Child O Mine’, though the atmosphere near me wasn’t quite as electric as I’d anticipated for an undoubted classic.

After a break for his piano to be wheeled out, Axl returned in a very natty snakeskin jacket for an epic ‘November Rain’ in which his vocals and Slash’s solos, delivered high on the stage above .Melissa Reece’s keyboards, complemented each other very well. The ability of G n R to switch between different styles in dizzying fashion was epitomised by the way the song glided into ‘Patience’, Axl’s whistling skills intact and Slash and Richard perched at the foot of the drum kit playing acoustic guitars, then another about turn with the lengthy ‘Coma’, boasting a dark and twisted, alternative sounding riff.

While many of the random covers that bedevilled the last show of theirs I saw at Download in 2018 were absent, and the set was a lot leaner, nevertheless there was still time for an extended ‘Knocking On Heaven’s Door’ with solos from both guitarists and a crowd singalong as darkness fell, before Axl introduced one I’d particularly been looking forward to in ‘Nighttrain’ though the atmosphere where I was felt a little flatter.

Time was when any imposed form of timekeeping was anathema to Axl Rose but the new genial, mellower version explained they wouldn’t go off stage as such but play through to ensure they could still play three hours without falling foul of the strict curfew. So we got two virtual encores, first a relatively restrained ‘Don’t Cry’, before a fitting finale in ‘ ‘Paradise City’ with all the hallmarks that made the original band so exciting on display.

I like to think of the Guns’n’Roses story as a trilogy in three acts. One, the rise of these angry, hungry street punks to superstardom and the excesses of fame. Then the wilderness years with the endless wait for a new album, key band members leaving, predictably unpredictable timekeeping and a guitarist wearing a KFC bucket. Finally, this mature phase of a band at peace with themselves and carrying off a tremendous legacy of anthemic, and surprisingly varied, songs. The latter is certainly my favourite of the three and this superb show showed them at their best.