Returning to Sheffield’s iconic venue, The Leadmill, for the fourth time in their career, the Inspiral Carpets brought what can only be described as a sublime resurrection of the early 90s band that we all know and love. Despite the absence of original band members, the new additions of Oscar Boon on bass and Kev Clark on drums run seamlessly with the unmissable sound of the Inspiral Carpets.
The band took the stage at half-nine, opening with their upbeat and lively single ‘Joe’. The immediate energy of the song instantly uplifted the crowd, and it was clear from that moment what type of gig we were in for. As the song climaxed into its fast-paced and dizzying chorus, the first of the rough and ready mosh-pits appeared, allowing for retired moshers to leave their dance moves out on the floor. Straight from the beginning, all members on stage exerted a somewhat divine energy that surged through the venue for the next hour and a half.
Vibrant primary-coloured lights were a huge feature throughout the whole gig and gave the whole venue a unified ambience. During choruses, or at the end of certain songs, the spotlights were shone onto the audience and really joined together both artist and fans in creating a real intimate feel.
Six unbelievable hits in, the Inspirals played one of their most well-known songs, ‘This Is How It Feels’. As soon as the initial keyboard from Clint Boon filled the venue, there was a buzzing sensation of anticipation in the crowd. After a tense first verse there was a release of emotion, passion and joy as fans erupted into a chorus they’d been waiting to hear live for seven years. The reaction to this song in particular made me realise the sheer impact the band has had on their fans, their power to connect people old and young with their music and to make what could be an ordinary gig into something truly spectacular.
I was lucky enough to chat to the band (consisting of Stephen Holt, Clint Boon, Graham Lambert, Oscar Boon, and Kev Clark) before and after the gig, and it’s safe to say that they are maybe the soundest band you could meet. Despite them being such massive legends and even after me confessing how they’d played such a big role in my music taste growing up, they were all so incredibly genuine. Chatting to Oscar Boon, son of the keyboardist Clint Boon, he said how surreal it was to be on tour and playing in front of such crowds after only dropping out of university in Salford to join the band a few months prior. He said it was just so exciting and the premise of the upcoming New Zealand and Australia tour was unbelievable.
Speaking about their performance at Manchester’s Albert Hall, their hometown. Holt said: “You know, people have almost said it was like a bit of a religious experience. It was just so good. It’s the reception of the fans that just really make it”.
We also spoke about the unfortunate passing of the drumming legend, Craig Gill and the meaning to do a new tour, Holt spoke on behalf of himself and the other original members, Clint Boon and Graham Lambert when he said: “It just felt the right time to do a bit of a celebration of Craig, and enough time had passed since he passed and we felt comfortable that we can actually do something to celebrate the music we’ve been playing all these years”.
When chatting to the whole of the band, they credited the unbelievable work of their whole tech, lighting and sound team. They have reunited with the teams that they worked with during their past years on tour, with Clint Boon said: “You know its more like a family now, we couldn’t do it without them and having been with them so long, it wouldn’t be the same show or band without them”.
I also wanted to ask the band for their thoughts on the situation with The Leadmill shutting down, and it’s similarities to the siatuation facing the Night and Day Cafe in their native Manchester:
How many times have you played at The Leadmill now?
I think with me back in the band its about four times now, but the band have played here loads as well and it’s a brilliant venue. I love The Leadmill, you know, it’s a really legendary venue on the circuit.
How do you feel about the possible closure of The Leadmill?
As well as we love coming here, we are aware that its under threat of closure at the moment too. And we want to do our part about protecting places like this because its also another venue in Manchester, Night & Day Café who are talking about having to close down because of all the noise and things in the neighbourhood. But you know, you got to protect the old sort of venues because band who are on the up need these kinds of places to play in.
Do you think these closures will effect the new music scene?
Yeah, definitely. Smaller bands need places like that to build their craft and create a fan base, which gives you an indication of where you’re at, at the moment. I think it will really damage especially Manchester’s music heritage and industry. They are just so important for any city. Its hard enough to break into the music industry and it’s the smaller venues which really allow for that to happen and when there is no in between from the Ritz and the Apollo to the tiny venues, it really stumps growth.
Nine songs in and the crowd was rowdy as ever and drunk on nostalgia. Then, the Inspiral’s pulled out their fantastic single ‘Let You Down’, featuring the legend John Cooper Clarke. The back was lit up with a compilation of black and white videos, cut outs and clips of Clarke himself. The contagious beat of the song sent ripples through the audience which quickly turned to tidal waves as the masses of shiny heads bopped up and down. The contrast of Clarke’s poetic monologue gave a cool contrast to the song and a twist in dynamic creating a perfect lead up for the bands next explosive chorus.
When asked about working with such a celebrated artist like Clark, Holt said: “You know, it was Clint who is the biggest fan of John, I mean we all are, but we thought we’d send him the track and ask if he’d like to join. And he read it and loved it fortunately and wrote such a brilliant bit for it.”
With the hour and a half of gorgeous organ-soaked melodies nearly up, the band left the stage with a few songs yet to play. The crowd begging for more in unified “mooooooos” beckoned the five back on stage for the encore. ‘Commercial Rain’, ‘96 Tears’, and a truly cosmic ‘Saturn 5’. Throughout the final trio of tracks, Holt spent his time down next to the barrier with his die hard fans. The electric atmosphere during ‘Saturn 5’ was sincerely out of this world with Holt standing, arms stretched out like a cross and the crowd grasping and grabbing at him seemed like a snapshot of a modern renaissance painting. It is clear to see that The Inspiral Carpets have a talent like no other to move their audience and unite them through their music. Looking around during ‘Saturn 5’, their final song before they close, there was not one closed mouth, still foot or hand behind back. The lighting complimented the elated feeling in the venue with golden light shining onto the stage and the audience into a beacon of solidarity.
