Following a sedate set from Aidan Smith on piano and acoustic guitar, the audience is nicely relaxed and ready for the musical treat that is Tool-Shed. Following a short break allowing the crew to set the stage, and the audience to have a light refreshment. Everybody is seated, and an expectant hush falls over the auditorium.

Massey triggers his PowerBook, a drum loop gently breaks the silence, only for Paddy Steer and the 3 Drummers to suddenly explode into action, the sheer volume of sound forcing you back in your seat. Then suddenly the 6-piece Brass section and Massey join in, cranking it up another notch. Obvious comparisons to 808 State come to mind, think 808’s most rockin’ moments but with all live instruments, thunderous drums a fabulous rolling bass line and Massey getting stuck in. Many of the other songs are in a similar vein, with different levels of participation from the various members of the band.

With Massey on keyboards and rockin’ it on electric guitar, and don’t think jazz style overdubbing think more Motorhead, Metallica and AC/DC. Quite how Massey ever formed 808 as an electronic dance band is astounding when he can spank a plank with the best of them. Ever present were the sublime bass lines of Paddy Steer and the rolling drums of three kits. As for the brass section, think last night of the proms on speed, a very rhythmic and expansive sound.

Two other members come more to the fore in the more relaxed songs, whilst Massey gets to relax at his little flight deck of keyboards and Paddy switches to a double bass.

The eccentric genius looking Graham Clark’s violin aided by some pedal effects creates a piercing sound lending a wonderful jazz feel to many songs. Oops, there goes that word again, many people are going to be very closed minded and automatically label the Tool-Shed sound as Jazz but its much more than that.

Vocals on some songs are supplied by the beautiful Seaming, and her voice is just as beautiful. With a slight tendency to go a little over board in an opera stylee, Seaming’s voice completes the overall sound of the Tool-Shed. And contrary to popular belief (and no thanks to the lighting crew either) she was not wearing a florescent orange dress, but looked absolutely stunning in a wonderful ball gown.

It’s literally impossible to pigeonhole Tool-Shed as a particular sound, with elements from so many different genres it really does stand out on its own. Many comparisons were being drawn after the set with the majority likening it to an early Zappa, but this is more like Zappa for the new millennium.

I hope my vague remarks on this subject brings you some insight into the Tool-Shed, I thoroughly enjoyed the experience and would suggest anyone who likes 808 or Homelife, (who after all share many live members with Tool-Shed) but would like the experience to go further and we’re not just talking a couple of miles but taking it to a whole new place, should check out Tool-Shed

10/10

John

Set List

Hot Dog Wars
Marbles/wok and goblet
Satelites are spinning
radox
nananananaanaa
mathematica
allmighty god
urbaniak
there comes a time
sunrise in outer space
Irooster
pazuzu
Watutsa
Mahaaladeen

Line up

Graham Massey..laptop/jupiter 8/wasp/moog/wem organ/clavinet
guitar and bartone guitar/alto sax/iguarglaphon/tympani
Paddy Steer..bass guitar /double bass
Seaming To voice /jupiter8/clavinet
Graham Clark Electric Violin
James Ford Drums /percussion and Theramin
Richard Harrison .Drums Percussion and Tympani
Pat Illingworth..Drums
Lara James alto ,britone and soprano sax
Roger Wickham .alto ,baritone saxes and flute
Howard Jacobs ..Bass Sax ,Bass Clarinet and Congas
Enrico Marchesi Trumpet
Andy Gourlay Tenor Trombone
Gaz Beckwith Bass Trombone
Shaun Matthew Tuba