LIVE REVIEW: HONEY RYDER - NAIA - THE HORN - ST ALBANS

It seems inconceivable yet it is eight years since #TEAMw21 last saw Honey Ryder live, supporting Aaron Watson. It's even longer since we troubled The Horn, which judging by the posters of upcoming gigs is now mainly a home for tribute acts with suitably punny names. So having missed last years equivalent gig there was no way to let a second opportunity pass us by.

The evening would commence with a short one song taster set from Naia, a young local singer songwriter who Lindsay obviously rates, as she would give a most fulsome introduction. She took to the stage and had a great confidence as she explained that her self penned song "Love Not Romance" was about her best friend leaving school. highlighting the love can be platonic as well as romantic.

A strident guitar opening led the way for a breathy almost wistful vocal for the opening verse yet by the second she was fully projecting and singing at great volume. Never an easy job to command the attention of a crowd that has not come to see you, with just an acoustic guitar however Naia managed it and earned her reward of a longer support slot next time out.

Honey Ryder with the addition of Sara are now a four piece unit, increasing to six for live shows with the addition of a bass player and drummer. This was effectively a home town show for Honey Ryder even if their base is now much further up North, and The Horn had a sizeable audience to welcome them back in a myriad of incarnations past and present throughout the evening. The room was dressed slightly early for Halloween, with a taped out dead body on the floor however this would prove not to be a horror show, it would reaffirm Honey Ryder as being a premier outfit with an ear for a classic pop melody.

The show would begin by announcing that Sara would be performing atop a plastic step so that people could actually see her this time after complaints about the previous show. From there on it was straight into a couple of songs from their "Blood Red Moon" album starting with "Headed For The Fire". Immediately establishing an Americana feel with the prominent guitar line, it instantly showed that Honey Ryder were still at the top of their game, Lindsay delivering the snappy vocal, Sara on both shaker and backing vocals.

Swiftly moving on to "Surrender", the dramatic opening soon gave way to the power of three voices singing to great effect. This was Honey Ryder rocking at some volume, with their usual high degree of musicality. The familiar acoustic intro to "Damn It I'm In Love Again", soon gave way to the its punchy chorus, and we were immediately transported back in time. The origins to "In A Heartbeat" were revealed as being tangentially linked to Shane Lynch of Boyzone and his poor property dealings and being written in Nashville. With the mandolin deliciously prominent and Lindsay encouraging a chant singalong this was a special atmosphere.

 The mandolin was also featured heavily on the excellent "You Can't Say That", from the debut Honey Ryder album with original member Martyn Shone looking on at another piece of pure pop magic.The "Blood Red Moon" album spawned another song in "Suitcase By The Door", possibly their most criminally overlooked album, yet it displayed the all of the trademark calling cards that you'd expect from Honey Ryder. This was not only a show to relive former glories, there is a Honey Ryder Patreon page, and an example of their new material came with "Burn Out", about crazy relationships. It would see the two leading ladies looking at each other as they sung and seemed to include a slight Neil Young / Kurt Cobain misquote of "It's better to burn out than to fade away". This would see Sara really let rip on her vocals and mighty impressive it was all round as a fast powerful rocker. Sara's ex partner would be the inspiration behind another new song "Will I See You Again?", this would see Sara grab the microphone for the second verse and came with a suitably Fleetwood Mac style guitar solo for a song about an ex!

The stage would empty to leave the current core members, and if there was one slight disappointment and we mean really slight, it was that even though they were now regenerated like a Time Lord, Honey Ryder were still doing their Prince cover of "When Doves Cry". It's not that it's bad in any way but it was part of the set 10 years ago. It is probably hard to drop it when it contains Jason doing a divine acoustic set piece. Jason would then effectively move centre stage for a solo, loop pedal driven version of Fleetwood Mac's "Big Love". It was a wonder to behold both for Jason's agile finger work and his Buckingham vocals!

Original Honey Ryder member Martyn Shone would take to the stage to take on an early original song, "Numb" with Lindsay crying out "Please be fair" for the first time in a long time. Lindsay would throw everything into "Choices" with a passionate delivery on this trip down memory lane. Another blast from the past would come with the Dr Hook cover from "Rising Up" - "Years From Now". Played as a three piece, this is a song that deserves an airing far more often, an absolute gem.

From US Country magic to an undeniable UK Americana classic - "What If We've Only Had Tonight?" with Jason and Lindsay on vocals and the band on top form. Jason's mandolin intro to "World's Away" was the start of another classic moment, which would see Lindsay would reach her arms out as she sang. The mandolin sound still managed to cut through, even as the volume ramped up to the finale. The chance for an audience singalong came with "Power Of A Woman" with the audience spelling out "W O M A N - Power Of A Woman", this was Girl Power reborn,and would see not only a singalong but hands waving in the air, on this hook laden song that it was impossible not to be enthralled by.

"Did you get message?" Sara would playfully inquire at the end.

With the audience whipped up, it was time to drag Martyn back to the stage for the final song of the main set, "Coming Round Again", and would see Lindsay effect a 60's style dance routine, on this truly rocking finale with everyone playing or singing at full volume in something of a magnificent aural onslaught. The encores would begin with "Marley's Chains" starting with Lindsay and Sara's voices very much to the fore over initially a more muted acoustic overall sound before it evolved into its more classic pop sound. The evening would close to the stomping clapping of "You Won't Find Me" from "Marley's Chains" in a sultry finale.

This was truly a celebration of the whole Honey Ryder catalogue and all things considered it doesn't just stand up well, it sounds better than ever, they seem as enthusiastic as any new band just starting out - this was no going through the motions evening - it was a band looking create new work and entertain once more.