As I walk through the doors of The Continental on this damp March night, it strikes me what a gamble it can be catching the 21st century version of a band you’ve followed and liked for decades.  Best case scenario, they play a blinding set and confirm your long-time faith in them; on the flip side if they don’t, you can tarnish a life time of memories.  Which of those would come to pass tonight remained to be seen, but before Tygers of Pan Tang showed if they were still worth the price of admission were openers The Loose Cut.

The Leeds-based four-piece are definitely more at the rock – perhaps even alt-rock - end of the spectrum than the traditional metal of the headliners.  Their short set drew a respectably sizeable early crowd who were treated to their modern take on rock.  The band’s sound isn’t easy to categorise, although you can spot a range of influences, everything from the riffs of Led Zeppelin to the more modern contemporary tunes of Kings of Leon. 

Highlights included the mesmerising ‘Haunt’, and ‘Come Around’ that brought their set to a close in rollicking style, propelled by a swinging drum pattern, some heavy riffing and a throbbing bass line.  I’m not sure that the Tygers crowd was The Loose Cut’s ideal audience but there were at least a few heads nodding in appreciation, so hopefully they picked up some new fans tonight.

From a young band in the early stages of their career to a band that in one form or another have been playing for the best part of five decades. This is a band that were part of the New Wave of British Heavy Metal, before Geoff Barton had even coined the phrase in Sounds.  

The intro tape (I’m sure it’s not a tape anymore but you know what I mean) of Mud’s ‘Tiger Feet’ fades and the Tygers of Pan Tang launch into ‘Edge of the World’ and any thoughts that tonight would be purely be an exercise in nostalgia are blown away.  Only released in January, ‘Edge of the World’ is an Eastern-tinged up-tempo track from their forthcoming album “Bloodlines” and as a statement of intent it’s hard to ignore. In 2023 Tygers are keen to prove that they still have a relevance in the modern musical landscape and on the evidence of tonight’s show they don’t have any worries on that score, delivering a polished, professional and above all, fun, show. 

Later in the set, introducing ‘Only The Brave’ from their 2016 self-titled album, vocalist Jack Meille tells us that this is their most streamed song ever, racking up over five million plays. Not bad for a band who predate the internet! Newer tracks sit smoothly alongside the classics of yesteryear, and whilst they’re not a legacy act relying only purely on the hits of yore, there’s no denying the power and reach of the earlier material. Sole surviving member of those halcyon NWOBHM days, guitarist Robb Weir stands stage right, effortlessly peeling off classic riff after riff and if you close your eyes, you could be back in those heady days of the early 80s.   

The familiar intro to ‘Paris by Air’ - one of the first singles I ever bought - rings round the room and brings a grin to my face, the craziness of hearing it live for the first time after forty years not lost on me.  This might be a very different line-up to the one that recorded many of these songs, but just to hear them played live, now in 2023, with such passion and verve makes the heart swell with pride, and looking round the crowd I don’t think I’m the only one to feel this way.  For those of us who have lived with these songs since our teenage years, it’s a validation, if any were needed, of our faith and life-long commitment to rock music (“see, it wasn’t a fad and we didn’t grow out of it!”).

Vocalist Jack Meille is an engaging presence leading the band through the ins and outs of their lengthy back catalogue, with charisma and no small of degree of theatricality.  This works particularly well on, for example, ‘Insanity’ from their 1980 debut “Wild Cat”, beginning with Jack’s maniacal laughter then those typical NWOBNM chugging guitar lines, coupled with great stop-start drum fills. In fact, drummer, Craig Ellis, plays like a man possessed throughout, attacking his kit with a ferocity and intensity, whilst locking in tightly with bassist Huw Holding.  Ellis is a furious ball of energy, providing an energetic focus in every song; with such a small stage, there’s not a lot of room for movement for the front line but this drumming tornado certainly compensates and entertains.

As the night draws to a close, we’re “Hellbound”, and with the inevitable, riotous singalong of ‘Love Potion No.9’ the band triumphantly leave the stage.  

So, nostalgic?  Hell yeah, but coupled with some great new material; staggering out into the cold night air, there’s a lot of laughter and smiles to be seen and heard and, dare I say, joy at what we’ve just witnessed. And at the end of the day can you really ask for anything better than that?