Rosalie Cunningham @ The Hive ⭐️⭐️⭐️⭐️⭐️
If Queen had recorded a Bond Theme in 1972 between Diamonds Are Forever and Live and Let Die, then it would probably have sounded a lot like Rosalie Cunningham's opening number To Shoot Another Day.
This closing night of the tour in Edinburgh, supporting her current album of the same name begins with an explosion of colour from the Clockwork Orange-style backdrop which matches the bass player's Fireglow Rickenbacker.
Claudia Gonzalez Diaz plays the instrument as if it's part of her being. There's a stage-craft and chemistry at work that pulls the threads of cult cinema, glam rock in the spirit of Bowie and songwriting packed with infectious melodies and earworms. Timothy Martin's Finishing School is a playful comment on JD Wetherspoon's weekend booze culture reminiscent of Pepper era Beatles or Bowie's 1967 self-titled Deram album. The likes of this and Home draw upon a similar rich well of English eccentrics and uncanny characters.
Dias locks into a jazz-flavoured and punchy groove with Aaron B. Thompson on keys while Cunningham looks every inch the rock star reminiscent of Hammer Horror siren Ingrid Pitt.
As she leans forward her eyes widen as if about to sink her fangs into a fan down the front but instead she waves her balloon sleeve high in the air to strike another electrifying chord on a Gibson SG.
Cunningham's jumpsuit could perhaps only have been worn by the most idiosyncratic member of Kiss – Ace Frehley back in 1974. The band is a well-oiled machine, and each member brings a unique and dynamic presence to the stage. During Spook Racket Cunningham stomps her glittery platform boots, claps her hands, shakes her long, raven-black hair, and shares lead guitar with Rosco Wilson, who, underneath a 70s footballer haircut and moustache, builds the riff.
Diaz swirls her mop of auburn hair as the riff echoes around the room. During the end coda, there's a mystical nod to Jethro Tull with the bass player now on flute. Wilson takes over lead vocals for the swampy blues rock thrust of Rabbit Foot. By this stage, the audience is ecstatic, the sheer sense of joy in the moment doesn't escape anyone as the band's epic musicianship leaves most of us in awe.
They thrash through a variety of tempos and memorable stage moves; flared trouser legs kick out, guitars are raised high and screaming space rock solos nearly take the roof off but we always return to the safety of the groove. Recent single Return of the Ellington delivers yet another energetic riff suggestive of a souped-up James and the Cold Gun by Kate Bush.
The set closes with the fuzz-driven psychedelia of Ride On My Bike but the crowd want more, nobody is thinking about the last bus home or a bedtime cup of tea. The band returns for a final encore of the dramatic carnivalesque Dethroning of the Party Queen. Cunningham is a gifted performer and a velvet-voiced vocalist who uses her voice as much as her guitar.
As if that's not enough she's a songwriter and multi-instrumentalist who writes in the tradition of the best but is very much a vital artist in the here and now.
PHOTO Richard Purden
PHOTO Richard Purden
PHOTO Richard Purden
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