Wolverhampton’s legendary The Giffard Arms has a propensity for hosting intriguing and diverse bills. Friday night was no exception, with three outstanding talents, each bringing their own fanbase to another sold-out evening. Tonight, Bobbie Dazzle brought a glitzy and infectious reimagining of a golden era of rock ‘n’ roll.
Bobbie Dazzle
The Giffard Arms, Wolverhampton – 21 March 2025
Words: Sophie James
Photography: Ruskin Roader Photography
I had eagerly awaited the opportunity to observe and absorb the inimitable Bobbie Dazzle in a live setting since encountering debut album Fandabidozi, with its multiple scintillating ’70s influences.
Having been suitably entertained by both supports [more on The Original Wanted and Colossal Apostle to follow], the buzz amongst the expectant crowd heightened as My Coo Ca Choo and Ballroom Blitz emanated from the PA.
This energy transferred to the stage as the set blasted off with the breakneck Lightning Fantasy. Bobbie was in commanding voice, her vocals complemented by the punctuated harmonies of the first chorus.
From my position by the mixing desk at the rear of this bijou performance space, the guitar, in fact, the entire mix, was impeccably organic.
The breakdown permitted one to ingest the individual contributions. Ad’s guitar solo, underpinned by Chris’ rich Keytar and Ed’s almost ‘talkative’ drums, all shone in their own brief spotlight before fusing into the sprint finish.
The infectious beat continued as we hitched a ride on the Merry Go Round with its simple but so contagious chorus. Surprisingly, Bobbie’s flute becomes the focus where one expects the guitar solo. However, it blended marvellously, sitting atop the bubbling rhythm.
Revolution possesses a Frantic Four style riff allied to a glam beat and is a bonafide derriere shaker. With its multiple “Heys!”, one is compelled to holler along while punching the air as Bobbie fully utilises her vocal range.
Magic Of Music sees a change of pace and mood as she now explores her lower registers. There are flourishes of Queen interspersed throughout the melody but none more so than in the most Sir Brianesque harmonic conclusion.
Back To The City sees a return to romp speed with Leon’s impelling bassline one of the factors giving it a greater vivacity than the studio rendition. The concise solo fuels spurious subconscious images of revellers indulging in a St Vitus type dance given the right conditions and sufficient room for manoeuvre. Oh, the pictures music conjures!
Thus far, the set has followed the album order, so now is time to break up that sequence. If you are going to do a cover by a quartet of global superstars, then a rarer cut is ideal to avoid drawing comparisons while also imprinting your own identity.
“Are there any ABBA fans in the room? That should be everyone right?”
The track in question is the foreboding Watch Out, which originally appeared on the mighty Swedes’ second – Waterloo. Brimming with vitality, this funky, intricately riffed rocker fits seamlessly into the set.
From that surprise inclusion, we venture into the charging riff and beat of It’s Electric. Heads down no nonsense boogie at its finest.
One of the album’s indisputable high points is the hypersonic, Aerosmiff-tinged rocket that is Antique Time Machine. With its split-vocal, expressive lead and harmonic climax, it is a joyous effervescent blast.
Lady On Fire is another with its groove based in funk. The re-emergence of the flute demonstrates once again how readily this atypical instrument has been integrated into their distinctive sound.
An evocative intro heralds the cosmic finale of Flowers On Mars. Leaving the stage to an ecstatic ovation, this left you feeling sated but that the experience was over far too soon. Keep ’em wanting more, eh?
This was a captivating and dynamic performance. The talent and potential on display was matched by an energy and a drive that suggested we are merely at the beginning of what Bobbie is capable of achieving. One eagerly anticipates what gems will next appear.
As the song goes, “The lady’s on fire, let her inspire you”. After witnessing this appearance, that much is undeniable.
If you have the opportunity, check out Bobbie Dazzle’s dates in July supporting Alice Cooper in Cardiff and Edinburgh, also with Lita Ford and Vixen at London’s Indigo and finally as tour support for Luke Morley’s September excursion.
