I last saw Imelda May as support act for Meat Loaf on last year's 'Hang Cool Teddy Bear' tour. While she was unarguably a big name within her own genre I think it was fair to say that she played that night in Cardiff to a crowd who were largely unaware of who she was, myself included. But during the last 12 months, following the release of her breakthrough third album, 'Mayhem', she has crossed into the mainstream conciousness like Vince Neil crosses into oncoming traffic. FAST!

It's hard to go anywhere without hearing a bit of 'Pyscho' or 'Mayhem' booming out of the radio or TV segments. She's even headlining the Royal Albert Hall next May, yep that's a fast 12 month rise in anyone's books but it's more than deserved when you know she's been slowly building up to this point for just over 20 years, having started on the club circuit in her native Ireland when she was only just 15. I was keen to get a bit more May in my musical diet so it was off to Reading Hexagon for some good ole Rockabilly hellraising.

Tagging themselves as "High Octane Blues Infested Punkabilly" Eastbourne's Knocksville wasted no time in lighting up the stage and waking up the crowd with a short, sharp and straight to the point set of lively tunes inter-spaced with light hearted banter that soon had the audience taking note of what was unfolding on stage. Just a couple songs in and the two frontmen, Martin Riddington and Nico Scerri, swap instruments. Having members switching between guitar and double bass could be seen as a cheap gimmick (I thought so when they first swapped) but as the next song fired up it was obvious their talent and delivery was a well honed craft that was as sharp as their clothes.

Completed by drummer Chris Cooper they knocked out some solid sounding stuff including 'High School Caesar', 'Mr Ducktail' and an interesting, original, take on Michael Jackson's 'Black Or White'. Feet were tapping and a growing respect for this trio of lads was noticeably growing within the audience but their highly impressive set was mercilessly cut short by a somewhat callous stage manager who pulled the plug midway through an over extended crash ending. OK they were milking it somewhat, lapping up every second of stage time they could until just the sound of un-amplified strings slapping against bare wood echoed around the auditorium from Nico's double bass. Just how much the crowd had warmed to Knocksville and how much they disliked said plug pulling was shown in an extraordinary round of applause that went on and on. They may have been stopped in their tracks but they were certainly leaving with more fans than they came with. 

'Pulling The Rug' from 2010's breakthrough album 'Mayhem' was the first from Imelda May's stunning repertoire of songs to get the bass strings vibrating as Al Gare fixed a steely eyed look out over the crowd almost visibly pulling people in with the groovy hook as the night's attractive attraction strutted across the stage in a figure hugging tiger stripe dress clicking her glittery gold high heels like a Rockabilly Dorothy. There's no place like Reading! 'Love Tattoo' picked up some pace before 'Spoonful', the old Howlin' Wolf standard on which Imelda cut her teeth on the club circuit as a teenage singer got pushed out to warm applause.

'Kentish Town Waltz' set the tone for romance with its subtle use of stage lighting bringing an intimate feeling to the high roofed Seventies show hall. Later in the set, again with lights down low, you could have heard a pin drop during the sublime 'Knock 1 2 3' as the entire crowd were hanging by a thread mesmerised by the soul in this starlet's voice. 'Proud And Humble' may be a prayer that takes song form but it was preceded by an amusing anecdote about Imelda's young teenage nephew back in Ireland who was having a spot of trouble at the hands of a gang of older bullies but who's now in trouble himself for the gang leader having a broken nose. Talking about "kickin' peoples heads in" was quickly glossed over as prayer time got back on track and the delicacy of the song shone through like sunshine through stained glass. I may be as far removed from religion as Andrew WK is from a clean t-shirt but I can surely appreciate how faith and belief can be such great catalysts for heartfelt songs and 'Proud And Humble' is a prime example of one of those times.

Imelda's husband/guitarist Darrel Higham, looking like a cross between Eddie Cochran and Jim Reeves, stepped up to share the vocals on a show stealing cover of the Everly Brothers' 'Temptation' which in turn was followed by the song 'Ghost Of Love', a self penned Higham classic that goes to show that he may be mainly standing in the shadow of the Missus these days but his solo output and ability to turn out a cracking tune highlight just what a powerhouse Imelda's band has picking the six strings for them. In fact every one of her backing band are nothing short of outstanding in their respective fields. From Dave Priseman's spine tingling trumpet sections to Steve Rushton's exemplary drum skills, including a smoking Animal-like solo with no sticks just hands, every member of the band is a joy to watch and reminds you that this is what a thrill real live music can be. Truly awe inspiring.

Dedication time and some geezer in the crowd going by the name of Mad Dog Cole had been in touch with Imelda to ask for 'Eternity' to be played for his lady's birthday. Sweet I'm sure you'll agree. All the more funnier was that said lady had in turn had been in contact with Imelda separately to ask for 'Pyscho' for her beau......says a lot eh? 'Eternity' was played with the big hit being kept for later but both parties got their wishes by the end of the night. Latest single 'Road Runner' kept things moving towards the end of the main set then it was out with the big guns as Psycho', 'Mayhem' and the infectious swagger of 'Johnny Got A Boom Boom' blasted out the rock 'n' roll good times and even had some of the older fans upstairs in the seats jumping up and getting down, grooving to the music. 

With Gare's double bass now lying on its side and with Imelda and Al perched on top it was time for a ukulele led rendition of the Ronettes/Ramones classic 'Baby, I Love You'. Probably the biggest singalong of the night and easily my favourite part of the show, a special moment I won't be forgetting in a hurry. 'Tainted Love' second to last in a set that had been heavy on the covers yet surprisingly void of anything from Imelda's debut album 'No Turning Back', a shame really as there's some great tracks on it and it's well worth hunting down if you've only got the famous 2, 'Mayhem' and 'Love Tattoo'. Finally with a cry of "Elvis has left the building!" it was down to another cover, the Presley championed 'My Baby Left Me,' to bring a raucous close to a massive 26 song set which had delighted and enthralled. Imelda May really is riding high right now but her humble down to earth nature gave her an easy connection with the crowd which brought a close knit feel to large scale show. This girl's got legs and judging by this performance in Reading she's gonna be running rings around the competition for a long time yet.