Richard Henry of MPM delivers a high-octane review of Pretty Reckless supporting AC/DC in Dublin, dissecting the guitar parts and overall performance of a memorable rock show.
Having journeyed for over three hours, anticipation was high to witness the legendary AC/DC, but first on the bill was Pretty Reckless. For many in the burgeoning crowd, this was a prime opportunity to experience Pretty Reckless live, and they certainly delivered a set that resonated, particularly with guitar enthusiasts eager to analyze Ben Phillips’ contributions.
Pretty Reckless: A Powerful Opening Act
“Death by Rock N Roll” kicked off their set with a raw, sleazy rock energy, immediately grabbing attention. While the initial sound mix slightly obscured Taylor Momsen’s vocals, her powerful range cut through during the chorus. Drummer Jamie Perkins laid down a robust beat, proving to be a powerhouse behind the kit. Guitarist Ben Phillips unleashed a killer solo, showcasing his dexterity and feel for the track. The interplay between Phillips’ guitar and the rhythm section was a highlight, demonstrating that Pretty Reckless is more than just a frontwoman; they are a cohesive and potent band.
Taylor Momsen of The Pretty Reckless performing live, bathed in stage lights.
Switching gears to their debut album, “Since You’re Gone” brought a familiar riff to the fore. The evolution of Pretty Reckless’ sound was evident, highlighting their growth since their early days. The song’s stop-start groove and catchy chorus were infectious. Momsen commanded the stage with captivating energy, while the band provided a solid, if somewhat static, backdrop. Despite a still-filling venue, the early attendees were clearly invested, creating an enthusiastic atmosphere for the supporting act.
“Follow Me Down” from “Going to Hell” injected a dose of heavy, almost Sabbath-esque vibes into the set. The track’s bouncy riff and dynamic structure, moving from heavy sections to swampy blues-infused parts, showcased their versatility. Live, this song translated exceptionally well, demonstrating their ability to blend different rock subgenres seamlessly. The guitar work here was particularly noteworthy, with Phillips weaving in bluesy licks amidst the heavier riffs.
Returning to their latest album again, “Only Love Can Save Me Now” introduced another memorable riff, this time with a slower, sludgy, almost Soundgarden-esque feel, especially in the off-beat drumming. The set pacing was well-considered, offering dynamic shifts between heavier and more melodic tracks. The chorus was undeniably catchy, driven by Momsen’s strong vocals and underpinned by that compelling central riff, a prime example of Phillips’ guitar part construction.
Ben Phillips of The Pretty Reckless playing guitar with stage lights illuminating him.
The crowd’s recognition surged with “Make Me Wanna Die,” their most well-known track from “Light Me Up.” The song’s dynamic range, shifting from quiet verses to explosive choruses, was a live highlight. While sound issues persisted slightly, occasionally swallowing Momsen’s lower register vocals, her powerful delivery during the chorus was undeniable. The band’s stage presence expanded during this track, with members moving across the stage and utilizing the trusses to engage both sides of the audience, visibly energizing the growing crowd. For aspiring guitarists in the audience, dissecting the guitar part for “Make Me Wanna Die” after the show would undoubtedly be on the agenda.
“Witches Burn,” another newer track, brought in Seattle-esque undertones, reminiscent of Alice in Chains. The deliberate, slow groove and Momsen’s passionate vocals in the verses built effectively to a soaring chorus. The rhythm section of Mark Damon on bass and Jamie Perkins locked into a solid groove, providing a powerful foundation for Phillips’ guitar work. This track, in particular, highlighted how much Pretty Reckless has evolved beyond their debut sound, showcasing a more mature and nuanced approach to their music.
The Pretty Reckless band members performing on stage, bathed in red and white lighting.
“Going to Hell” injected punk rock energy into the set. Phillips delivered another standout solo, proving his consistent skill throughout the performance. A well-placed breakdown in the middle of the song added dynamic variation, leading to a high-speed finish that further ignited the crowd.
“Heaven Knows,” also from “Going to Hell,” became a singalong moment, reflecting the increasing crowd size and engagement. Damon’s prominent bassline anchored the track, and one could imagine how powerful this song would be in a headline show with a dedicated Pretty Reckless crowd singing every word.
Closing their set with “Take Me Down,” Pretty Reckless opted for a slightly more subdued but equally impactful track. Momsen strapped on a guitar herself for this bouncy number, further emphasizing the band’s instrumental capabilities. The song’s stadium-ready chorus underscored their potential to command larger stages. Even as a support act for an AC/DC-centric crowd, Pretty Reckless demonstrated impressive crowd control and stage presence, leaving a lasting impression. Their set was a testament to their growth and musical prowess, leaving many new fans in their wake. It’s safe to say that many guitar players in the audience were already thinking about learning the guitar part for songs like “Take Me Down” and “Going to Hell” after witnessing Phillips’ performance.
AC/DC: A Masterclass in Rock Showmanship
“If You Want Blood (You Got It)” immediately unleashed AC/DC’s arsenal of classic anthems. The setlist was a testament to their extensive back catalog, packed with hits and timeless classics. The opening track built tension before exploding into that unmistakable groove, triggering immediate crowd movement. The band’s synchronized stage presence during backing vocals and Angus Young’s signature solo runs to center stage were classic AC/DC moments. The sheer volume was a visceral experience, setting the tone for a loud and proud rock spectacle.
Angus Young of AC/DC performing a guitar solo on stage, center stage spotlight.
Incredibly, “Back in Black” followed as the second song, an iconic track that many bands would reserve for an encore. The opening riff was a sonic punch, moving air and igniting the crowd further. Brian Johnson’s vocals were powerful, and his energetic stage presence, complete with trademark cap, was instantly recognizable. Angus Young’s iconic solo was note-perfect, a moment of pure rock history unfolding live.
Brian Johnson of AC/DC singing on stage with Angus Young in the background.
“Demon Fire” showcased their newer material, proving that AC/DC’s signature sound remains potent even in their latest releases. The driving bassline and riff, enhanced by video screen visuals, fit seamlessly into the setlist. It was a reminder that AC/DC, new song or old, delivers pure, unadulterated rock and roll.
Returning to “Highway to Hell” with “Shot Down in Flames,” AC/DC demonstrated the timeless simplicity of their songwriting. The rhythm section, anchored by Chris Chaney on bass and Matt Laug on drums, provided the unwavering backbone for Angus and Stevie Young’s guitar interplay. Angus’s solo excursions across the stage ramps and center strut were quintessential Angus moments, further electrifying the atmosphere.
AC/DC band members performing on stage, Angus Young center stage with guitar.
“Thunderstruck” sent shivers down the spine, especially for guitar players in the audience who have undoubtedly spent hours learning its iconic intro. The floor tom hits and Brian Johnson’s commanding presence created a truly glorious live experience. Stevie Young’s chord work just before the “Thunderstruck” refrain added immense weight to the live rendition. Angus’s note-for-note solo and the crowd singalong that followed were unforgettable moments of collective rock euphoria.
A wide shot of the AC/DC stage and crowd, with Angus Young playing guitar center stage.
“Have a Drink on Me” offered a bluesy interlude, highlighting the band’s often-understated blues roots. Live, the rhythm section’s importance in driving these songs home became even more apparent. Angus’s crisp guitar tone and concise solo were perfectly suited to the track’s vibe. The song’s brevity was a testament to AC/DC’s efficient songwriting, packing maximum impact into short, sharp bursts of rock.
AC/DC band performing on stage, focused on Angus Young playing guitar and Brian Johnson singing.
As the iconic bell descended for “Hells Bells,” anticipation reached fever pitch. The opening guitar riff and slow, deliberate drumbeat were instantly recognizable. The sea of red flashing Angus horns in the crowd was a spectacle in itself. The backing vocals from Stevie and Chris during the chorus added immense sonic weight. Angus’s solo was, again, note-perfect, a masterclass in blues-rock phrasing.
“Shot in the Dark,” another track from “Power Up,” delivered a pummelling groove. The simple yet effective guitar part and dynamic shifts into the pre-chorus and chorus showcased AC/DC’s knack for crafting instantly memorable rock anthems. While some sound mix inconsistencies occasionally affected Johnson’s vocals, his vocal richness shone through. Another strong Angus solo kept the energy levels soaring.
AC/DC band members performing on stage with dynamic lighting and screens.
“Stiff Upper Lip” brought a boogie-blues vibe, evoking images of smoky back alley bars and jukeboxes. Live, the track’s cool, laid-back groove was undeniably infectious, a testament to the depth of AC/DC’s catalog beyond their mega-hits.
“Highway to Hell” elevated the crowd to another level of frenzy. The chorus singalong was deafening, a collective outpouring of rock enthusiasm. From the opening riff to the relentless beat, the song’s legendary status was undeniable. Witnessing AC/DC perform this timeless anthem on a Dublin summer night was a surreal and exhilarating experience.
AC/DC performing "Highway to Hell" with stage lighting and crowd in silhouette.
“Shoot to Thrill” kept the momentum at maximum velocity. The crowd’s non-stop dancing and boogieing were a testament to the song’s infectious energy. Angus, as always, was the focal point, channeling Chuck Berry-esque stage moves and delivering yet another blistering solo.
“Sin City,” a personal favorite from “Powerage,” was a welcome surprise for long-time fans. Its down-and-dirty rock and roll swagger and greasy, aggressive solo highlighted the raw power of the Bon Scott era. The infectious groove underscored AC/DC’s mastery of stripped-down, hard-hitting rock.
AC/DC band performing on stage, Angus Young in the foreground playing guitar.
“Rock n Roll Train” from “Black Ice” revealed some vocal mix issues, with Brian Johnson visibly frustrated. Despite the sound problems, the sheer power of the backing vocals and the crowd’s enthusiastic participation carried the song. Angus’s short, sharp solo was perfectly placed before the song roared back into the verse.
“Dirty Deeds Done Dirt Cheap” was yet another classic anthem unleashed upon the Dublin crowd. The song’s dirty, plodding riff and bluesy undertones were irresistible. The audience participation during the chorus was further evidence of AC/DC’s unparalleled catalog of singalong rock hits.
AC/DC performing "Dirty Deeds Done Dirt Cheap" with Angus Young center stage.
“High Voltage” brought a playful energy to the set. The song’s catchy guitar part and infectious chorus had the entire stadium singing along. Angus delivered another crowd-pleasing solo, and Brian Johnson’s call-and-response with the audience during the chorus amplified the communal energy.
“Riff Raff” was introduced with an Angus guitar intro, unleashing a filthy riff and relentless boogie energy. The song steamrolled from start to finish, embodying AC/DC’s no-frills, high-impact rock and roll ethos. Another bluesy, aggressive Angus solo further cemented the band’s raw power.
AC/DC performing "Riff Raff" with Angus Young center stage playing guitar.
The crowd volume peaked again for “You Shook Me All Night Long,” an undeniable singalong classic. Despite ongoing sound issues for Johnson, his performance remained committed and energetic. Angus’s classic solo, delivered while working the stage ramp, was a moment of rock perfection.
“Whole Lotta Rosie” ignited further crowd frenzy. While the inflatable Rosie was absent, the 3D Rosie visuals on the screens were a cool modern touch. The song’s balls-to-the-wall rock energy and Angus’s stage-dominating presence made it another highlight of the set.
AC/DC performing "Whole Lotta Rosie" with Rosie image on screen and Angus Young playing guitar.
“Let There Be Rock” hit like a truck, with its iconic riff and relentless energy. Vocal sound issues persisted, but Angus’s extended solo, while perhaps slightly overlong, showcased his stamina and showmanship. The unaccompanied solo section, however, did momentarily stall the set’s momentum.
“T.N.T.” brought the stadium to a full roar of “Oi!”s. The song’s down-and-dirty energy and the crowd’s full-throated participation were a sight to behold. Angus’s solo, as always, was a crowd-pleaser, delivered with trademark energy and stage presence.
AC/DC band performing "T.N.T." with Angus Young center stage and cannons visible.
Closing the night with “For Those About to Rock (We Salute You),” AC/DC brought out the cannons. The cannon fire during the final chorus was ear-splittingly powerful and visually spectacular. The fireworks display as the band took their bows provided a fittingly explosive finale to a phenomenal show.
AC/DC delivered a set that was both classic and electrifying. While Angus’s extended solo in “Let There Be Rock” briefly slowed the pace, the band’s overall performance was nothing short of phenomenal. From start to finish, it was a masterclass in rock showmanship, potentially the gig of the year.
Photos by Steve Dempsey – Down The Barrel Photography
