MERSEY GRANDEUR AND MIDNIGHT ANTHEMS: Ian Prowse Triumphs at the Liverpool Philharmonic, 11th July 2026
Ian Prowse & Amsterdam, Liverpool Philharmonic, 11th July 2026 (Image: Damien Wilkinson)
A Seven-Piece Musical Battering Ram
Hot on the heels of the July release of No Names—Ian Prowse’s excellent new album—the Merseyside-based singer-songwriter returned home to headline a couple of sold-out dates at the Liverpool Philharmonic.
While night one focused on an intimate, seated acoustic set, night two saw Prowse dial things up. For this performance, he engaged a seven-piece musical battering ram to fully do justice to both songs new and old across a triumphant set.
Ian Prowse & Amsterdam, Liverpool Philharmonic, 11th July 2026 (Image: Damien Wilkinson)
The Guzzlers: From Ferry Fiascos to the Phil
The Guzzlers are a relatively new Irish two piece band (brothers Cian and Tom O’Dowd), orginally from Limerick but now relocated to Liverpool, where they have been busking and gigging relentlessly in advance of releasing a debut album (Drinking The Dream) later this year.
In addition to securing an official Anfield residency (playing for arriving fans outside the stadium), they’ve also honed their craft at Ian Prowse’s legendary ‘Monday Club’ at the Cavern Pub. For this prestigious Philharmonic gig, the duo expanded their line-up, accompanied by a guest bass player, Ryan Bradley, to fill out the hall.
The lads provided a boisterous 30 minute set, with a strong Irish flavour baked into their raggedly likeable high-octane songs which went down well with a receptive audience.
The Guzzlers at the Liverpool Philharmonic, 11th July 2026 (Image: Damien Wilkinson)
Topped with tales and banter surrounding their composition, the songs had a strong drinking theme. 20 Pints to Cherbourg, being a prime example documenting their ill fated gig on the Dublin-Cherbourg ferry, where chaotic overindulgence saw a swift ejection from their employment. A Pint of Plain Is Your Man, raises a glass to the cast-iron dependability of Guinness and had the crowd singing along, while The Drunken Tales of Gerry MacLean went down like a cold creamy drop of the black stuff too.
A stomping good set and I’ll absolutely be checking out the album when released.
Prowse Defiant: Something Old, Something New
Ian Prowse, Liverpool Philharmonic, 11th July 2026 (Image: Damien Wilkinson)
Commencing his set with a new song, To The Letter, the band power in seamlessly and provide a sweeping Waterboys-esque grandeur to the No Names album opener, followed by long standing live staple Takin’ On The World.
While playing crowd favourite and fist-in-the-air defiant anthem My Name is Dessie Warren, Prowse sprung a surprise towards the end of the protest song. The track's original songwriter, Alun Parry, suddenly emerged from the audience to take the stage, poignantly guiding the remainder of the song to its epic, powerful conclusion.
Alun Parry joins to sing on his own song, My Name Is Dessie Warren (Image: Damien Wilkinson)
The first single from No Names, Rendezvous Point, is introduced with Prowse noting that Fiona McConnell has her work cut out—not just playing the swirling flute motif but reprising Prowse’s teenage daughter, Rosie’s vocal contribution to the coming of age song. After McConnell humourously responds with a typical teenage Kevin and Perry strop, the band deliver an exquisite version of the song, with its Clash references and crowd stepping in to re-create the horn melody.
After the familiar territory of Fireworks, the set made way for The Cleaner—a track recorded for the new album with guest Elvis Costello. Even with the absence of both Costello and a live horn section, the song fared admirably. Backed by the magic of Laura MacMillan on fiddle and Fiona McConnell on tin whistle, the track's Motown vibe was captured brilliantly, gloriously sounding as though it had been bathed in the Mersey rather than Detroit. It feels safe to assume this will be a mainstay of Prowse’s setlists from now on.
The momentum didn't slow down with the introduction of another new track, the brilliant Stand Your Ground. An anthem of love and defiance, raising your glass and rocking the future, the band delivered it with a fierce live energy before Prowse playfully caught the crowd off-guard—closing out the song's final moments by seamlessly weaving in a brief, inspired snippet of Michael Jackson’s Human Nature. It was a fantastic piece of musical showmanship that underlined the song perfectly. The message of “Get me out into the nighttime” echoed that of Prowse’s song and its mantra “if there’s a choice to be made between staying in or going out, get your coat on, hit the town”. As the song concluded he reinforced this—”always take the opportunity to get out with your mates in these trying times”.
Midway through the set, the classic Name & Number entered the fray. Prowse regularly breaks down this Irish reel to tell all sorts of stories, this time recounting the creation of the new album and the incredible talent he assembled to achieve his vision. Cue stories of the "Caledonian Fiddle of Fire" Laura MacMillan and her magical (and mythical, we hope) journey to the top of Stirling Castle to play. He also praised Fiona McConnell’s album-stealing vocal prowess on When Bobby Was Alive, which Prowse jokingly claimed eclipsed both his own and Damien Dempsey’s recorded performances. Keyboardist Chris Howard was also given a chance to pound some mighty rhythms before the song returned to its regular jig, accompanied by Prowse and Nick Hall bouncing up and down in unison.
Name & Number interludes part 1: Fiona McConnell plays (Image: Damien Wilkinson)
Name & Number interludes part 2: Chris Howard (Boy Wonder) plays (Image: Damien Wilkinson)
Name & Number interludes part 3: Laura MacMillan plays, Ian and Nick goof (Image: Damien Wilkinson)
Calming things down slightly with Here I Lie, we were treated to one more new song (Keynote Speech) before a plethora of Prowse staples. The always wonderful Home which had the crowd in raptures, followed by I Did It For Love, where Nick Hall’s guitar work excelled.
The jaunty Fair Blows The Wind For France has the whole crowd moving and followed by evergreen Raid The Palace the place is soon whipped into a frenzy, especially when Prowse motors into Springsteen’s Born To Run, screaming down the boulevard with the power of MacMillan’s violin, extracting unexpected energy from a song I’ve heard countless times.
Fiona McConnell sings The Leaving Of Liverpool (Image: Damien Wilkinson)
Closing the set with anthem, Does This Train Stop On Merseyside, we were almost done for the evening, save for one added bonus. After the final stage bows, the band gathered centre stage while Fiona McConnell took the microphone to sing a spellbinding, a cappella rendition of The Leaving Of Liverpool, with the band and crowd joining in on the chorus.
Spectacular stuff indeed.
The evening was a strong reminder of the power of talented musicians, some powerful songs married to a devoted fanbase. On a hot night, Prowse’s road testing of his new songs delivered in spades, if any further proof was needed of the greatness of his new album.
A big shout out to Nick Hall of Plumhall, who deputised for regular Amsterdam guitarist Johnny Barlow.
Laura MacMillan, Ian Prowse and Nick Hall (Image: Damien Wilkinson)
The Band:
Ian Prowse, Vocals and Guitars
Dave Mastrocolo, Bass Guitar
Chris Howard (Boy Wonder), Keyboards
Laura MacMillan, Violin
Fiona McConnell, Flute, Tin Whistle
George Farrar, Drums
Nick Hall, Lead Guitar (deputising for regular guitarist Johnny Barlow)
Ian Prowse setlist, Liverpool Philharmonic, 11th July 2026 (Image: Damien Wilkinson)
