Ian Hunter leads a band who play with heartfelt expression and unity.
Their dynamics, subtlety and power find a home in venues such as the Robin 2, which, with its excellent sound system and exciting programme, is a top Midlands venue.
Its medium size is ideal for acts like Steve Harley and Hunter, who are past their commercial peak but are still a popular live draw.
Hunter has sustained a following partly in accordance with his recent material, but of course his fame days were with 1970s band Mott The Hoople. Everyone was pleased by this set, an upmarket, stylish bar room blues/country/folk/ rock'n'roll.
Dylan's influence remains apparent amidst the acoustic strumming, electric blues, gritty distorted guitars and eloquent lead playing, with Ian's torn heartfelt vocals cheerleading the message that his music is no redundant force, but one of power to be reckoned with. Like Harley, Hunter's career was not helped by punk rock.
Although glam merchants like Bowie, Iggy, Bolan and Mott The Hoople were among the least despised by the new movement, the kids were united by new revolution stuff in 76/7. At this point Ian, already treading the difficult path as a solo performer from a previously famous group, became passe.
The fickle finger of fashion pointed forward to something else entirely, stones were rolled as the new movement came in, yet posterity will not overlook a song as good as All The Young Dudes.
David Bowie allegedly rescued Mott The Hoople from oblivion with this great song, a hip camp stick of androgonous adolescent 45 rpm glam dynamite inserted around '73.
Punk threw out the oldies, but 'Dudes' survives in Hunter's set as a gleaming example of the timeless and worthy in popular music. It also has to be said that for an older man Ian Hunter wears very stylish shirts, and that style beats bile in the final analysis.