I saw one of Paul Di'Anno's final live shows, and despite everything, he still had some of that special spark that made him an Iron Maiden legend
· louderBy Jerry Ewing
( Metal Hammer )
published 22 October 2024
Even if we didn't know it at the time, this was a nice way to say goodbye to Paul Di'Anno
It feels strange to look back now and realise that seeing Paul Di’Anno perform a set of classic early Iron Maiden at this year’s Stonedead Festival in August would be the last time I would ever see him play live again. Just under two months, and three gigs later, he’d be dead, at only 66 years of age.
Like many music fans of my age, and indeed younger, Paul Di’Anno’s short tenure with Maiden left an indelible mark on my formative listening habits. Sure, Maiden would go on to even greater heights and there are Bruce-era albums that visit my turntable more regularly these days, but those first two Iron Maiden albums, 1980’s self-titled debut and 1981’s follow-up, Killers, contained a raw primal energy that was so thrilling to a 15-year-old discovering heavy music for the first time, especially coupled with Derek Riggs’ phantasmagorical artwork.
Stonedead, at Newark Showground, is a music festival that prides itself on being a throwback to the glory days of Monsters Of Rock at Castle Donington when it was a one-day affair, with up to seven bands on show. Its concession to modern-day rock festival practices is to host a Friday evening pre-party, and it was at this that Di’Anno would be performing a set of Maiden songs this year.
I’ll be honest and say that expectations between myself and my rock-loving mates with whom I always attend these events were not exactly high. Obviously, Paul’s ongoing health issues, being confined to performing in a wheelchair for the last few years, not to mention a voice that’s not always held up to its former power, were an issue, and the effects of Storm Lilian had meant a late opening to the arena and no backdrop as the high winds placed the whole event in peril.
By about eight o’clock, when Paul and his band were set to take the stage, the mood at the festival was more celebratory. Despite the wind, the arena was bathed in the glow of a warm sunset and no rain was forecast. As the various bars in the arena got steadily busier, suddenly the opening riff of Sanctuary cut through the air like a hot knife through butter.
Sanctuary was the first Iron Maiden song I ever heard and the first Iron Maiden single I ever bought. I still have it. The riff grabbed people's attention, heads turned stagewards. But above and beyond the easily recognisable riffing, centre-stage, and in seemingly very fine voice, was Paul Di’Anno.
I’m sure singing sat down plays havoc with your vocal chords and breathing, but as Di’Anno’s band ripped through Charlotte The Harlot and Prowler, it became increasingly clear that Di’Anno’s voice was in robust form. At 66, you’re never going to be the singer you once were, but there was a clarity, tunefulness and power that belied the perception he hasn’t been able to cut it in more recent years.
Metal Hammer Newsletter
Sign up below to get the latest from Metal Hammer, plus exclusive special offers, direct to your inbox!
Contact me with news and offers from other Future brandsReceive email from us on behalf of our trusted partners or sponsors
Needless to say, Di’Anno’s rough-hewn, barrow-boy charm was more than evident as he spoke to the crowd. A crowd increasingly getting into what was happening on stage. You couldn’t fault the setlist either (well, apart from the fact that it was 'only' ten songs, maybe). Six songs from the debut, four from Killers. Wrathchild induced the first serious bout of headbanging, which only heightened when it was followed by a riotous Murders In The Rue Morgue, while the anthemic Remember Tomorrow was a stern vocal test that Di’Anno passed with flying colours.
Genghis Khan gave the singer a much-needed breather, before a final triptych of Killers, an epic Phantom Of The Opera and Running Free brought the hour-long set to a close with cheers resounding around Newark Showground. And then, as swiftly as they slipped on stage, Di’Anno and his band were gone.
You never know what fate has waiting for you just around the corner. And as people resumed their revelling, talk was of how unexpectedly impressive Di’Anno’s performance had been, but soon moved on to other things. Now we’ll never see Paul Di’Anno onstage again.
The headlines haven’t always been favourable over the years, but Di’Anno’s place in heavy metal history has long been established. As a fan I shall miss his garrulous, boisterous presence. But I’m so glad the last time I saw him on stage he was as good as this. R.I.P. Paul.
Writer and broadcaster Jerry Ewing is the Editor of Prog Magazine which he founded for Future Publishing in 2009. He grew up in Sydney and began his writing career in London for Metal Forces magazine in 1989. He has since written for Metal Hammer, Maxim, Vox, Stuff and Bizarre magazines, among others. He created and edited Classic Rock Magazine for Dennis Publishing in 1998 and is the author of a variety of books on both music and sport, including Wonderous Stories; A Journey Through The Landscape Of Progressive Rock.
More about metal hammer
Cradle Of Filth release new single Malignant Perfection, their “horrific homage to All Hallows Eve”
House Of Marley start a Revolution with their new range of audio products
See more latest ►
Most Popular
The best new rock songs you need to hear right now
A beginner's guide to the Dave Matthews Band in 10 songs