Francis Rossi – Quo Songbook: Past, Present, Future – Review – Scarborough Spa
By Victoria Holdsworth, October 2026
I’ve been a Status Quo fan for more years than I care to admit in certain company. I’ve seen them in pubs, sold-out arenas and festival fields, but tonight felt special.
Tonight’s crowd was made up of pure, die-hard Quo fans, and it’s fair to say most were of a certain vintage, with a few younger faces in the audience. There was a distinct buzz in the air as people swapped gig stories, discussed album history and recalled personal encounters with the band over the decades. But tonight, they were all there because Francis Rossi still means something to them.
The stage set-up tonight was deliberately sparse. No usual stacks of Marshall amps, no big rig filled with dazzling lights. Just two chairs, two guitars, a table and a lamp, making it seem more intimate than you’d expect for such rock royalty.
Andy Brook, who was accompanying Francis on the tour, was seated in the second chair, tuning guitars and making sure the set-up was right from the off. The backdrop was the cover art for Francis’s album, The Accidental, released in January of this year. Tracks from it filled the room, and it’s far removed from what you would consider classic Quo. However, there is no getting away from Francis’s signature vocal tones.
A few minutes later, after a short introduction, Francis took to the stage, and the cheer that went up was pure affection. Not the roar of a stadium opening, but the sound of people genuinely pleased to see someone they consider to be an old friend. And for many, that’s exactly what he is, as over the decades, Status Quo have always been an accessible band to their fanbase and have always taken time to get to know the faces in the crowds.
Francis strode about the stage, chatting to the crowd in his usual jovial, self-deprecating style, and already had them laughing and eating out of the palm of his hand within minutes. At the age of 77, Mr Rossi is incredibly fit and agile, filling his space with so much energy. Coupled with his naughty humour, it’s more like watching a stand-up comedian at times.
As the man of the hour finally settled into his chair, with his usual cheeky grin, we knew we were about to be entertained for the next two and a half hours by one of the most underrated storytellers and musicians in British rock.
“Understated but effective”
Francis briefly ran through his very early years as a child at home, absorbing music from his family and singing some of the childish little ditties that got him interested in recognising tunes, rhythms and the cadence of lyrics, before moving on to his first real influences, the Everly Brothers.
With his vocals all warmed up, the set moved through decades of Status Quo material, kicking off with the earlier tracks. And what better place to start than with ‘Pictures of Matchstick Men’, opening the evening?
While its psychedelic edges have been softened, it is still immediately recognisable, and I found the stripped-back version of this classic weirdly moving. The arrangement had lost all the shimmer and guitar effects of the original, really helping you to concentrate on the actual workings of the songwriting. Although Francis’s voice has weathered, he still carries that distinctive tone, which drifted perfectly over the two guitars.
Andy Brook’s accompaniment was understated but effective in all the right places, as were his harmonies, and from the first track, the room relaxed. We knew we were definitely in safe hands!
Brook’s essential contribution was a finely balanced act, with a respectful and evident chemistry between the two musicians. Andy had the hard task of constantly listening to Francis, matching his dynamics and adjusting his playing, especially when Rossi’s introductions got longer or shorter, while not dominating the duo’s sound. (However, his hardest job was reeling Francis back in when he started to meander conversationally.)
As Rossi chatted to the crowd about getting old, some of the antics he used to get up to and what certain songs meant to him, the backdrop changed to display different album covers from which the next songs were taken.
‘In My Chair’, released in 1970, was heavy on the blues licks and had a punchy presence, even in this more stripped-back form. Very atmospheric, with the crowd lapping up every single note.
Francis cracked so many jokes between songs that it was hard to know what tangent he would veer off on next. As he chatted briefly about the early days of the band, it was very clear that tonight was just about him and his music, which is fair enough. As Francis always says, he talks too much, and most people have heard the stories over and over again. However, tonight, the conversations leaned more towards how he feels about the songs and his connection to them.
A lesser-played track, ‘Spinning Wheel Blues’, felt almost like a secret handshake from artist to audience, and I think it took even some of the die-hard fans aback when it came to the guitar solo because, for those of you who don’t know, Francis Rossi can play much more than three chords.
Now, I do not say this lightly, but tonight’s solo would have made Eric Clapton weep. Francis got lost in his strings and just went for it, and even I had to look around at some of the faces displaying the same sheer amazement as myself, just to check if what I was hearing was real.
Rossi produced a few small bottles of throat spray, took a few puffs and explained that he had been on tour for so long that his voice needed a little help. He also spoke about how touring for so long can take its toll on him, not just physically but mentally as well, sometimes finding it hard to summon the strength to lift himself every morning. He then strummed into one of my favourite Quo songs, ‘Wild Side of Life’, released in 1976 and later included on expanded editions of Blue for You.
There was a cleverly stitched-together medley of ‘The Wanderer’, ‘Railroad’, ‘Rollin’ Home’, ‘Dear John’ and ‘Hold You Back’, which felt both personal and celebratory. These were not just songs; they were chapters. You could feel the collective grins when a familiar riff appeared, with ‘Dear John’ and ‘Hold You Back’ being exceptional. The rows of chairs were swaying back and forth, with everyone’s feet tapping as they rocked out.
‘Gerdundula’ still sounded inspiring and hypnotic, with some wicked fingerpicking, but it was the deeper blues cut ‘Don’t Waste My Time’, from 1972’s Piledriver, that was an absolute showstopper. This classic Quo track still had the same driving force as the original, even in this format.
The 1981 ballad ‘Rock ‘n’ Roll’ was performed with a quiet intensity, which made the lyrics hit so much harder than they ever did in a full-band setting. This was a very special song for me, and it did bring a tear to my eye, hearing it so raw and filled with emotion.
Next up was the pared-back version of ‘Burning Bridges (On and Off and On Again)’, which felt almost conversational. Although this is one of the songs from the Quo back catalogue I do not enjoy so much, I did enjoy the version I heard tonight.
Another standout song tonight was the instantly recognisable ‘What You’re Proposing’, which included some little guitar duels between Andy and Francis and was absolutely smashed by the pair of them. Every note had everyone moving about in their seats, joining in with all the rhythms and vocal parts when needed.
‘Dirty Water’, another personal favourite, seemed more melodic. The slower tempo provided something hauntingly intriguing about it, again showing more of Rossi’s rarely seen guitar and vocal range. But he was about to split the room, and he knew it. I had a sneaking suspicion it wouldn’t be the only time.
As Francis explained that there could be a divide, he expressed how he could never have a favourite Quo song, although there were some he thought more favourably of than others, and this seemed to be one of those songs you either love or hate. I personally dislike ‘Marguerita Time’ from the 1983 album Back to Back, although I will give him his due: this pared-back version, minus all the sparkly effects from the studio recording, did sound better.
‘Someone Show Me Home’, from 1978’s If You Can’t Stand the Heat… LP, was poignant, again making you focus on the lyrics thanks to the simplicity of the new arrangement. The harmonies between Francis and Andy throughout were a joy to listen to.
‘Tongue Tied’, from the 2007 album In Search of the Fourth Chord, sat comfortably alongside older songs tonight and contained some great hooks without disrupting the flow of the setlist. It was appreciated by all.
“Steeped in the history of it all”
Where do I even start with the 1973 track ‘Roll Over Lay Down’, from Hello!, which is probably one of the best Status Quo albums in existence, in my opinion?
This version was dirty and gritty, and its driving groove was relentless. The whole melody of the composition had shifted, and both guitarists added some exquisite string bending, each one-upping the other, before blasting into the timeless anthem ‘Rockin’ All Over the World’, released by Quo in 1977 on their tenth album of the same name. The energy was lifted tenfold, and the audience sang their hearts out, all choreographed by Francis from his chair, proving the old hits still land the hardest. Why fix something if it’s not broken?
It was at this point in the evening that Francis gave everyone an insight into his day, explaining how he always eats lunch at around 1.45pm, so by the time we were watching him, he was starving. As he had the following day off, he was going to eat a large cheese and Marmite sandwich as soon as he got off stage, with plenty of butter and thick cheese on sourdough, because that’s as rock ‘n’ roll as he is allowed to get these days.
‘In the Army Now’ was another room-splitter! Again, this version was slightly better for me, but I’m really not a fan. Sorry, Francis! However, ‘Down Down’ was on hand straight afterwards and, for me, was the best song of the set, from another great album, On the Level.
Rossi stretched out the introduction, with himself and Brook going back and forth again, until it was time to give his crowd what they were on the edges of their seats for, and he hit every single note with perfection. You could see the pure joy of playing etched all over Rossi’s face, every line and crease steeped in the history of it all. The teasing continued, with that slow, hummed pause, as in the original version, before the crescendo of both guitars crashed straight back in, perfectly in sync, to finish the song.
The very last song of the set was ‘Caroline’, another classic from Hello!, and Francis got up from his chair to really give this version his all. It was slower and dirtier, with the boogie-rock sound gone, leaving just the rhythm of it, with blues notes lingering from each of his fingers. While sometimes overplayed, this gave you a different insight into how a tune can change ever so slightly to make it feel magical again. Truly exceptional.
The pair thanked the crowd as everyone stood. They both drank in the applause, took their bows and made a humble exit.
Nights like this are rare, and the intimate setting for such a personal musical connection is perfect for any fan. Rossi continues to find new ways of playing a lifelong wealth of material, some of it over 50 years old, while still making it sound fresh and relevant. Francis Rossi is a simple reminder of why records like these mattered, and why they still do.
images: Victoria Holdsworth
Victoria is a former English teacher and lifelong musician who has successfully combined her two great passions: words and music. Over the past 20 years, she has written for a variety of publications, giving her the opportunity to witness outstanding talent and meet some truly inspiring individuals. With a deep love for rock, indie, metal, and all things weird and wonderful in between, Victoria also co-runs an independent record label.
