Well, that will teach me to be cheeky I suppose! Having checked out the dates for Paul Weller's much delayed tour and making sure I could find a night that was a) not a clash with a Stone Foundation gig and b) fairly local I sent him a brief message to ask if there was any chance of a couple of tickets, His response was fairly prompt; "yes man, I'll sort you a couple of passes - oh and bring your trumpet with you". Gulp!

He wanted me to play on a couple of numbers, possibly 'Ever Changing Moods' and something else. In the end we settled on 'Shout to the Top' and 'More'. "Just turn up man - no need to soundcheck if you don't want to". Gulp (again).

I thought I'd best give Jacko Peake a quick courtesy call to bring him up to speed and let him know I was gate-crashing the set which I duly did. We chatted through what the arrangements for each song was, what he was playing and where I'd be taking solos. Also, very helpfully, Paul had sent me through recordings of the band in rehearsal for the two numbers in question so I could hear how they were treating them live.

I decided I would try to make soundcheck anyway, partly because it would be a great opportunity for my mate Dave, who I was taking along with me to meet Paul and the band and partly because given the chance to soundcheck, make sure I had a microphone and some monitoring and figure out how each song started and ended live or just wing it I thought it sensible to err on the side of caution (even I'm not that stupid!).

So at 4:00 on the dot I rocked up at the Bath Forum. It's a magnificent venue; a converted art deco cinema built in 1934. I played there with Stone Foundation a few years ago when we supported Mavis Staples on her UK tour (another 'pinch me' moment).

The band had just started sound checking when I walked into the auditorium but immediately all the guys came over to say hello when they saw me. It's a strange feeling, being greeted like a long lost brother by a man I've held in such high esteem and awe for so many years; I don't think I'll ever get used to it.

Soundcheck was a breeze. I had plenty of monitoring via the side fill speaker next to me and felt very confident about what I was playing. Playing alongside Jacko was a real privilege and he made it very easy for me to slot right in. The secret is in the eye contact I always think - as long as I can see the eyes of whoever I'm following for cues I can tell when to come in (and more importantly, when to stop playing!).

After soundcheck, Dave and I slipped out to grab a bite to eat and to leave the band to get themselves ready for the gig.

We slipped back in via the side door just before the main doors opened and made our way backstage.

Everyone was buzzing and chatty and made both of us extremely welcome and at ease - in fact when I turned to Dave he was being quizzed by Paul about where he had bought his shoes from and where he had gotten his trousers made.

In due course and with fist bumps all around, the band went on and Dave headed out front to catch the set while I stayed backstage to warm up and wait for my cue to go on.

Paul announced me (couldn't quite catch what he said - something about being a local lad I think) and on I went. 'Shout to the Top' went great and Jacko and I traded solos at the end. The crowd were very appreciative. Paul then gave me another shout out and said something I couldn't quite make out. Turns out he was telling me to say something - "Speak to your people Triggs". No idea what to say so I came out with "it's a privilege to be playing back in the West Country - ooh ar, ooh ar aye" - twat!

'More' was over in a flash and I even got to play a spacey solo over the end section. It was good to be playing this one live as I'd written the horn arrangements for it and played on the track for the 'On Sunset' album with the SF horns.

Having done my little cameo section I joined Dave out front for the remainder of the set and then went backstage to catch up with everyone after the gig had finished before heading off into the cool Bath air in search of a late night drinking establishment. We found a nice, quiet little pub as it happens that sold good beer and also informed us that they didn't shut until 3:00 am (very civilised on a Wednesday night).

I think it is fair to say that the band were as good, if not better than I've ever seen them. Paul's obvious delight at being back playing live was totally infectious too. A big shout out to Josh McClorey, standing in on bass for Andy Crofts - he did a great job, and a more likeable chap you won't meet (even if, as Steve Pilgrim delighted in telling me - he was only born in 1995).

Great to share the occasion with one of my oldest and closest friends too