LIVE REVIEWS JANUARY - JUNE 2015
MDC / SUBHUMANS / HAGAR THE
WOMB / ANTI-SYSTEM / RESTARTS / SICK ON THE BUS / THE REVERENDS. The Boston Arms, 28/2/15. Due to some nasty, deceitful hassles, I didn’t go out to any gigs for
the first two months of the year. I don’t think I missed anything particularly
outstanding but I do miss the sociable side of things, so I’m glad when this
years’ AWOD festival arrives. Fortunately for my wallet, I’m only tempted by
the Saturday night, but that’s one I don’t want to miss. Trains are messed-up, so
I arrive a little later than intended and miss Roughneck Riot, who I wanted to
check-out. Instead, The Reverends are halfway through their set. They sound
alright and are going down pretty well, but I have to be honest, there’s a big
crowd and I end up chatting with a few people I haven’t seen for a while and I
didn’t pay as much attention as I should.
It’s a different set-up this year, with some bands playing downstairs and others playing in the bigger room upstairs. The idea being that it’ll give bands more time and space to change-over as the next band plays in the other room. Good idea, in theory at least.
Anyway, first band I get to see upstairs are my main reason for being there, Hagar The Womb. As I walk into the room, they’re already onstage and sounding even more chaotic than usual… turns out this is just the soundcheck, but as people start filling the place, they make a quick decision to just get straight into the gig. They begin with a heartfelt dedication to Paco, Conflict’s drummer, who recently passed away. As there are many in attendance who knew the guy, it’s a sombre moment, but the Hags promptly celebrate his memory with a lively version of ‘Dressed To Kill’ (a song that he helped to record.) It’s a fitting way to remember an old friend and the set continues in a similar, upbeat fashion. Karen seems intent on using the word ‘fuck’ as many times as possible (yet she’s such a polite person offstage…) but the rest of the band ignore her and, after a couple of older songs, concentrate mainly on new material. The three songs from the recent single are sounding better and better, while several yet-to-be-recorded tracks continue in the Hags’ finest tradition, bouncing along with a mix of punk rock, indignation and humour. It’s a lot of fun, but then again, The Hags are always fun. The set ends with a great version of ‘Song of Deep Hate’, which results in enough applause to bring them back for an encore. They initially attempt another new song, but when it becomes clear that some band members haven’t learned it as well as others, it falls apart but then they save the day with a mighty version of ‘What’s Your Flag’. You’ve just gotta love ‘em !
Next, on the same stage, we have a previously unannounced short set by Sick On The Bus, who weren’t even listed as playing today. Quick set-up and straight into a handful of songs that actually sound rather good, even though I haven’t been impressed when I’ve seen them before. Maybe they just stuck to their best songs due to time restraints, but whatever reason, I will pay more attention next time I see them.
Then it’s back downstairs again, this time to see Anti-System. The room is pretty packed for their set and initially they sound quite powerful. Unfortunately, it only takes a few songs to realise that there isn’t going to be much variation… I don’t mind the so-called ‘D-beat’, but even Discharge didn’t stick entirely to one style of song. After about 15 minutes, they’ve totally lost my attention, so I go back upstairs and wait for the Subhumans.
Now, this is a band who have always been reliable when it comes to delivering a good gig. Admittedly, some of their older lyrics are sounding a bit dated these days, but they always had a good sense of melody and inventive-ness on the musical side and this ensures that it still holds up well. Of course, by now you’ll know whether you like them or not, but at an event like this they were really playing to a home crowd !
They finish on time, but it’s at this point where it all goes askew. Instead of MDC, we find out that another ‘surprise guest band’, this time The Restarts, are going to play a short set. Now this may be well-intentioned, but it means that MDC are going to be playing 15 or 20 minutes later than scheduled and that means I’m probably going to miss a chunk of their set. Good intentions are one thing and, indeed, The Restarts do belt out three or four songs that sound great, but at the end of the evening, I would still have preferred to see the full set by one of the bands I’d gone to see.
Anyhow, MDC finally arrive onstage and, as I’d heard from friends who saw their previous gig in London, are currently sounding really good. I don’t know if there are any other original members in the band alongside Dave Dictor, but they certainly handle the songs, both old and (relatively) new with a tight and powerful style. They play a hardcore set with none of the ‘Rock’ material they got into at one point, and that’s pretty much what everyone wants to hear. Classic songs like ‘I Remember’ and ‘John Wayne Was A Nazi’ are played with all the energy and intent they deserve, while more recent songs sound up to scratch next to the older stuff. ‘Chicken Squawk’ even manages to incite a totally unexpected outbreak of punk rock barn-dancing ! I am so glad I saw this gig because the only time I saw MDC before now (funnily enough also at the Boston Arms) they were pretty disappointing. But tonight they were really impressive and much more to the point. Which, of course, made it all the more irritating when I had to leave before the end of the set. But I needed to catch the last train and that was one schedule that wouldn’t be changed. I can only hope that MDC return to the UK again soon.
It’s a different set-up this year, with some bands playing downstairs and others playing in the bigger room upstairs. The idea being that it’ll give bands more time and space to change-over as the next band plays in the other room. Good idea, in theory at least.
Anyway, first band I get to see upstairs are my main reason for being there, Hagar The Womb. As I walk into the room, they’re already onstage and sounding even more chaotic than usual… turns out this is just the soundcheck, but as people start filling the place, they make a quick decision to just get straight into the gig. They begin with a heartfelt dedication to Paco, Conflict’s drummer, who recently passed away. As there are many in attendance who knew the guy, it’s a sombre moment, but the Hags promptly celebrate his memory with a lively version of ‘Dressed To Kill’ (a song that he helped to record.) It’s a fitting way to remember an old friend and the set continues in a similar, upbeat fashion. Karen seems intent on using the word ‘fuck’ as many times as possible (yet she’s such a polite person offstage…) but the rest of the band ignore her and, after a couple of older songs, concentrate mainly on new material. The three songs from the recent single are sounding better and better, while several yet-to-be-recorded tracks continue in the Hags’ finest tradition, bouncing along with a mix of punk rock, indignation and humour. It’s a lot of fun, but then again, The Hags are always fun. The set ends with a great version of ‘Song of Deep Hate’, which results in enough applause to bring them back for an encore. They initially attempt another new song, but when it becomes clear that some band members haven’t learned it as well as others, it falls apart but then they save the day with a mighty version of ‘What’s Your Flag’. You’ve just gotta love ‘em !
Next, on the same stage, we have a previously unannounced short set by Sick On The Bus, who weren’t even listed as playing today. Quick set-up and straight into a handful of songs that actually sound rather good, even though I haven’t been impressed when I’ve seen them before. Maybe they just stuck to their best songs due to time restraints, but whatever reason, I will pay more attention next time I see them.
Then it’s back downstairs again, this time to see Anti-System. The room is pretty packed for their set and initially they sound quite powerful. Unfortunately, it only takes a few songs to realise that there isn’t going to be much variation… I don’t mind the so-called ‘D-beat’, but even Discharge didn’t stick entirely to one style of song. After about 15 minutes, they’ve totally lost my attention, so I go back upstairs and wait for the Subhumans.
Now, this is a band who have always been reliable when it comes to delivering a good gig. Admittedly, some of their older lyrics are sounding a bit dated these days, but they always had a good sense of melody and inventive-ness on the musical side and this ensures that it still holds up well. Of course, by now you’ll know whether you like them or not, but at an event like this they were really playing to a home crowd !
They finish on time, but it’s at this point where it all goes askew. Instead of MDC, we find out that another ‘surprise guest band’, this time The Restarts, are going to play a short set. Now this may be well-intentioned, but it means that MDC are going to be playing 15 or 20 minutes later than scheduled and that means I’m probably going to miss a chunk of their set. Good intentions are one thing and, indeed, The Restarts do belt out three or four songs that sound great, but at the end of the evening, I would still have preferred to see the full set by one of the bands I’d gone to see.
Anyhow, MDC finally arrive onstage and, as I’d heard from friends who saw their previous gig in London, are currently sounding really good. I don’t know if there are any other original members in the band alongside Dave Dictor, but they certainly handle the songs, both old and (relatively) new with a tight and powerful style. They play a hardcore set with none of the ‘Rock’ material they got into at one point, and that’s pretty much what everyone wants to hear. Classic songs like ‘I Remember’ and ‘John Wayne Was A Nazi’ are played with all the energy and intent they deserve, while more recent songs sound up to scratch next to the older stuff. ‘Chicken Squawk’ even manages to incite a totally unexpected outbreak of punk rock barn-dancing ! I am so glad I saw this gig because the only time I saw MDC before now (funnily enough also at the Boston Arms) they were pretty disappointing. But tonight they were really impressive and much more to the point. Which, of course, made it all the more irritating when I had to leave before the end of the set. But I needed to catch the last train and that was one schedule that wouldn’t be changed. I can only hope that MDC return to the UK again soon.
SLEAFORD
MODS / BLOOD TUB ORCHESTRA. Colchester Arts
Centre, 13/3/15. Having booked a ticket
several months ago, I get to the week of the gig only to find the car isn’t
going to be available. Fortunately, there are still a few decent people out
there in internet world, so I’m offered a lift there and back. Many thanks to
Anthony and Joel for setting that up.
Sleaford Mods are starting to move up to bigger venues, especially in London, so it’s great that you can still catch them at more intimate venues like this. That being said, the place is packed with the biggest crowd I’ve ever seen here. Their name is obviously getting out there, but fortunately they’ve already been around for a while, working on their music so that they’ve now got a strong body of work at their disposal to back-up the plaudits. They’re clearly not some flash in the pan media hype.
As we arrive, the Blood Tub Orchestra are already onstage, but it takes me a few moments before I realise that I recognise a few of the faces onstage. This is a new project featuring several members of the London Dirthole Company, reviving vintage Music Hall tunes and transferring them into a noisy, contemporary situation, complete with two drummers and distorted bass. But with song titles like ‘Never Let Your Braces Dangle’ and ‘We’re Glad You’ve Got a Gun’, it actually works surprisingly well. The lyrics retain their original character while the new arrangements give them a whole new lease of life. It’s all very entertaining and something that you should try to see at the earliest opportunity.
It actually takes the Blood Tubs much longer to remove their gear from the stage than for Sleaford Mods to set-up (basically, Andrew has top plug-in his laptop…) and so they arrive onstage much earlier than expected. Starting with two pretty new songs (the delicately entitled ‘Bunch of Cunts’ and ‘Live Tonight’) they then delve into material from the last two albums. Gradually, the audience get more and more lively until, by the end of the set, there’s a whole mob slamming around in front of the stage. Andrew maintains his knowingly understated persona while Jason attempts to introduce his new Quasimodo impersonation into his act, as well as flashing his belly to anyone who’ll take notice. There’s a real sense of fun and humour in their performance and I hope people get that as much as the anger in the lyrics. The encore brings another track I hadn’t heard before, plus a mighty version of ‘Tweet Tweet Tweet’, before they exit again, only to be called back for a second, unscheduled encore. This time, ‘The Corgi’ provides a perfect ending to the show. There were a lot of happy faces in the room by this point, people who obviously got into the spirit of the occasion. This is when Sleaford Mods really hit the mark and, as they begin to get more popular, I just hope they can continue to maintain that connection.
Sleaford Mods are starting to move up to bigger venues, especially in London, so it’s great that you can still catch them at more intimate venues like this. That being said, the place is packed with the biggest crowd I’ve ever seen here. Their name is obviously getting out there, but fortunately they’ve already been around for a while, working on their music so that they’ve now got a strong body of work at their disposal to back-up the plaudits. They’re clearly not some flash in the pan media hype.
As we arrive, the Blood Tub Orchestra are already onstage, but it takes me a few moments before I realise that I recognise a few of the faces onstage. This is a new project featuring several members of the London Dirthole Company, reviving vintage Music Hall tunes and transferring them into a noisy, contemporary situation, complete with two drummers and distorted bass. But with song titles like ‘Never Let Your Braces Dangle’ and ‘We’re Glad You’ve Got a Gun’, it actually works surprisingly well. The lyrics retain their original character while the new arrangements give them a whole new lease of life. It’s all very entertaining and something that you should try to see at the earliest opportunity.
It actually takes the Blood Tubs much longer to remove their gear from the stage than for Sleaford Mods to set-up (basically, Andrew has top plug-in his laptop…) and so they arrive onstage much earlier than expected. Starting with two pretty new songs (the delicately entitled ‘Bunch of Cunts’ and ‘Live Tonight’) they then delve into material from the last two albums. Gradually, the audience get more and more lively until, by the end of the set, there’s a whole mob slamming around in front of the stage. Andrew maintains his knowingly understated persona while Jason attempts to introduce his new Quasimodo impersonation into his act, as well as flashing his belly to anyone who’ll take notice. There’s a real sense of fun and humour in their performance and I hope people get that as much as the anger in the lyrics. The encore brings another track I hadn’t heard before, plus a mighty version of ‘Tweet Tweet Tweet’, before they exit again, only to be called back for a second, unscheduled encore. This time, ‘The Corgi’ provides a perfect ending to the show. There were a lot of happy faces in the room by this point, people who obviously got into the spirit of the occasion. This is when Sleaford Mods really hit the mark and, as they begin to get more popular, I just hope they can continue to maintain that connection.
NINA CONTI.
Soho Theatre, 15/3/15. I meet up with my old
GBV-buddy, Vicki, for this one. I haven’t seen her for ages so inevitably it
involves a few beers both before and afterwards (it’s an early show, 7.00pm.)
But isn’t that the perfect way to compliment some fine comedy ?
Nina Conti is trying-out her new show tonight. Entitled ‘In Your Face’, it differs considerably to her previous show, which was more character-based, in that this one is entirely improvised. Yup, just Nina, Monkey and various hapless members of the audience. Be warned – don’t sit in the front row if you’re easily embarrassed ! Having said that, tonights’ participants take it all in good humour and allow Monkey / Nina to pry into their personal lives and relationships. Perhaps it doesn’t seem so invasive when the questions come from a puppet ? One unfortunate couple make the error of arriving a few minutes into the show, only to discover that the last seats left for them are in the front row – you can guess what happens next ! But it’s never in a mean-spirited fashion and, if anything, it’s more like the kind of ribbing you’d get from friends in a pub, rather than being malicious or hurtful. After conver-sations with the individuals, possibly to scope-out whether they will be up for more, they’re invited on stage where Nina adorns them with face-masks to turn them into real live puppets. At one point, she even manages to voice a conversation with three audience-puppets ! Perhaps not the most technically-precise moment in the set, but it’s a wonderful spectacle. Finally, Nina ends the show by turning the cards on herself and becomes the final puppet in hilarious style. Having seen her before and been very impressed, I still have to say this was even better. As remarkable and entertaining as ever, I can only recommend this show and, with a major UK tour coming up later in the year, you really have no excuse for missing it.
Nina Conti is trying-out her new show tonight. Entitled ‘In Your Face’, it differs considerably to her previous show, which was more character-based, in that this one is entirely improvised. Yup, just Nina, Monkey and various hapless members of the audience. Be warned – don’t sit in the front row if you’re easily embarrassed ! Having said that, tonights’ participants take it all in good humour and allow Monkey / Nina to pry into their personal lives and relationships. Perhaps it doesn’t seem so invasive when the questions come from a puppet ? One unfortunate couple make the error of arriving a few minutes into the show, only to discover that the last seats left for them are in the front row – you can guess what happens next ! But it’s never in a mean-spirited fashion and, if anything, it’s more like the kind of ribbing you’d get from friends in a pub, rather than being malicious or hurtful. After conver-sations with the individuals, possibly to scope-out whether they will be up for more, they’re invited on stage where Nina adorns them with face-masks to turn them into real live puppets. At one point, she even manages to voice a conversation with three audience-puppets ! Perhaps not the most technically-precise moment in the set, but it’s a wonderful spectacle. Finally, Nina ends the show by turning the cards on herself and becomes the final puppet in hilarious style. Having seen her before and been very impressed, I still have to say this was even better. As remarkable and entertaining as ever, I can only recommend this show and, with a major UK tour coming up later in the year, you really have no excuse for missing it.
JESSE
MALIN. The Social, 16/3/15. I must admit, I haven’t paid
enough attention to Jesse Malin over the years. Launching his career in New Yorks’ early
hardcore band Heart Attack (label-mates to the Beastie Boys, no less) he went
on to more notoriety as part of DGeneration before switching over to solo
material. DGeneration have recently reformed but his latest release is the solo
album ‘New York Before The War’. It was for this reason he arrived in London, to play a low-key
, mostly acoustic set, accompanied by just one other band member. The venue is
a small, almost claustrophobic downstairs room, but it’s perfect for something
like this. I’m unfamiliar with a lot of the songs, but Jesse is a very natural
performer and quickly draws you in. Between songs, he tells tales of life in New York, the recording
of the album, and his travels around the world. He’s funny without really
trying to be, a natural raconteur that sets the scene just right. The tracks
from the new album sound really good in this stripped-down fashion and he also
teases the audience with excerpts from some of his older favourites. He even has
time for a few covers, including ‘Stay Free’ by The Clash (although his
pronunciation is a bit Dick Van Dyke at times) and then to end the set, a
raucous version of Lou Reeds’ ‘Sally Can’t Dance’, which finds him jostling his
way through the crowd in the best rock’n’roll tradition. It’s the kinda set
that makes me want to see and hear more, which is certainly what I intend to do
when he tours in a few months’ time. But for now, I’ll just keep kicking myself
that it’s taken me so long to catch up.
THE STRANGLERS
/ THE REZILLOS. Cambridge
Corn Exchange, 20/3/15. Our car is still out of
action, but having failed to get a ticket for the London date of this tour and being offered a
place on the guestlist for this one, I
really didn’t want to miss it. The answer was actually surprisingly simple. I
found a local hire-car company and booked one for the day. I even get to drive
a genuine Chevy (okay, so it was only a Matiz, but it’s still a step up from a
Nissan fucking Micra…)
Anyway, some delays on the way up to Cambridge but I still arrive in plenty of time for The Rezillos. Kicking off with ‘Destination Venus’, they’re sounding really great, right from the outset. The sound is always good in the Corn Exchange and the guitars and drums sound huge, while Fay and Eugene’s vocals have strength and clarity. They mix the songs up pretty evenly between the older, more familiar numbers and tracks from the rather excellent new LP, ‘Zero’. It’s probably not ideal for them to be playing in such a large venue, supporting a band with a notoriously partisan following, but they put plenty of energy into it and earn a well-deserved response. We get right down to the front of the stage and it’s a lot of fun. All I can say is, it’s great to see them playing at this kinda standard again and this line-up has gotta be one of the best they’ve ever had.
Anyway, some delays on the way up to Cambridge but I still arrive in plenty of time for The Rezillos. Kicking off with ‘Destination Venus’, they’re sounding really great, right from the outset. The sound is always good in the Corn Exchange and the guitars and drums sound huge, while Fay and Eugene’s vocals have strength and clarity. They mix the songs up pretty evenly between the older, more familiar numbers and tracks from the rather excellent new LP, ‘Zero’. It’s probably not ideal for them to be playing in such a large venue, supporting a band with a notoriously partisan following, but they put plenty of energy into it and earn a well-deserved response. We get right down to the front of the stage and it’s a lot of fun. All I can say is, it’s great to see them playing at this kinda standard again and this line-up has gotta be one of the best they’ve ever had.
The Stranglers play a twist on their
traditional ‘Waltzinblack’ intro, this time with a recording of the track
performed by a Military Brass Band ! It takes a few moments for it to sink in,
but when I realise what it is, it’s a nice little joke that’s fits nicely with
their sense of humour. But once onstage, they launch into ‘Longships’, ‘The
Raven’ and ‘Straighten Out’ without hardly taking a pause for breath. From
there on, they switch back and forth across their whole back catalogue, from
‘Grip’ and ‘Duchess’ all the way through to great recent tracks like ‘Freedom
is Insane’ and ‘Time Was Once On My Side’. There’s also several songs I hadn’t
really been expecting, like ‘Four Horsemen’ and ‘I Feel Like a Wog’, alongside
so many hits that it’s sometimes difficult to appreciate just how successful
they’ve been. Midway through the set, Jet Black makes his appearance to play
drums on four tracks, ending with a superb version of ‘Genetix’. Always great
to see him, the Grand Old Maninblack himself ! It’s another lengthy gig
overall, some two hours in total, but when they end the main set with two of my
favourites, ‘Curfew’ and ‘Down In The Sewer’, it just leaves everyone hungry
for more. The first encore delivers a fine coupling of ‘Walk On By’ and ‘Five
Minutes’ and a second pairs two of their best known crowd-pleasers, ‘Peaches’
and ‘No More Heroes’. By that point, I’m sure the audience would’ve been happy
to keep calling them back all night long, but in truth we’d already had more
than our money’s worth. I doubt if anyone would’ve predicted, 40 years ago,
that they’d still be around now as one of the best live bands in the country,
but the proof is there to be seen. Long may it continue to be so.
WAYNE
KRAMER and others / THE CRUNCH – I Need A Dodge film premiere. Koko, 25/3/15. This event was announced for the launch of (yet another) documentary
about Joe Strummer, ‘I Need A Dodge’, based on the time he spent in Spain after
the recording of ‘Cut The Crap’ and the subsequent dissolution of the final
Clash line-up.
Anyway, it was an early start so after meeting in the pub for some decent beers, we’re in the venue on time to catch opening band, The Crunch. With their new album due out shortly, I had expected more of the new songs, but with only a short time slot they instead stick mostly to established tracks like ‘Down By The Border’ and ‘Gangster Radio’ for the first half of their set, before switching to a selection of songs from the first Clash album – highly appropriate considering the occasion and the fact that they have Terry Chimes on their drum-stool. They blast through the likes of ‘Garageland’ and ‘Janie Jones’ with real gusto, setting the tone for what ought to be a great evening. Unfortunately, much of what follows their set turns out to be a bit of a let down, but The Crunch had done their part really well and I’m sure won more than a few new fans here tonight.
At this point, a screen is lowered across then stage and it’s time to watch the film. Now, to be fair, watching a film like this in a standing-only area was far from ideal. The film mostly involved Spanish interviewees and so was almost entirely subtitled. I have no problem with that, but this wasn’t really the best situation in which to be able to concentrate as much as was needed. The film itself was also far removed from the kind of rock’n’roll tale that most were expecting. As I was saying, it’s the tale of Joe fleeing to Spain after his disillusionment with ‘Cut The Crap’, and his attempt to reignite his enthusiasm for music by getting involved in the local band scene. Alongside this, there’s also the story of the Dodge car that Joe owned for a short time before subsequently losing it when he had to return to London. For some reason, the film makers decide to try to locate it, although, without any registration details or other identification, they consequently fail (…trust me, that detail won’t spoil the film for you…) It all seems a bit of a flimsy excuse to make a documentary and, while it is filmed very nicely, there really isn’t much substance to it. There are only very brief interviews with a couple of the later Clash members, and only audio recordings of Joe himself. Perhaps I’m being a little harsh, and I’m sure it would be more interesting to watch in a different situation, but for a premiere, I don’t think many people were over-impressed.
Anyway, it was an early start so after meeting in the pub for some decent beers, we’re in the venue on time to catch opening band, The Crunch. With their new album due out shortly, I had expected more of the new songs, but with only a short time slot they instead stick mostly to established tracks like ‘Down By The Border’ and ‘Gangster Radio’ for the first half of their set, before switching to a selection of songs from the first Clash album – highly appropriate considering the occasion and the fact that they have Terry Chimes on their drum-stool. They blast through the likes of ‘Garageland’ and ‘Janie Jones’ with real gusto, setting the tone for what ought to be a great evening. Unfortunately, much of what follows their set turns out to be a bit of a let down, but The Crunch had done their part really well and I’m sure won more than a few new fans here tonight.
At this point, a screen is lowered across then stage and it’s time to watch the film. Now, to be fair, watching a film like this in a standing-only area was far from ideal. The film mostly involved Spanish interviewees and so was almost entirely subtitled. I have no problem with that, but this wasn’t really the best situation in which to be able to concentrate as much as was needed. The film itself was also far removed from the kind of rock’n’roll tale that most were expecting. As I was saying, it’s the tale of Joe fleeing to Spain after his disillusionment with ‘Cut The Crap’, and his attempt to reignite his enthusiasm for music by getting involved in the local band scene. Alongside this, there’s also the story of the Dodge car that Joe owned for a short time before subsequently losing it when he had to return to London. For some reason, the film makers decide to try to locate it, although, without any registration details or other identification, they consequently fail (…trust me, that detail won’t spoil the film for you…) It all seems a bit of a flimsy excuse to make a documentary and, while it is filmed very nicely, there really isn’t much substance to it. There are only very brief interviews with a couple of the later Clash members, and only audio recordings of Joe himself. Perhaps I’m being a little harsh, and I’m sure it would be more interesting to watch in a different situation, but for a premiere, I don’t think many people were over-impressed.
Anyway, film-done and it’s time for the
‘All-Star Band’ (as they were billed) to take to the stage. Again, especially after
the earlier, excellent set from The Crunch, I think there were high hopes for
this one-off event, and with the likes of Dave Ruffy and Paul Haggerty from
Ruts DC in the backing band, it certainly should have been good. The problem
was that some of the guest vocalists just weren’t suited to the songs they were
singing. Paul Ronney Angel is a great frontman for Urban Voodoo Machine, but
that doesn’t necessarily translate to performing someone else’s songs in their
style. Chris Bailey (The Saints) is another singer who has a great style of his
own, but again, performing in Joe Strummers’ place just didn’t suit him
(although I have to give him full marks for including the highly-underrated
‘This Is England’.) Segs (yet another Rut DC) does a good job on several songs
(his vocals just continue to improve with age !) while Charlie Harper surprises
a lot of people with a great version of ‘Tommy Gun’, probably the best vocals
of the set. It’s not a bad gig by any means, but with so many different guests
it just didn’t seem to mesh together.
Finally, it was left to the godlike genius of
Wayne Kramer to really save the day. He appears onstage to play the final three
songs, starting with ‘Jail Guitar Doors’ (a Mick Jones song that refers to
Wayne’s then incarceration on drug charge) and then blasting through two of his
own classics, ‘Looking At You’ and ‘Kick Out The Jams’. Wayne Kramer has his
own style and presence, much in the same way that Joe Strummer had, and this is
the tribute that was needed. Not someone trying to be Joe, but someone doing
their own thing as well as they can. Even the backing band, by now also
including the Pretenders’ Martin Chambers on a second drum-kit, really raise
their game for these songs and it’s a fitting finale that ends the night with
people leaving knowing that they had seen something special. I’m sure Mr
Strummer would have loved it.
As I arrive on the platform for my tube train, I bump into Charlie Harper and his wife, rushing to catch their last train back to Brighton. ‘We really should have left a little bit earlier to make sure we catch the train’, he tells me. ‘But there was no way we were going to walk out while Wayne Kramer was onstage !’ That’s from a man who obviously knows what he’s talking about, and it summed it up as perfectly as it gets.
As I arrive on the platform for my tube train, I bump into Charlie Harper and his wife, rushing to catch their last train back to Brighton. ‘We really should have left a little bit earlier to make sure we catch the train’, he tells me. ‘But there was no way we were going to walk out while Wayne Kramer was onstage !’ That’s from a man who obviously knows what he’s talking about, and it summed it up as perfectly as it gets.
CONFLICT /
ICONS OF FILTH / HAGAR THE WOMB / RESTARTS / POTENTIAL THREAT / LIBERTY / LOST CHERREES.
100 Club, 5/4/15. It being a Bank Holiday, the
idiots who run the train schedules where I live had decided that no-one would
want to travel anywhere and organised engineering works, which meant the usual
shambolic and time-consuming replacement buses for most of my journey to and
from London. It
was a total pain in the hole, and I truly look forward to the day that I will
no longer be at the mercy of their incompetence.
Regardless, this was a gig that I felt I had to attend, a tribute for Conflict’s legendary drummer, Paco, who died recently after several years of ill-health. I won’t pretend I was a friend or anything, but he was a constant presence of the underground punk scene, well known for his generosity in helping and advising new bands. He will be missed by many, not least the bands who were playing at this gig, some of whom he had worked with either setting up gigs or recording in the studio. In so many ways, this was the perfect way for everyone to pay their respects.
Having been horribly, but predictably, delayed by the trains / buses, I still manage to arrive halfway through Lost Cherrees set, so all was not lost. Their line-up has changed yet again and they now have two female vocalists, but despite the changes they’re still sounding really good, as they have been each time I’ve seen them. It’s an odd situation, that I actually prefer their more recent material to their original recordings, which isn’t something you can say about many reformed bands. But with plenty of energy, more than a few good tunes and some great, straight to the point lyrics, they really are a band you should see for what they’re doing now, rather than just for the old material. This is the real reason why bands should get back together !
This can’t be said about Liberty, unfortunately. I saw them several times, years ago, and was never particularly impressed. Now, they actually seem worse than ever, with an introduction to their first song that seemed to glorify beating-up fascists. Now, I’m no fan of fascists, either, but when you adopt fascist tactics to oppose fascism, doesn’t that make you a fascist as well. Especially when you then go on to sing songs revelling in it ? I feel there’s a very obvious self-contradiction there. Similarly, the music didn’t really display any particular imagination, so I took the opportunity to wander down into Soho to get something to eat.
When I return, Potential Threat are onstage. I hadn’t rushed back to see them because, for some unexplained reason, I thought they were a totally different band that I didn’t particularly want to see. Instead, they’re clearly not who I thought they were and actually sound rather good. The band are really tight, while the female vocalist had a very strong, impressive voice. So I don’t know where my mistake came from (okay, I’ll admit, I’m old and confused…) but I surely would have remembered them had I seen them before. And I certainly hope I get to see them again, a full set next time !
One thing I will mention is that, despite the number of bands, the gig seems to be really well organised, with the switch-overs going very smoothly and everything running on-time. With further train-hassles ahead, I’m more than happy with this.
The Restarts are up next and I have to say, they’re a band that I’ve grown to enjoy the more I’ve seen them. They’re not the most original-sounding band, with their roots firmly set in early 80’s UK punk, but they always deliver a good solid set and add something of their own character to it all. At the end of the day, I’m just glad they’re out there. Rather another band on our side than an empty stage, eh ?
Regardless, this was a gig that I felt I had to attend, a tribute for Conflict’s legendary drummer, Paco, who died recently after several years of ill-health. I won’t pretend I was a friend or anything, but he was a constant presence of the underground punk scene, well known for his generosity in helping and advising new bands. He will be missed by many, not least the bands who were playing at this gig, some of whom he had worked with either setting up gigs or recording in the studio. In so many ways, this was the perfect way for everyone to pay their respects.
Having been horribly, but predictably, delayed by the trains / buses, I still manage to arrive halfway through Lost Cherrees set, so all was not lost. Their line-up has changed yet again and they now have two female vocalists, but despite the changes they’re still sounding really good, as they have been each time I’ve seen them. It’s an odd situation, that I actually prefer their more recent material to their original recordings, which isn’t something you can say about many reformed bands. But with plenty of energy, more than a few good tunes and some great, straight to the point lyrics, they really are a band you should see for what they’re doing now, rather than just for the old material. This is the real reason why bands should get back together !
This can’t be said about Liberty, unfortunately. I saw them several times, years ago, and was never particularly impressed. Now, they actually seem worse than ever, with an introduction to their first song that seemed to glorify beating-up fascists. Now, I’m no fan of fascists, either, but when you adopt fascist tactics to oppose fascism, doesn’t that make you a fascist as well. Especially when you then go on to sing songs revelling in it ? I feel there’s a very obvious self-contradiction there. Similarly, the music didn’t really display any particular imagination, so I took the opportunity to wander down into Soho to get something to eat.
When I return, Potential Threat are onstage. I hadn’t rushed back to see them because, for some unexplained reason, I thought they were a totally different band that I didn’t particularly want to see. Instead, they’re clearly not who I thought they were and actually sound rather good. The band are really tight, while the female vocalist had a very strong, impressive voice. So I don’t know where my mistake came from (okay, I’ll admit, I’m old and confused…) but I surely would have remembered them had I seen them before. And I certainly hope I get to see them again, a full set next time !
One thing I will mention is that, despite the number of bands, the gig seems to be really well organised, with the switch-overs going very smoothly and everything running on-time. With further train-hassles ahead, I’m more than happy with this.
The Restarts are up next and I have to say, they’re a band that I’ve grown to enjoy the more I’ve seen them. They’re not the most original-sounding band, with their roots firmly set in early 80’s UK punk, but they always deliver a good solid set and add something of their own character to it all. At the end of the day, I’m just glad they’re out there. Rather another band on our side than an empty stage, eh ?
And then, Hagar The Womb. For me, this was
the main attraction of the night (and I’m not just referring to Mitch’s green
suit, although it is pretty damn sexy – just ask some of the hot babes that owe
him a favour !) Karen introduces them as
‘the funny, shouty ladies and people usually go to the toilet while we’re on’
but then dedicates their set to Paco, who recorded their first EP. Well, that’s
their essence, fun and poignant at the same time. It’s easy for lazy-listeners
to dismiss them as a jokey-band, but there’s also a lot more to them. Some damn-fine
tunes, great, inventive music and lyrics that can be humorous one minute, and
though-provoking the next. Their performances can be (okay, usually are) pretty
chaotic, but that’s the beauty of it. You never know what’s going to happen
next and the results are just as likely to be sublime as a disaster. It’s not a
show, it’s all totally genuine and in real time. Unfortunately, Steph couldn’t
be at this gig, due to prior plans, but a stand-in does a fine job (never didget
his name) and there’s also a guest appearance by former member Veg for the
finale of ‘Dressed To Kill’ (although Colin Jerwood bottles-out of the
invitation to join the vocals, obviously worried about being upstaged…) Another fine gig, more than making up for the
hassles I’d had on the trains.
Icons of Filth were, for some, one of the highlights of tonight. Technically, they split-up in 2004 after the sudden death of vocalist Stig, but have played occasionally, on appropriate occasions, with Stigs’ son Calvin on vocals. It’s a credible way for them to perform, making it a special occasion when they do, rather than a desperate attempt to keep the band going, while also maintaining a sense of continuity by having Calvin taking his fathers’ place. It had been a long time since I last saw them, but in many ways it was pretty similar. I always thought Icons of Filth were a great live band, who could deliver powerful, emotive sets, but never really managed to translate that to their recorded work. Part of the problem was that, for me, they never really had any particular stand-out songs, so while their gigs were a real in-your-face experience, the records became a bit repetitive. That being said, they have been an influential band and they certainly deserve the credit they’ve received, but this will always be the way I would want to hear them. This set culminates with guest vocals from several friends and a final song sung by both Calvin and Colin, which proved to be a powerful ending to their set.
Icons of Filth were, for some, one of the highlights of tonight. Technically, they split-up in 2004 after the sudden death of vocalist Stig, but have played occasionally, on appropriate occasions, with Stigs’ son Calvin on vocals. It’s a credible way for them to perform, making it a special occasion when they do, rather than a desperate attempt to keep the band going, while also maintaining a sense of continuity by having Calvin taking his fathers’ place. It had been a long time since I last saw them, but in many ways it was pretty similar. I always thought Icons of Filth were a great live band, who could deliver powerful, emotive sets, but never really managed to translate that to their recorded work. Part of the problem was that, for me, they never really had any particular stand-out songs, so while their gigs were a real in-your-face experience, the records became a bit repetitive. That being said, they have been an influential band and they certainly deserve the credit they’ve received, but this will always be the way I would want to hear them. This set culminates with guest vocals from several friends and a final song sung by both Calvin and Colin, which proved to be a powerful ending to their set.
Conflict are another band I hadn’t seen for
ages, and with only Colin remaining from their heyday, it’s quite a different
band to the one I last saw at the 100 Club in 1984. That being said, much of
the political situation now actually mirrors the Thatcher era, so a good deal
of their original songs still have relevance today. But while this line-up
certainly has the technical ability to perform the songs (old material like
‘The System Maintains’ and ‘The Serenade Is Dead’ sound as good as ever and
some of the newer material wasn’t far behind them) it also seems to lack the
passion, anger and urgency that was so much a part of the bands’ delivery back
then. Perhaps because they were such a symbol of resistance during the
early-mid 80’s, it’s just difficult to transfer that status to what they are
doing now. Having said all this, I did actually enjoy seeing them again and it
is good to know that people like them are still shouting against the system.
But it is all a different thing now, and that really needs to be acknowledged
when you see a band with the history they’ve had.
PETER
PERRETT. Rough Trade, 9/4/15. As the
launch for the new, updated version of Nina Antonia’s fine biography, ‘Homme
Fatale’, the elusive Peter Perrett was making one of his rare appearances at
the Rough Trade shop and accordingly, a crowd of fans had gathered for the
occasion. It’s a nice sunny evening so everyone seems content loitering
outside, but the call eventually goes out and everyone makes their way
downstairs to what turns out to be a ridiculously crowded and sweltering basement.
With very little air-circulation, it’s not particularly pleasant, but Perretts’
short acoustic set still works rather well. Alongside just one other guitarist,
Jamie, he announces that he’s chosen songs suitable for the occasion rather
than just the well-known numbers, and he’s obviously chosen wisely. Several
older songs are re-worked, a real treat for the fans, and the acoustic format
really highlights his extraordinary voice and intricate melodies. One song, an
unreleased Only Ones track called ‘SeaVoyager’ (I think…) ended with a nice
reference to Johnny Thunders classic ‘You Can’t Put You’re Arms Around A
Memory’ while another dated back to his short-lived and highly-under-rated
1990’s band, The One. Four or five songs and it was over, all too soon, but he
still stayed around for a while to chat and sign copies of the book. In a
perfect world, this guy should have been a massive star. But then again, if it
was a perfect world, he probably wouldn’t have been half as interesting.
WIRE /
TOMAGA. The Lexington,
15/4/15. To celebrate the release of their
new, eponymous album, Wire had announced a ‘mini-Drill’ festival over five
nights at The Lexington, with different support bands each night. On this
evening, the first band are Tomaga, a two-piece who play various instruments mostly
based around drums and guitar but with plenty of cross-over. It’s a peculiar
sound but definitely draws you in as the instrumental set progresses. At first,
it sounds alright, but as you watch and listen, the intricacies emerge and
fascinate. The way this pair interact is quite enthralling and the results are
pretty special. I don’t really know how to describe the music, but I enjoyed it
and recommend this band wholeheartedly.
Wire play onstage in almost total darkness, though I’m not entirely sure whether this was deliberate or not. It added a sense of unease to the proceedings, but was also a little irritating after a while. Nonetheless, the music was faultless. As expected, they perform all the songs from the new album, although avoiding the current trend for playing the album from start to finish as one piece by inserting various sympathetic tracks from their older albums. ‘Silk Skin Paws’, sounding as mesmerising as it always did, and a surprisingly brief version of ‘Drill’ are early highlights. But it’s the new material that really steals the show. ‘Blogging’ and ‘Joust & Jostle’ are fine Wire-pop moments, while other tracks like ‘Swallow’ take a more restrained but no less catchy approach. Elsewhere in the set, ‘Sleepwalking’ and ‘Harpooned’ take an altogether darker tone, with the latter becoming a real assault on the senses. As always, the new material is always the key to Wire’s continued work and this gig proved yet again why they remain one of the most consistently impressive bands I’ve ever seen.
Wire play onstage in almost total darkness, though I’m not entirely sure whether this was deliberate or not. It added a sense of unease to the proceedings, but was also a little irritating after a while. Nonetheless, the music was faultless. As expected, they perform all the songs from the new album, although avoiding the current trend for playing the album from start to finish as one piece by inserting various sympathetic tracks from their older albums. ‘Silk Skin Paws’, sounding as mesmerising as it always did, and a surprisingly brief version of ‘Drill’ are early highlights. But it’s the new material that really steals the show. ‘Blogging’ and ‘Joust & Jostle’ are fine Wire-pop moments, while other tracks like ‘Swallow’ take a more restrained but no less catchy approach. Elsewhere in the set, ‘Sleepwalking’ and ‘Harpooned’ take an altogether darker tone, with the latter becoming a real assault on the senses. As always, the new material is always the key to Wire’s continued work and this gig proved yet again why they remain one of the most consistently impressive bands I’ve ever seen.
WIRE. Rough Trade East,
18/4/15. It’s Record Store Day again and I’m glad to say not
too many releases that are really tempting me this year. It can be a rather
expensive day-out if you succumb to the vinyl-fetish, but as the major-labels
worm their way into it (weren’t these the same
people who were declaring vinyl dead a few years ago ?) the amount of truly interesting or worthwhile
releases certainly seems to have dropped-off. But on the other hand, several
locations have performances from decent bands, and I start the day at RTE
watching Wire. Surprisingly, the place isn’t as packed as I had expected so I
get a good vantage point and wait for proceedings to start. Graham Lewis begins
by explaining, due to RSD, the vinyl release of their new album has actually
been delayed, and then offering a test-pressing of the LP to the ‘best dancer’
in the audience. A determined crowd gathers at the front of the stage in
readiness…
Wire stick to material from the new album but with tracks as instantly enjoyable as ‘Blogging’ and ‘In Manchester’, or as compelling as ‘Octopus’,I doubt that anyone is going to complain. They only play for around thirty minutes put the sound is great and the new songs are fast becoming new favourites. The set ends with a wonderfully drawn-out version of ‘Harpooned’, which is surely destined to become one of the highpoints of any Wire performance. Simply wonderful. And, in case you’re interested, Walter one the dance contest…
Once it’s all over, I head back to Liverpool Street as the next part of my day is going to be spent in Berwick Street…
Wire stick to material from the new album but with tracks as instantly enjoyable as ‘Blogging’ and ‘In Manchester’, or as compelling as ‘Octopus’,I doubt that anyone is going to complain. They only play for around thirty minutes put the sound is great and the new songs are fast becoming new favourites. The set ends with a wonderfully drawn-out version of ‘Harpooned’, which is surely destined to become one of the highpoints of any Wire performance. Simply wonderful. And, in case you’re interested, Walter one the dance contest…
Once it’s all over, I head back to Liverpool Street as the next part of my day is going to be spent in Berwick Street…
JOHN COOPER CLARKE / GANG OF
FOUR. Berwick Street,
18/4/15. Meeting up with my friend Vicki for a swift pint at
The Champion, we then head down into Soho to find the temporarily-pedestrianised
area around Berwick Street full of people who mostly seem to be far-more
interested in drinking than visiting record shops. We only have a short-wait
before John Cooper Clarke arrives onstage and, although I’ve been looking
forward to this, it quickly becomes a disappointment due entirely to the
appalling PA sound. I mean, there’s one man onstage using one microphone – how
difficult is it to get that right ? The
sound is so muffled as to be virtually inaudible, so although Dr Clarke
proceeds with favourites like ‘Hire Car’ and ‘Splat Twat’, it becomes very
frustrating for the audience. Calls from the crowd soon have him pleading with
the soundcrew, but to no avail. Either through incompetence or sheer laziness,
the PA ruins the set and even the magnificence of ‘Beasley Street’ falls foul of the murky
mix. Eventually, JCC cuts the set short which was a real shame, but in the
circumstances no-one could blame him.
With a long gap before the Gang of Four are due to play, we decide to avoid the crowds and heard back up to The Champion. After all, however bad the PA might be, the IPA will taste good…
Back in time for Gang of Four. It’s the first time I’ve seen this line-up, with only guitarist Jon King remaining from the original band. Actually, despite battling against the fiendish PA, they still sound rather good although watching them is a bit confusing… I mean, they sound like Gang of Four but look like an entirely different band (which to a great extent, they are.) However, the newer material is sounding good onstage and the older tracks still have their bite, so it’s going well until halfway through ‘Too Hell With Poverty’, when everything cuts out. I’ve heard two versions of what happened… firstly, Jon Kings’ amp blew-out, or secondly, the set was cut short due to complaints about the noise levels. No idea which one, if either, is right, but it seemed like a typically shambolic way for the afternoon to end. Maybe I’d been spoilt by the last couple of years in Berwick Street, but this year, despite an interesting selection of bands, things were just not as good as they should have been.
With a long gap before the Gang of Four are due to play, we decide to avoid the crowds and heard back up to The Champion. After all, however bad the PA might be, the IPA will taste good…
Back in time for Gang of Four. It’s the first time I’ve seen this line-up, with only guitarist Jon King remaining from the original band. Actually, despite battling against the fiendish PA, they still sound rather good although watching them is a bit confusing… I mean, they sound like Gang of Four but look like an entirely different band (which to a great extent, they are.) However, the newer material is sounding good onstage and the older tracks still have their bite, so it’s going well until halfway through ‘Too Hell With Poverty’, when everything cuts out. I’ve heard two versions of what happened… firstly, Jon Kings’ amp blew-out, or secondly, the set was cut short due to complaints about the noise levels. No idea which one, if either, is right, but it seemed like a typically shambolic way for the afternoon to end. Maybe I’d been spoilt by the last couple of years in Berwick Street, but this year, despite an interesting selection of bands, things were just not as good as they should have been.
WIRE. The Lexington, 18/4/15. So,
after a leisurely sojourn to a nearby Italian restaurant, I head-up to
Islington for my third and final gig of the day, and Wire’s fifth and final
night at The Lexington. Unfortunately, I’ve already missed the support band,
Xaviers, who I had wanted to see. Featuring members of Japanese rock band Bo
Ningen, they’re becoming known for their take of krautrock-style improvisation
and this would have been an ideal chance to catch up. As it turns out, I do
still get a sneak-preview of sorts, later on…
Fortunately, the lighting is much better this evening and I can see everything. Wire launch into the set with all the confidence that you’d expect after five nights in a row, nailing the new material with all the power and precision it deserves and bringing older songs into the set to compliment and contrast. But it’s not without humour – when a fan shouts out ‘Thanks for five wonderful nights !’, Colin Newman smirks and replies,’Which five nights were they ?’ With so much great music in their back catalogue, it would be so much easier just to play the ‘hits’ but this set is about continuity and moving forward, so the older music is there to be part of the momentum rather than an anchor in the past. This time, they do actually play the whole of the new album first, though, in a typical mischievous twist, the order of songs has been changed around to keep us on our toes. The sublime pop of ‘Blogging’ and ‘Joust & Jostle’ begin the set, followed by some of the lighter songs from the album, before things gradually get darker and more involved, eventually ending with a suitably intense and climatic version of ‘Harpooned’. A varied selection of older material then appears during the encore, from ‘Brazil’ through to the relatively recent ‘23 Years Too Late’. ‘Blessed State’ and ‘Used To’ complete what would normally have been the end of the gig, but as this the last night of their Lexington residency, there’s something special in store for us, and Xaviers are invited to join Wire onstage for a superb, lengthy improvisation, forging brittle guitar riffs, solid rhythms (really interesting to watch Robert Gotobed playing alongside another drummer) and occasional vocals. It’s probably not the best piece of music they’ve ever done, but as a one-off and a celebration for both the band and the audience, it’s a real treat. Having seen Wire live on three occasions in the space of four days, I can honestly say I enjoyed every moment of the gigs and can’t wait to see them again.
Fortunately, the lighting is much better this evening and I can see everything. Wire launch into the set with all the confidence that you’d expect after five nights in a row, nailing the new material with all the power and precision it deserves and bringing older songs into the set to compliment and contrast. But it’s not without humour – when a fan shouts out ‘Thanks for five wonderful nights !’, Colin Newman smirks and replies,’Which five nights were they ?’ With so much great music in their back catalogue, it would be so much easier just to play the ‘hits’ but this set is about continuity and moving forward, so the older music is there to be part of the momentum rather than an anchor in the past. This time, they do actually play the whole of the new album first, though, in a typical mischievous twist, the order of songs has been changed around to keep us on our toes. The sublime pop of ‘Blogging’ and ‘Joust & Jostle’ begin the set, followed by some of the lighter songs from the album, before things gradually get darker and more involved, eventually ending with a suitably intense and climatic version of ‘Harpooned’. A varied selection of older material then appears during the encore, from ‘Brazil’ through to the relatively recent ‘23 Years Too Late’. ‘Blessed State’ and ‘Used To’ complete what would normally have been the end of the gig, but as this the last night of their Lexington residency, there’s something special in store for us, and Xaviers are invited to join Wire onstage for a superb, lengthy improvisation, forging brittle guitar riffs, solid rhythms (really interesting to watch Robert Gotobed playing alongside another drummer) and occasional vocals. It’s probably not the best piece of music they’ve ever done, but as a one-off and a celebration for both the band and the audience, it’s a real treat. Having seen Wire live on three occasions in the space of four days, I can honestly say I enjoyed every moment of the gigs and can’t wait to see them again.
THE CRAVATS / SPLINTERED /
CONTRASTATE / BLOOD TUB ORCHESTRA. Bethnal Green Working Mens Club, 24/4/15. Billed
as ‘The Glorious World of Fuck’ this was the second night of an interesting two day mini-festival of
bands that are united in the purpose of creating something different. Not
necessarily of the same genre (in fact, in some cases sounding remarkably
different) but it was guaranteed that you’d hear something to your taste. Unfortunately
not as well attended as it should have been, but a brave attempt to launch
something interesting and I hope it finds a way to continue.
Anyway, I meet up with old friend Matt at the excellent Oliver Conquest pub and after a couple of wee drinkies, we head up to the venue. Not far from Whitechapel to Bethnal Green, via a couple of old Kray locations, and it’s really good to meet up with more friends as soon as we reach the venue. And, yeah, it’s a real WMC - suit-clad doormen and tinsel-backed stage, complete with heart-shaped lighting. It’s as if Phoenix Nights had re-located to E2 for the weekend…
Blood Tub Orchestra are already onstage when we arrive, making the most of ancient Music Hall ditties replayed through a post-punk-noisefest. Complete with guitarist Debbie Smith this time (she’d had to miss the gig when I last saw them) they sound great, plenty of thumping rhythms, some truly bizarre lyrics, and a truly twisted sense of humour. It’s one of those things, you might not start out feeling too impressed, but as the set goes on, you feel yourself being drawn further and further into it, until by the end you’re yelling for more. Still not sure if an album will work as well as the live performance but I confidently recommend that they need to be seen.
Next up are Contrastate, an electronic band that I’m not really familiar with although I’ve heard good reports. Unfortunately, they seem to suffer from the surroundings. With only a vocalist and one musician onstage, they include a female performer clad in suitably sinister garb to present a sorta gothic-kabuki during the set. In this peculiar situation, it doesn’t really work and fails to have the impact it may have achieved in a different setting. Musically, they sounded interesting, but it proved difficult to keep attention on what they were doing.
I hadn’t seen Splintered since their early days in Canterbury, not helped by the petty-squabbles we had at the time, but I was much more interested in hearing them now. Friendships-restored, I felt in a much-better position to appreciate their sonic assault. This was actually their first gig for quite a long time, but they actually came across really confidently. Though vocalist Richo would probably hate to admit it, their sound probably owes as much to Hard Rock as it does to avant garde, and it’s the two Pauls in the rhythm section that really drive the whole thing along. On top of this, James’ guitar squalls in, out and over the whole proceedings and Richards vocals present some kinda rough guide to the whole affair. It’s disquieting and disconcerting, but also kinda mesmerising, like the more compelling moments of Krautrock. Not being familiar with their recordings, I couldn’t tell you what tracks they played or how different they may have been to the studio versions, but the set proved to be powerful and in some odd sorta way, rather entertaining. Of course, what they were missing was a drunken roadie and a raucous version of ‘Wild Thing’ to complete the set, but we can’t have everything. I know I’m late in reaching this conclusion, but I’ll certainly go and see them again.
Finally, The Cravats are the worthy and esteemed headliners, which proves to be a bone of contention as it means they don’t go onstage until midnight. For anyone not living in East London, this was going to cause transport problems and that’s also one of the factors that probably kept some people away. For all the good intentions, perhaps fewer bands and an earlier conclusion may have been a better idea ? Anyway, as I’m heading home from Stratford, I’m still able to hang around for most of their set and even if it is still the same song-list, I still enjoy it thoroughly. I mean, ‘Rub Me Out’, ‘I Am The Dreg’, ‘Gordon’… what’s not to enjoy ? I eventually have to run for my last train and some time later get a text message to say I’d only missed one song as the plugs had been pulled by the club at 12.40. The fools, did they realise they were messing with the awesome cosmic powers of The Shend ? Evidently not. Ahh, well, I had a great night, and I hope it isn’t just a one-off event.
Anyway, I meet up with old friend Matt at the excellent Oliver Conquest pub and after a couple of wee drinkies, we head up to the venue. Not far from Whitechapel to Bethnal Green, via a couple of old Kray locations, and it’s really good to meet up with more friends as soon as we reach the venue. And, yeah, it’s a real WMC - suit-clad doormen and tinsel-backed stage, complete with heart-shaped lighting. It’s as if Phoenix Nights had re-located to E2 for the weekend…
Blood Tub Orchestra are already onstage when we arrive, making the most of ancient Music Hall ditties replayed through a post-punk-noisefest. Complete with guitarist Debbie Smith this time (she’d had to miss the gig when I last saw them) they sound great, plenty of thumping rhythms, some truly bizarre lyrics, and a truly twisted sense of humour. It’s one of those things, you might not start out feeling too impressed, but as the set goes on, you feel yourself being drawn further and further into it, until by the end you’re yelling for more. Still not sure if an album will work as well as the live performance but I confidently recommend that they need to be seen.
Next up are Contrastate, an electronic band that I’m not really familiar with although I’ve heard good reports. Unfortunately, they seem to suffer from the surroundings. With only a vocalist and one musician onstage, they include a female performer clad in suitably sinister garb to present a sorta gothic-kabuki during the set. In this peculiar situation, it doesn’t really work and fails to have the impact it may have achieved in a different setting. Musically, they sounded interesting, but it proved difficult to keep attention on what they were doing.
I hadn’t seen Splintered since their early days in Canterbury, not helped by the petty-squabbles we had at the time, but I was much more interested in hearing them now. Friendships-restored, I felt in a much-better position to appreciate their sonic assault. This was actually their first gig for quite a long time, but they actually came across really confidently. Though vocalist Richo would probably hate to admit it, their sound probably owes as much to Hard Rock as it does to avant garde, and it’s the two Pauls in the rhythm section that really drive the whole thing along. On top of this, James’ guitar squalls in, out and over the whole proceedings and Richards vocals present some kinda rough guide to the whole affair. It’s disquieting and disconcerting, but also kinda mesmerising, like the more compelling moments of Krautrock. Not being familiar with their recordings, I couldn’t tell you what tracks they played or how different they may have been to the studio versions, but the set proved to be powerful and in some odd sorta way, rather entertaining. Of course, what they were missing was a drunken roadie and a raucous version of ‘Wild Thing’ to complete the set, but we can’t have everything. I know I’m late in reaching this conclusion, but I’ll certainly go and see them again.
Finally, The Cravats are the worthy and esteemed headliners, which proves to be a bone of contention as it means they don’t go onstage until midnight. For anyone not living in East London, this was going to cause transport problems and that’s also one of the factors that probably kept some people away. For all the good intentions, perhaps fewer bands and an earlier conclusion may have been a better idea ? Anyway, as I’m heading home from Stratford, I’m still able to hang around for most of their set and even if it is still the same song-list, I still enjoy it thoroughly. I mean, ‘Rub Me Out’, ‘I Am The Dreg’, ‘Gordon’… what’s not to enjoy ? I eventually have to run for my last train and some time later get a text message to say I’d only missed one song as the plugs had been pulled by the club at 12.40. The fools, did they realise they were messing with the awesome cosmic powers of The Shend ? Evidently not. Ahh, well, I had a great night, and I hope it isn’t just a one-off event.
THE CRUNCH / THE PUKES. The
Borderline, 29/4/15. With their second album, ‘Brand New Brand’,
released this week, The Crunch were back in London, playing a gig to launch it. I was
looking forward to hearing the new songs live and with the added bonus of
support from the ever-wonderful Pukes, this was a gig I had no intention of
missing.
The Pukes are already onstage when I arrive, though I think I only missed one or two songs. Plenty of the audience haven’t seen them before, so it’s great to watch their reaction, which is invariably positive. The great thing is that every time I see them, the set seems to be different. New cover versions, uniquely-ukelised, and now we’re also getting a bunch a great originals, like ‘The Ballad of Micky Fitz’ and ‘Will I Learn’ from the recent ‘Too Drunk To Pluck’ album. They seem determined to keep things fresh and moving along, and as long as they keep to that plan, they’re going to remain one of the most enjoyable bands around. Tonight, they end with a special guest, as the venerable Knox joins them onstage for a fine version of ‘Baby Baby’. A great end to a great set.
The Crunch are onstage pretty promptly and, as expected, the set introduces many of the songs from the new album. They stand up really well next to the more familiar songs and reflect how the band have been developing as a live act. The first album had been recorded before they had actually played live and got to know each other properly, but now you can hear that they really know how to work together. ‘Lonely Beat of The Heart’ and ‘Brand New Brand’ really sound good, while ‘Neon Madonna’, stripped of its’ studio production, actually sounds a lot more powerful. I know some people have had mixed-feelings about The Crunch, possibly because they expect something different from the various members, but live is where you can really hear them for themselves and that’s what I recommend. It might take a few listens to adjust to what they’re doing as a whole band, but once you’re into it, there’s plenty to enjoy.
The Pukes are already onstage when I arrive, though I think I only missed one or two songs. Plenty of the audience haven’t seen them before, so it’s great to watch their reaction, which is invariably positive. The great thing is that every time I see them, the set seems to be different. New cover versions, uniquely-ukelised, and now we’re also getting a bunch a great originals, like ‘The Ballad of Micky Fitz’ and ‘Will I Learn’ from the recent ‘Too Drunk To Pluck’ album. They seem determined to keep things fresh and moving along, and as long as they keep to that plan, they’re going to remain one of the most enjoyable bands around. Tonight, they end with a special guest, as the venerable Knox joins them onstage for a fine version of ‘Baby Baby’. A great end to a great set.
The Crunch are onstage pretty promptly and, as expected, the set introduces many of the songs from the new album. They stand up really well next to the more familiar songs and reflect how the band have been developing as a live act. The first album had been recorded before they had actually played live and got to know each other properly, but now you can hear that they really know how to work together. ‘Lonely Beat of The Heart’ and ‘Brand New Brand’ really sound good, while ‘Neon Madonna’, stripped of its’ studio production, actually sounds a lot more powerful. I know some people have had mixed-feelings about The Crunch, possibly because they expect something different from the various members, but live is where you can really hear them for themselves and that’s what I recommend. It might take a few listens to adjust to what they’re doing as a whole band, but once you’re into it, there’s plenty to enjoy.
HO99O9. Electrowerkz,
12/5/15. Not to be mistaken with The Horrors (which would be
pretty difficult once you’ve seen or heard them) New Jersey based trio HO99O9 /
Horror (it’s all in the Nines…) have been creating quite a buzz in the States
with their incendiary performances and video-art (just check out Youtube,
there’s plenty to get you intrigued.) So I was expecting this gig to be
packed-out but, in the event, they’re playing in the smaller, downstairs room
and, although pretty busy, there are still tickets on the door. Either the
Hipsters haven’t caught-on just yet, or they’re scared of something as
potentially-unpredictable as this. (It may be cool nowadays to name-drop
GGAllin, but how many of those little snobs would have gone to one of his shows
and risked getting shit all over their designer jeans ???) I meet-up with
Kerry, Karen and Lee from the Herne
Bay crew and we grab a
couple of beers in a nearby pub before getting to the venue. Once inside, the
room is gradually filling-up but the stage looks strangely bare, just a drum
kit and a few pieces of equipment, while the ‘Death Kult’ backdrop glares down on
us in potential judgement.
When the lights go down, the anticipation rapidly builds. The drummer takes his place and then the frontmen appear onstage. One is wearing a full-length wedding dress with his head is wrapped in bandages, like some sorta mummified-bride, while the other is wearing an ill-fitting suit complete with paper-bag mask, like a low-budget version of Leatherface from The Texas Chainsaw Massacre. Amid all the intermittent, strobe-style lighting, it’s actually quite a sinister entrance and the ensuing sounds from the stage are equally unsettling. Once the beats hit-in, though, it really starts to move. It’s like Hip-Hop re-imagined via Black Flag and Throbbing Gristle. Lots of noise with plenty of intent, genuinely chaotic but also knowingly theatrical. They’ve been described as Punk Rock and, while stylistically that may not be strictly accurate, the attitude is definitely in there (and anyway, when was Punk Rock ever meant to be strictly accurate ?) The energy levels are infectious and the crowd soon find themselves engulfed in the performance, with the suited-singer hurling himself into the audience almost as often as he is onstage. (By the end of the set, he’s totally naked – not so many people willing to catch his flailing body when he stage-dives that last time…) It’s almost exhausting just to watch them and they have that rare quality that you become so immersed in their reality that you lose track of the time. It could easily have been an hour or more, considering everything that was going on, but in fact it’s more like thirty minutes. The thing is, in that time, they make more of an impact than most bands could make over an entire tour. I think we were all really impressed and by the next time they play in the UK, I’m sure the reputation of these few gigs is going to have got around enough to ensure queues around the block. There’s also going to be an album on the way. How that’s ever going to match-up to their live-performance, I just don’t know, but trust me, it’s going to be something you can’t afford to miss.
When the lights go down, the anticipation rapidly builds. The drummer takes his place and then the frontmen appear onstage. One is wearing a full-length wedding dress with his head is wrapped in bandages, like some sorta mummified-bride, while the other is wearing an ill-fitting suit complete with paper-bag mask, like a low-budget version of Leatherface from The Texas Chainsaw Massacre. Amid all the intermittent, strobe-style lighting, it’s actually quite a sinister entrance and the ensuing sounds from the stage are equally unsettling. Once the beats hit-in, though, it really starts to move. It’s like Hip-Hop re-imagined via Black Flag and Throbbing Gristle. Lots of noise with plenty of intent, genuinely chaotic but also knowingly theatrical. They’ve been described as Punk Rock and, while stylistically that may not be strictly accurate, the attitude is definitely in there (and anyway, when was Punk Rock ever meant to be strictly accurate ?) The energy levels are infectious and the crowd soon find themselves engulfed in the performance, with the suited-singer hurling himself into the audience almost as often as he is onstage. (By the end of the set, he’s totally naked – not so many people willing to catch his flailing body when he stage-dives that last time…) It’s almost exhausting just to watch them and they have that rare quality that you become so immersed in their reality that you lose track of the time. It could easily have been an hour or more, considering everything that was going on, but in fact it’s more like thirty minutes. The thing is, in that time, they make more of an impact than most bands could make over an entire tour. I think we were all really impressed and by the next time they play in the UK, I’m sure the reputation of these few gigs is going to have got around enough to ensure queues around the block. There’s also going to be an album on the way. How that’s ever going to match-up to their live-performance, I just don’t know, but trust me, it’s going to be something you can’t afford to miss.
WAND. Rough Trade East,
14/5/15. RTE may not be my favourite record shop in the world,
but it certainly has the best set-up for in-store gigs in the whole of London. A good,
purpose-built stage, lighting and a decent PA. You can catch some great little
gigs here if you keep your eyes open.
This gig is really convenient for me as it’s close to where I work and due to start at 7.00pm. Perfect ! I’m also glad to see there’s a decent crowd already in the shop, all seemingly keen to catch this bands’ first appearance in the UK. Wand are a Los Angeles-based band whose recent album, ‘Golem’, was rather impressive. Seeing them live is a little odd as they really do look like a bunch of misfit. The singer / lead guitarist looks like a college boy, the drummer bears some resemblance to a young Topper Headon, the bass player looks like a denizen of Haight-Ashbury, and the keyboard-player / additional guitarist looks like the serious muso of the band. But that’s no problem at all, because once they start playing they sound really good. One moment there’s the hardened riffs of The Melvins, the next we have the intricacies of prime-era Bowie or T-Rex, and then it all washes into a credible Acid-Rock mix, somewhere in between Hendrix and the Butthole Surfers. The thing is, this isn’t even the kind of music that I listen to very often, but when it’s done as well as this, you can’t help but be impressed and entertained. This is a band who could well be making a big name for them-selves in the near future. Do your best to catch them now.
This gig is really convenient for me as it’s close to where I work and due to start at 7.00pm. Perfect ! I’m also glad to see there’s a decent crowd already in the shop, all seemingly keen to catch this bands’ first appearance in the UK. Wand are a Los Angeles-based band whose recent album, ‘Golem’, was rather impressive. Seeing them live is a little odd as they really do look like a bunch of misfit. The singer / lead guitarist looks like a college boy, the drummer bears some resemblance to a young Topper Headon, the bass player looks like a denizen of Haight-Ashbury, and the keyboard-player / additional guitarist looks like the serious muso of the band. But that’s no problem at all, because once they start playing they sound really good. One moment there’s the hardened riffs of The Melvins, the next we have the intricacies of prime-era Bowie or T-Rex, and then it all washes into a credible Acid-Rock mix, somewhere in between Hendrix and the Butthole Surfers. The thing is, this isn’t even the kind of music that I listen to very often, but when it’s done as well as this, you can’t help but be impressed and entertained. This is a band who could well be making a big name for them-selves in the near future. Do your best to catch them now.
VIVA LAS VEGAS / THE PHOBICS / NO SECOND CHANCE / 16 GUNS. The (New) 12 Bar,
15/5/15. My first visit to the new 12 Bar Club, now re-sited
in the Holloway Road
following the shameful closure of its’ original location in Denmark Street. Fortunately, they’ve
found a really nice new venue for the club, so what better way to spend a nice,
warm Friday evening ?
Despite first impressions (from outside, it just looks like a regular pub) the new 12 Bar is surprisingly similar to the old place, most notably with a balcony positioned almost directly above the stage. But the big difference is that there’s now a lot more room, without the club losing its’ intimacy. If my first visit is anything to go by, this place could soon prove to be even more popular than the original club.
First band onstage are 16 Guns, a mere four weeks since I last saw them. That being said, they were always stalwarts of the 12 Bar, so it’s kinda fitting that they’re the first band I get to see in this place. But I’m afraid I still have to stick by my last assessment. They start-off fine-enough, but after five or six songs, I find my attention wavering. They’re alright in short bursts and I’m glad they’re out there, it’s just that they’re not one of my favourites, sorry.
Next up are the main musical attraction, in the cuddly form of those Phobics. It’s the first time I’ve seen them for nearly six months, which is a bit odd in itself, but that just makes it sound better as far as I’m concerned. They’re a great rock’n’roll band by any standards, with their roots stuck firmly in the Ramones /Heartbreakers style but always taking it from a very English (sorry Moyni, Anglo-Irish…) perspective. This is Deptford, not the Bowery, after all. The new stage is also big enough for the whole band, with space to move around a bit even, so everyone’s having some fun. Let’s hope it’s the first of many appearances for them at the new 12 Bar, a perfect place for their Punk Rock Show !
Following this, we have a hardcore band called No Second Chance. I don’t know anything about them, but they did seem a bit out of place on tonights’ bill, even though they have their own fans in attendance. Crunchy metallic riffs and abrasive vocals certainly gave them a powerful sound but they just didn’t seem to do much with it and consequently ended-up a bit generic. But they’ve got time to develop and they’ve got a good solid basis. Hopefully they’ll find a way to add something and make it more of their own.
Headliners (at least as far as I’m concerned – there may have been another band playing a late-set, but I couldn’t hang around for that) were Viva Las Vegas, the Elvis covers band that features both Jeff Phobic and Noel Martin of Menace infamy. There are many Elvis impersonators around, but these guys do it with a difference, adding a healthy mix of the Stones, Glam, and Punk to the proceedings. After all, no-one is going to be a better Elvis than Elvis ? This way, you can enjoy all the songs again but not have to compare them to the originals. Maybe it is a bit of a gimmick, but they carry it off with panache and while I may not put them in the same league as The Phobics, it was a great way to conclude a very enjoyable evening. Good on ‘em !
Despite first impressions (from outside, it just looks like a regular pub) the new 12 Bar is surprisingly similar to the old place, most notably with a balcony positioned almost directly above the stage. But the big difference is that there’s now a lot more room, without the club losing its’ intimacy. If my first visit is anything to go by, this place could soon prove to be even more popular than the original club.
First band onstage are 16 Guns, a mere four weeks since I last saw them. That being said, they were always stalwarts of the 12 Bar, so it’s kinda fitting that they’re the first band I get to see in this place. But I’m afraid I still have to stick by my last assessment. They start-off fine-enough, but after five or six songs, I find my attention wavering. They’re alright in short bursts and I’m glad they’re out there, it’s just that they’re not one of my favourites, sorry.
Next up are the main musical attraction, in the cuddly form of those Phobics. It’s the first time I’ve seen them for nearly six months, which is a bit odd in itself, but that just makes it sound better as far as I’m concerned. They’re a great rock’n’roll band by any standards, with their roots stuck firmly in the Ramones /Heartbreakers style but always taking it from a very English (sorry Moyni, Anglo-Irish…) perspective. This is Deptford, not the Bowery, after all. The new stage is also big enough for the whole band, with space to move around a bit even, so everyone’s having some fun. Let’s hope it’s the first of many appearances for them at the new 12 Bar, a perfect place for their Punk Rock Show !
Following this, we have a hardcore band called No Second Chance. I don’t know anything about them, but they did seem a bit out of place on tonights’ bill, even though they have their own fans in attendance. Crunchy metallic riffs and abrasive vocals certainly gave them a powerful sound but they just didn’t seem to do much with it and consequently ended-up a bit generic. But they’ve got time to develop and they’ve got a good solid basis. Hopefully they’ll find a way to add something and make it more of their own.
Headliners (at least as far as I’m concerned – there may have been another band playing a late-set, but I couldn’t hang around for that) were Viva Las Vegas, the Elvis covers band that features both Jeff Phobic and Noel Martin of Menace infamy. There are many Elvis impersonators around, but these guys do it with a difference, adding a healthy mix of the Stones, Glam, and Punk to the proceedings. After all, no-one is going to be a better Elvis than Elvis ? This way, you can enjoy all the songs again but not have to compare them to the originals. Maybe it is a bit of a gimmick, but they carry it off with panache and while I may not put them in the same league as The Phobics, it was a great way to conclude a very enjoyable evening. Good on ‘em !
FUCKED UP / DOOMSQUAD.
Shacklewell Arms, 27/5/15. Announced only a few days before it happened,
this relatively small gig for Fucked Up (it came the day after their headline
spot at Koko) is a nice reminder that not so long ago, this was the size of
venue they were regularly playing. It seems that they’ve become quite
successful in a reasonably short space of time, but they’ve certainly worked
hard to establish themselves and their current success is nothing more than
they deserve. Returning to a venue like this was as much a desire to enjoy it
themselves as it was a treat for the fans.
However, as is the problem with a lot of ‘secret gigs’, despite the usually good intentions, they are always going to cause problems. Firstly, tickets are obviously limited so some fans are going to be unable to get in (although, in this case, everyone I knew who wanted to go was able to get a ticket before they all sold out) and, secondly, the large demand can put pressures on the venue itself. This was certainly the case tonight. We headed into the room just as Fucked Up were about to start, but even at that point, it was almost impossible to get through the door and, when finally inside, there really was no room for movement. Add to this an assortment of idiots who insisted on barging through the crowd, even though there was no space for them to reach, and it all became rather unpleasant. Don’t get me wrong, I much prefer seeing bands in smaller venues, but sometimes it just doesn’t go according to plan.
Anyway, back to the music… I was quite intrigued to see the support band, Doom Squad, as I’d heard some of their music on t’internet and it seemed a nice contrast to what Fucked Up are doing. However, live, it just didn’t seem to go anywhere. We watched for ten minutes or so and then unanimously decided to return to the bar for further refreshment.
Not long to wait for Fucked Up and, from the outset, they’re sounding really good. The problem, as already explained, is that it’s so cramped in the room that you can hardly see anything and trying to find a better viewpoint is a lost cause. With this in mind, we return to the beer garden, right next to the venue, and with a few doors and windows open for ventilation, we can still enjoy the music and have no worse a view. It’s a lot more civilised and, as it’s already a rather warm evening, it’s a relief to get out of the sauna-like conditions on the other side of the wall. It had been billed that Fucked Up would be concentrating on songs from their ‘Zodiac’ series tonight, but in the event, there are still plenty of other favourites to keep everyone happy, from ‘Generations’ through to ‘Queen of Hearts’. I must admit, there were times when I really wanted to be down at the front, but then realising I’d just be pinned against the walls like everyone else, I decided to just enjoy the music this time. I’m glad I was there, and I’m glad we were sensible enough to extract ourselves from the crush. Good for Fucked Up in setting up the gig, but next time, perhaps I’ll try to see them somewhere outside of London…
However, as is the problem with a lot of ‘secret gigs’, despite the usually good intentions, they are always going to cause problems. Firstly, tickets are obviously limited so some fans are going to be unable to get in (although, in this case, everyone I knew who wanted to go was able to get a ticket before they all sold out) and, secondly, the large demand can put pressures on the venue itself. This was certainly the case tonight. We headed into the room just as Fucked Up were about to start, but even at that point, it was almost impossible to get through the door and, when finally inside, there really was no room for movement. Add to this an assortment of idiots who insisted on barging through the crowd, even though there was no space for them to reach, and it all became rather unpleasant. Don’t get me wrong, I much prefer seeing bands in smaller venues, but sometimes it just doesn’t go according to plan.
Anyway, back to the music… I was quite intrigued to see the support band, Doom Squad, as I’d heard some of their music on t’internet and it seemed a nice contrast to what Fucked Up are doing. However, live, it just didn’t seem to go anywhere. We watched for ten minutes or so and then unanimously decided to return to the bar for further refreshment.
Not long to wait for Fucked Up and, from the outset, they’re sounding really good. The problem, as already explained, is that it’s so cramped in the room that you can hardly see anything and trying to find a better viewpoint is a lost cause. With this in mind, we return to the beer garden, right next to the venue, and with a few doors and windows open for ventilation, we can still enjoy the music and have no worse a view. It’s a lot more civilised and, as it’s already a rather warm evening, it’s a relief to get out of the sauna-like conditions on the other side of the wall. It had been billed that Fucked Up would be concentrating on songs from their ‘Zodiac’ series tonight, but in the event, there are still plenty of other favourites to keep everyone happy, from ‘Generations’ through to ‘Queen of Hearts’. I must admit, there were times when I really wanted to be down at the front, but then realising I’d just be pinned against the walls like everyone else, I decided to just enjoy the music this time. I’m glad I was there, and I’m glad we were sensible enough to extract ourselves from the crush. Good for Fucked Up in setting up the gig, but next time, perhaps I’ll try to see them somewhere outside of London…
LOS CHICOS. Rock’n’Roll
Rescue, 2/6/15. With The Replacements playing in London for the first time
in nearly 25 years, someone had the great idea of hosting a pre-gig party.
Rock’n’Roll Rescue is a great little shop that’s recently opened, right next to
the Dublin Castle, with its’ main proprietor being no less than Knox Canochan
of The Vibrators. Anyway, as it turns out, Los Chicos have apparently travelled
fro Madrid to
catch the Replacements and so it just makes sense that they play a
semi-acoustic set in the back room of this excellent music shop.
The room is, of course, full of shop-stuff and immediately, the singer sets his sights on a Darth Vader mask and cowboy hat combination, which he then sports for the majority of the gig. Spain does seem to love its’ punk-rock’n’roll these days, and with home-grown bands like these, they don’t even have to go far to find it. Great tunes, plenty of energy, and lotsa fun. What more could you want ? A beer, I hear you say ! Well, the shop are handing out free bottles, although donations to the cause are strongly suggested (fair deal, I say…) Los Chicos play for around 30 or 40 minutes and it’s really good stuff. If this is what they’re like in a small space with acoustic guitars, I really can’t wait to see them playing a full-on gig. Fingers-crossed it won’t be too long a wait…
The room is, of course, full of shop-stuff and immediately, the singer sets his sights on a Darth Vader mask and cowboy hat combination, which he then sports for the majority of the gig. Spain does seem to love its’ punk-rock’n’roll these days, and with home-grown bands like these, they don’t even have to go far to find it. Great tunes, plenty of energy, and lotsa fun. What more could you want ? A beer, I hear you say ! Well, the shop are handing out free bottles, although donations to the cause are strongly suggested (fair deal, I say…) Los Chicos play for around 30 or 40 minutes and it’s really good stuff. If this is what they’re like in a small space with acoustic guitars, I really can’t wait to see them playing a full-on gig. Fingers-crossed it won’t be too long a wait…
THE REPLACEMENTS / YOU AM I
/ JESSE MALIN. The Roundhouse, 2/6/15. And so, now on to the main
event. Straight up the road, brief stop to grab something to eat, and then into
the venue as the music is starting early.
The last time The Replacements were in London was 1991 at the Marquee, and whilst their legend has steadily built over the intervening years, it still surprised me that that they had generated enough interest for two nights at the Roundhouse (especially at the rather expensive ticket price…) I suspect people had travelled for these dates, as there were only a few European gigs, but nonetheless, first time around, The Replacements never really caught on in the UK. They always had a very particular sense of humour that many Brits just didn’t get and, musically, they fell between two camps. As Jesse Malin recently observed, ‘they’re a rock’n’roll band but they came from a punk rock place’.
Anyway, I’m just glad to be seeing them again, and they deserve every success they have, even if it is a depleted line with only Paul Westerberg and Tommy Stinson remaining from the heyday (Chris Mars is now a successful artist, Slim Dunlap suffered a stroke in 2012 and Bob Stinson sadly passed away in 1995.) There is some trepidation over whether they’ll still be as good as they were, but the reports have been positive and the songs haven’t aged, so I’m looking forward to this.
As I said, the music started early this evening, doors opened at 7.00 and Jesse Malin’s band were on at 7.30. They had been a late addition to the bill so many people didn’t even know he was playing, but regardless, they go down really well. Playing songs from the recent ‘New York Before The War’ album, they perform a mix of styles that probably owes some debt to the Replacements but also maintains its’ own character. Jesse himself is a great frontman and really draws the crowd into the songs. They only have a short set but I’m sure, in that time, they won over quite a few new fans.
You Am I have seemingly been around for ages, and their blend of power-pop and rock is certainly not unpleasant, but at the same time, it does lack the spark that would make it something really special. Maybe this wasn’t the best place to see them, but after a short time, the lure of a beer and some chat drew me away.
The place is packed, but without any fanfare, The ‘Mats arrive onstage and quickly launch the set with the twin blast of ‘Takin’ a Ride’ and ‘I’m In Trouble’. They may be older, but they handle these songs with all the reckless energy that they demand, instantly establishing their intent. A couple of tracks from ‘Let It Be’, and a quick breather in the form of the wonderful ‘Waitress In The Sky’, a brief cover of ‘Lost Highway’, then ‘Kiss Me On The Bus’ and a gloriously ramshackle version of ‘Talent Show’. They may not be drunk these days (or, at least, not as drunk…) and they’re clearly much more proficient musicians, but that’s not to say they have to be note-perfect. That’s not what they were ever about, and it wouldn’t be as much fun. So far, it’s going really well and everyone seems to be impressed, but then the Westerberg strums out that unmistakable intro to ‘I Will Dare’ and suddenly, it’s as if the set has just stepped up another level. There can’t be many songs better than this and the band are really nailing it. The rest of the set just goes through in a blur, plenty of old favourites and the traditional selection of covers, but the final trio of classics, ‘Bastards Of Young’, ‘Left Of The Dial’ and ‘Alex Chilton’ is just as good as it can get. Short break, and then straight into the encore. ‘If Only You Were Lonely’ (the b-side of their first single, reminding that there was always a lighter side to their music, even back in 1981…) Then ‘Unsatisfied’, ‘Never Mind’ and ‘IOU’, and it’s time for the last song. Everyone’s calling out for their favourites and, really, I ought to be yelling for ‘The Ledge’, but for some stupid reason I shout out for ‘Another Girl Another Planet’. Someone behind me says, ‘Huh, trying to be clever…’ Now, I was way-back from the stage so I’m not ever going to claim that they heard me, but the next second, they’re suddenly tearing through that famous opening riff ! It sounds wonderful, just as it did when it was one of their regular cover versions. And that really was the perfect end to the set. The Replacements had returned and they had totally ruled. It’s not the same thing, but it’s every bit as great. It’s still a bit vague as to what they’re intending to do next, but if the live performance was anything to go by, they have more than enough energy and enthusiasm to take it further. I just hope I won’t have to wait another 25 years to see them again.
The last time The Replacements were in London was 1991 at the Marquee, and whilst their legend has steadily built over the intervening years, it still surprised me that that they had generated enough interest for two nights at the Roundhouse (especially at the rather expensive ticket price…) I suspect people had travelled for these dates, as there were only a few European gigs, but nonetheless, first time around, The Replacements never really caught on in the UK. They always had a very particular sense of humour that many Brits just didn’t get and, musically, they fell between two camps. As Jesse Malin recently observed, ‘they’re a rock’n’roll band but they came from a punk rock place’.
Anyway, I’m just glad to be seeing them again, and they deserve every success they have, even if it is a depleted line with only Paul Westerberg and Tommy Stinson remaining from the heyday (Chris Mars is now a successful artist, Slim Dunlap suffered a stroke in 2012 and Bob Stinson sadly passed away in 1995.) There is some trepidation over whether they’ll still be as good as they were, but the reports have been positive and the songs haven’t aged, so I’m looking forward to this.
As I said, the music started early this evening, doors opened at 7.00 and Jesse Malin’s band were on at 7.30. They had been a late addition to the bill so many people didn’t even know he was playing, but regardless, they go down really well. Playing songs from the recent ‘New York Before The War’ album, they perform a mix of styles that probably owes some debt to the Replacements but also maintains its’ own character. Jesse himself is a great frontman and really draws the crowd into the songs. They only have a short set but I’m sure, in that time, they won over quite a few new fans.
You Am I have seemingly been around for ages, and their blend of power-pop and rock is certainly not unpleasant, but at the same time, it does lack the spark that would make it something really special. Maybe this wasn’t the best place to see them, but after a short time, the lure of a beer and some chat drew me away.
The place is packed, but without any fanfare, The ‘Mats arrive onstage and quickly launch the set with the twin blast of ‘Takin’ a Ride’ and ‘I’m In Trouble’. They may be older, but they handle these songs with all the reckless energy that they demand, instantly establishing their intent. A couple of tracks from ‘Let It Be’, and a quick breather in the form of the wonderful ‘Waitress In The Sky’, a brief cover of ‘Lost Highway’, then ‘Kiss Me On The Bus’ and a gloriously ramshackle version of ‘Talent Show’. They may not be drunk these days (or, at least, not as drunk…) and they’re clearly much more proficient musicians, but that’s not to say they have to be note-perfect. That’s not what they were ever about, and it wouldn’t be as much fun. So far, it’s going really well and everyone seems to be impressed, but then the Westerberg strums out that unmistakable intro to ‘I Will Dare’ and suddenly, it’s as if the set has just stepped up another level. There can’t be many songs better than this and the band are really nailing it. The rest of the set just goes through in a blur, plenty of old favourites and the traditional selection of covers, but the final trio of classics, ‘Bastards Of Young’, ‘Left Of The Dial’ and ‘Alex Chilton’ is just as good as it can get. Short break, and then straight into the encore. ‘If Only You Were Lonely’ (the b-side of their first single, reminding that there was always a lighter side to their music, even back in 1981…) Then ‘Unsatisfied’, ‘Never Mind’ and ‘IOU’, and it’s time for the last song. Everyone’s calling out for their favourites and, really, I ought to be yelling for ‘The Ledge’, but for some stupid reason I shout out for ‘Another Girl Another Planet’. Someone behind me says, ‘Huh, trying to be clever…’ Now, I was way-back from the stage so I’m not ever going to claim that they heard me, but the next second, they’re suddenly tearing through that famous opening riff ! It sounds wonderful, just as it did when it was one of their regular cover versions. And that really was the perfect end to the set. The Replacements had returned and they had totally ruled. It’s not the same thing, but it’s every bit as great. It’s still a bit vague as to what they’re intending to do next, but if the live performance was anything to go by, they have more than enough energy and enthusiasm to take it further. I just hope I won’t have to wait another 25 years to see them again.
THE DAMNED / JOHNNY MOPED.
The Roundhouse, 6/6/15. It’s a great, sunny afternoon and, when I meet
up with several friends at The Elephants Head, it’s actually tempting to just
relax and have a couple of leisurely beers, but that ain’t going to happen.
Back to the Roundhouse for the second time in a week, for a fine line-up of The
Damned and Johnny Moped. Not to be missed, really, even if it isn’t the most
convenient evening for me. So, checked the stage times and arrive right on cue
for the Mopeds. The place is steadily filling-up, but there’s still enough room
to get down to the front, where there’s actually a whole bunch of Moped
supporters, some who’ve been attending all the recent gigs and some I’ve never
seen before. And they’re unashamedly vocal about it ! Anyway, the band take
their places, there’s a short introduction and then the great man arrives
onstage. ‘One, Two, Cut Yer Hair’ and they’re straight into ‘Incendiary
Device’, Panic Button’, and ‘No-One’, quickly setting the pace. They’re really
sounding good tonight, even though Johnny is looking a little bemused / confused
by the pro-Moped chanting coming out of the audience. The great thing about the
recent gigs has been the inclusion of new songs, from the upcoming album,
including ‘Super Woofer’, ‘Rock’n’Roll Rookie’ and ‘He’s Got it’. This new
batch of tunes is sounding true to their roots and, if early reports are
correct, the new record is going to be an essential purchase. Sadly, we don’t
get ‘Save The Baby Seals’ tonight, but there’s plenty to keep us happy. A final
‘Hard Lovin’ Man’ is more than enough to ensure that everyone with any sense or
nonsense is going to remember this set.
It has to be said that The Damned are surprisingly professional these days, taking their musicianship seriously (even though Captain can still throw a few verbal spanners in the works…) Now, some may bemoan that they’ve lost their unpredictable, chaotic edge, but let’s face it, Sensible and Vanian have been doing this for nearly forty years. Wouldn’t it be sad if they were still trying to act like teenage punks ? (Actually, Vanian was claiming to be 120 years old even in 1981…) They’ve written so much great music over the years, can’t you just enjoy it now ? Well, I certainly can. It’s a retrospective set tonight, but concentrating on the post-Brian James period, starting out with five songs apiece from ‘Machine Gun Etiquette’ and the ‘Black Album’, plus a couple from ‘Strawberries’, before their excellent version of ‘Alone Again Or’ and a surprisingly raucous version of ‘Eloise’, finishing the set with the breakneck trio of ‘Antipope’, ‘New Rose’ and ‘Neat Neat Neat’. It’s at this point that I decide to skip the encore (I have to get up very early the next morning and I’m a bit dubious about my chances of success…) but I’ve seen enough to keep myself happy and, as usual, the only complaint was the lack of new or at least more recent material. It would be a real shame if they don’t take the chance to add to an already impressive back catalogue. There’s still a lot of life in the old scoundrels !