LIVE REVIEWS, JANUARY-JUNE 2016.
THE MEMBERS / TV SMITH / ED BANGER & THE NOSEBLEEDS. 100 Club, 5/1/16. A decent start to the New Year, with a series of gigs at the 100 Club under the ‘Resolution’ banner. For this particular gig, I’m mainly there to see TV Smith play a set together with his occasional collaborator Vom Ritchie, but as it turns out, the opening band, Ed Banger & The Nosebleeds really make a fine impression of their own. Only really knowing them from their one 1977 single, ‘Ain’t Bin To No Music School’, I wasn’t sure what to expect and didn’t have particularly high expectations, but the band turned out to be very entertaining with a bunch of good songs and a solid sound. With singer Ed Garrity fronting the band in his ‘Edwina’ guise, there were more than a few songs I didn’t previously know, but they also played several Slaughter & The Dogs songs (Ed also fronted that band for several years) and, of course, the songs from the original single, so it was good fun and they went down very well. I think quite a few people were surprised how good they were and they are certainly a band I would go to see again. Bonus !
Seeing TV Smith and Vom play together is an event in itself. Just acoustic guitar, drums and shared vocals, but these two just lock into the music so completely that they produce more dynamic than most full-bands could ever hope to achieve. They play together so naturally that you’d think they did so every night, rather than just occasionally, and you can see how much they both enjoy the experience. Of course, the quality of the songs also helps, but the delivery is something really special. And then, halfway through the set, it gets even better when they are joined onstage by another TV Smith collaborator, Leigh Heggarty, adding electric guitar to the next three or four songs. Again, they just lock-in together, a punk rock power trio playing great songs with real intent. But there’s even more to come when, for the final song, they are also joined by The Ruts bass player, Segs, for a stunning version of ‘Gary Gilmores Eyes’. It may only be the one song, but this line-up really takes the place apart and left me thinking, if only they could stick together as an ongoing band… The potential is certainly there, but as they all keep themselves very busy, it’s unlikely. Just keep your fingers crossed for more one-offs like this in the future.
Finally, The Members play and, with Nigel Bennett back on board, they deliver a great set. JC Carroll has taken over the role as frontman (Nicky Tesco is unable to perform due to health issues although he does lurk on the sidelines…) and does so in his own effective style. The set is mainly built around songs from their first album and early singles, but they also introduce plenty of new material including tracks from their upcoming album. Inevitably, the newer songs take a different approach to the older ones but you can also see a continuity and it’s that which holds the set together. With songs as enjoyable as ‘Sound of The Suburbs’ and ‘Offshore Banking Business’ at their disposal, you’d have to be a real killjoy not to enjoy the set and, with the amount of gigs they currently play, they’re clearly doing it because they still enjoy it.
Seeing TV Smith and Vom play together is an event in itself. Just acoustic guitar, drums and shared vocals, but these two just lock into the music so completely that they produce more dynamic than most full-bands could ever hope to achieve. They play together so naturally that you’d think they did so every night, rather than just occasionally, and you can see how much they both enjoy the experience. Of course, the quality of the songs also helps, but the delivery is something really special. And then, halfway through the set, it gets even better when they are joined onstage by another TV Smith collaborator, Leigh Heggarty, adding electric guitar to the next three or four songs. Again, they just lock-in together, a punk rock power trio playing great songs with real intent. But there’s even more to come when, for the final song, they are also joined by The Ruts bass player, Segs, for a stunning version of ‘Gary Gilmores Eyes’. It may only be the one song, but this line-up really takes the place apart and left me thinking, if only they could stick together as an ongoing band… The potential is certainly there, but as they all keep themselves very busy, it’s unlikely. Just keep your fingers crossed for more one-offs like this in the future.
Finally, The Members play and, with Nigel Bennett back on board, they deliver a great set. JC Carroll has taken over the role as frontman (Nicky Tesco is unable to perform due to health issues although he does lurk on the sidelines…) and does so in his own effective style. The set is mainly built around songs from their first album and early singles, but they also introduce plenty of new material including tracks from their upcoming album. Inevitably, the newer songs take a different approach to the older ones but you can also see a continuity and it’s that which holds the set together. With songs as enjoyable as ‘Sound of The Suburbs’ and ‘Offshore Banking Business’ at their disposal, you’d have to be a real killjoy not to enjoy the set and, with the amount of gigs they currently play, they’re clearly doing it because they still enjoy it.
UK SUBS / MENACE. 100 Club, 9/1/16. As it turned out, this gig coincided with Lemmy’s funeral, which was broadcast around the world via internet. The Subs had toured with Motorhead in recent years and been friends with Lemmy for a long time, so it made this event all the more poignant. I’m sure many shots of Jack Daniels were drunk on this evening, and the 100 Club was certainly not dragging its’ heels on the night.
I haven’t seen Menace for quite some time and now, with only Noel left from the original band, it does have a very different feel to it. The old songs still sound good and Noels’ drumming is as powerful as it always has been, but the new material, whilst not lacking a quality of its’ own, seems almost detached from the original songs. It’s difficult to explain, because I certainly didn’t dislike their set, but there were some points where the newer songs almost sounded like a different band (which, to a great extent, they are.) Does that make sense ? Some of the new songs are great, so perhaps they need to concentrate more on them to forge an identity of their own. Anyway, they end the set with a raw version of ‘Ace Of Spades’, the first salute of the night.
The venue is totally packed by the time the Subs take to the stage and, with the current line-up sounding as consistently good as they are, it’s no surprise. With Charlie sporting a fine ‘Don’t Fuck With Lemmy’ t-shirt, they blast through their set with a real relish. Alvin delivers his bass-lines with the style and flair of a lead guitarist while Jet stakes his own claim as the best guitarist the band has had since their early days with Nicky Garrett. At the back, Jamie nails down the drums perfectly and upfront, Charlie still holds the audience’s attention, with a voice that just refuses to age. Seeing them in a relatively small venue like this, they’re still a force to be reckoned with and, much like Motorhead, you can always depend on this line-up to deliver the goods.
When they come back for the encore, Charlie tells a story of going to see a band called Hawkwind, and then getting to know the bass player after he was thrown-out and formed his own band. They then play a suitable raucous version of ‘Louie Louie’ to honour their old friend. But this isn’t a tribute tinged with sadness, it’s a noisy celebration and, coming from the Subs, I’m sure Lemmy would have approved.
After the gig, I had planned to go along to one of the bars that was planning to show the funeral broadcast, but as it turns out, the 100 Club has decided to screen it across the rear wall of the stage. Having seen Lemmy sing on that same stage, this suddenly became the perfect place to pay respects. A lot of people stayed and many drinks were raised as the service was shown. Unlike so many in the music biz, Lemmy was the real deal and whether you liked his music or not, you can never take that away. He will be missed, but he won’t be forgotten.
I haven’t seen Menace for quite some time and now, with only Noel left from the original band, it does have a very different feel to it. The old songs still sound good and Noels’ drumming is as powerful as it always has been, but the new material, whilst not lacking a quality of its’ own, seems almost detached from the original songs. It’s difficult to explain, because I certainly didn’t dislike their set, but there were some points where the newer songs almost sounded like a different band (which, to a great extent, they are.) Does that make sense ? Some of the new songs are great, so perhaps they need to concentrate more on them to forge an identity of their own. Anyway, they end the set with a raw version of ‘Ace Of Spades’, the first salute of the night.
The venue is totally packed by the time the Subs take to the stage and, with the current line-up sounding as consistently good as they are, it’s no surprise. With Charlie sporting a fine ‘Don’t Fuck With Lemmy’ t-shirt, they blast through their set with a real relish. Alvin delivers his bass-lines with the style and flair of a lead guitarist while Jet stakes his own claim as the best guitarist the band has had since their early days with Nicky Garrett. At the back, Jamie nails down the drums perfectly and upfront, Charlie still holds the audience’s attention, with a voice that just refuses to age. Seeing them in a relatively small venue like this, they’re still a force to be reckoned with and, much like Motorhead, you can always depend on this line-up to deliver the goods.
When they come back for the encore, Charlie tells a story of going to see a band called Hawkwind, and then getting to know the bass player after he was thrown-out and formed his own band. They then play a suitable raucous version of ‘Louie Louie’ to honour their old friend. But this isn’t a tribute tinged with sadness, it’s a noisy celebration and, coming from the Subs, I’m sure Lemmy would have approved.
After the gig, I had planned to go along to one of the bars that was planning to show the funeral broadcast, but as it turns out, the 100 Club has decided to screen it across the rear wall of the stage. Having seen Lemmy sing on that same stage, this suddenly became the perfect place to pay respects. A lot of people stayed and many drinks were raised as the service was shown. Unlike so many in the music biz, Lemmy was the real deal and whether you liked his music or not, you can never take that away. He will be missed, but he won’t be forgotten.
THE OUTCASTS. 100 Club, 14/1/16. The final night of the ‘Resolution’ gigs, and The Outcasts have made the trek over from Belfast again. Last time they played here, for the ‘Good Vibrations’ gig alongside The Defects and X-SLF, the place was packed. This time, it’s noticeably less busy but, being midweek and after ten punk gigs in as many days at the same venue, I’m sure many people who would normally have been there to see them were just taking a break ! That being said, The Outcasts certainly didn’t hold back and played their set with no half-measures. I’m still disappointed that they don’t seem to be interested in writing new material, because the way they play together would certainly suggest that the chemistry is still there to produce something great, but the old material always sounds great, especially as they never got themselves stuck in a rut, stylistically, and were always happy to go off on a tangent from their punk rock roots (from the darker moments of ‘Winter’ through to the rockabilly-bomp of ‘Seven Deadly Sins’.) In the circumstances, their cover of ‘Suffragette City’, which has been in their set for quite some time, became a timely tribute to Bowie, and their cover of Rudi’s ‘The Pressure’s On’ was yet another reminder that there’s one band that I’d really love to see reform… So, perhaps not as many people turned up for this gig as there should have been, but at the end of the night, it was their loss. I’m already looking forward to the next one.
HENRY ROLLINS. The Barbican, 16/1/16. It’s been a while since I’ve attended one of Rollins’ spoken-word performances, although funnily enough, it was only last year that I saw him introduce Suicide with an extended monologue at this very venue. It certainly wasn’t because I’d lost interesting his work, so when this opportunity came up, I was pleased to be going along.
The Barbican isn’t one of my favourite venues and I was wondering how Rollins would appear, alone on such a vast stage, but he has a way of commanding attention and that ensured that it worked well. It may just be one man and a microphone, but he relates his stories and observations in such a compelling way that you’re easily drawn into his world. Not surprisingly, considering recent events, much of his material is based around his past involvements with both Lemmy and David Bowie. In many cases, such recollections would have come across as mere bragging, but Rollins always manages to put across a point with his comments. The obvious respect with which he held those guys is evident, but it’s also about the interaction with them on a regular level. He manages to put them on an even stage so that we can appreciate them as real people instead of just the media image. Okay, in Lemmy’s case, that’s probably not so difficult, as he was always down-to-earth, but Bowie was always a larger-than-life figure and it’s really interesting to get a glimpse of how he really was.
It’s a shame that Henry no longer performs with a band, but when you see the focus and intent he puts into his spoken-word shows, it’s actually not that far removed and certainly consistent with the work he has always done. He may have found a very different audience to his days in Black Flag or the Rollins Band, but whatever he’s done in the past, it’s always been about moving forward. The Barbican is just another outlet and it’s great that he’s happy to make the most of it.
The Barbican isn’t one of my favourite venues and I was wondering how Rollins would appear, alone on such a vast stage, but he has a way of commanding attention and that ensured that it worked well. It may just be one man and a microphone, but he relates his stories and observations in such a compelling way that you’re easily drawn into his world. Not surprisingly, considering recent events, much of his material is based around his past involvements with both Lemmy and David Bowie. In many cases, such recollections would have come across as mere bragging, but Rollins always manages to put across a point with his comments. The obvious respect with which he held those guys is evident, but it’s also about the interaction with them on a regular level. He manages to put them on an even stage so that we can appreciate them as real people instead of just the media image. Okay, in Lemmy’s case, that’s probably not so difficult, as he was always down-to-earth, but Bowie was always a larger-than-life figure and it’s really interesting to get a glimpse of how he really was.
It’s a shame that Henry no longer performs with a band, but when you see the focus and intent he puts into his spoken-word shows, it’s actually not that far removed and certainly consistent with the work he has always done. He may have found a very different audience to his days in Black Flag or the Rollins Band, but whatever he’s done in the past, it’s always been about moving forward. The Barbican is just another outlet and it’s great that he’s happy to make the most of it.
AUSTRALIAN STOOGES / MONKISH. Fiddlers Elbow, 23/1/16. 50th Birthday time for the legendary (so he claims) John Ribs, which means a suitably raucous night of bands and booze up at the Fiddlers Elbow. First onstage, Monkish, playing a less elaborate set than I’ve seen before (no jesters, no trampolines) but a decent set of punky fun to get things moving. ‘Have a great 50th Birthday’, singer Brad tells John… ‘cos you’re not likely to make it to 60 !’ They’re best mates, really…
John has, of course, been notorious for his Iggy impersonations over the years, so it’s no surprise that his birthday party finds him garbed in vintage Iggy costume, fronting a band that performs a very convincing Stooges set. If anything, John is actually rather restrained this evening… no self-mutilations, no nudity, no bodily emissions. He sings rather well and strikes the poses with utter conviction (he should be…) occasional diving into the crowd but always with humour and consideration, even when he scrambles up on top of the bar. So, John Ribs at 50… good on yer ! All aboard for Funtime !
John has, of course, been notorious for his Iggy impersonations over the years, so it’s no surprise that his birthday party finds him garbed in vintage Iggy costume, fronting a band that performs a very convincing Stooges set. If anything, John is actually rather restrained this evening… no self-mutilations, no nudity, no bodily emissions. He sings rather well and strikes the poses with utter conviction (he should be…) occasional diving into the crowd but always with humour and consideration, even when he scrambles up on top of the bar. So, John Ribs at 50… good on yer ! All aboard for Funtime !
BRIAN JAMES GANG. Hope & Anchor, 29/1/16. The Hope & Anchor was the site for several of The Damned’s early gigs and most notably the location for the filming of the ‘New Rose’ video, so it’s appropriate to get a chance to see Brian James back at this great little venue with his current band. Hot on the heels of his recent album, the rather rockin’ ‘Guitar That Dripped Blood’, the band have been gigging around Europe and are sounding tight and powerful. They blast into ‘Walking Round Naked’ and ‘Becoming A Nuisance’ from the new album before the first nod to ’76 with a blistering ‘Born To Kill’. There are some problems with Brian’s vocals disappearing in the mix, but the energy levels are certainly turned up to 10. Several more recent tracks, then the less-likely choice of ‘Alone’, a song that Brian obviously has some affinity with (he was also playing it at his recent gigs alongside Rat Scabies…) As with much of the material that ended-up on ‘Music For Pleasure’, it sounds much more effective when played live and gives a glimpse of how that album may have turned-out had the band been given more time to get it together as they wanted it to be. Next up, ‘The Regulator’ is another great track form the new album, quickly followed by one of the best tracks Lords of the New Church ever recorded, ‘Method To Out Madness’. For the last few songs, Alan Clayton of The Dirty Strangers comes up to handle the vocals, doing a very grand job of it and leaving Brian free to rip those guitar riffs apart. A fine cover of the Rolling Stones ‘The Last Time’, followed by ‘New Rose’ (of course) and ‘Neat Neat Neat’ bring the set to a close. Brian James remains one of the best guitar players to have emerged from the original Punk scene, with an instantly recognisable sound, so it remains bewildering that he isn’t more widely acknowledged. While we wait for the rest of the world to catch up, do your best to catch his current band and be sure to hear ‘The Guitar The Dripped Blood’.
HAGAR THE WOMB / FLOWERS IN THE DUSTBIN / ANARCHISTWOOD. The Bow Bells, 30/1/16. I’ve never been to this venue before, but it’s really easy to find and just a two minute walk from the DLR station. The venue itself is one of that dying breed, a real East End pub, with a room above the bar where the bands will play. It’s actually quite small but that only adds to the atmosphere as each band plays in front of an instantly packed audience. First-up are Anarchistwood, a band I haven’t seen before but heard much about. They certainly live up to reports, even if I’m not sure if I’d call myself a fan just yet. Fronted by an elaborately-attired female singer, they’re a musical mix of anarcho-punk, The Slits, Riot Grrl, Hardcore and maybe even Lene Lovich. Fortunately, they do seem to maintain a sense of humour throughout the proceedings (albeit a dark one) and this helps to keep the balance between fun and too much intellect. They end with a rollicking, tongue-in-cheek (I assume) version of Minor Threats ‘Straight Edge’ which is actually played pretty effectively. As I said, I’m not entirely won-over, but I’d certainly be happy to see them again.
Next onstage are the recently reformed Flowers In The Dustbin. Apart from frontman Gerard, I’m not sure how many original members are still involved, but they certainly sound as I remember them (I never had any of their records, but saw them live on a few occasions.) Although very-much a part of the Anarcho-punk scene in London, they had quite a different, more melodic musical style to most of their contemporaries and, as such, their sound has aged pretty well, not sounding as dated as some and maintaining a fresh edge. Again, I won’t claim to be a big fan, but I’m glad they’re out there again.
Finally, time for the Hags, with a hint of urgency as Karen is attempting to catch her last train back to Brighton. Regardless of this, they ramble in to their set at their usual unrushed pace, eventually starting-up with ‘Idolisation’. As there’s no stage, the bands are all playing on the floor in front of the audience, which allows Mitch far more interaction than is decent (he’s still on the look-out for that much-publicised shag…) It’s always great fun to watch their chaotic sets, but in a space this small, you really can’t avoid what’s going on… Basically, you have Paul, Steph and Chris desperately holding everything together. Mitch does his best to orchestrate the mayhem while mostly keeping the bass-lines on time, but the vocals… well, they could go anywhere and sound all the more wonderful for it, as Ruth and Karen gleefully push proceedings as far as they can get away with. It’s not even self-conscious - I’m sure they always set-out to play a proper set, but it just naturally goes that way and I expect that everyone in the band is enjoying it so much that they aren’t going to try to rein it in. Of course, if you’re in the audience and you’re expecting a serious band, you’re not going to get it, but if you embrace the spirit of the occasion, you’ll have just as much fun as the band. On this occasion, the subtext of the gig mostly involves Karen and Ruth trying to get their hands on Mitch’s bottle of Jameson (which they continually refer to as Jack Daniels) and the ensuing results once they succeed. Now, this isn’t to say that they’re not serious about their music and lyrics and, indeed, they have some bloody great songs. But the gig is something to enjoy – you can read the lyric sheet when you get home. If you want proof, just check out new songs like ‘Life Of Lies’ and ‘Hated By The Daily Mail’. They both sound as great as anything the band have ever done. Totally different to anyone else, making a point and always great fun. At the end of the set, they’ve run out of songs for an encore, and so play ‘Dressed To Kill’ a second time (although this time inviting former bass player Veg and Gary from Dirt up onstage to join in…) It’s a great end to the set and I doubt that anyone in the room left without a grin on their face… except maybe Karen if she didn’t catch that last train !
Next onstage are the recently reformed Flowers In The Dustbin. Apart from frontman Gerard, I’m not sure how many original members are still involved, but they certainly sound as I remember them (I never had any of their records, but saw them live on a few occasions.) Although very-much a part of the Anarcho-punk scene in London, they had quite a different, more melodic musical style to most of their contemporaries and, as such, their sound has aged pretty well, not sounding as dated as some and maintaining a fresh edge. Again, I won’t claim to be a big fan, but I’m glad they’re out there again.
Finally, time for the Hags, with a hint of urgency as Karen is attempting to catch her last train back to Brighton. Regardless of this, they ramble in to their set at their usual unrushed pace, eventually starting-up with ‘Idolisation’. As there’s no stage, the bands are all playing on the floor in front of the audience, which allows Mitch far more interaction than is decent (he’s still on the look-out for that much-publicised shag…) It’s always great fun to watch their chaotic sets, but in a space this small, you really can’t avoid what’s going on… Basically, you have Paul, Steph and Chris desperately holding everything together. Mitch does his best to orchestrate the mayhem while mostly keeping the bass-lines on time, but the vocals… well, they could go anywhere and sound all the more wonderful for it, as Ruth and Karen gleefully push proceedings as far as they can get away with. It’s not even self-conscious - I’m sure they always set-out to play a proper set, but it just naturally goes that way and I expect that everyone in the band is enjoying it so much that they aren’t going to try to rein it in. Of course, if you’re in the audience and you’re expecting a serious band, you’re not going to get it, but if you embrace the spirit of the occasion, you’ll have just as much fun as the band. On this occasion, the subtext of the gig mostly involves Karen and Ruth trying to get their hands on Mitch’s bottle of Jameson (which they continually refer to as Jack Daniels) and the ensuing results once they succeed. Now, this isn’t to say that they’re not serious about their music and lyrics and, indeed, they have some bloody great songs. But the gig is something to enjoy – you can read the lyric sheet when you get home. If you want proof, just check out new songs like ‘Life Of Lies’ and ‘Hated By The Daily Mail’. They both sound as great as anything the band have ever done. Totally different to anyone else, making a point and always great fun. At the end of the set, they’ve run out of songs for an encore, and so play ‘Dressed To Kill’ a second time (although this time inviting former bass player Veg and Gary from Dirt up onstage to join in…) It’s a great end to the set and I doubt that anyone in the room left without a grin on their face… except maybe Karen if she didn’t catch that last train !
ANDREW O’NEILL. Top Secret Comedy Club, 8/2/16. Andrew O’Neill, the self-styled ‘occult comedian’, is a performer that I’ve wanted to see for a while, so this event provided a perfect opportunity. It was basically a low-key, early-evening try-out of new material currently being put together for his next show, ‘Andrew O’Neill is Trapped Down A Well’. It’s not particularly slick and smoothly-flowing as yet, but the point is to see how the audience reacts to the new material so it can be refined for the show itself. There’s a lot more to stand-up comedy than you’d realise - it’s not just some bloke wandering onstage and announcing, ‘A man walked into a bar…’ Anyway, that’s not to say this isn’t entertaining and in fact, much of the material has everyone laughing out loud. Musings on the problems of being a vegan trapped down a well, a diatribe against hipster fashions (and the lack of substance behind them) plus, one theme that really connects with me … Andrew’s surreal conversations with his cat which, inevitably, conclude with songs being adapted for particular occasions (‘Don’t Fear The Hoover’ !) Most of the material is based around general observations which then go off at increasingly absurd tangents, but it’s the way he keeps things grounded in real life that make it so effective. Just start with something most of the audience can relate to and then see where it can be taken. As I said, this was really a rehearsal in front of a small audience, but it worked really well and I’m glad I got to see it. I’ll certainly have to catch the full-on show when he gets to perform it later in the year.
THE RESIDENTS. Hackney Empire, 12/2/16. To be honest, I haven’t enjoyed the last two Residents shows as much as I usually would, but I thin the choice of venue had a lot to do with it. When they performed at the Roundhouse, as part of the Mute Weekend, it lacked the atmosphere and intimacy that the ‘Talking Light’ show needed to be fully effective, and the ‘Wonder of Weird’ show at the Barbican similarly lacked their usual sense of mystique. But these problems were caused by the nature of the venues rather than the performers and, indeed, listening back to recordings of the Barbican gig, it actually sounded great.
In this case, the show is at a place I’ve never been to before (despite working right next door to it for several years) and I’m glad to say that Hackney Empire was a much more appropriate venue. In fact, it’s a lovely, Victorian style theatre with a nice stage and great acoustics. It’s the perfect size for this show, ensuring a good view and clear sound that allows you to be absorbed into the performance. Entitled ‘Shadowland’, it’s the third instalment of the ‘Randy, Chuck and Bob’ era (although Chuck has since retired from live performance… alledgedly…) and features the stripped-down three piece band. In some ways, this is a lot more orthodox than earlier tours, with Randy acting out the part of a lead singer and the other two Residents playing guitar and keyboards respectively. But of course, there’s much more to it than that. Randy’s dialogue with the audience is far from the usual condescending manner that many ‘rock stars’ would adopt and his mannerisms are hardly the usual self-aggrandising fare, while the two musicians remain quietly seated throughout the show. And, whilst they do perform a wide range of material that covers much of their 40 year career, it can hardly be called a ‘greatest hits’ set, including songs more for the way they work together rather than superficial popularity. So we do get to hear material from ‘Duck Stab’, ‘Fingerprince’ and ‘The Commercial Album’ right through to ‘Freak Show’, and ‘Bunny Boy’, but many are re-worked for the live performance. We even get a brief instrumental tease of ‘Third Reich’n’Roll’, while ‘Constantinople’ allows Randy the chance to parade around the stage with a large bass drum. And then there’s the short ‘Shadowland’ films, screened on a large globe towards the rear of the stage. Various characters tell their curious tales as a compliment to the rest of the performance, adding further off-shoots to keep you engrossed.
I’m glad to say, this really was The Residents back at their best and, indeed, quite possibly one of the best times I’ve ever seen them. The venue was great and certainly helped, but it was just one of those shows when everything came together perfectly. Perhaps the stars were in alignment ? I’m sure The Residents would laugh at such an assumption… so it must be true !
In this case, the show is at a place I’ve never been to before (despite working right next door to it for several years) and I’m glad to say that Hackney Empire was a much more appropriate venue. In fact, it’s a lovely, Victorian style theatre with a nice stage and great acoustics. It’s the perfect size for this show, ensuring a good view and clear sound that allows you to be absorbed into the performance. Entitled ‘Shadowland’, it’s the third instalment of the ‘Randy, Chuck and Bob’ era (although Chuck has since retired from live performance… alledgedly…) and features the stripped-down three piece band. In some ways, this is a lot more orthodox than earlier tours, with Randy acting out the part of a lead singer and the other two Residents playing guitar and keyboards respectively. But of course, there’s much more to it than that. Randy’s dialogue with the audience is far from the usual condescending manner that many ‘rock stars’ would adopt and his mannerisms are hardly the usual self-aggrandising fare, while the two musicians remain quietly seated throughout the show. And, whilst they do perform a wide range of material that covers much of their 40 year career, it can hardly be called a ‘greatest hits’ set, including songs more for the way they work together rather than superficial popularity. So we do get to hear material from ‘Duck Stab’, ‘Fingerprince’ and ‘The Commercial Album’ right through to ‘Freak Show’, and ‘Bunny Boy’, but many are re-worked for the live performance. We even get a brief instrumental tease of ‘Third Reich’n’Roll’, while ‘Constantinople’ allows Randy the chance to parade around the stage with a large bass drum. And then there’s the short ‘Shadowland’ films, screened on a large globe towards the rear of the stage. Various characters tell their curious tales as a compliment to the rest of the performance, adding further off-shoots to keep you engrossed.
I’m glad to say, this really was The Residents back at their best and, indeed, quite possibly one of the best times I’ve ever seen them. The venue was great and certainly helped, but it was just one of those shows when everything came together perfectly. Perhaps the stars were in alignment ? I’m sure The Residents would laugh at such an assumption… so it must be true !
RUTS DC / HEATHROW JETS / NEWTOWN NEUROTICS. 100 Club, 13/2/16. Another fine line-up at the 100 Club, certainly enough to tempt me down for the evening even despite engineering works resulting in the dreaded rail replacement buses… Badly organised, inconvenient and time-consuming… I could just about forgive them if the service wasn’t so bad even after they’ve made these supposed-improvements.
Anyway, we all meet-up for some food and drinks before heading along to the gig, in time to catch Newtown Neurotics. Apart from Steve Drewitt, I’m not sure who else is in the band at the moment, but they still sound pretty much as I remember them. I can’t say I was ever a big fan but it’s good to finally get to see them and their lyrics are (unfortunately) just as valid now as they were 30 years ago. Which, if anything, makes their reactivation more than justified.
The Heathrow Jets are in fact The Members, playing under a thinly-veiled pseudonym for some unapparent reason. The fact that their new album has just been released should have meant they’d want to publicise this gig as much as possible, you’d have thought… Anyway, as with their set here at the 100 Club just a few weeks ago, it’s enjoyable and good to hear them playing new material alongside the more familiar older tracks. It’ll be interesting to hear the album to see how it stands up alongside the songs that we already know, but live, the material certainly seemed to hold up well. As a special surprise appearance, this was a real treat.
But of course, everyone is really here to see Ruts DC, and they have little difficulty claiming the gig for themselves. All three members just play so well together, it’s hard to believe that either of the previous line-ups could have been better than this (even though Malcolm Fox and Paul Fox were both outstanding in their own rights.) The current line-up more than justifies its’ continuation of the Ruts / Ruts DC legacy and, with new material now sneaking into the set from the upcoming album, it’s just yet another reason why they should not be missed. Old and new come together as a whole and material from ‘Rhythm Collision 2’ is just as vital as tracks from ‘The Crack’ or ‘Grin & Bear It’. There’s a particularly stunning version of ‘Jah War’ and, even in the sweltering confines of a packed 100 Club, this is something you just wouldn’t want to miss. So, keep your eyes and ears peeled, and be sure to grab yourself a copy of the new album as soon as you get the chance.
Anyway, we all meet-up for some food and drinks before heading along to the gig, in time to catch Newtown Neurotics. Apart from Steve Drewitt, I’m not sure who else is in the band at the moment, but they still sound pretty much as I remember them. I can’t say I was ever a big fan but it’s good to finally get to see them and their lyrics are (unfortunately) just as valid now as they were 30 years ago. Which, if anything, makes their reactivation more than justified.
The Heathrow Jets are in fact The Members, playing under a thinly-veiled pseudonym for some unapparent reason. The fact that their new album has just been released should have meant they’d want to publicise this gig as much as possible, you’d have thought… Anyway, as with their set here at the 100 Club just a few weeks ago, it’s enjoyable and good to hear them playing new material alongside the more familiar older tracks. It’ll be interesting to hear the album to see how it stands up alongside the songs that we already know, but live, the material certainly seemed to hold up well. As a special surprise appearance, this was a real treat.
But of course, everyone is really here to see Ruts DC, and they have little difficulty claiming the gig for themselves. All three members just play so well together, it’s hard to believe that either of the previous line-ups could have been better than this (even though Malcolm Fox and Paul Fox were both outstanding in their own rights.) The current line-up more than justifies its’ continuation of the Ruts / Ruts DC legacy and, with new material now sneaking into the set from the upcoming album, it’s just yet another reason why they should not be missed. Old and new come together as a whole and material from ‘Rhythm Collision 2’ is just as vital as tracks from ‘The Crack’ or ‘Grin & Bear It’. There’s a particularly stunning version of ‘Jah War’ and, even in the sweltering confines of a packed 100 Club, this is something you just wouldn’t want to miss. So, keep your eyes and ears peeled, and be sure to grab yourself a copy of the new album as soon as you get the chance.
SNUFF / BAD COP BAD COP / THE SPOILERS. Electric Ballroom, 19/2/16. It seems bizarre that this was a gig to celebrate Snuff’s 30th Anniversary… I still consider them to be a relatively new band ! God-damn, I’m getting old (-ish.) On top of it all, there’s also a ridiculously early start to this gig, with a 10.00 curfew due to the indie / goth disco later in the evening. Kids, it seems, would rather go to a disco than see a real, live band. They have actually become that boring.
Anyway, I find myself in the company of two fine friends, Mark and Moyni, who instantly bond over a mutual love of the Ramones & cigarettes. Sometimes, it really is that easy. We’ve made a point of getting there in time for the opening band, The Spoilers, as they’re from Canterbury and both Mark and I feel some kinda home-town affinity. They’re not bad, although in a way, they do seem a bit like Snuff’s grandchildren. Which isn’t to say that they didn’t sound good, but as Snuff’s influence has been absorbed by so many others over the years, it’s fairly inevitable that younger bands are going to reflect this, even if the influence isn’t first-hand. But they have a lot of energy and some great tunes, so I’m glad I got to see them. I just wish there a few bands around like this when I lived in Canterbury !
Main support are San Francisco all-girl band Bad Cop Bad Cop. I was only familiar with their name before this, having not heard their records, but reports had been good. I’m happy to say they were pretty entertaining, something like an early Gilman Street version of The Runaways perhaps, with a brash mix of melodic punk and upbeat garage-glam. And, again, maybe a pinch of Snuff, but very much on their own terms. They also seemed to have a good sense of humour about themselves, which made them a great support for this show. Definitely a band I’d like to see again and I must be checking out their records soon…
Finally, Snuff arrive onstage to mark their biggest birthday to date. I have to admit, I still find it strange to see them play without either Simon or Andy (RIP) but sound-wise, they’re still more than up to the task. With both Sixties style keyboards and trombone augmenting the usual guitars and drums, they fill-up the stage rather effectively, looking more like a vintage Soul review at times rather than a punk combo, but that was always what made them special. Snuff were never content to be stuck in a pigeon-hole and there were certainly times when it seemed as if they could turn their hands to just about any genre and make it their own. With Duncan orchestrating everything from behind the drums, they created a style that many have imitated but few, if any, have matched. Tonight, in a well-deserved celebration, they play a great mix of old and more recent material, although I have to say, a few numbers are sadly missed (I would’ve loved to hear ‘Not Listening’ and maybe a few of their old TV commercial covers) but the setlist is still great fun and doesn’t leave much room for disappointment. The highlight (well, one of them) was a great cover of ‘Soul Limbo’ complete with dancing-girls, courtesy of Bad Cop Bad Cop. Combining the musicianship and spontaneity that always made their gigs enjoyable, this was a moment that made me realise why I’ll still go to see them after all this time. One of the best bands the UK has ever produced and still delivering the goods. Here’s to the next 30 years !
Anyway, I find myself in the company of two fine friends, Mark and Moyni, who instantly bond over a mutual love of the Ramones & cigarettes. Sometimes, it really is that easy. We’ve made a point of getting there in time for the opening band, The Spoilers, as they’re from Canterbury and both Mark and I feel some kinda home-town affinity. They’re not bad, although in a way, they do seem a bit like Snuff’s grandchildren. Which isn’t to say that they didn’t sound good, but as Snuff’s influence has been absorbed by so many others over the years, it’s fairly inevitable that younger bands are going to reflect this, even if the influence isn’t first-hand. But they have a lot of energy and some great tunes, so I’m glad I got to see them. I just wish there a few bands around like this when I lived in Canterbury !
Main support are San Francisco all-girl band Bad Cop Bad Cop. I was only familiar with their name before this, having not heard their records, but reports had been good. I’m happy to say they were pretty entertaining, something like an early Gilman Street version of The Runaways perhaps, with a brash mix of melodic punk and upbeat garage-glam. And, again, maybe a pinch of Snuff, but very much on their own terms. They also seemed to have a good sense of humour about themselves, which made them a great support for this show. Definitely a band I’d like to see again and I must be checking out their records soon…
Finally, Snuff arrive onstage to mark their biggest birthday to date. I have to admit, I still find it strange to see them play without either Simon or Andy (RIP) but sound-wise, they’re still more than up to the task. With both Sixties style keyboards and trombone augmenting the usual guitars and drums, they fill-up the stage rather effectively, looking more like a vintage Soul review at times rather than a punk combo, but that was always what made them special. Snuff were never content to be stuck in a pigeon-hole and there were certainly times when it seemed as if they could turn their hands to just about any genre and make it their own. With Duncan orchestrating everything from behind the drums, they created a style that many have imitated but few, if any, have matched. Tonight, in a well-deserved celebration, they play a great mix of old and more recent material, although I have to say, a few numbers are sadly missed (I would’ve loved to hear ‘Not Listening’ and maybe a few of their old TV commercial covers) but the setlist is still great fun and doesn’t leave much room for disappointment. The highlight (well, one of them) was a great cover of ‘Soul Limbo’ complete with dancing-girls, courtesy of Bad Cop Bad Cop. Combining the musicianship and spontaneity that always made their gigs enjoyable, this was a moment that made me realise why I’ll still go to see them after all this time. One of the best bands the UK has ever produced and still delivering the goods. Here’s to the next 30 years !
JOHNNY MOPED. Film screening + Q&A, Regent Street Cinema, 21/2/16. Another showing on the big screen for the excellent documentary ‘Basically Johnny Moped’. I’ve seen it more than a few times by this point, which just goes to show how enduring and entertaining it is. I’ve already reviewed it elsewhere, so I won’t do so again, but if you haven’t already seen it, make it a priority. It really is one of the best documentaries made about a punk / rock’n’roll band to date.
After the film-showing, there’s a Question & Answer session with both Johnny (the lad himself) and the film director, Fred Burns. It gets off to a good start, with Johnny enthusiastically chatting about the film. There is a sombre moment when he discusses the recent passing of his wife, Brenda (who also features in the film) but mostly, the questions from the audience find him in good spirits. Bizarrely, someone asks if it was true that he once dedicated a gig to ‘all the cod that died in the Cod War’. It turns out to be a false rumour, but the fact remains, it’s just the sort of thing he would have done… I’m sitting alongside Ian Damaged, who desperately wants to plug the forthcoming release of the new Moped album, but when asked what the band are up to, Johnny only seems to remember the upcoming gigs… Finally, in desperation, Ian stands up, waves a copy of the album towards the stage and begs Johnny, ‘What about the new album ???’ At last, the message gets across and the album gets a plug, but it was typical, classic Moped… He’s just made his first album in decades and he forgot about it !
Afterwards, we all retire to a nearby pub where I had intended to do an interview but, in the event, we all start chatting and enjoying a few beers and the interview kinda gets forgotten about (I call this ‘The Moped Effect’.) It was just such a nice relaxed time that getting people to sit-down and answer a load of questions would’ve been a bit killjoy. So, before everyone eventually left, we started to make plans to meet up again in a couple of weeks, and you can read the results of that elsewhere…
After the film-showing, there’s a Question & Answer session with both Johnny (the lad himself) and the film director, Fred Burns. It gets off to a good start, with Johnny enthusiastically chatting about the film. There is a sombre moment when he discusses the recent passing of his wife, Brenda (who also features in the film) but mostly, the questions from the audience find him in good spirits. Bizarrely, someone asks if it was true that he once dedicated a gig to ‘all the cod that died in the Cod War’. It turns out to be a false rumour, but the fact remains, it’s just the sort of thing he would have done… I’m sitting alongside Ian Damaged, who desperately wants to plug the forthcoming release of the new Moped album, but when asked what the band are up to, Johnny only seems to remember the upcoming gigs… Finally, in desperation, Ian stands up, waves a copy of the album towards the stage and begs Johnny, ‘What about the new album ???’ At last, the message gets across and the album gets a plug, but it was typical, classic Moped… He’s just made his first album in decades and he forgot about it !
Afterwards, we all retire to a nearby pub where I had intended to do an interview but, in the event, we all start chatting and enjoying a few beers and the interview kinda gets forgotten about (I call this ‘The Moped Effect’.) It was just such a nice relaxed time that getting people to sit-down and answer a load of questions would’ve been a bit killjoy. So, before everyone eventually left, we started to make plans to meet up again in a couple of weeks, and you can read the results of that elsewhere…
JESSE MALIN. Dingwalls, 24/2/16. Jesse has certainly been busy over the past year, with two new albums, ‘New York Before The War’ and ‘Outsiders’ being swiftly followed by a timely and extended reissue of his first solo album, ‘The Fine Art of Self Destruction’. This will also be the third time I’ve seen him within a year, but as it was his live performance which first won me over, that’s no problem at all.
Due to an unavoidable hold-up, we arrive a few minutes late and miss the first couple of songs, but once inside the venue, the place is crowded and has a great atmosphere. The band is slightly smaller than on his last tour, although the brass section still make their presence known, and the sound is just so much better than at The Dome. They play lots of old and new favourites, from ‘Wendy’ through to ‘Addicted and ‘Boots of Immigration’, and it’s a pretty upbeat affair, only pausing to allow Jesse to relate some of his tales and observations. He obviously enjoys playing in London and the audience clearly enjoy him being here. As always, his choice of covers is faultless, with a fine version of ‘Russian Roulette’ followed later in the set with a great romp through ‘Rudie Can’t Fail’ (and he certainly has the right band to handle that one !) Ninety minutes down and you’d expect him to be exhausted, but by the end of the set, you get the impression that he’s only leaving the stage because of the curfew and would be much more happy playing on and on. As usual, within minutes, he’s at the back of the venue, chatting with fans, signing albums and having his picture taken. Jesse Malin is a very convincing artist, both musically and personally. You can only wish him every success.
Due to an unavoidable hold-up, we arrive a few minutes late and miss the first couple of songs, but once inside the venue, the place is crowded and has a great atmosphere. The band is slightly smaller than on his last tour, although the brass section still make their presence known, and the sound is just so much better than at The Dome. They play lots of old and new favourites, from ‘Wendy’ through to ‘Addicted and ‘Boots of Immigration’, and it’s a pretty upbeat affair, only pausing to allow Jesse to relate some of his tales and observations. He obviously enjoys playing in London and the audience clearly enjoy him being here. As always, his choice of covers is faultless, with a fine version of ‘Russian Roulette’ followed later in the set with a great romp through ‘Rudie Can’t Fail’ (and he certainly has the right band to handle that one !) Ninety minutes down and you’d expect him to be exhausted, but by the end of the set, you get the impression that he’s only leaving the stage because of the curfew and would be much more happy playing on and on. As usual, within minutes, he’s at the back of the venue, chatting with fans, signing albums and having his picture taken. Jesse Malin is a very convincing artist, both musically and personally. You can only wish him every success.
THE VIBRATORS. Islington Academy, 27/2/16. Following the relatively low-key reunion of former Vibrators members at the Hope & Anchor last year, this gig was their official 40th Anniversary show and, as before, was billed to feature guest appearances from former members alongside the current three-piece band. Unfortunately, it’s another one of those gigs that starts ridiculously early, and by the time we make our way into the venue (at 8.00 !) we’ve already missed the support set from The DeRellas, damn it. But at least that means we won’t be there long-enough to spend too much hard-earned cash at their poorly-stocked bar. In fact, there’s only a very short wait before The Vibrators appear onstage. Starting out with the current line-up, they blast through a selection of old and new songs, switching vocals between Daryl, Pete and Eddie to great effect. They play great versions of ‘Sweet Sweet Heart’ and ‘Whip & Furs’ (Eddie handles the vocals really well) plus songs from their recent albums that really show what a great band they are now. But for many, it is the chance to see the former members once again that is the real treat tonight. Firstly, it’s the turn of the ‘Pure Mania’ line-up, featuring Eddie, Knox, John Ellis and Pat Collier, playing a selection of their original songs, before the bass players switch and we have Gary Tibbs from the ‘V2’ era. ‘Automatic Lover’, ‘Flying Duck Theory’ and even ‘Troops of Tomorrow’, all sounding as good as ever ! Although much-maligned by the music-press, both at the time and since, The Vibrators still produced some of the best music of the early Punk movement and really should have been more successful. But although big hits eluded them, the fact that they’re still here, 40 years later, and a sizeable crowd has turned out to celebrate with them is more than proof that their longevity has been well-deserved. Eddie dedicates ‘My Stalker’ to his recently-recovering namesake, Eddie Spaghetti, who once recorded the song with them, and Knox makes another appearance during the encores… It really should have been allowed to continue for at least another half hour, but silly curfews meant the gig had to be over by 10.00. No matter, it had been a great event and in a year that’s set to see more than a few 40th anniversary celebrations, this one is already set to go down as one of the best.
THE STRANGLERS. Brixton Academy, 11/3/16. Brixton Academy has never been my favourite venue, but this was the only date on the current Stranglers tour that I could get to, so it wasn’t going to be missed. Aside from the bands’ return to top form in recent years, they were also going to be playing their ‘Black & White’ album in its’ entirety which made this tour something I could not miss. Indeed, ‘Black & White’ had been the first Stranglers album that I bought, all those years ago. It was a notable step forward from their earlier material but still maintained everything I loved about the band and, in many ways, provided a good indication of the different directions they would develop in the following years. In subsequent years, it has aged very well and still sounds fresh and exciting.
Having met up with Ian Damaged for a few beers before the gig, we carefully arrived on time to miss The Alarm and head down towards the left to get a good view. There’s not long before the familiar ‘Waltzinblack’ heralds the bands’ arrival onstage and then it’s straight into the pure rush of ‘Tank’. The relatively new boys, Baz and Jim, handle the guitar/vocals and drums in great style, and they certainly fit the band perfectly, while JJ Burnel and Dave Greenfield are both clearly comfortable and enjoying what they are doing. ‘Nice’n’Sleazy’ and ‘Outside Tokyo’ slow down the tempo somewhat, before ‘Hey !’ returns the set to a frantic pace (would’ve liked to hear some sax on that one… where’s Lora Logic when we need her ?) ‘Sweden’ and ‘Toiler On The Sea’ keep things upbeat until it’s the turn of the sinister ‘Curfew’ and the menacing ‘Threatened’, delivering an altogether darker edge. ‘In The Shadows’ and ‘Do You Wanna’ maintain the atmosphere until ‘Death and Night and Blood’ twists in another direction, with a riff that hacks right into your senses. Finally, ‘Enough Time’ (being performed live for the first time on this tour, I believe) ends the albums’ performance in fine, tongue-in-cheek style. Incidentally, the stage set was particularly effective, with all the equipment in white, allowing for the stage lighting to reflect the mood of the songs. Simple but very impressive.
With hardly a pause for breath, though, the band launch straight into ‘Grip’ and continue with a selection of songs from the full span of their career. From ‘Dead Ringer’ to ‘Always The Sun’, and from ‘Nuclear Device’ through to ‘I’ve Been Wild’, the songs cover so many different styles but also have a continuity that has always made them The Stranglers. ‘5 Minutes’, as always, is a highpoint, but the final songs of the set, ‘I Feel Like A Wog’ and ‘Something Better Change’ aren’t far behind. Of course, there’s still some old favourites kept in store for the encores. ‘Peaches’ and ‘Hanging Around’ ensure further calls for more, and finally, ‘Go Buddy Go’ and ‘No More Heroes’ end a set that has just gone to prove that The Stranglers are once again one of the best live bands you can see. I think everyone misses Jet Black, but with the current line-up playing as well as this, I’m sure he’s happy that he’s left band in good hands.
Having met up with Ian Damaged for a few beers before the gig, we carefully arrived on time to miss The Alarm and head down towards the left to get a good view. There’s not long before the familiar ‘Waltzinblack’ heralds the bands’ arrival onstage and then it’s straight into the pure rush of ‘Tank’. The relatively new boys, Baz and Jim, handle the guitar/vocals and drums in great style, and they certainly fit the band perfectly, while JJ Burnel and Dave Greenfield are both clearly comfortable and enjoying what they are doing. ‘Nice’n’Sleazy’ and ‘Outside Tokyo’ slow down the tempo somewhat, before ‘Hey !’ returns the set to a frantic pace (would’ve liked to hear some sax on that one… where’s Lora Logic when we need her ?) ‘Sweden’ and ‘Toiler On The Sea’ keep things upbeat until it’s the turn of the sinister ‘Curfew’ and the menacing ‘Threatened’, delivering an altogether darker edge. ‘In The Shadows’ and ‘Do You Wanna’ maintain the atmosphere until ‘Death and Night and Blood’ twists in another direction, with a riff that hacks right into your senses. Finally, ‘Enough Time’ (being performed live for the first time on this tour, I believe) ends the albums’ performance in fine, tongue-in-cheek style. Incidentally, the stage set was particularly effective, with all the equipment in white, allowing for the stage lighting to reflect the mood of the songs. Simple but very impressive.
With hardly a pause for breath, though, the band launch straight into ‘Grip’ and continue with a selection of songs from the full span of their career. From ‘Dead Ringer’ to ‘Always The Sun’, and from ‘Nuclear Device’ through to ‘I’ve Been Wild’, the songs cover so many different styles but also have a continuity that has always made them The Stranglers. ‘5 Minutes’, as always, is a highpoint, but the final songs of the set, ‘I Feel Like A Wog’ and ‘Something Better Change’ aren’t far behind. Of course, there’s still some old favourites kept in store for the encores. ‘Peaches’ and ‘Hanging Around’ ensure further calls for more, and finally, ‘Go Buddy Go’ and ‘No More Heroes’ end a set that has just gone to prove that The Stranglers are once again one of the best live bands you can see. I think everyone misses Jet Black, but with the current line-up playing as well as this, I’m sure he’s happy that he’s left band in good hands.
URBAN DOGS / THE DERELLAS. Hope & Anchor, 16/3/16. A midweek gig for the Rockaway Beach club this time, but with Urban Dogs playing their first gig for ages, and with The DeRellas supporting, it has to be done. Meeting up with the usual reprobates along the road for food & drink beforehand, we eventually head along to the H&A just in time for The DeRellas set. Mixing the three chord bliss of the Ramones with the Glam-rock swagger of the Hollywood Brats, they really are a fine band and perfect for a packed’n’sweaty gig like this. And you know they’re doing it ‘cos they love it, which always helps !
Charlie and Knox are both in the middle of the audience during The DeRellas set, enjoying the music and happily chatting with the fans. When it’s their turn onstage, they just walk up from the crowd and take their places. If that isn’t one of the things that Punk was supposed to be about, then I don’t know what is. The band launch into the set, mixing Urban Dogs material with a good selection of UK Subs and Vibrators favourites, delivering a gig that everyone enjoys. Subs’ songs are always going to sound different with Knox playing guitar, and Charlie adds a totally different vocal style to The Vibrators’ numbers (‘Troops of Tomorrow’ is particularly effective.) There’s even room for a guest appearance by Die Toten Hosen frontman, Campino, singing through a song early in the set. I’d only ever seen Urban Dogs once before, way back in 1985 at the 100 Club, but if my memory and judgement is accurate (there’s a 50/50 chance…) I enjoyed this gig a lot more. It might be a bit unrehearsed and unprepared, but with the band clearly enjoying themselves and the audience having a great time, minor details like going out of tune don’t really matter. With the upcoming final studio album from UK Subs on its’ way, maybe this will allow more time for further Urban Dogs activity ? After this evening, I certainly hope so.
Charlie and Knox are both in the middle of the audience during The DeRellas set, enjoying the music and happily chatting with the fans. When it’s their turn onstage, they just walk up from the crowd and take their places. If that isn’t one of the things that Punk was supposed to be about, then I don’t know what is. The band launch into the set, mixing Urban Dogs material with a good selection of UK Subs and Vibrators favourites, delivering a gig that everyone enjoys. Subs’ songs are always going to sound different with Knox playing guitar, and Charlie adds a totally different vocal style to The Vibrators’ numbers (‘Troops of Tomorrow’ is particularly effective.) There’s even room for a guest appearance by Die Toten Hosen frontman, Campino, singing through a song early in the set. I’d only ever seen Urban Dogs once before, way back in 1985 at the 100 Club, but if my memory and judgement is accurate (there’s a 50/50 chance…) I enjoyed this gig a lot more. It might be a bit unrehearsed and unprepared, but with the band clearly enjoying themselves and the audience having a great time, minor details like going out of tune don’t really matter. With the upcoming final studio album from UK Subs on its’ way, maybe this will allow more time for further Urban Dogs activity ? After this evening, I certainly hope so.
PERE UBU, The Dome, 24/3/16. This tour was set to be a real treat for Ubu fans, featuring the return of original guitarist Tom Herman for the first time in quite a while. The set was also due to be drawn from the bands’ 1975-82 era, and whilst I love most of their recent output, it’s always great to see them re-visiting their older material. I was a bit worried, as The Dome doesn’t always have the best sound, but David Thomas has always been particular about such things and on this occasion, it was just right, a mixture of clarity and volume that perfectly suited the song-selection. Starting with a tense, exhilarating version of ‘Heart of Darkness’, the band immediately set their standards high and maintained them throughout the set. Rather than going for a chronological order, they mix the set pretty evenly between their first five albums, with the songs from ‘New Picnic Time’, ‘The Art of Walking’ and ‘Song of The Bailing Man’ sounding a lot more effective when heard live and as part of a full set. It’s also a pleasure to hear more tracks from ‘Dub Housing’ and, as always, they remain intent on playing the songs as they are now, rather than note-for-note facsimiles of the originals (there’s a particularly riveting version of ‘My Dark Ages’ that exceeded any version I’d heard before.) David Thomas may now have to sit during the songs, but his command of the proceedings is no less diminished, sometimes rambling obscure introductions to the songs, other times denouncing Robert Wheeler as ‘the real puppet master !’ His declarations are not always to be taken seriously, of course, but it’s up to you to decide. There’s a degree of spontaneity in the performance and, as I already said, it remains about the moment. Some of the songs may be 40 years old but it’s how they sound now that matters and that’s why they still sound fresh rather than retro. ‘Final Solution’ may have been kept for the encore, but then they finished the evening with the much less-known ‘West Side Story’, which seemed entirely appropriate. It’s as much about keeping themselves interested and amused as anything, but while that ensures they play gigs as good as this, I’m certainly happy with the results. Always a band you need to pay attention to, even though you may not enjoy everything that they do – Long Live Pere Ubu !
POISON IDEA / THE RESTARTS. Camden Underworld, 27/3/16. Our old friend and fellow Poison Idea aficionado, Grazza (the Worlds’ first Aussie-Cockney mutation) is back in London for the first time in several years, just in time for this gig. Jet-lagged he may be, but that would be no reason to miss an opportunity like this. Tom and Dee come along for the pre-gig drinks and I think we all soon realise, this is going to be quite an evening ! Introducing him to Devils Backbone for the first time, we’re all soon catching up as if he hasn’t even been away. The beers go down well and the party has already started.
Eventually, we head down to the Underworld, where The Restarts are already onstage. Second time in a row they’ve supported PI in London and while I certainly don’t mind them, our drinks and chat are still flowing so I don’t really pay attention.
We’re out at the bar when a sudden blast of noise announces the start of Poison Idea’s set. The venue is comfortably full (not bad for a Sunday night) and it’s a much more suitable venue than the Borderline. You can see what’s going on and hear everything clearly. Jerry has noticeably lost weight since their last appearance in London, evidently a result of his recent hospitalisation, but he looks well with it and certainly hasn’t lost any of his vocal impact. The twin guitars come through as sharp and brutal as they ever have, and the drums and bass pummel the rhythms as powerfully as you can get. It’s hard to believe that, fter the loss of Pig Champion, Jerry has managed to put together a new line-up that continues the bands lineage so well. Brandon plays guitar as if he was born to be in Poison Idea (perhaps he was ?) while veteran member Eric Olsen sounds as if he’d never been away for all those years… And it’s not as if they’re just going through the old songs, they’ve got a whole new album’s worth of material from ‘Confuse & Conquer’, which really is one of their best. The audience react appropriately, with enthusiasm and energy. This was a gig full that left you exhausted, even if you were only watching from the sidelines.
Afterwards, we all go backstage to hang out with Jerry for a while, even coming face-to-face with the legendary Rob Tennant ! It’s a great end to the evening and, even though I have to endure a truly appalling rail-replacement bus trip on the way home, it had still been worth every minute.
Eventually, we head down to the Underworld, where The Restarts are already onstage. Second time in a row they’ve supported PI in London and while I certainly don’t mind them, our drinks and chat are still flowing so I don’t really pay attention.
We’re out at the bar when a sudden blast of noise announces the start of Poison Idea’s set. The venue is comfortably full (not bad for a Sunday night) and it’s a much more suitable venue than the Borderline. You can see what’s going on and hear everything clearly. Jerry has noticeably lost weight since their last appearance in London, evidently a result of his recent hospitalisation, but he looks well with it and certainly hasn’t lost any of his vocal impact. The twin guitars come through as sharp and brutal as they ever have, and the drums and bass pummel the rhythms as powerfully as you can get. It’s hard to believe that, fter the loss of Pig Champion, Jerry has managed to put together a new line-up that continues the bands lineage so well. Brandon plays guitar as if he was born to be in Poison Idea (perhaps he was ?) while veteran member Eric Olsen sounds as if he’d never been away for all those years… And it’s not as if they’re just going through the old songs, they’ve got a whole new album’s worth of material from ‘Confuse & Conquer’, which really is one of their best. The audience react appropriately, with enthusiasm and energy. This was a gig full that left you exhausted, even if you were only watching from the sidelines.
Afterwards, we all go backstage to hang out with Jerry for a while, even coming face-to-face with the legendary Rob Tennant ! It’s a great end to the evening and, even though I have to endure a truly appalling rail-replacement bus trip on the way home, it had still been worth every minute.
THE PHOBICS / BUCHA EFFECT. The Birds Nest, 8/4/16. With Grazza still in town, this was going to prove to be another great, if a little excessive, weekend. Friday night and The Phobics are back at the Birds Nest, so it seems natural that we all meet up for Pie & Mash in Greenwich beforehand. After all, the poor sod has been without decent East London grub for along time.
Afterwards, we take a stroll along to the Birds Nest (a futile attempt to burn-off the recently consumed calories) and arrive in plenty of time to have some drinks and catch up with familiar faces before The Bucha Effect play their set. They’re perfectly suited for a small, sweaty venue like this, playing a high energy set of punky-rockin’ songs with (mostly) humorous lyrics and getting everyone up and listening. Probably the best time I’ve seen them so far and also the best response I’ve seen them receive. The more I see this band, the more I like them.
The Phobics play another fine set – they’re on home-turf so it’s to be expected. But this one includes several new songs already sounding great, so it’s interesting as well as fun. They may not be the most prolific band when it comes to new material but it’s always worth the wait. There’s a decent crowd in attendance and everyone seems to be enjoying themselves, both those already familiar with the band and those new to their sound. In fact, the only disappointment comes when the soundman tells them they’ve reached the curfew and are unable to play the intended version of ‘Sonic Reducer’ which not doubt would have had Grazza and various others joining-in on the vocals. But a final romp through ‘Down & Out in Deptford’ was a great way for the set to end, anyway. There’s still time for a final beer before heading out to catch that final train.
Afterwards, we take a stroll along to the Birds Nest (a futile attempt to burn-off the recently consumed calories) and arrive in plenty of time to have some drinks and catch up with familiar faces before The Bucha Effect play their set. They’re perfectly suited for a small, sweaty venue like this, playing a high energy set of punky-rockin’ songs with (mostly) humorous lyrics and getting everyone up and listening. Probably the best time I’ve seen them so far and also the best response I’ve seen them receive. The more I see this band, the more I like them.
The Phobics play another fine set – they’re on home-turf so it’s to be expected. But this one includes several new songs already sounding great, so it’s interesting as well as fun. They may not be the most prolific band when it comes to new material but it’s always worth the wait. There’s a decent crowd in attendance and everyone seems to be enjoying themselves, both those already familiar with the band and those new to their sound. In fact, the only disappointment comes when the soundman tells them they’ve reached the curfew and are unable to play the intended version of ‘Sonic Reducer’ which not doubt would have had Grazza and various others joining-in on the vocals. But a final romp through ‘Down & Out in Deptford’ was a great way for the set to end, anyway. There’s still time for a final beer before heading out to catch that final train.
COCKNEY REJECTS / HEAVY METAL KIDS / GEOFFREY OI-COTT. 100 Club, 9/4/16. As if the previous nights’ entertainment hadn’t been enough, Tom and I meet up with Grazza again for a trip down to the 100 Club. We arrive pretty early, in time to see Geoffrey Oi-Cott who, as the World’s only skinhead/cricket crossover band, are amusing for a while but actually not as entertaining as I had hoped they would be. No matter, next onstage are the Heavy Metal Kids and they are a much more exciting prospect. Playing a shorter set than usual, they pack it with most of their best songs and, after a few songs, they’re going down really well with the crowd. It’s easy to figure-out why. They were one of the real precursors to Punk, with their no-messing glam-stomp hard rock and snotty lyrics, so the distance between then and the Rejects really isn’t that far, musically. They have a new singer, which gives them a better dynamic than when they have one of the guitarists handling the vocals. As the set goes on, more and more people, many of them unfamiliar with the band, start to pay attention and head towards the front. By the end of the set, they get a well-deserved ovation and certainly seem to have won themselves a new bunch of fans. I just hope they can get themselves on a few more line-ups like this.
This gig had originally been intended as part of a two night event in which the band would play one set of their hard rock material and another featuring their original punk classics. However, following the sad and untimely passing of their bass player Tony Van Frater, the band had re-enlisted the services of their original bass-player, Vince Riordan, and decided to make this weekend a tribute to their old friend. Subsequently, there was a lot of emotion for this set, but it was as much a celebration as anything else. I doubt that Tony would have wanted anything but a cracking Rejects performance to honour his memory, and he got it. While many people look down on bands like the Rejects, at the same time there is no denying that they had a lot of great songs and while in retrospect it’s easy to criticise some of their lyrics, were they ever meant to be anymore than boisterous fun ? That some idiots took them out of that context doesn’t mean that the songs themselves weren’t great in the first place and, nowadays, the fans that go to see the gigs do so just to enjoy the music and atmosphere. ‘Bad Man’, ‘Greatest Cockney Rip-off’, ‘We Are The Firm’, ‘War On The Terraces’… they’re all just great songs with loads of energy and humour. Plus, the band play probably the best Motorhead cover that anyone has ever managed. So, what’s not to like ? At the end of the day, you need to make your own mind up, but until you see them playing a gig like this one, you really won’t know what you’re missing.
This gig had originally been intended as part of a two night event in which the band would play one set of their hard rock material and another featuring their original punk classics. However, following the sad and untimely passing of their bass player Tony Van Frater, the band had re-enlisted the services of their original bass-player, Vince Riordan, and decided to make this weekend a tribute to their old friend. Subsequently, there was a lot of emotion for this set, but it was as much a celebration as anything else. I doubt that Tony would have wanted anything but a cracking Rejects performance to honour his memory, and he got it. While many people look down on bands like the Rejects, at the same time there is no denying that they had a lot of great songs and while in retrospect it’s easy to criticise some of their lyrics, were they ever meant to be anymore than boisterous fun ? That some idiots took them out of that context doesn’t mean that the songs themselves weren’t great in the first place and, nowadays, the fans that go to see the gigs do so just to enjoy the music and atmosphere. ‘Bad Man’, ‘Greatest Cockney Rip-off’, ‘We Are The Firm’, ‘War On The Terraces’… they’re all just great songs with loads of energy and humour. Plus, the band play probably the best Motorhead cover that anyone has ever managed. So, what’s not to like ? At the end of the day, you need to make your own mind up, but until you see them playing a gig like this one, you really won’t know what you’re missing.
NADA SURF. Electric Ballroom, 11/4/16. I can’t claim that I knew much about Nada Surf, having only heard a few tracks and not really paying that much attention. However, more recently they had been joined by former Guided By Voices guitarist Doug Gillard, which made this gig a much more interesting prospect. I hadn’t seem Doug for a long time, so when our mutual friend Vicki let me know that he was offering some free tickets, it became a done-deal. And as a bonus, we were even able to arrange a pre-gig get together at the Spread eagle pub, giving us a proper chance to catch-up rather than just a brief chat after the show.
After a few drinks, we arrive at the venue just before Nada Surd are due onstage and I have to say, I’m surprised how full it is. I had no idea how popular they were, but when the gig gets underway, I soon start to realise their appeal. They play a mix of melodic power-pop, understated college rock and subtle psychedelia, which works very well. I suspect they’re a band that you have to investigate thoroughly, rather than just a few tracks as I had previously heard. Having said that, I still find myself most interested in Doug’s guitar playing, as I’ve always thought he was a exceptional (and criminally underrated) musician. It’s just fun to watch as he appears so unassuming even while playing some really innovative or intricate pieces, or even just turning out the power chords when they’re needed. Considering that I only really recognised two or three songs during the evening, I still found myself enjoying the whole set.
Afterwards, there’s a real treat for the fans when Doug accompanies Nada Surf vocalist Matthew Caws out to the bar area, where they proceed to play a short set of acoustic songs, right ion the middle of the audience. What a great idea, and a really cool way to thank the fans.
As expected, we only get a short time to speak to Doug after the show, but it’s enough to be able to thank him. I will certainly be investigating more of the music that he plays with this band in the future.
After a few drinks, we arrive at the venue just before Nada Surd are due onstage and I have to say, I’m surprised how full it is. I had no idea how popular they were, but when the gig gets underway, I soon start to realise their appeal. They play a mix of melodic power-pop, understated college rock and subtle psychedelia, which works very well. I suspect they’re a band that you have to investigate thoroughly, rather than just a few tracks as I had previously heard. Having said that, I still find myself most interested in Doug’s guitar playing, as I’ve always thought he was a exceptional (and criminally underrated) musician. It’s just fun to watch as he appears so unassuming even while playing some really innovative or intricate pieces, or even just turning out the power chords when they’re needed. Considering that I only really recognised two or three songs during the evening, I still found myself enjoying the whole set.
Afterwards, there’s a real treat for the fans when Doug accompanies Nada Surf vocalist Matthew Caws out to the bar area, where they proceed to play a short set of acoustic songs, right ion the middle of the audience. What a great idea, and a really cool way to thank the fans.
As expected, we only get a short time to speak to Doug after the show, but it’s enough to be able to thank him. I will certainly be investigating more of the music that he plays with this band in the future.
BLACK HALOS. Camden Blackheart, 18/4/16. I’ve never seen the Black Halos before, so this one-off in London (booked as a birthday celebration for guitarist Rich Jones) was one that I needed to see. With a reliable description of them as ‘a Canadian version of the Dead Boys’, it really didn’t sound as if anything could go wrong !
The Black Heart is rather small venue so it’s unsurprisingly packed for this gig. So much so that we opt-out of watching the support bands in favour of a few beers downstairs in the relatively comfortably confines of the bar. I know, we wimped, but sometimes there’s only so much sweaty that you can endure.
We do go upstairs in plenty of time for the main set. As I said, it’s packed, so I’m unable to get to the front but even in those circumstances, I’m still only a few yards away from the band. The sound is really good and the close-confines make it the kind of gig where everyone is involved, whether you know all the songs or not. The band blast through a set of songs that do indeed recall the best CBGB’s style rock’n’roill (Dead Boys / Ramones) but mixed with a sleazy brand of glam that perfectly compliments them. It’s hard not to enjoy it and, when they reach their encore, performing a suitably trashy version of ‘Deuce’ (complete with Kiss-style choreography) I think everyone is on their side. What a perfect way to celebrate a birthday… I just hope that Rich decides to do this more often.
The Black Heart is rather small venue so it’s unsurprisingly packed for this gig. So much so that we opt-out of watching the support bands in favour of a few beers downstairs in the relatively comfortably confines of the bar. I know, we wimped, but sometimes there’s only so much sweaty that you can endure.
We do go upstairs in plenty of time for the main set. As I said, it’s packed, so I’m unable to get to the front but even in those circumstances, I’m still only a few yards away from the band. The sound is really good and the close-confines make it the kind of gig where everyone is involved, whether you know all the songs or not. The band blast through a set of songs that do indeed recall the best CBGB’s style rock’n’roill (Dead Boys / Ramones) but mixed with a sleazy brand of glam that perfectly compliments them. It’s hard not to enjoy it and, when they reach their encore, performing a suitably trashy version of ‘Deuce’ (complete with Kiss-style choreography) I think everyone is on their side. What a perfect way to celebrate a birthday… I just hope that Rich decides to do this more often.
MISSION OF BURMA. Electrowerkz, 20/4/16. I have an odd relationship with Electrowerkz. I don’t really like the lay-out of the venue as it’s not the best set-up to watch gigs, but that being said, the staff are friendly, the sound is usually very good and every gig I have seen there has been great. So they must be doing something right, which is an admirable thing in London these days.
Mission of Burma haven’t been in London for a while and there’s no new material to showcase, but they had booked these dates around the latest All Tomorrows Parties festival in Manchester, which as we now know, was cancelled at very short notice leaving many bands with debts and bad feelings. Mission of Burma had been lucky as they’d booked a few extra shows (in the UK and Germany) so it wasn’t going to be a major loss for them, but the whole ATP debacle was a big fuck-up and let-down a lot of people who had supported it.
Starting with powerful versions of ‘Secrets’ and ‘Dirt’, Mission of Burma seem intent on making the most of the atmosphere in the packed room. The old songs are familiar to fans, but they subtly develop each time they are played, with unique nuances added to each performance. With each member taking turns to provide the lead vocals, the diversity is always there, but the set still maintains a solid consistency. New material mixes seamlessly with the older songs, meaning that a track like ‘This is Hi-Fi’ sounds just as magnificent as ‘Peking Spring’ and while the audience are unsurprisingly excited to hear favourites like ‘That’s When I Reach for My Revolver’ or ‘Trem Two’, it’s the set in its’ entirety, representing all aspects of the band that really matters. By the end, they hadn’t even played their most well-known single, ‘Academy Fight Song’, but still opt for a more recent song, ‘1001 Pleasant Dreams’ and a blistering version of The Dils’ classic ‘Class War’ rather than take the predictable route. But that’s what made it special. Mission of Burma play on an instinctive level rather than just catering to expectations, and while they continue to do so, I am sure they will continue to remain as valid and inspiring as they have been to date.
Mission of Burma haven’t been in London for a while and there’s no new material to showcase, but they had booked these dates around the latest All Tomorrows Parties festival in Manchester, which as we now know, was cancelled at very short notice leaving many bands with debts and bad feelings. Mission of Burma had been lucky as they’d booked a few extra shows (in the UK and Germany) so it wasn’t going to be a major loss for them, but the whole ATP debacle was a big fuck-up and let-down a lot of people who had supported it.
Starting with powerful versions of ‘Secrets’ and ‘Dirt’, Mission of Burma seem intent on making the most of the atmosphere in the packed room. The old songs are familiar to fans, but they subtly develop each time they are played, with unique nuances added to each performance. With each member taking turns to provide the lead vocals, the diversity is always there, but the set still maintains a solid consistency. New material mixes seamlessly with the older songs, meaning that a track like ‘This is Hi-Fi’ sounds just as magnificent as ‘Peking Spring’ and while the audience are unsurprisingly excited to hear favourites like ‘That’s When I Reach for My Revolver’ or ‘Trem Two’, it’s the set in its’ entirety, representing all aspects of the band that really matters. By the end, they hadn’t even played their most well-known single, ‘Academy Fight Song’, but still opt for a more recent song, ‘1001 Pleasant Dreams’ and a blistering version of The Dils’ classic ‘Class War’ rather than take the predictable route. But that’s what made it special. Mission of Burma play on an instinctive level rather than just catering to expectations, and while they continue to do so, I am sure they will continue to remain as valid and inspiring as they have been to date.
MISSION OF BURMA / DAVID THOMAS. The Pickle Factory, 22/4/16. During their gig at Electrowerkz, Mission of Burma had announced an additional, last-minute show in Bethnal Green, to replace the aforementioned ATP cancellation. Due to a lack of time to arrange this, is was going to take place at an odd venue called The Pickle Factory and, as a bonus for me, it was going to be quite an early event (presumably because some sort of disco-nonsense was due to takeover later in the evening…) This, of course, was something I wasn’t going to miss, so I promptly booked a ticket and then found out, as if this wasn’t enough in itself, that David Thomas was also going to appear, performing a set with Mission of Burma (Mission of Ubu ?) before their main set. This was now set to be something very special.
I arrive early only to find a rather naff venue where the bar is selling small cans of lager at a fiver each. So much for the surroundings. Fortunately, there isn’t a long wait for the proceedings to get started, and soon enough the three members of Mission of Burma take to the stage, shortly followed by David Thomas. I know he doesn’t like the term ‘improvisation’, preferring ‘spontaneous creativity’, so that’s the way I’ll describe this set. If you’ve ever seen his performances with the Two Pale Boys, then you’ll have an idea of how this developed although, of course, with a full band involved, it was even more dramatic. David provided a suitably cryptic narrative while the band created a suitable soundtrack. Witnessing them play together as musicians while also taking subtle cues from David was quite remarkable, a whole new piece of work coming together as we watched. Maybe thirty minutes in total, it was hard to tell, but totally enthralling. There are very few bands that could collaborate with David Thomas at such short notice to such great effect, but Mission of Burma proved themselves perfect for the task.
Another short break ensues while the stage is re-arranged, and then Mission of Burma are back for their own set. True to tradition, it’s a very different set to the previous gig at Electrowerkz, This time starting with fine versions of ‘Fun World’ and ‘Mica’, before adding a great selection of old and newer material, from th superb versions of ‘Donna Sumeria’ and ‘Spiders Web’, via ‘1,2,3 Party’ and ‘1001 Pleasant Dreams’, towards the climax of ‘Academy Fight Song’ and ‘Learn How’. Clint has repeating problems with snapping bass-strings (two in one set !) but fortunately, this is the kind of friendly, intimate situation where the band can chat directly with the audience and everyone can see the funny side of things. Despite the technical difficulties, it’s still a great set. But the true finale is yet to come, and you can see the reall look of glee on Roger Millers’ face when he introduces David Thomas back to the stage and they launch into their wonderful cover of ‘Heart of Darkness’. Mission of Burma have always been one of the few bands who really understand the avant-garage, so this was a special occasion. They have always been able to play a great version of this Pere Ubu classic, but here with the original voice and instigator, it becomes sublime. It would be so great if they could collaborate again in the future, but if that never comes to pass, I’m glad I was here to witness this evening. But a quick exit was also required…
I arrive early only to find a rather naff venue where the bar is selling small cans of lager at a fiver each. So much for the surroundings. Fortunately, there isn’t a long wait for the proceedings to get started, and soon enough the three members of Mission of Burma take to the stage, shortly followed by David Thomas. I know he doesn’t like the term ‘improvisation’, preferring ‘spontaneous creativity’, so that’s the way I’ll describe this set. If you’ve ever seen his performances with the Two Pale Boys, then you’ll have an idea of how this developed although, of course, with a full band involved, it was even more dramatic. David provided a suitably cryptic narrative while the band created a suitable soundtrack. Witnessing them play together as musicians while also taking subtle cues from David was quite remarkable, a whole new piece of work coming together as we watched. Maybe thirty minutes in total, it was hard to tell, but totally enthralling. There are very few bands that could collaborate with David Thomas at such short notice to such great effect, but Mission of Burma proved themselves perfect for the task.
Another short break ensues while the stage is re-arranged, and then Mission of Burma are back for their own set. True to tradition, it’s a very different set to the previous gig at Electrowerkz, This time starting with fine versions of ‘Fun World’ and ‘Mica’, before adding a great selection of old and newer material, from th superb versions of ‘Donna Sumeria’ and ‘Spiders Web’, via ‘1,2,3 Party’ and ‘1001 Pleasant Dreams’, towards the climax of ‘Academy Fight Song’ and ‘Learn How’. Clint has repeating problems with snapping bass-strings (two in one set !) but fortunately, this is the kind of friendly, intimate situation where the band can chat directly with the audience and everyone can see the funny side of things. Despite the technical difficulties, it’s still a great set. But the true finale is yet to come, and you can see the reall look of glee on Roger Millers’ face when he introduces David Thomas back to the stage and they launch into their wonderful cover of ‘Heart of Darkness’. Mission of Burma have always been one of the few bands who really understand the avant-garage, so this was a special occasion. They have always been able to play a great version of this Pere Ubu classic, but here with the original voice and instigator, it becomes sublime. It would be so great if they could collaborate again in the future, but if that never comes to pass, I’m glad I was here to witness this evening. But a quick exit was also required…
THE SHAPES. T-Chances, 22/4/16. I’d originally been stressed-out when the extra Mission of Burma gig had been announced as I already had a ticket to see The Shapes up at T-Chances. But then the Gods of Rock’n’Roll (no doubt in appreciation of my Venom collection) smiled upon me and it all worked out. The MoB gig was just a few minutes walk from Bethnal Green train station and their gig ended at 10.00. The Shapes were due onstage at 11.00 and there was a direct train from Bethnal Green to Seven Sisters, meaning that I could get to see both bands ! So it had to be done. After all, I have an obligation to cover the story (ahem…)
Arriving in time to watch one of the support bands end their final song, I was able to have a quick chat with the legendary Seymour Bybuss and Brian Helicoptor before they take the stage (actually, there was no stage, someone else had already taken it, so they just played on the floor…) Where there had been a few technical hiccups when they played their last London gig at The Windmill, this one goes very smoothly with a great sound and a wonderful performance throughout. Blasting off (no, not that one… yet) with ‘Let’s Go To Planet Skaro’, the set is a great mix of punk rock enthusiasm, catchy pop hooks and Milligan-esque humour. Just how many great songs can one band write without having a hit single ? Well, I’m sure there are more than a few bands that could apply to, and without Music lovin’ Johnny Plee out there I’m sure it’s even more difficult now, but The Shapes could easily have sneaked into the Top Twenty if only they’d had a lucky break. But in retrospect, maybe that would have lost them their charm. Either way, to those that understand, songs like ‘College Girls’, ‘Chatterbox’ and ‘Jennifer The Conifer’ are still the classics that we knew they were first time around. The main reason for this particular reassembly of the band is the recording of their third single and, inevitably, the two tracks, ‘Don’t Play Tennis’ and ‘We’re Not Very Famous’, are played zestfully (I don’t think I’ve ever used that description in a review before…) Never properly recorded back at the time, they are nonetheless great songs that any fan is going to love. Which is what I do. I love them (platonically.) But there’s still other business to be done, and The Shapes give us ‘Airline Disaster’, ‘Batman in the Launderette’ and ultimately ‘Wot’s For Lunch Mun ?’ before I’m able the leave the gig breathlessly (yes, I’m really unfit.) Maybe the punters hadn’t turned up in their thousands, but that only means that the punters are morons. The Shapes wrote great songs and in a Sensible world everyone would want to hear them. But I think most of us realized a long tome ago that, unfortunately, that it not the world we live in.
Arriving in time to watch one of the support bands end their final song, I was able to have a quick chat with the legendary Seymour Bybuss and Brian Helicoptor before they take the stage (actually, there was no stage, someone else had already taken it, so they just played on the floor…) Where there had been a few technical hiccups when they played their last London gig at The Windmill, this one goes very smoothly with a great sound and a wonderful performance throughout. Blasting off (no, not that one… yet) with ‘Let’s Go To Planet Skaro’, the set is a great mix of punk rock enthusiasm, catchy pop hooks and Milligan-esque humour. Just how many great songs can one band write without having a hit single ? Well, I’m sure there are more than a few bands that could apply to, and without Music lovin’ Johnny Plee out there I’m sure it’s even more difficult now, but The Shapes could easily have sneaked into the Top Twenty if only they’d had a lucky break. But in retrospect, maybe that would have lost them their charm. Either way, to those that understand, songs like ‘College Girls’, ‘Chatterbox’ and ‘Jennifer The Conifer’ are still the classics that we knew they were first time around. The main reason for this particular reassembly of the band is the recording of their third single and, inevitably, the two tracks, ‘Don’t Play Tennis’ and ‘We’re Not Very Famous’, are played zestfully (I don’t think I’ve ever used that description in a review before…) Never properly recorded back at the time, they are nonetheless great songs that any fan is going to love. Which is what I do. I love them (platonically.) But there’s still other business to be done, and The Shapes give us ‘Airline Disaster’, ‘Batman in the Launderette’ and ultimately ‘Wot’s For Lunch Mun ?’ before I’m able the leave the gig breathlessly (yes, I’m really unfit.) Maybe the punters hadn’t turned up in their thousands, but that only means that the punters are morons. The Shapes wrote great songs and in a Sensible world everyone would want to hear them. But I think most of us realized a long tome ago that, unfortunately, that it not the world we live in.
JOHNNY MOPED / TV SMITH & THE BORED TEENAGERS. The Lexington, 23/4/16.This is the official launch night for the first album of new Moped recordings in over 25 years ! No-one could ever accuse them of over-saturating the market and for the faithful fans, patience has always been a necessary virtue. It’s no surprise in the circumstances, that the gig sold-out really quickly and the addition of TV Smith playing a set of Adverts material with a full band certainly made it an even more desirable event. But as well as the old fans, the Mopeds are also attracting a new, younger contingent to their gigs, quite probably introduced to the band by Fred Burns’ excellent documentary. Whatever the reason, these are people who get it, and they all add to the atmosphere.
TV Smith is playing with his occasional backing band, the Bored Teenagers, and anyone who has seen them before will be able to attest that they play the old material with all the energy and attention to detail that it deserves. They blast through the songs as authentically as it could ever be done and never come across as a mere backing band. The songs still resonate because they were never defined by the period they came from, but always stood up for themselves. While The Adverts themselves will almost certainly never reform, this is more than an adequate substitute. They could easily have headlined in their own right, but on this evening, the occasion really belongs to the Mopeds.
The band assemble on stage, now with the addition of Francesca on backing vocals and keyboards which really adds to their overall performance. As they begin the simple but perfectly effective intro to ‘VD Boiler’, the lad himself makes his entrance and the set takes off. ‘Panic Button’ ensues, but then it’s time for the new songs. ‘Real Cool Baby’ is as great as anything they’ve ever played, while ‘Paint My Aubergine’ delves down into their eccentric sense of humour. ‘Honey Bun’ and ‘I Believed Her Lies’ are both older songs that were never properly recorded at the time, while the likes of ‘Super Woofer’ and ‘Ain’t No Rock’n’Roll Rookie’, are further proof that the new tracks live up to the legend. ‘Save The Baby Seals’ gets one of its’ occasional outings … in fact, my only criticism of the new album is that they didn’t take the opportunity to record a definite version of this classic ! But as the set draws to its’ conclusion, there’s no where else it can go but ‘Incendiary Device’ and ‘Hard Lovin’ Man’. As they leave the stage, Slimy Toad is heard encouraging the others, ‘C’mon, they like us, let’s get back out there…’ The encore, of course, presents their Pop masterpiece, ‘Darling Let’s Have Another baby’, before finally ending with the equally lovable ‘I Wanna Die’. The band depart again, with Johnny left behind to shake hands with the fans. It’s nights like this when you know that you were right… Moped is God !
TV Smith is playing with his occasional backing band, the Bored Teenagers, and anyone who has seen them before will be able to attest that they play the old material with all the energy and attention to detail that it deserves. They blast through the songs as authentically as it could ever be done and never come across as a mere backing band. The songs still resonate because they were never defined by the period they came from, but always stood up for themselves. While The Adverts themselves will almost certainly never reform, this is more than an adequate substitute. They could easily have headlined in their own right, but on this evening, the occasion really belongs to the Mopeds.
The band assemble on stage, now with the addition of Francesca on backing vocals and keyboards which really adds to their overall performance. As they begin the simple but perfectly effective intro to ‘VD Boiler’, the lad himself makes his entrance and the set takes off. ‘Panic Button’ ensues, but then it’s time for the new songs. ‘Real Cool Baby’ is as great as anything they’ve ever played, while ‘Paint My Aubergine’ delves down into their eccentric sense of humour. ‘Honey Bun’ and ‘I Believed Her Lies’ are both older songs that were never properly recorded at the time, while the likes of ‘Super Woofer’ and ‘Ain’t No Rock’n’Roll Rookie’, are further proof that the new tracks live up to the legend. ‘Save The Baby Seals’ gets one of its’ occasional outings … in fact, my only criticism of the new album is that they didn’t take the opportunity to record a definite version of this classic ! But as the set draws to its’ conclusion, there’s no where else it can go but ‘Incendiary Device’ and ‘Hard Lovin’ Man’. As they leave the stage, Slimy Toad is heard encouraging the others, ‘C’mon, they like us, let’s get back out there…’ The encore, of course, presents their Pop masterpiece, ‘Darling Let’s Have Another baby’, before finally ending with the equally lovable ‘I Wanna Die’. The band depart again, with Johnny left behind to shake hands with the fans. It’s nights like this when you know that you were right… Moped is God !
VICE SQUAD / THE PHOBICS / LOVE ME TENDERS. Hope & Anchor, 29/4/16. Well, I certainly wasn’t here for the headliners. I’ve never thought Vice Squad were very good and I’ve never been tempted to own any of their records. I just couldn’t see why they were rated at all and considered them alongside Anti-Nowhere League as a bunch of chancers who really wanted to be a heavy metal band. But at least this meant it was going to be an early night.
The Love Me Tenders are a duo (guitar/vocals + drums) playing manic, stripped-down rockabilly. It was a bit difficult to judge them tonight because they didn’t have a great sound and with the room far from full at this point, there wasn’t much atmosphere for them to work-off, but I think they’ve got the basis for something good (I picked up a CDR of their demos which also suggests good things…)
The Phobics ! Yes, this is my main (well, only) reason to be here tonight. They belt through another great set of punky rock’n’roll in their usual inimitable style, loads of attitude, plenty of energy, and a great enthusiastic response. The Hope & Anchor is the perfect place to see a band like this. It’s so in your face that a band has to be good, otherwise everyone’s going to see where they’re going wrong. And I don’t mean that in technical terms because, as you all should know, a few bum-notes is never going to mess-up a great band. It’s the way they can deliver it that counts and, in situations like this, The Phobics know how to do it. I never get fed-up with it.
So, in the interests of covering the story, I decide to see at least some of Vice Squads’ set. They’ve changed a lot since their original incarnation, with different people in the band and Becky now handling guitar as well as vocals. But I still wasn’t impressed. I didn’t hate it, but I couldn’t find anything to enjoy, either. People who already like them will no doubt carry on, but I won’t be joining their ranks.
The Love Me Tenders are a duo (guitar/vocals + drums) playing manic, stripped-down rockabilly. It was a bit difficult to judge them tonight because they didn’t have a great sound and with the room far from full at this point, there wasn’t much atmosphere for them to work-off, but I think they’ve got the basis for something good (I picked up a CDR of their demos which also suggests good things…)
The Phobics ! Yes, this is my main (well, only) reason to be here tonight. They belt through another great set of punky rock’n’roll in their usual inimitable style, loads of attitude, plenty of energy, and a great enthusiastic response. The Hope & Anchor is the perfect place to see a band like this. It’s so in your face that a band has to be good, otherwise everyone’s going to see where they’re going wrong. And I don’t mean that in technical terms because, as you all should know, a few bum-notes is never going to mess-up a great band. It’s the way they can deliver it that counts and, in situations like this, The Phobics know how to do it. I never get fed-up with it.
So, in the interests of covering the story, I decide to see at least some of Vice Squads’ set. They’ve changed a lot since their original incarnation, with different people in the band and Becky now handling guitar as well as vocals. But I still wasn’t impressed. I didn’t hate it, but I couldn’t find anything to enjoy, either. People who already like them will no doubt carry on, but I won’t be joining their ranks.
JOHN SINCLAIR & CARY LOREN. The Horse Hospital, 30/4/16. The event marked the launch of an exhibition celebrating the Detroit underground movement of the late 60’s / early 70’s, featuring an amazing array of photo’s, artwork and memorabilia from that era. As if that wasn’t enough to tempt a visit, the opening night also featured the legendary John Sinclair and Carey Loren (ex-Destroy All Monsters etc) in conversation with Edwin (Savage Pencil) Pouncey. This, as expected, proved to be really interesting as Edwin knows what he’s talking about when it comes to that seminal Detroit scene and is more than capable of drawing the best from his subjects, while they in turn are both insightful and articulate. The discussion last for the best part of an hour, before there’s a short break while Cary sets up various musical equipment. He and John are then joined by a member of Bo Ningen, and they perform a lengthy improvised piece centered on John’s appropriate spoken-word narrative. In many cases, such a performance would result in self-indulgent pretension, but I doubt if any of these participants would want to waste their time like that. This is real, provocative and inspiring, as you would expect from artists with such a pedigree. I’ll admit it wouldn’t have been to everyone’s taste and it’s possibly not even something I’d choose to listen to at home, but in the moment, it worked and it was perfect.
ELECTRIC PENCILS / NERVOUS TWITCH. Hope & Anchor, 7/5/16. Having already missed their first few gigs, I was definitely not going to miss this one. The Electric Pencils are Ben and Steve, both ex-Spivs, so I was eager to see what their latest music would sound like. And it was at the Hope & Anchor which is rapidly re-establishing itself as the best small venue in London.
I meet Tom Phobic in the bar and we have a couple of beers, inadvertently missing the first band but getting downstairs in time for Nervous Twitch, who are rather damn good. They’re a Leeds-based who’ve done the right thing and travelled down to warm-up this show in the perfect fashion. Garage-punk sounds mixed with Sixties Grrl-pop (Shangri-La’s, Ronettes) and then pumped-up with Ramones-style adrenalin. Plenty of attitude and great tunes, what more could you want ? I bought their single straight after they finished their set and I’m hoping to see them live again soon !
Despite, or possibly because of, being a three piece, it takes the Electric Pencils quite a time to set-up. Ben is playing guitar and singing – not a big problem for the soundman – but Steve is practically a one-man band, handling bass, drums and backing vocals ! (He also juggles whilst performing back-flips on a tightrope… okay, I may have made that bit up…) Anyway, whatever the problem it takes them ages before they’re ready to play, but once they start, I think everyone in attendance would agree that it was worth the wait. Musically, it’s not a million miles away from The Spivs, which is fine by me, but if anything it’s perhaps a bit more stripped-down, leaving the basics of the songs prominent even the guitar still cuts through in a suitably fuzzy fashion. And with only two of them it seems to intrigue the audience even more, watching to see how Steve manages to do so much while Ben is a perfect frontman without seemingly doing very much to claim your attention (it’s the old Steve McQueen trick…) I don’t know what the songs were called, and I also had to leave before the end to catch my last train, but this was a great evening and I totally recommend both bands. Miss them at your peril.
I meet Tom Phobic in the bar and we have a couple of beers, inadvertently missing the first band but getting downstairs in time for Nervous Twitch, who are rather damn good. They’re a Leeds-based who’ve done the right thing and travelled down to warm-up this show in the perfect fashion. Garage-punk sounds mixed with Sixties Grrl-pop (Shangri-La’s, Ronettes) and then pumped-up with Ramones-style adrenalin. Plenty of attitude and great tunes, what more could you want ? I bought their single straight after they finished their set and I’m hoping to see them live again soon !
Despite, or possibly because of, being a three piece, it takes the Electric Pencils quite a time to set-up. Ben is playing guitar and singing – not a big problem for the soundman – but Steve is practically a one-man band, handling bass, drums and backing vocals ! (He also juggles whilst performing back-flips on a tightrope… okay, I may have made that bit up…) Anyway, whatever the problem it takes them ages before they’re ready to play, but once they start, I think everyone in attendance would agree that it was worth the wait. Musically, it’s not a million miles away from The Spivs, which is fine by me, but if anything it’s perhaps a bit more stripped-down, leaving the basics of the songs prominent even the guitar still cuts through in a suitably fuzzy fashion. And with only two of them it seems to intrigue the audience even more, watching to see how Steve manages to do so much while Ben is a perfect frontman without seemingly doing very much to claim your attention (it’s the old Steve McQueen trick…) I don’t know what the songs were called, and I also had to leave before the end to catch my last train, but this was a great evening and I totally recommend both bands. Miss them at your peril.
SEX CRIME / KING SALAMI & THE CUMBERLAND 3. The Unicorn, 13/5/16. Alongside the H&A, The Unicorn is one of the best pub venues in London, especially as their free-entry policy allows you to check-out bands that you might otherwise miss. This evening is another of Spike’s fine Garageland events combining the ever-improving King Salami with Sex Crime, all the way from Portland, Oregon. As the venue is a little off the beaten-track in Camden terms, you tend to get an audience who are really into the bands and this means you can almost always guarantee a good, friendly atmosphere. It’s the perfect way to check out new bands.
I must admit, I wasn’t over-impressed with King Salami when I first saw them. Musically, they were fine, but the vocals were a bit too offbeat to really draw me in. Since then, they’ve gradually improved their stage-craft, bringing a mix of Screamin’ Jay Hawkins and James Brown to the proceedings which makes the whole show much more of an event and puts the vocal-style in a much better perspective. I would say that this is the first time that I’ve really enjoyed them and it’s good to have seen them develop from being a good-but-not-great band to something that’s getting quite special.
Sex Crime (named after the Derek & Clive routine, I hope ?) are a quartet that combine vintage Sixties-style punk with new wave quirkiness and plenty of energy. They’re fun, I think that’s the main thing. I suppose comparisons could be made with The Epoxies, especially with the female vocals and keyboards, but Sex Crime have a more Garage feel to their sound. Plenty of great tunes and catchy melodies but all presented in a brash, punky style. Having not really heard them before this gig, I’d only really gone along out of curiosity, but I’m glad that I did. Great fun, I hope they make it back to the UK again soon.
I must admit, I wasn’t over-impressed with King Salami when I first saw them. Musically, they were fine, but the vocals were a bit too offbeat to really draw me in. Since then, they’ve gradually improved their stage-craft, bringing a mix of Screamin’ Jay Hawkins and James Brown to the proceedings which makes the whole show much more of an event and puts the vocal-style in a much better perspective. I would say that this is the first time that I’ve really enjoyed them and it’s good to have seen them develop from being a good-but-not-great band to something that’s getting quite special.
Sex Crime (named after the Derek & Clive routine, I hope ?) are a quartet that combine vintage Sixties-style punk with new wave quirkiness and plenty of energy. They’re fun, I think that’s the main thing. I suppose comparisons could be made with The Epoxies, especially with the female vocals and keyboards, but Sex Crime have a more Garage feel to their sound. Plenty of great tunes and catchy melodies but all presented in a brash, punky style. Having not really heard them before this gig, I’d only really gone along out of curiosity, but I’m glad that I did. Great fun, I hope they make it back to the UK again soon.
THE DAMNED. Royal Albert Hall, 20/5/16. As it was recently revealed, The Damned first attempted to play at the Royal Albert Hall way back in 1977. At the time, they were turned down as being ‘inappropriate’ (and at the time, that may well have been right.) So, in the same way that they’ve always flouted expectations and just done whatever they decided to do, they’ve chosen the RAH as the venue for their 40th Anniversary gig. Indeed, just the fact that they’ve reached their 40th Anniversary is an example of their wilfulness. I doubt that anyone would ever have expected The Damned to have lasted this long and, while their studio output has been sadly-lacking in recent years, they have certainly re-established themselves as a consistently entertaining live band.
All that being said, there were still doubts as to how their performance would translate in such a large venue. It had already been announced that they would be playing two lengthy sets rather than their usual, more precise show. Putting this all in a mainly seated setting, was it going to be a bit much to take ?
Well, as the fans gathered (from all over the UK, Europe and even America) the atmosphere seemed to bode well. Everyone was curious as to how it would turn out, but at the same time certain that the band could pull it off.
After a brief, irreverent introduction from Clive (aka Doctor of The Medics) the set begins with a suitably atmospheric version of ‘Nature’s Dark Passion’, and as the band appear onstage, Vanian makes his entrance on the balcony behind them, dressed in appropriate ‘Phantom of The Opera’ attire ! It’s a perfect opening, both overblown and tongue-in-cheek, playing up to the venue’s reputation and playing with it. From there, Vanian makes a dash downstairs to appear onstage for the next song, a vibrant run through ‘Democracy’. It soon becomes apparent that what the band are doing is playing their songs in a kind of reverse-chronological order, from the more recent material heading backwards towards the older classics. This may seem a bit odd, as those who are just fans of the older songs possibly wouldn’t have appreciated the first half of the set so much, but for those who have always kept track of the band, it worked really well. It also meant that, instead of just playing the ‘greatest hits’, they could also play less obvious tracks that, on the whole, were possibly more representative of the bands’ career and better suited to the surroundings. For me, songs like ‘Absinthe’, ‘Under The Floor Again’, ‘Life Goes On’, ‘Limit Club’, ‘Dr Jekyll & Mr Hyde’ and ‘Feel the Pain’ were what really made this set, allowing favourites like ‘Smash it Up’, ‘Love Song’, ‘New Rose’ and ‘Neat Neat Neat’ stand out once again. The second part of the show starts with a lone figure maniacally playing the grand pipe organ high above the stage, a la Dr Phibes, another nice touch of theatricality. A trumpet player also joins the band for several numbers, adding wonderful flourishes to songs like ‘Alone Again Or’ and even ‘Grimly Fiendish’. But it’s the grand finale of ‘Curtain Call’ that ends any doubts. A perfectly grandiose piece for the Royal Albert Hall, it begins as atmospherically as ever and builds towards the climatic rush as the full band comes in. But as this section subsides, the lengthy instrumental interlude reveals a lone female violinist on stage, attired with wings that make her recall the ‘Weeping Angels’ from Dr Who. She proceeds to play the whole ‘Scheherazade’ segment, the first time this part has ever been performed live, making this a truly special event. And, although this was virtually unknown to anyone in the audience, it was even more special, as it transpired that the violinist was none other than Dave & Patricia’s daughter Emily, evidently a gifted musician in her own right ! The whole band re-emerge for the completion of the song, and it really is an impressive end to the evening. The resounding applause was more than deserved and The Damned had confounded the odds yet again. I can’t say that I would be desperate to see them at the RAH again, but as a one-off, this had been magnificent.
All that being said, there were still doubts as to how their performance would translate in such a large venue. It had already been announced that they would be playing two lengthy sets rather than their usual, more precise show. Putting this all in a mainly seated setting, was it going to be a bit much to take ?
Well, as the fans gathered (from all over the UK, Europe and even America) the atmosphere seemed to bode well. Everyone was curious as to how it would turn out, but at the same time certain that the band could pull it off.
After a brief, irreverent introduction from Clive (aka Doctor of The Medics) the set begins with a suitably atmospheric version of ‘Nature’s Dark Passion’, and as the band appear onstage, Vanian makes his entrance on the balcony behind them, dressed in appropriate ‘Phantom of The Opera’ attire ! It’s a perfect opening, both overblown and tongue-in-cheek, playing up to the venue’s reputation and playing with it. From there, Vanian makes a dash downstairs to appear onstage for the next song, a vibrant run through ‘Democracy’. It soon becomes apparent that what the band are doing is playing their songs in a kind of reverse-chronological order, from the more recent material heading backwards towards the older classics. This may seem a bit odd, as those who are just fans of the older songs possibly wouldn’t have appreciated the first half of the set so much, but for those who have always kept track of the band, it worked really well. It also meant that, instead of just playing the ‘greatest hits’, they could also play less obvious tracks that, on the whole, were possibly more representative of the bands’ career and better suited to the surroundings. For me, songs like ‘Absinthe’, ‘Under The Floor Again’, ‘Life Goes On’, ‘Limit Club’, ‘Dr Jekyll & Mr Hyde’ and ‘Feel the Pain’ were what really made this set, allowing favourites like ‘Smash it Up’, ‘Love Song’, ‘New Rose’ and ‘Neat Neat Neat’ stand out once again. The second part of the show starts with a lone figure maniacally playing the grand pipe organ high above the stage, a la Dr Phibes, another nice touch of theatricality. A trumpet player also joins the band for several numbers, adding wonderful flourishes to songs like ‘Alone Again Or’ and even ‘Grimly Fiendish’. But it’s the grand finale of ‘Curtain Call’ that ends any doubts. A perfectly grandiose piece for the Royal Albert Hall, it begins as atmospherically as ever and builds towards the climatic rush as the full band comes in. But as this section subsides, the lengthy instrumental interlude reveals a lone female violinist on stage, attired with wings that make her recall the ‘Weeping Angels’ from Dr Who. She proceeds to play the whole ‘Scheherazade’ segment, the first time this part has ever been performed live, making this a truly special event. And, although this was virtually unknown to anyone in the audience, it was even more special, as it transpired that the violinist was none other than Dave & Patricia’s daughter Emily, evidently a gifted musician in her own right ! The whole band re-emerge for the completion of the song, and it really is an impressive end to the evening. The resounding applause was more than deserved and The Damned had confounded the odds yet again. I can’t say that I would be desperate to see them at the RAH again, but as a one-off, this had been magnificent.
1984 / MORGELLON / BLUE CARPET BAND / PHOENIX CHROI. Hope & Anchor, 11/6/16. It’s been a really hot afternoon and England are playing their first game of the European Championship in the early evening. Of course, at this point no-one realised what a disaster it was going to be, so the upstairs bar (with the TV screen) is packed while downstairs fares less well, at least for the first couple of bands. I catch most of Phoenix Chroi who are good even though the small audience doesn’t create much of an atmosphere. Blue Carpet Band end up onstage soon after kick-off, so they really have the short-straw, which is a shame because it’s cool to see and hear a young band playing punked-up rock’n’roll like this. They may have a daft name (I’m hoping there’s a good story behind it…) and they may not be as tight as other bands, but they’ve got the right attitude. Get up and do it ! They even play a shambolic version of ‘Sonic Reducer’ which can only be a good thing !
As several of The Morgellons are in the bar watching the football, they play straight after the final whistle. After the appalling England performance, I’m surprised they didn’t just play a load of Joy Division covers (the really depressing ones) but instead they play a good set of their own material plus a cover of ‘Blank Generation’ (there must have been a subconscious CBGB’s theme going on…) Morgellon’s gigs are sometimes subject to the conditions (sound / atmosphere) but this was one of the good ones.
I still remain surprised that 1984 don’t attract a bigger audience. Crisis seem to be name-dropped in plenty of places these days and here you have an original member (and main songwriter) playing all the old material, but the attendances still remain relatively small. Word seems to be going around very slowly. But regardless of that, they’re still playing some great sets. Although only a three piece, they recreate the original sound as authentically as you would want it to be. As Crisis were originally a pretty short-lived band, there were not seen by many people at the time and the chance to see the songs played again now is a real treat. Tony has made the differentiation by calling this band ‘1984’, not pretending to be the original band, and I think that’s a decent thing to do. But musically, he has a band that are more than capable of doing justice to the legacy. They’re even happy to play a second version of ‘PC 1984’ at the end of the set for someone who missed it earlier on ! I would be interested in hearing some new material at some point but I can appreciate it could be difficult to write new songs with similar intent after so much time has gone by. But with this line-up sounding so good together, I’d still like to hear what they could come up with.
As several of The Morgellons are in the bar watching the football, they play straight after the final whistle. After the appalling England performance, I’m surprised they didn’t just play a load of Joy Division covers (the really depressing ones) but instead they play a good set of their own material plus a cover of ‘Blank Generation’ (there must have been a subconscious CBGB’s theme going on…) Morgellon’s gigs are sometimes subject to the conditions (sound / atmosphere) but this was one of the good ones.
I still remain surprised that 1984 don’t attract a bigger audience. Crisis seem to be name-dropped in plenty of places these days and here you have an original member (and main songwriter) playing all the old material, but the attendances still remain relatively small. Word seems to be going around very slowly. But regardless of that, they’re still playing some great sets. Although only a three piece, they recreate the original sound as authentically as you would want it to be. As Crisis were originally a pretty short-lived band, there were not seen by many people at the time and the chance to see the songs played again now is a real treat. Tony has made the differentiation by calling this band ‘1984’, not pretending to be the original band, and I think that’s a decent thing to do. But musically, he has a band that are more than capable of doing justice to the legacy. They’re even happy to play a second version of ‘PC 1984’ at the end of the set for someone who missed it earlier on ! I would be interested in hearing some new material at some point but I can appreciate it could be difficult to write new songs with similar intent after so much time has gone by. But with this line-up sounding so good together, I’d still like to hear what they could come up with.
SUPERSUCKERS. Islington Academy, 17/6/16. All the years I lived in Canterbury and had to worry about catching the last train, you could almost guarantee that gigs would run late. Nowadays, it’s the other way around. We arrive at the venue shortly after 8.00 only to find that The DeRellas have already finished their set ! But this wasn’t an early start to make it more convenient for the punters, this was so the venue could have the gig, throw everyone out and then charge another crowd to come in for a Disco set-up later on. It just ain’t right.
Anyway, this was the Supersuckers first gig back in London since Eddie’s recent illness, but instead of lingering on the fact, they’re just here to do the thing that they always do best, which is rock’n’roll. That being said, there are a few changes. There’s another new face in the line-up, with Dan Bolton now departed and his (temporary ?) replacement remaining anonymous. Also, this tour is geared more towards their Country set (possibly to give Eddie more space to get back to full-on rock action) but that being said, it’s hardly a laid back affair. Their Country numbers still resonate with all the attitude you’d expect from them and there are plenty of Supersuckin’ favourites to keep the fans happy ! It may not have been their usual rock-show, but neither was it a restrained affair. If you can’t dig this, you can’t dig nothin’ !
Afterwards, Eddie is pretty tired out but he still has time to meet up with me, Tom Phobic, and his daughter. Isabelle, a big Supersuckers fan in her own right. ‘You brought her up well’, Eddie tells Tom. Well, rock’n’roll can be a great parent, and Eddie should know !
Anyway, this was the Supersuckers first gig back in London since Eddie’s recent illness, but instead of lingering on the fact, they’re just here to do the thing that they always do best, which is rock’n’roll. That being said, there are a few changes. There’s another new face in the line-up, with Dan Bolton now departed and his (temporary ?) replacement remaining anonymous. Also, this tour is geared more towards their Country set (possibly to give Eddie more space to get back to full-on rock action) but that being said, it’s hardly a laid back affair. Their Country numbers still resonate with all the attitude you’d expect from them and there are plenty of Supersuckin’ favourites to keep the fans happy ! It may not have been their usual rock-show, but neither was it a restrained affair. If you can’t dig this, you can’t dig nothin’ !
Afterwards, Eddie is pretty tired out but he still has time to meet up with me, Tom Phobic, and his daughter. Isabelle, a big Supersuckers fan in her own right. ‘You brought her up well’, Eddie tells Tom. Well, rock’n’roll can be a great parent, and Eddie should know !
SINK. The Islington, 18/6/16. As anyone who has been reading FNL for a long time will know, you need help. But apart from that, you will probably also remember that I used to go to see Sink on a pretty regular basis and followed them from their very first gig through various mutations culminating in their eventual switch into Big Ray. I still don’t think they got the recognition they deserved, possibly because they were too accessible (I mean, if they had been an American band that people only got a chance to see once in a while, I’m sure there would have been much bigger turn-outs for their gigs.) But whatever, Sink became Big Ray, steadily built their own audience, but eventually came to a natural end.
So it was something of a pleasant surprise to hear that Sink were going to play a couple of gigs to celebrate Ed’s 50th birthday. Initially advertised at a nostalgic £2.50 entrance fee, it was eventually changed to £3.00 either as a sign of corporate greed or the fact that Ed didn’t want to have to deal with so much loose change (you can decide on that one.) Either way, it was more than a bargain. Several support bands (who I missed, ahem) followed by a headline set that reminded me exactly why I enjoyed the band in the first place. Now, sometimes you can enjoy a band at a certain time but years later, you listen again and their music hasn’t aged well. In Sink’s case, their songs still sound fresh and enjoyable. Think of the more melodic, late-80’s Dischord bands, mixed with a blend of Alt-Country Rock (start at Neil Young and then spread out) and you’ll get some sort of idea. Ed, Paul and John sound as if they’ve never stopped playing together and while Kermack is no longer around to be a part of this, the drummer is more than up for the job. I went home and listened to my old records the very next day. This is supposed to be a one-off, but after seeing them as good as this again, I can only hope they were kidding about that…
So it was something of a pleasant surprise to hear that Sink were going to play a couple of gigs to celebrate Ed’s 50th birthday. Initially advertised at a nostalgic £2.50 entrance fee, it was eventually changed to £3.00 either as a sign of corporate greed or the fact that Ed didn’t want to have to deal with so much loose change (you can decide on that one.) Either way, it was more than a bargain. Several support bands (who I missed, ahem) followed by a headline set that reminded me exactly why I enjoyed the band in the first place. Now, sometimes you can enjoy a band at a certain time but years later, you listen again and their music hasn’t aged well. In Sink’s case, their songs still sound fresh and enjoyable. Think of the more melodic, late-80’s Dischord bands, mixed with a blend of Alt-Country Rock (start at Neil Young and then spread out) and you’ll get some sort of idea. Ed, Paul and John sound as if they’ve never stopped playing together and while Kermack is no longer around to be a part of this, the drummer is more than up for the job. I went home and listened to my old records the very next day. This is supposed to be a one-off, but after seeing them as good as this again, I can only hope they were kidding about that…
LOS CHICOS / KING SALAMI & THE CUMBERLAND 3 / THEE JEZEBELS. What’s Cookin’ 24/6/16. What’s Cookin’is a really cool club, unrestrained by one venue. Mostly it’s at Leytonstone Ex-Servicemens Club, which is a lovely venue with a wonderfully cheap bar, but it has been known to adopt other locations for some events. Anyway, tonight is on home-turf and it’s a winner from start to end. Thee Jezebels just seem to sound better every time I see them, playing their mix of stompin’ Seventies street glam (Mott the Hoople, Slade) and dirty Pub Rock (Gorillas and Feelgoods.) This is pre-punk re-positioned in the post-punk age and it sounds just right !
As I’ve said before, King Salami & The C3 have gradually become a much better band by concentrating on their entertainment value rather than their virtuosity. Which is fine by me. Tonights’ show, with Mr Salami brandishing a turban and maracas, is the best I’ve seen so far and if you want to see a good, fun band, then I can only recommend them.
That being said, Los Chicos still steal the show. They may have only arrived thirty seconds before they were due onstage, but they still play the best, good time high energy rock’n’roll set you’re likely to see in E11. I have to admit, their records are good rather than great, but when you see them live, they have so much chaotic energy that you really can’t help but love ‘em ! They look like a bunch of individuals who should never be in a band together, let alone allowed onstage, but when they come together, it works ! They’re Spanish (and/or possibly drunk) so I have no idea what they were singing about, but it doesn’t matter. They’re just naturally great. At one point. the singer jumps into the audience and sits down on the floor, promptly followed by the rest of the band as they continue to blast out the song. They’re only tempted back to their feet when King Salami directs a tray of drinks towards them ! Totally spontaneous and unpredictable, Los Chicos are just what happens next, with some great rock’n’roll holding it all together. This is exactly the kind of thing that you should not miss.
As I’ve said before, King Salami & The C3 have gradually become a much better band by concentrating on their entertainment value rather than their virtuosity. Which is fine by me. Tonights’ show, with Mr Salami brandishing a turban and maracas, is the best I’ve seen so far and if you want to see a good, fun band, then I can only recommend them.
That being said, Los Chicos still steal the show. They may have only arrived thirty seconds before they were due onstage, but they still play the best, good time high energy rock’n’roll set you’re likely to see in E11. I have to admit, their records are good rather than great, but when you see them live, they have so much chaotic energy that you really can’t help but love ‘em ! They look like a bunch of individuals who should never be in a band together, let alone allowed onstage, but when they come together, it works ! They’re Spanish (and/or possibly drunk) so I have no idea what they were singing about, but it doesn’t matter. They’re just naturally great. At one point. the singer jumps into the audience and sits down on the floor, promptly followed by the rest of the band as they continue to blast out the song. They’re only tempted back to their feet when King Salami directs a tray of drinks towards them ! Totally spontaneous and unpredictable, Los Chicos are just what happens next, with some great rock’n’roll holding it all together. This is exactly the kind of thing that you should not miss.
BRIX SMITH / THE INSTITUTE / FEWS. Design Museum, 25/6/16. Another odd one. A museum trying to jump on the Punk anniversary bandwagon and totally missing the point, but it was free and it was fun, so that isn’t so bad.
I arrived just as Brix Smith is being interviewed by Fat Bob (from out of Hardskin.) There’s an obvious sexual chemistry going on cos Fat Bob’s a tasty geezer and Brix has looked after herself, so it’s a bit touch’n’go if they don’t just get a hotel today, but Bob keeps it professional. After all, he’s been promised a tenner if he finishes the job, which is even more than the birds around Gypsy Hill will offer ! Anyway, as well as being a musician, Brix has also been about in the fashion industry, so Bob asks for an assessment of his current clobber. Brix replies, natch, that he should just go with it. She’s a class bird who knows how to have a laugh !
There’s a couple of bands playing as well. The Institute are from Austin, Texas and mix hardcore with post-punk to fine effect. This is probably not the best place to see them (a room, no stage, no atmosphere) but they sounded interesting and I certainly wouldn’t mind hearing them again.
Fews, on the other hand, are not enticing at all. It’s all very clever but not very interesting and certainly not entertaining. Originally Swedish but currently based in San Francisco, they just don’t do anything for me. I can imagine just the sort of person who would like them and that would be someone who likes to namedrop rather than actually enjoy music. Perhaps I’ll be proved wrong in the long-term, but this occasion was enough to drive you to the overpriced bar.
I arrived just as Brix Smith is being interviewed by Fat Bob (from out of Hardskin.) There’s an obvious sexual chemistry going on cos Fat Bob’s a tasty geezer and Brix has looked after herself, so it’s a bit touch’n’go if they don’t just get a hotel today, but Bob keeps it professional. After all, he’s been promised a tenner if he finishes the job, which is even more than the birds around Gypsy Hill will offer ! Anyway, as well as being a musician, Brix has also been about in the fashion industry, so Bob asks for an assessment of his current clobber. Brix replies, natch, that he should just go with it. She’s a class bird who knows how to have a laugh !
There’s a couple of bands playing as well. The Institute are from Austin, Texas and mix hardcore with post-punk to fine effect. This is probably not the best place to see them (a room, no stage, no atmosphere) but they sounded interesting and I certainly wouldn’t mind hearing them again.
Fews, on the other hand, are not enticing at all. It’s all very clever but not very interesting and certainly not entertaining. Originally Swedish but currently based in San Francisco, they just don’t do anything for me. I can imagine just the sort of person who would like them and that would be someone who likes to namedrop rather than actually enjoy music. Perhaps I’ll be proved wrong in the long-term, but this occasion was enough to drive you to the overpriced bar.
THE SCIENTISTS / BLACK MEKON. The Lexington, 25/6/16. Fortunately, there was another gig in the evening to make up for the inconvenience of Fews. The Scientists had returned to London once again and this time, the venue was packed with fans both old and new. Black Mekon support and they weren’t bad, though maybe a bit derivative, but it just didn’t matter. We were going to see The Scientists, one of the greatest and most under-rated rock’n’roll bands of the past thirty years. Soon enough, they gather onstage and from the outset, they don’t disappoint. The sound is great, the audience is really into it and the band are enjoying themselves. Just how many great songs can one band have without getting the recognition they deserve ? ‘Swampland’, ‘We Had Love’, ‘Happy Hour’ and, for the first time in ages (for London, anyway) their inspired cover of ‘You Only Live Twice’. There’s also a few of the less-obvious but no-less wonderful songs like ‘Braindead’ and ‘Fire Escape’, adding to the overall excellence of the set. In fact, the only disappointment comes at the end when, after an hour onstage, they’re only given time for a one-song encore. But they still outdo themselves with a stunning version of ‘Travis’, leaving the audience screaming for more. Hopefully, they’ll find a way to return again soon, perhaps even with some new material ? We can only live in hope.