LIVE REVIEWS, JANUARY-JUNE 2018

THE BOYS / HEAVY DRAPES. 100 Club, 6/1/18. As has become traditional, the 100 Club is hosting the ‘Resolution’ Punk festival, eleven gigs over as many days, featuring punk bands old, not-so-old and new. It’s a good way to start the new year, even though few have the spare cash for more than one or two gigs at this point of the year… Anyway, The Boys shouldn’t be missed and, with the added attraction of Heavy Drapes, this is going to be a good one. I arrive pretty early and have just enough time to catch-up with various friends before Heavy Drapes take to the stage. I’ve seen them a few times over the past year or so and they’ve sounded better and better each time. Tonight, they almost steal the show ! Playing songs from their upcoming album, they’re really on fire, blasting through every song with so much energy and enthusiasm. Plus, the songs are really good – tracks like ‘Into The Blue’ and ‘Should I Suck or Should I Blow’ take all the best parts of classic 1977 punk rock but place them firmly in the modern world. The response is still divided to some extent (some people just don’t get it, but then again, punk rock never set out to be easy listening) but the general response is very positive and you get the impression that, once the album is released, these guys could really make a name for themselves. Now, as I said, they almost stole the show, but they were up against The Boys who, as we all should know by this point, are a formidable live outfit. Tonight, they pip Heavy Drapes at the post because, quite simply, they have a lot of classic material at their disposal and really know how to deliver the goods. Honest John, Casino Steel and Matt Dangerfield have nothing to prove but play as if their lives depend on it. ‘Brickfield Nights’, ‘First Time’, ‘TCP’, ‘Sick On You’… plus a few fine choices from the recent ‘Punk Rock Menopause’ LP. There’s not a duff song in the set and there are few bands as reliable as this. They seem to be playing less frequently these days, so I really urge you to get to see them while you can.

GBH / STEVE IGNORANT & SLICE OF LIFE / HAGAR THE WOMB. 100 Club, 12/1/18. First off, I came to this gig for the support bands. Back in the early-Eighties, I saw GBH a few times and had several records, but over the years their sound doesn’t seem to have aged too well… I decided to stay and see a few songs but wasn’t expecting much. Anyway, the Hags are on fine, chaotic form. With Karen wearing a girlie-pink top resplendent with the slogan ‘Cunt’, Ruth counters with her barely less-blatant ‘Who the Fuck Does She Think She Is ?’ t-shirt. Steph displays a greater display of sartorial elegance with a Monks shirt, whilst Mitch… well, he’s Mitch. And this is before they even start playing ! The set, unsurprisingly, reflects all of these elements and, for me, it’s a wonder to behold ! I love this band…. With a passion, baby ! In contrast, Slice of Life present a much more reflective, emotional set of songs, mostly new but also including several songs from across Steve’s entire musical career. Whilst the Hags are passionate about what they do but in an almost carefree manner, Slice of Life are more about personal communication, expressing their ideas and feelings in an intimate, honest way. In many ways, the bands are opposite ends of the same idea, both intent on reaching their audience but doing so in different ways. But both are also infused with that same need to communicate and that’s what makes them such a perfect combination. Finally, as I said, I decided to watch a little of GBH’s set, almost for ‘old-times sake’, but, you know what ? I ended-up watching the whole gig. The thing is, as with many of the bands from their original era, I lost interest when they started sounding more like a regular rock / metal band. But tonight, there’s little of that trait in evidence and they played without any kind of nonsense but with a lot of energy and commitment. I wasn’t familiar with most of the songs and although I won’t be rushing out to buy their back catalogue, they actually sounded a lot better than I’d ever expected and, perhaps because of that, I ended-up enjoying their set. In fact, the song ‘Generals’ (always their best moment, in my opinion) sounded exceptionally good. So, while I can’t recommend them for everyone, all I’ll say is that I was really surprised and, after all these years, GBH played a pretty enjoyable set. So, if you’re ever in the vicinity, don’t write them off as you may end up just as surprised as I was.

UK SUBS / RAMONAS. 100 Club, 14/1/18. Actually, similar to GBH, the UK Subs also went through some ‘wilderness years’, when they were certainly not a band you’d go out of your way to see. However, over the past 15 years, the line-up has been pretty consistent with Charlie, Alvin, Jamie and Jet up until 2016, and with Steve Straughan since Jets’ departure. As such, the band have become a real powerhouse once again, delivering great live shows and recording some really solid albums. Certainly the best they’ve been since those early albums with Nicky Garrett… Anyway, tonights’ gig starts with The Ramonas. As the name suggests, this all-girl band originally formed as a Ramones-tribute act, but over subsequent years they’ve written and released their own material, including their recent LP ‘First World Problems’. Tonight, they’re playing just their own songs and whilst its’ certainly not bad, I am a little surprised that its’ a lot-less ‘punky’ than their name suggests. Mr Harper even joins them onstage to add harmonica to one song, which gives an indication of the material they were playing. Not that I’m saying it wasn’t good in its’ own right, just that it caught me off-guard. The ‘Subs, however, are really at their best tonight. With a great sound from the PA, they blast through their set with so much power. The band are so tight and powerful, while Charlie delivers a performance that would put vocalists fifty-years younger to shame. At this point in their career, UK Subs really shouldn’t be as good as this and I can only put it down to one thing – they still love what they’re doing ! When you see them playing as well as this, you can’t help but love what they’re doing as well.

THE FALLEN LEAVES. Hope & Anchor, 20/1/18. I don’t know anything I can say about this gig that I haven’t already said before. The Hope & Anchor is one of may favourite venues in London at the moment and The Fallen Leaves play there on a pretty regular basis. While they usually have a healthy attendance, tonights’ turn-out, being so soon after xmas / new year, wasn’t guaranteed but still proved to be a pretty good mix of old and new fans who created a great atmosphere. The band played a good, solid set including songs from each of their four albums, including ‘Did You See Her’, ‘Against the Grain’, ‘Motorcycle Girl’ and my own favourite, ‘Prodigal Son’. It’s punk rock in a Sixties Mod-style via Pop Art, rockin’ in all the right ways. If you don’t like this, you ain’t got a clue…

THE BRADY BUNCH. The Dublin Castle, 2/2/18. An unexpected bonus gig… I’m on my way to the Dublin Castle and I decide to take a small detour into Knox’s ‘Rock’n’Roll Rescue’ shop (it’s only next-door after-all…) Once I open the door, the noise announces that there’s a band playing in the back room and it turns-out to be The Brady Bunch, a three-piece fronted by Brady (ex-Hollywood Brats / London SS.) So, of course, I indulge in a bottle of beer (it’s free but you’re happy to make a donation for it…) and hang-out to watch the proceedings. As you’d possibly expect, the music is like a trashy, garage version of the Stones, with some Blues and Country elements. The band are pretty together and, despite the PA limitations, sound rather good. Not my usual kind of thing but, as I said, for an unexpected-extra, not bad at all…

BLOOD TUB ORCHESTRA. The Dublin Castle, 2/2/18. Anyway, back next door and it’s time for the gig that I actually came out to see. Having caught Blood Tub Orchestra on a few occasions and thoroughly enjoyed what they’re doing, I’ve made a point of trying to catch their recent shows. However, this one became a real priority when I heard it would be their last before bass-player Ashley moves (on a temporary basis) to Los Angeles. As such, I had to be there, both to see the band for what would probably be quite some time and also to wish bon voyage to my old friend. As it turned out, perhaps not too surprisingly, the evening became quite a beer-addled event, but that just added to the atmosphere. When the Blood Tubs arrive onstage, they’re just as good as ever. For those who don’t know, their basic idea is to take songs from the Victorian Music Hall era and transpose them via Punk and Industrial into the current age. This works really well because, despite the misrepresentation delivered by TV shows like ‘The Good Old Days’, many of the songs from that era were actually quite satirical and anti-establishment. And, when you consider the stale, inbred state of the British hierarchy, many of the lyrics actually remain shockingly relevant… The gig itself maintains the original spirit of the music halls, providing entertainment whilst at the same time delivering barbed- commentary on the state of the nation. The double drummers provide the perfect beat, accentuated by Ashleys’ brutal bass, while Debbie’s guitar shrieks as a great offset to Tim’s keyboards and vocals. This is the kind of idea that seems ridiculous when you try to explain it, but makes perfect sense when you hear it… I wonder if they’d be up for an interview…

THE DAMNED / SLIM JIM PHANTOM. Folkestone, Leas Cliff Hall, 6/2/2018. As it’s The Damned, you should never expect them to do things in the usual way. In this case, they’ve announced a tour to promote their first new studio album in ten years, but the record itself won’t be available until after the tour has finished. Not that it really matters, because the promise of hearing new material is a big incentive in itself, whilst the return of Paul Gray on bass (meaning we’d have three quarters of my favourite line-up back onstage together) made this something not-to-be-missed. Folkestone was the first date on the tour that was within reasonable driving-distance and fortunately my good friend Armitage was up for the dragster-duties. We left London mid- afternoon, trying to avoid traffic delays, and arrive at our destination in plenty of time. After a brief sojourn to a local café, we go to the venue itself and hang out as it steadily fills-up. I actually interviewed The Damned here, way back in 1986, so it’s good to see them here again. Slim Jim Phantom of Stray Cats fame, plays a support slot with what is, I assume, a UK pick-up band, but they seem to know what they’re doing and play a decent set of Stray Cats material and various covers. But then it’s time for The Damned and this is what we’ve been waiting for. The band arrive onstage heralded by ‘Mars’ from ‘The Planets Suite’, and from the outset, it’s clear that Captain Sensible and Paul Gray are enjoying being back onstage together. The set kicks off with ‘Wait for the Blackout’, ‘Lively Arts’ and ‘Silly Kids Games’, nodding back to ‘The Black Album’ era when these guys first played together. They sound good, and then we hear the first of the new songs, ‘Standing on the Edge of Tomorrow’, which is even better than the version that had been available online. Moving forward, they play two atmospheric classics in the shape of ‘Dr Jekyll’ and ‘Under the Floor Again’ before raising the tempo with ‘Antipope’, ‘So Messed Up’, ‘New Rose’ and ‘Love Song’. There’s a real difference at this gig and the band are clearly having a good time. With the return of Paul, it’s as if there’s now three frontmen and he also provides a perfect balance between Vanian and Sensible. The set continues, featuring older favourites like ‘Stranger on the Town’ and ‘Ignite’ alongside another new selection, ‘Devil in Disguise’, before culminating with a perfect version of ‘Neat Neat Neat’. Then it’s time for the encores and the biggest surprise of the night – a live performance of the instrumental ‘Seagulls’ (one of the first tracks Paul recorded with the band.) There’s another new track, ‘Evil Spirits’, before a glorious version of ‘Smash It Up’. They think it’s all over, but it isn’t. The audience demand more and are rewarded with a wonderfully chaotic version of ‘Jet Boy Jet Girl’. I’d had big expectations for this gig and I’m glad to say that the band lived up to them. I’m really glad I was there !

DAVE KUSWORTH / DARRYL BATH / THE PHOBICS. The Birds Nest, 10/2/19 plus ANARCHISTWOOD. Vinyl Deptford, 10/2/19. I’m reviewing these two gigs together as the venues were just two minutes walk from each other and I switched between the two throughout the evening. It would be confusing if I tried to review them separately. Anyway, start off at the Birds Nest and The Phobics are the opening band but still playing to a packed crowd. I have no idea how many times I’ve seen them play in this venue, but it’s always good fun… Quick walk over to Vinyl Deptford to see what’s going and then back to the Birds Nest to watch some of Darryl Baths’ solo set.

Unfortunately, it’s a bit messy and not so great so I have no problem leaving early to see Anarchistwood over the road. First surprise is that Mitch (Hagar the Womb etc) is now playing bass for the band, but he’s the sort of character who fits in perfectly. The place is really packed tonight but the atmosphere is great and the band play an excellent set. With all of their visual impact, it can be easy to forget just how good their songs are, but in these confines, there’s no chance of that mistake tonight. Thoroughly enjoyable ! And then back to the pub to see the second half of Dave Kusworth’s set. It’s not bad, but I’m glad I didn’t miss Anarchistwood to see the whole thing. Musically, it’s a bit too self-conscious for me, but at the end of the night, I’ve had a damn-fine time and certainly have no complaints !

THE DAMNED. Koko, 16/2/18. With the imminant release of their new album ‘Evil Spirits’, the Damned were headlining two consecutive nights in London and both are sold-out well in advance. Koko isn’t my favourite venue when it’s crowded, so a bunch of us meet-up in a nearby pub and decide to skip the support bands for this occasion. We get to the venue just in time for the start of the set and, with Paul Gray now back on bass duties, the gig kicks off with the first three tracks from the classic ‘Black Album’, before the first of the new songs, ‘Standing on the Edge of Tomorrow’, which sounds even more effective when they play it live. ‘Dr Jekyll & Mr Hyde’ and ‘Under the Floor Again’ provide a darker atmosphere before ‘Antipope’ takes the tempos higher again, quickly followed by ‘So Messed Up’, ‘New Rose’ and ‘Love Song’. The place was already hot, but after this burst of musical energy it’s now sweltering. ‘Stranger on the Town’, ‘Gun Fury’ and ‘Eloise’ illustrate what a wide range of styles The Damned bring into their music, before ‘Devil in Disguise’ gives another taste of the new album. The set finally closes with powerful versions of ‘Ignite’, ‘Dozen Girls’ and ‘Neat Neat Neat’. The first encore delivers a bit of a surprise when it begins with the obscure instrumental ‘Seagulls’, before Vanian returns to the stage with ‘Generals’, ‘Evil Spirits’ and a climatic ‘Smash it Up’. Many think that this must be the end, but after a short break, the band reappear for a wonderfully chaotic version of ‘Jet Boy Jet Girl, which really was the perfect end.

THE DAMNED / SLIM JIM PHANTOM. The Forum, 17/2/18. So, second night in London and a different venue. I arrive early enough to see the support set from Slim Jim Phantoms’ band and it’s really good fun, mixing early rock’n’roll classics with his own songs and a good selection of Stray Cats material. A good warm-up for the main act. I had hoped that The Damned would vary their set tonight, but with one exception (right at the end) it was pretty much the same as the previous night so I won’t go into specifics apart from saying, it’s really great to see The Damned playing with so much energy and clearly enjoying themselves. Paul Gray’s return has really added another dimension to the recent gigs and the way he relates to both Sensible and Vanian onstage is exciting to watch, whilst his bass-playing has, alongside Pinch’s drums, created a formidable rhythm section. I can’t imagine many people would ever have expected The Damned to sound this good as they head into their fifth decade ! Anyway, as I said, there was one addition to the set, as the band were joined onstage by Slim Jim at the end of the second encore for a surprise cover of ‘Somethin’ Else’. It certainly wasn’t a polished version, but in this atmosphere everyone just enjoyed it for what it was, a band having a great time and sharing it with their fans. After that, I doubt if anyone managed to go home without a smile of their faces.

THE PHOBICS / JUNKO FUSE. The Pelton, 24/2/18. The Pelton is my favourite local pub and The Phobics are my favourite local band, so no prizes for guessing that I enjoyed this evening. I arrived a little late and missed the first band, but Junko Fuse are already setting-up and they play a fine set this evening. They’re a band who have been steadily improving ever since I first saw them and are now becoming focused on their own style and content. I still find it a little odd when they (an all-male band) cover Bikini Kills’ ‘Rebel Girl’, but they do it well and it sounds good so no real problems there. The Phobics get onstage and launch into their first song as soon as everyone is ready. They play a really tight set, as seems to be usual these days and, although I used to enjoy their more chaotic performances as well, it’s great to properly hear just how good their songs are now. Plenty of older songs plus a few pretty recent ones, they all go down well with everyone in the venue. As I was saying, this was a local gig but on nights like this, you can understand why The Phobics can do well wherever they play.

JOHNNY MOPED / THE WEIRD THINGS. 100 Club, 9/3/18. This was a special event to celebrate the 40th anniversary of the legendary ‘Cycledelic’ album, which still ranks as one of my all-time favourite LPs. With the band announcing their intent to play the album in its’ entirety, the venue fills-up pretty quickly and, by the time I arrive, it’s already near-enough full. The Weird Things are a little odd but the more I see them, the more I enjoy their music. They seem to have a different line-up each time I catch them, but with Marty (also a member of the Mopeds) on drums and Dick Crippen (ex-Tenpole Tudor) on guitar, they have a solid base that allows the rest of the band to get on with what they’re doing. Well-worth checking out. But everyone is here for the Mopeds tonight and when it’s their turn to take to the stage, the atmosphere is buzzing. In the spirit of authenticity, they even use the original ‘Mystery Track’ as an intro tape, before diving headfirst into ‘Panic Button’. I never thought I’d get to hear the whole album played live like this, so this gig is a real treat. It’s still a remarkable album, mixing pop, rock’n’roll, psychedelia and pub rock with an attitude that was as close to true-punk as anyone ever got. Hearing favourites like ‘Darling Let’s Have Another Baby’ or ‘Incendiary Device’ will always be a pleasure, but tonight we also get less-often played tracks like ‘3D Time’ and ‘Maniac’, which are just as exciting to hear. All too soon they reach the end of the album, but the band aren’t going to quit that soon, quickly launching into ‘Musical Bore’ and ‘Rock’n’Roll Rookie’, proving that they’re still more than capable of writing great songs long after the first album and right up to the present day. Indeed, their latest single, ‘Catatonic’ is one of the highlights of this second half of the set, alongside a great version of Slimy Toads’ solo single, ‘Loony’. Seeing Johnny Moped play live is always a pleasure, but this one was really special. I can understand that some people just don’t get this band, but at the end of the day, they’re the ones that are missing out on something great.

TV SMITH / DUNCAN REID & THE BIGHEADS / KNOX. New Cross Inn, 18/3/18. It’s been a while since I’ve seen TV Smith, so finding out that he’d be playing at New Cross Inn was a bit of a bonus. Although this gig was due to start at 4.00pm, I didn’t make it along until early evening, just in time to see Knox playing a short solo set. Playing several songs from his days in The Vibrators alongside a few more recent tracks, Knox always seems to get the audience on his side and tonight is no different. By the time he ends his set with a version of ‘Baby Baby’, everyone is singing along and having a great time. Next up is Paul Ronney-Angel, frontman of the Urban Voodoo Machine. He’s certainly a very competent guitarist and has plenty of his own style to be able to perform on his own, but I have to say that I remain unconvinced by his songs. Not that they’re bad, but just not something that really catches my attention. However, the next band, Duncan Reid & The Bigheads have great songs and character by the bucket-load. Originally intended as a solo gig, Duncan had decided to play an acoustic set with his whole band instead, and it really worked well. With the drums stripped down to a skiffle-style wooden box and all guitars acoustic, they still packed the set with plenty of energy and, with so many great, catchy songs at their disposal (their own recent material just as much as the classics that Duncan played in The Boys) they’re just so much fun to see. In fact, I was wondering how well TV Smith would manage in following the Bigheads, but I shouldn’t have been worried at all. He still puts just as much energy and passion into his songs as he always has done, producing an almost mesmerising performance and, like Duncan, his recent songs are just as impressive and enjoyable as his older ones. As he doesn’t play in London so often these days, perhaps I was taking his music for granted to some extent, but once you get to see a set like this, you know why you’ve enjoyed his music all along.

EASY ACTION. Old Blue Last, 23/3/18. I’m not saying that the promotion for the next two gigs was poor, but the only reason I found out about them was because the band themselves sent me an email to let me know. Otherwise, I didn’t see a single advert anywhere. Which was a real shame because a lot of people missed a great opportunity… Basically, the current touring line-up of Negative Approach are also members of Easy Action, a current Detroit band who play high energy rock’n’roll very much in line with that cities’ hard rock tradition. Easy Action may not have the same velocity as Negative Approach but their intent and delivery is certainly just as vital. In some ways, they’re actually closer to the intensity of John Brannons’ other former band, Laughing Hyenas, although not as a direct comparison. For the small crowd who were in attendance, this was a great show and I just wish that more people had been able to attend. For me, watching a band that sound this good was more than enough, but when they added covers by the likes of Alice Cooper and the Leather Nun on top of their own, excellent material, it became very cool. I just hope that they get a chance to play an Easy Action set in London again, because I’m sure a lot of people would be into it, if only they got the chance to see them.

NEGATIVE APPROACH. Birthdays, 23/3/18. I don’t like this venue but it would take more than that to stop me seeing Negative Approach. That being said, it was going to be a pretty hectic evening for the band. As Dinosaur Jnr were also in town, headlining at the Roundhouse, their old friend J Mascis (who they’d known since he was the drummer in Deep Wound) had invited Easy Action to open their show. So they’d first soundchecked in Dalston, then headed over to Chalk Farm, played their set there (J Mascis also joined them onstage for two N/A songs at the end of the set) before finally returning to Birthdays and pretty much going straight onstage. Despite the venue being packed and sweaty, in some ways it was perfect for a hardcore gig like this. John Brannon reaches the microphone and asks the audience, ‘is everyone having a good time’, before declaring ‘well, we’ll put an end to that – we’re Negative Approach !’ The band erupt into the first song and from there on, there’s hardly any let-up. In the crowded confines of the venue, it’s hard for anyone to avoid the pit as bodies thrash around, surging backwards and forwards, but although there’s plenty of delinquent energy, it’s all surprisingly good natured and everyone seems to be there for a fun-time rather than pointless aggression. The band and the crowd feed off each other, pushing the performance further and further, and covers of ‘Chaos’, ‘Borstal Breakout’ and ‘I Got a Right’ just send things over the top. By the end of the set, everyone is out of breath but elated from the event they’ve just been through. Having seen N/A quite a few times since they reformed, this was quite possibly the best time so far.
However, afterwards, the reason why I dislike this venue reared its’ ugly head once again. The officious security wanted everyone out immediately and this also meant people who were actually with the band. Despite John telling the bouncers that a group of us were guests of the band, they still demanded that we leave (this also included Thurston Moore…. I mean, most venues would be happy to have someone like him hanging out on their premises !) Fortunately, N/A have been around long enough to know how to deal with this kind of shit so they quickly load-out and meet everyone outside by their van, where they share out the beers left-over from their rider. The Jams had truly been kicked-out !
However, afterwards, the reason why I dislike this venue reared its’ ugly head once again. The officious security wanted everyone out immediately and this also meant people who were actually with the band. Despite John telling the bouncers that a group of us were guests of the band, they still demanded that we leave (this also included Thurston Moore…. I mean, most venues would be happy to have someone like him hanging out on their premises !) Fortunately, N/A have been around long enough to know how to deal with this kind of shit so they quickly load-out and meet everyone outside by their van, where they share out the beers left-over from their rider. The Jams had truly been kicked-out !

THE FALLEN LEAVES. Hope & Anchor, 24/3/18. This is a little different than the usual Fallen Leaves gigs as they’re recording a live album tonight and so are going to be playing two sets and admission is free, to ensure a good audience and atmosphere. As usual, there’s plenty of friendly faces as well as new fans and it’s a really friendly venue that respects both the bands and the fans. The Fallen Leaves are, of course, great fun. Rob Green is a fine frontman with an idiosyncratic style all of his own, while Rob Simmonds takes influences from various sources to create a unique, innovative guitar sound. Combine this with the solid rhythm section provided by Buddy and Matthew and you have something very special. Songs like ‘Prodigal Son’, ‘Have You Seen Her’ and ‘Motorcycle Girl’ are real gems, combining elements from so many genres but always sounding focused and direct. The Fallen Leaves are one of the great underground bands currently playing in the UK and the fact that they don’t get more credit or coverage is a scandal. I have no idea when the live album will eventually surface, but if you haven’t seen the band in person, be sure to put these recordings at the top of your wants-list.

THE DAMNED / CHARLIE HARPER / MICHAEL MONROE / SHAKIN’ STEVENS / THE PROFESSIONALS / GINGER WILDHEART / TV SMITH. Islington Academy, 28/3/18. This was the first ‘Vive Le Rock’ Awards, celebrating the spectrum of music and musicians regularly covered by the magazine. Perhaps surprisingly, the evening goes pretty well with no major hiccups, even despite a tight schedule, many bands performing and numerous guests appearing onstage. Combine this with the amount of alcohol being consumed and you have to give credit where it’s due ! First musical appearance is from TV Smith, playing a short set of acoustic songs, followed by an appearance from Ginger Wildheart. The Professionals are one of the nominees for ‘best album’ so their appearance is wholly appropriate and they blast out a great short set of songs that stirs-up the audience perfectly. Cocksparrer make an appearance to collect an award (although for the life of me, I have no idea why they’re so popular) before a very unexpected moment when Shakin’ Stevens sings through three songs of surprisingly solid rock’n’roll (although, to be fair, before his ‘pop’ career took off he had been a well-respected rocker.) Charlie Harper takes to the stage for a set of Subs songs, backed by the house band, before a brief tribute to the much-missed Lemmy and a suitably raucous blast through ‘Ace of Spades’. But it’s The Damned who most are here to see and, having been awarded the ‘Band of The year’ accolade, they return to the stage for a short but boisterous set, including ‘New Rose’, ‘Neat Neat Neat’, Love Song’ and ‘Jet Boy Jet Girl’ (although Sensible did try to sneak a snippet of ‘Wot’ into proceedings at one point. With Pinch temporarily unavailable, the drum stool was taken by The Ruts’ Dave Ruffy while Jon Priestly also covered bass duties for the evening. But regardless of the changes, the short set was plenty of fun, with Vanian even clambering over the first few rows of the audience ! The set showed why they deserved the award and it’s great to see them getting their credit, especially after waiting so long. So, yeah, the whole evening was great fun and I can only hope that VLR are able to continue this event for many years to come.

CRISIS / ACTIFED, Camden Underworld, 30/3/18. This is the first time I’ve got to see a full set by Actifed and it was pretty impressive. Mixing early Eighties Punk with an almost hard rock edge, they certainly seem to have some interesting tunes and deliver them with style. I sort of wish I knew a bit more about them so I could give more details, but all I can really say is that you should check them out, if / when you get the chance. Crisis seem to be only playing occasional gigs since Tony Wakeford reformed the band, but in a lot of ways this is probably a better approach. Too may gigs would stop the shows being special, so I’m more than happy to see them just occasionally and be able to really enjoy the events. As before, they play a set that’s almost entirely drawn from their back catalogue, but when that includes songs like ‘On TV’, ‘Nirvana’, ‘White Youth’ and ‘PC 1984’, it’s more than enough to keep the audience happy. But this evening, there’s an additional surprise in the form of ‘Hammer And Anvil’, the first new song written by this line-up. It sounds really good, certainly fitting-in well with the original material and suggesting that new releases may well appear in the near future. I’ll look forward to more news on that possibility !

ANARCHISTWOOD. All Ages, Camden, 31/3/18. For the second year, Anarchistwood play a mid-afternoon set on the pavement outside the excellent All Ages record shop in Camden. I’m not sure why they’re doing this apart from it being something that’s fun to do, but it attracts a decent crowd of fans, curious locals and bewildered onlookers. Personally I love this kind of thing, taking a band out of its’ usual context. It’s a really good way to see what a band are made of and find out if they’ve got enough character to make things work. Fortunately, Anarchistwood have a perfect sense of eccentricity to fully embrace an event like this and it really works well. With the recent addition of Mitch Flakko on bass (a man whose dress sense almost ensured that he would one day join this band) they look and sound better than ever and, even despite a few technical difficulties, they play a great set. Perhaps this will become an annual event ? I certainly hope so.

THE MUMMIES / THE BARON FOUR. Venue 229, 31/3/18. When The Mummies played at Islington Powerhaus back in 1994, I can honestly say it was one of the best gigs I’ve ever seen. Unfortunately, the band split-up at the end of that tour and it has only been in the past few years that they’ve returned from their tombs to play occasional gigs once again. However, they’ve only been playing sporadically and adamantly refusing to tour, so the chances of them returning to the UK seemed fairly slim. But at the end of 2017, it was announced that they would be back in London to headline the Beat Bespoke festival. Unsurprisingly, tickets began to sell very fast and soon-enough, the gig was totally sold out. I was a bit wary about seeing them at the 229 as its’ school-hall design does tend to lack atmosphere, but then again, this is The Mummies, how could it possibly go wrong ? Well the first hassle was the security who were searching and frisking people with an enthusiasm that bordered on molestation. I mean, I know that venues do have to be more alert these days, but when they start removing flatcaps to see if anything is hidden underneath them, just what are they expecting to find ? Whatever the reasons, this was excessive. Anyway, once inside the place is absolutely rammed. I don’t know what the capacity is in that place, but if it wasn’t exceeded that night I’d be very surprised. The support band, The Baron Four sound really good, playing a lively mix of Sixties Beat and Garage, and seem to go down pretty well although not many people are dancing. There’s something odd about the atmosphere, but I’m here to see The Mummies so I’m not thinking about it. Inbetween the bands, I do my best to get close to the front for a good view, but there’s a very long wait for the headliners. Even when someone comes on to introduce them, he still has to play for time, so god knows what was going on behind those curtains. But eventually, a guitar chord rings out, the curtains open and The Mummies walk among us once again. Or, rather, leap and scream in front of us ! As before, they throw themselves into the songs with hardly a care for their instruments or their own well-being (although, wrapped in bandages, they’re perfectly attired if anything gets too out of hand…) the songs come fast and furious… ‘Come On Up’, ‘I Don’t Like It’, ‘Red Cobra’. The band are looking good and sounding great, but the one thing that’s missing is the audience response. There’s plenty of cheering between songs, but most of the audience seems glued to their spot and hardly anyone is dancing. What the fuck ? Even The Mummies’ singer takes notice. ‘It’s been over twenty years since we last played in London’, he declares. ‘So that time, we must’ve been playing to you parents. But, you know what, at least they knew how to enjoy themselves !’ A few people start to take the hint right at the front of the stage, but the majority of the audience seem more interested in being seen at the gig more than getting into it. I really don’t understand that shit. But The Mummies, I can say, still played a great show, with songs like ‘That Girl’, ‘Stronger Than Dirt’ and their inspired cover of ‘Uncontrollable Urge’ lifting the lid off the place. ‘You Must Fight To Live on the Planet of the Apes’ sounds like the dirtiest piece of garage punk you’re ever likely to hear, but then the set comes to an abrupt end when the lead Mummie dismantles the drum kit mid-song and marches off-stage with the bass drum ! In the circumstances, it was perfect. The Mummies had lived up to my expectations even if the vast majority of the audience should have been slaughtered at birth. I can only hope that I get a chance to see them again, but hopefully not in London…

THE CRAVATS / FOLK DEVILS. Water rats, 6/4/18. I saw The Folk Devils several times back in the Eighties and thought they were a great band, but I have to say I was a bit wary about them reforming as their original, charismatic singer Ian Lowery had died some time ago and it would be a difficult task to fill his place. But this co-headliner with The Cravats seemed like an ideal way to check them out as I make an effort to see The Cravats whenever I can anyway. As it turns out, I thoroughly enjoyed both bands. The Cravats played a set mostly based around the recent, excellent ‘Dustbin of Sound’ album, although also including a few older selections including a monumental version of ‘I Hate the Universe’ to close the set. I do have to say that the sound wasn’t so great tonight and should have been a lot clearer, but the band and their songs still shone through and set-up the anticipation for the Folk Devils. I do my best to go into it with an open mind and, for the most part, it pays off. The new singer doesn’t have the stage-presence that possessed Ian Lowery, but his voice actually works really well with their songs and does them fair justice. The music sounds very true to the original band and I really enjoy hearing those songs played live again, from ’Hank Turns Blue’ to ‘Beautiful Monster’ and ‘Where The Buffalo Roam’. But by the end of the main set, I’m a bit worried that they still haven’t played my favourite, ‘Evil Eye’, so I call out for it when the band return to the stage for the encore. The guitarist hears me and shouts out, ‘whose the bastard who wants ‘Evil Eye’ ?’, before revving up the reverb and launching into this epic piece of noise-pop. It’s perfect and I’m so glad I came to see the band. It’s a real shame that Ian Lowery isn’t still around as he was a very underrated talent that deserved much more acclaim, but at least the band are with us again and we can hear those songs once more. Be sure not to miss the opportunity.

HOMOSEXUALS / THE PHOBICS / SPIZZOLOGY (Underdog Gallery, 7/4/18. This was an event organised under the banner ‘Punk 4 Mental Health’, which is certainly a worthy sentiment, but I have to say it was a bit of a shambolic affair. Not that it wasn’t fun, but it could’ve been a lot better organised. Underdog isn’t really an ideal venue for something like this and having numerous bands / performers swapping over in a place which isn’t really suited for musical performance wasn’t idea. I missed a few earlier bands, but do get to see Spizzology, which is basically Spizz performing a solo set with karaoke-style backing tapes. Of course, the choice of songs is much better than your usual drunken singalong (Alice Cooper, Bowie, and several of his own) but it’s not really the best way to see Spizz onstage. Where was the full band when we needed them ? The Phobics actually manage to play a pretty decent set, even though having to battle against a totally inadequate PA. Add to this that many in attendance weren’t really interested in paying attention to the music and there’s not much chance for them to create the kind of atmosphere they usually have. Finally, the Homosexuals, fronted by the enigmatic Bruno Wizard. Having originally formed in 1978, the band self-released several records that have maintained high credibility with so-called ‘post-punk’ fans. Bruno has re-used the name several times over the years with varying success but tonight, things do not go smoothly. The band (only Bruno remains from the original line-up) seem unsure of what they’re supposed to be doing and, even when they do get going, the songs seem to fall apart pretty quickly. Perhaps it was all part of the performance, but it was a pretty disappointing end to the night and I really was hoping for something better.

THE DRONES / BLEACH BOYS. New Cross Inn, 15/4/18. It’s a rainy Sunday evening in New Cross and, not unsurprisingly, not many people have turned up for this gig. It had started at 4.00pm but probably would have been more attractive if it had been a regular evening show. Anyway, I decide to turn-up around 9.00 and just catch a couple of bands. The Bleach Boys are alright, one of those bands that have been around for ages and are liked by quite a few people, but I’ve never really been very impressed. They have a few decent songs and certainly aren’t bad, but they just don’t have songs that I really love. The Drones set-up onstage and, at first, I’m a little worried about how this might go. The Drones are now a three-piece, with only Steve Cundall from the original line-up, although they do have the legendary Mad Muppet from Slaughter & the Dogs on drum-duties, so they should sound good. But you can’t help but feel they’ll be a bit disheartened by such a low turn-out, especially having driven all the way down from Manchester on such a grotty day. But once ready, Steve announces that although it’s been far from a perfect day, they’ve come down to have fun and play a great set which receives a big cheer and gets everyone in the place on their side from the outset. Starting off with ‘Lookalikes’, you can hear that they’re enjoying themselves and as the set moves on, even despite a few technical problems, they just get on with it with such a good attitude that the audience can’t help but get behind them. Plenty of old songs, from ‘The Clique’ and Just Want to be Myself’ through to ‘Persecution Complex’, plus a few I wasn’t familiar with which I assume are more recent, but it was all good fun. I won’t say it was the greatest gig I’ve seen, but they played it with just the right approach to make it work and I’m sure those who were there all enjoyed it and would want to see the band again.

THE DAMNED Q&A, HMV Oxford Street, 17/4/18. Not really a gig, as such, but to celebrate the release of their new album, ‘Evil Spirits’, The Damned would be appearing at the HMV shop for an onstage Q&A session with journalist Barry Cain, followed by the obligatory signing session. It’s a free event although, due to the size of the room, you had to book your place beforehand. But there’s a lot of people I know in the place and the onstage-interview is entertaining even if we didn’t really learn much that we didn’t already know about the band. But the album is finally out at long last, and I think most fans are glad it’s there. Afterwards, there’s also a launch party a short-walk away at the posh Sanctum hotel and surprisingly, they even let some of us in. Free beers for a short while and various Damned members make appearances… I can’t ask for much-more from life !

THE MEMBERS. RT RSD 21/4/18. Record Store Day pisses me off more and more every year, as it veers further and further away from its’ original concept. But that doesn’t mean you can’t still have some fun with it. This year, among others, The Members are playing a short set outside the Rough Trade shop on Talbot Road. Despite the early start, I manage to arrive just as they’re starting their set and it proves to be a lot of fun. Playing several of their original hits (‘Sound of the Suburbs’, ‘Offshore Banking Business’) as well as recent tracks like ‘New English Blues’, they deliver a great burst of entertainment and have plenty of the crowd dancing on the road and pavement. Once it’s all over (and having no interest in the ensuing bands) I go for a few beers with a couple of friends before eventually heading home, as I have another gig to attend in the evening…

THE PHOBICS. Deptford Cinema, 21/4/18. The Phobics are playing a gig for one of their friends’ birthday. Deptford Cinema is a great little venue, although it’s also the kind of place that you could easily miss if you didn’t already know where it was. Having been running all over London for most of the day, I end up arriving much later than I had expected but just in time for the start of The Phobics’ set. As it’s a party rather than a regular gig, there’s plenty of alcohol flowing (I seem to remember cakes as well, although I was a little fuzzy by the end of the night…) The Phobics sound great and everyone is having a good time. The venue is like a miniature old-style cinema, complete with a sloping floor, so it would actually make a decent regular venue, although the PA would probably need an upgrade. After the music ends, people continue distributing drinks until the place has to close and then everyone wanders up the road to a nearby pub. Nice weather, good music, plentiful beers… it did seem like a good idea at the time, that’s all I can say.

STARSHA LEE / THE ELECTRICS / SCANT REGARD. Hope & Anchor, 27/4/18. I never get fed-up with going to the Hope & Anchor as it’s the sort of venue that virtually guarantees a good night-out. It’s a proper pub with very few unnecessary accessories, a good range of reasonably-priced drinks and a great small venue downstairs. Just the sort of place where I most-enjoy seeing bands. Tonight is the latest of the ‘Rockaway Beach’ club nights and, as usual, it’s worth catching all three bands. Scant Regard is actually Will Crewdson, guitarist with Adam Ant, Rachel Stamp, Flesh For Lulu etc, playing a one-man-band set delving deep into his rock’n’roll influences. There are some moments where you end up thinking that the songs would really benefit from a full band, but the set is still a fine way to start the evening. Following next are the Electrics, a West London based band who play a great brand of High Energy Rock’n’Roll… think of the MC5 adding a great saxophone sound and then perhaps some hints of early, sleazy Glam. I don’t know how long these guys have been around but they certainly seem to know what they’re doing and I’ll be more than happy to see them again. Finally, Starsha Lee are a new band put together by Crispin Gray (Daisy Chainsaw, Queen Adreena) and artist Sofia Martins. Having courted controversy over Sofia’s onstage performance, when you actually get to see and hear them, they’ve certainly got more than enough content to warrant the imagery. Whatever your opinion, Sofia is clearly not doing this as some kind of gimmick although at the same time, it’s unfortunately true that some people (mainly men) are going to be attracted to the band just because of the more lurid reviews. Personally, I prefer to judge a band by their musical output and while they’re not entirely what I’d listen to at home, when you see this band live they have plenty to offer. You’ll have to make your own mind-up, but please do it with a blinkered approach.
PUBLIC IMAGE LTD / THE BEATSTEAKS / THE MAIN GRAINS / HANDS OFF GRETAL / THE PROFESSIONALS / RYUKETSA BLIZZARD / ECHOBELLY / SOAP GIRLS. Camden Rocks, 2/6/18. I was very impressed by last years’ Camden Rocks festival and while this years’ line-up may not have been quite as exciting, there were still plenty of established names and a great selection of new bands that I wanted to check out. Certainly enough to keep me busy for an entire day, anyway !

Arriving early in the afternoon, the first band we decide to see are The Soap Girls, playing at Dingwalls. There’s some confusion getting-in as the entrance to the club has been changed (at least for this afternoon) but once inside, the band are already in full-flight in front of a packed audience. Musically, they play a lively, effective brand of grunge-punk (think L7 or Hole) and they certainly put a lot of energy into the music. Several songs, like ‘Johnny Rotten’ and ‘Society’s Rejects’, stand out and even for a comparatively new band, they seem to be developing their own sound. The only conundrum comes from their appearance. The two girls at the front of seem to be intent on wearing very little clothing (together with exotic headwear on this occasion) and whilst I fully support their right to dress and present themselves however they want, the problem is that is may well attract the sort of audience-members that only turn-up to ogle without paying any attention to the songs. Similarly, lazy critics will just focus on their presentation negatively, again ignoring the music. I think it could prove to be a bit of a struggle for them, but musically they’ve got a lot of promise and I hope they find an audience that will embrace the sounds rather than just the image.

Another confusing trek ensues to find the new ‘Fest’ venue. It’s basically the former Proud Gallery site, only you have to go to the far end of the building to get in now. Anyway, we arrive in time to see Echobelly only to be find they’re having technical problems even before they start. No one seems to know what’s going on, but standing around in a crowded, stuffy room on a hot day isn’t ideal. Finally, the band take to the stage and I’m glad to say, it was worth the wait. I don’t think I ever saw Echobelly before now, but of all the britplop bands they were associated with, I always thought they were one of the most interesting. Today, having reformed with a new line-up in recent years, the band play quite a lot of new material but it stands-up well with the older songs that I remember. Most importantly, Sonya Madden’s voice still sounds great, both melodic and emotive, while Glenn Johanssons’ guitar style still provides the hooks that keep the songs firmly lodged in your ears. I may finally get around to buying some of their records and will certainly consider seeing them again.

My friend Tina had been curious to see a Japanese band called Ryuketsu Blizzard, so we make a prompt exit at the end of Echobelly’s set and cross over to the Assembly (previously The Barfly) to catch the end of their set. It’s certainly quite a spectacle ! The band are dressed as hardcore punks in the over-the-top fashion that the Japanese do so well. Musically, they’re playing a metallic, thrashy hardcore style sort of like ‘Earth AD’ era Misfits (both musically and visually) perhaps with elements Gwar and Glam-rock thrown-in. It’s great fun to watch, that’s for sure, and the songs don’t sound bad at all. For their finale, the main singer first strips down to his dirty underpants before doing quick change (onstage !) into a Borat-style mankini ! Surely they can’t go any further ? But as a brief encore, they play a disco-pop backing track while the entire band sing and dance both on and offstage, hurling an inflated love-doll into audience where it gets past around over everyone’s heads like some kind of bemused, naked crowd surfer ! I know nothing else about this band, but when you see a set like this, it really doesn’t matter at all !

Another fast exit and a quick stroll down to the Electric Ballroom to see The Professionals. They had been one of the highlights last year and again, they really prove themselves as an excellent live band. The addition of Chris McCormack to their ranks has made all the difference and, unless Steve Jones is ever tempted back to their ranks, I can’t imagine a better version of this band. Playing songs from their recent album ‘What In The World’ alongside all the old favourites, they sound really good. Tom Spencers’ vocals have now started to take on their own character, and presence, while Paul Cook’s drumming is as solid and driving as it always has been. For me, the highlights of the set were ‘Silly Thing’ (always more of a Professionals’ song, even if it was released under the Sex Pistols’ name) and ‘One Two Three’, but with plenty of other great songs to fill-out the set, there really wasn’t a dull moment.. The Professionals look good and sound great. I really can’t imagine anything or anyone being any better at this years’ festival.
A sort break ensues to have some food and then we shuffle back up to Fest to see Hands Off Gretal. They’re another female-fronted grunge-pop band and you can take the likes of Hole or Babes in Toyland as a good comparison. Lots of energy, big riffs and raucous vocals. They even play a pretty effective version of ‘I Wanna Be Your Dog’, with a nice vocal twist. It’s fun and they certainly know how to get an audience into it, but I have to say that none of the songs really stood-out for me. That being said, I didn’t see the full set and perhaps it was getting a bit difficult to concentrate, having already seen so many other bands in such a short space of time. I was impressed enough to say that I’d check them out again…
Conveniently, it’s just another short stroll across the road once again, to see The Main Grains at the Assembly. They’d been recommended by other friends and I have to say, their recent ‘The Rain Is Over Now’ EP actually sounds pretty good, in a Stiff Little Fingers-meets-Wildhearts kind of style. But live, they just came across as a rather dull, plodding pub band. I’m really surprised that the venue is so packed for their set and even a cover of ‘Teenage Kicks’ does nothing to improve the situation. I put up with it for about 15 minutes and then head back down to the Electric Ballroom.
German band The Beatsteaks are already onstage by the time I arrive. Again, they came highly recommended and I’d heard albums by them in the past which made me think they were going to be a great live act. But many of the songs don’t live up to expectations, veering much more towards mainstream rock than I thought they would. There were certainly a few songs that came across pretty well, but it wasn’t until the end of their set and their fine, raucous version of the Beastie Boys’ classic, ‘Sabotage’, that they really started to sound like something special.
So now, we have to wait around for thirty minutes as the stage is set-up for the headliners, Public Image Limited. This is actually a bit of a problem for me, because their set begins at 9.00 while, at 10.00, Antisect will be playing at The Lexington. Seeing PiL at a relatively small venue like the Electric Ballroom is a tempting proposition indeed and I know that they’re capable of being a great live band, but at the same time, I really like the latest Antisect album and they’re always a great live band. So, I decided to watch the first 20 or 30 minutes of PiL to get an idea of how things are going. If the set sounds good, I’ll stay, but if not, I’ll take the short journey down to Kings Cross to see Antisect.
Unfortunately, my decision is almost made as soon as PiL start playing. They begin the set with ‘Warrior’, probably the worst single the band ever released and certainly not one that’s going to instill me with enthusiasm for the rest of the set. I stay through this extended version and then things seem to pick-up as the band launch into ‘Memories’, one of my favourite PiL songs ! I’m beginning to think that it may be a difficult decision after all, but when Lydon’s vocals come in, it sounds all wrong. He’s singing in that warbling style he uses nowadays and it just doesn’t work on a song like this. It sounds good but you know it ought to be even better. Next track, they play ‘The Body’, another of their less-inspired moments, and that’s when I made my decision to leave…
Conveniently, it’s just another short stroll across the road once again, to see The Main Grains at the Assembly. They’d been recommended by other friends and I have to say, their recent ‘The Rain Is Over Now’ EP actually sounds pretty good, in a Stiff Little Fingers-meets-Wildhearts kind of style. But live, they just came across as a rather dull, plodding pub band. I’m really surprised that the venue is so packed for their set and even a cover of ‘Teenage Kicks’ does nothing to improve the situation. I put up with it for about 15 minutes and then head back down to the Electric Ballroom.
German band The Beatsteaks are already onstage by the time I arrive. Again, they came highly recommended and I’d heard albums by them in the past which made me think they were going to be a great live act. But many of the songs don’t live up to expectations, veering much more towards mainstream rock than I thought they would. There were certainly a few songs that came across pretty well, but it wasn’t until the end of their set and their fine, raucous version of the Beastie Boys’ classic, ‘Sabotage’, that they really started to sound like something special.
So now, we have to wait around for thirty minutes as the stage is set-up for the headliners, Public Image Limited. This is actually a bit of a problem for me, because their set begins at 9.00 while, at 10.00, Antisect will be playing at The Lexington. Seeing PiL at a relatively small venue like the Electric Ballroom is a tempting proposition indeed and I know that they’re capable of being a great live band, but at the same time, I really like the latest Antisect album and they’re always a great live band. So, I decided to watch the first 20 or 30 minutes of PiL to get an idea of how things are going. If the set sounds good, I’ll stay, but if not, I’ll take the short journey down to Kings Cross to see Antisect.
Unfortunately, my decision is almost made as soon as PiL start playing. They begin the set with ‘Warrior’, probably the worst single the band ever released and certainly not one that’s going to instill me with enthusiasm for the rest of the set. I stay through this extended version and then things seem to pick-up as the band launch into ‘Memories’, one of my favourite PiL songs ! I’m beginning to think that it may be a difficult decision after all, but when Lydon’s vocals come in, it sounds all wrong. He’s singing in that warbling style he uses nowadays and it just doesn’t work on a song like this. It sounds good but you know it ought to be even better. Next track, they play ‘The Body’, another of their less-inspired moments, and that’s when I made my decision to leave…

ANTISECT. The Lexington, 2/6/18. It’s one of those days that all goes according to plan. Tube to Kings Cross, bus up the hill and there in plenty of time. I have to admit, there isn’t as big a crowd as I expected (there are a lot of other gigs going on tonight, even aside from Camden Rocks) but there are plenty of familiar faces and I have some time to buy a drink and chat before the band are due onstage.
After a lengthy intro tape, the three-piece band launch themselves into ‘Channel Zero’, establishing right from the start that although the line-up may be more stripped down now, they certainly haven’t lost any of their power or intensity. I had half-expected the set to be more concentrated on the material from the recent ‘The Rising of the Lights’ album (which I wouldn’t have minded at all) but as it turns out, there’s still a healthy share of earlier songs in the set. ‘Welcome To The New Dark Ages’ (technically an old track, although only properly recorded and released since the bands’ reformation) is one of the highlights, while the excellent ‘Black’ is an incredibly powerful song, reminiscent of Killing Joke in some ways (the only disappointment was that Jimi Lyons’ spoken-word piece in the middle of the song didn’t have the volume and clarity it really needed.) The band are very tight and barely take breaks between tracks for much of the set, although when they do, they use tapes to add to the overall effect (similarly, they uses projections behind the stage to create another dimension to the performance.
The set lasts for almost an hour and eventually comes to an end with excellent versions of ‘Tortured & Abused’ and ‘In Darkness’, songs that still have powerful, relevant messages and are delivered with the intensity that they deserve. At the end, there is no encore but it really wasn’t necessary. The band had delivered exactly what was needed and I am so glad that I made the decision to see this gig. I had seen some good music at Camden Rocks, but nothing that came even close to this performance. I know a lot of people have been pretty negative about Antisect recently, but just listen to the latest album or see them live. They have returned and not only lived up to their reputation, but exceeded it. If you miss them now, you only have yourself to blame.
After a lengthy intro tape, the three-piece band launch themselves into ‘Channel Zero’, establishing right from the start that although the line-up may be more stripped down now, they certainly haven’t lost any of their power or intensity. I had half-expected the set to be more concentrated on the material from the recent ‘The Rising of the Lights’ album (which I wouldn’t have minded at all) but as it turns out, there’s still a healthy share of earlier songs in the set. ‘Welcome To The New Dark Ages’ (technically an old track, although only properly recorded and released since the bands’ reformation) is one of the highlights, while the excellent ‘Black’ is an incredibly powerful song, reminiscent of Killing Joke in some ways (the only disappointment was that Jimi Lyons’ spoken-word piece in the middle of the song didn’t have the volume and clarity it really needed.) The band are very tight and barely take breaks between tracks for much of the set, although when they do, they use tapes to add to the overall effect (similarly, they uses projections behind the stage to create another dimension to the performance.
The set lasts for almost an hour and eventually comes to an end with excellent versions of ‘Tortured & Abused’ and ‘In Darkness’, songs that still have powerful, relevant messages and are delivered with the intensity that they deserve. At the end, there is no encore but it really wasn’t necessary. The band had delivered exactly what was needed and I am so glad that I made the decision to see this gig. I had seen some good music at Camden Rocks, but nothing that came even close to this performance. I know a lot of people have been pretty negative about Antisect recently, but just listen to the latest album or see them live. They have returned and not only lived up to their reputation, but exceeded it. If you miss them now, you only have yourself to blame.

THE SCIENTISTS. The Prince Albert, Brighton, 3/6/18. Having been very impressed with The Scientists’ London gig, I started to figure out if I could get to their gig a few days later in Brighton. The advantage is that the venue is almost next door to the station and the gigs end at a reasonable time, meaning that it would be easy to catch a train back up to London, but the problem would then be getting out to Erith at that time in the morning. However, it only took a little research to find out that a nightbus runs all the way from Cannon Street to Erith so, although it would take an hour, I wouldn’t end-up stranded. Result ! So, down to Brighton, straight round to the venue and there I meet-up with a bunch of friends from Herne Bay as well as several Scientists themselves. It’s a nice warm evening so we all just sit outside, chatting and enjoying a few drinks, until it’s time for the gig. Even on a Sunday evening, a decent crowd has turned up to see the band and there’s a really good atmosphere when they arrive onstage. The sound is good and Kim has none of the problems with his guitar this time, so things go smoothly. Seeing them so close-up on such a low stage, is actually reminiscent to seeing them in the Clarendon basement all those years ago… I still miss that place. The set starts off with ‘Atom Bomb Baby’ again, followed by ‘You Only Live Twice’, but thereafter the setlist gets jostled around quite a bit. Mostly the same songs, but a different order and more gaps in between for chatting and joking with the audience. The band are clearly in good spirits on the final date of their short UK tour and it really gets the audience behind them. Alongside the new tracks that they’d played in London, another fresh title is revealed in the shape of ‘Self Doubt’, yet to be released but certain to be a fan favourite when it does. The set is over an hour long but it seems to fly-past, one great song after another, finally coming to an incredible end with a double-shot of ‘Swampland’ and ‘We Had Love’. Does it get much better than that ? Well, the encore delves back into the archives to deliver ‘Happy Hour’ and ‘Burn Out’, before they go back all the way to their second EP to resurrect ‘Last Time’ ! Damn, they didn’t even used to play this one back in the Eighties. Admittedly, it’s more of their early powerpop style than the classic, dirty rock’n’roll that they’re best-known for, but it’s a real treat to hear this one and it fits surprisingly well with this line-up. So, farewell to The Scientists once again but, with new material appearing once more, I’m sure we’re going to see them again and I hope it’ll be soon !

BEECHWOOD. The Shacklewell Arms, 7/6/18. I’ve been hearing good reports about this band for a while and their debut album, ‘Songs From the Land of Nod’, is full of promise. Somewhere between the Seventies Glam / Sixties Garage mix of Redd Kross and the indie-pop perfection of Imperial Teen, the album certainly contains a lot of good songs and a individual, inquisitive way of putting them across. With this in mind, and with their second album on its’ way soon, I had no intention of missing their first gig in the UK, a one-off in London following a two week jaunt around Europe. Unfortunately, it seemed as if the venue didn’t give the event the attention it deserved (I didn’t see a single poster or flyer for this show, even in the venue itself !) and the support bands were so dire and inappropriate that I’m not even going to name them. But you can bet that if / when Beechwood start to get better known in the UK, the jolly old Shacklewell will be the first to boast that it hosted their debut gig in London…
Anyway, the evening soon becomes something of a social event. My friends Tom, Dee and Tina all arrive to check out the band and it turns out that one of Tom’s old friends, Cynthia, is actually managing Beechwood ! As we’re all chatting, we’re also joined by Peter Perrett and the lovely Zena, who had been invited along by Cynthia. I can tell you, there may have only been a small crowd, but they had good taste !
Soon enough, the band are set and ready to play. They begin with ‘Melting Over You’ and ‘I Don’t Wanna Be The One You Love’ from the first album, kicking off with two of their more upbeat, glam-stompin’ tracks, before introducing new songs like ‘Flesh Hotel’ and ‘Bigot in My Bedroom’, with the new ones sounding every bit as exciting as the more familiar tracks. ‘Heroin Honey’ takes a route closer to the Velvet Underground at their dreamy best, while the enigmatically titled ‘C/F’ takes a much quieter tone. This would have been a perfect place to see them had it been packed with a sweaty, enthusiastic crowd (as gigs had been across Europe) but with poor promotion, it’s not an ideal situation for a band that obviously thrive on live response. Add to this various onstage sound problems, and it’s not the introduction that the band deserve, but the audience is paying attention to the music and giving them enthusiastic support. With another nod towards Imperial Teen, they also switch instruments for certain songs, with Isa coming out from behind the drums to handle lead vocals on several songs. The set is reasonably short but that’s a perfect pitch for something like this – get everyone interested and then leave them hungry for more ! The set ends with the fuzz-laden ‘This Time Around’ and then one more track from the new LP, ‘Nero’, before the show is over. If all goes according to plan, the band should be back before the end of this year. I strongly suggest that you ought to hear their records before then and then make a date to see them live. This band are young, they already have some fine songs in their back pocket and are absolutely dripping with potential. I may be wrong, but in a years’ time, there may well be queues around the block !
Anyway, the evening soon becomes something of a social event. My friends Tom, Dee and Tina all arrive to check out the band and it turns out that one of Tom’s old friends, Cynthia, is actually managing Beechwood ! As we’re all chatting, we’re also joined by Peter Perrett and the lovely Zena, who had been invited along by Cynthia. I can tell you, there may have only been a small crowd, but they had good taste !
Soon enough, the band are set and ready to play. They begin with ‘Melting Over You’ and ‘I Don’t Wanna Be The One You Love’ from the first album, kicking off with two of their more upbeat, glam-stompin’ tracks, before introducing new songs like ‘Flesh Hotel’ and ‘Bigot in My Bedroom’, with the new ones sounding every bit as exciting as the more familiar tracks. ‘Heroin Honey’ takes a route closer to the Velvet Underground at their dreamy best, while the enigmatically titled ‘C/F’ takes a much quieter tone. This would have been a perfect place to see them had it been packed with a sweaty, enthusiastic crowd (as gigs had been across Europe) but with poor promotion, it’s not an ideal situation for a band that obviously thrive on live response. Add to this various onstage sound problems, and it’s not the introduction that the band deserve, but the audience is paying attention to the music and giving them enthusiastic support. With another nod towards Imperial Teen, they also switch instruments for certain songs, with Isa coming out from behind the drums to handle lead vocals on several songs. The set is reasonably short but that’s a perfect pitch for something like this – get everyone interested and then leave them hungry for more ! The set ends with the fuzz-laden ‘This Time Around’ and then one more track from the new LP, ‘Nero’, before the show is over. If all goes according to plan, the band should be back before the end of this year. I strongly suggest that you ought to hear their records before then and then make a date to see them live. This band are young, they already have some fine songs in their back pocket and are absolutely dripping with potential. I may be wrong, but in a years’ time, there may well be queues around the block !

DEAD CROSS. Camden Underworld, 11/6/2018. Talk about last-bleeding-minute ! Dead Cross, the band featuring Mike Patton, Dave Lombardo, Mike Crain and Justin Pearson, were touring Europe but their only pre-announced UK appearance was going to be at Download Festival, far from ideal. However, they’d kept a date free for the following night and were intent on playing a date in London. Unfortunately, due to contract-complications, they were not allowed to advertise this until the day of their festival appearance and so, during Sunday, they announce online that they’re going to be playing at the Underworld the following evening ! Unsurprisingly, the low-key gig sells out in next-to-no-time, ensuring that the touts miss out ! I don’t even hear about it on time, but fortunately, Mike replies to a desperate email that I send and puts me on the guest-list, which comes as a great relief and allows me to stop panicking. So all I have to do is wade through the day at work and then head over to Camden. It’s another unpleasantly hot day, so I’m really glad when I bump into old friends Kev and Rhona outside the venue and we decide to have a drink upstairs rather than venturing straight down to the inevitable sweatbox that the venue will be in these conditions. We have time for a couple of leisurely beers before heading down, which immediately confirms our fears. The place is predictably packed from wall-to-wall, with hardly enough room for even the sweat to drip down. Dead Cross appear onstage and launch straight into the set... There’s no time for messing around ! Blasting off with ‘Seizure and Desist’, ‘Idiopathic’ and ‘Obedience School’, the set pretty much follows the albums’ track-listing song-for-song, with only a couple of diversions to include the two non-album tracks (‘Death of a Redneck’ and ‘My Perfect Prisoner’) from the recent EP. Their cover of ‘Bela Lugosi’s Dead’ is just as inspired as the recorded version, adding their own elements to create a new benchmark from an already classic track. The band are incredibly tight, as you’d expect from these musicians, and I’m only sad that more people couldn’t have seen this performance. These guys work together so naturally, feeding off the combined energy of the music and throwing everything into it. Somewhere between Siege and John Zorn, appropriately enough. Blistering, mesmerizing, moving. There’s only a short break at the end of the set before the encore delivers brief, deliberately tantalizing snippets of both Slayer and Faith No More favourites before diving headfirst into a breathtaking cover of the Dead Kennedys’ legendary ‘Nazi Punks Fuck Off’. It’s all over before the audience even have a chance to appreciate what’s happened, but damnit, what a great way to end a show ! Everybody still wants more but at the same time, I get the impression that they knew they’d been at something really special, something they’ll be talking about for a long time. The place clears pretty quickly, more due to the lack of oxygen than anything else, but this really was one of those special shows. Let’s just hope that they come back again so that everyone who wanted to be there can get a chance to see them. Start praying now – pick a god, any god… PS, apologies for the arty photo... I only had my shitty camera-phone with me...

JOHNNY MOPED / THE MEMBERS. Lewes Con Club, 16/6/18. Down to Brighton for an early Summer Moped rally ! Actually, it also involved a short bus ride out to Lewes to visit the lovely Con Club, but I ain’t complaining ! I love this place – great venue, great location and always an enthusiastic, lively atmosphere. Recommended for any event ! It’s a fine evening and by the time I arrive, there seems to be as many people outside in the beer garden as there are in the venue itself. I get to chat with a few friends and various Mopeds, enjoying a few beers, before returning inside when the Members arrive onstage. They’re sounding good tonight, with a mix of old and new material, although I have to admit I didn’t pay as much attention as I should have done due to continually bumping into old friends. That being said, they warmed the place up perfectly for the headliners. The Mopeds appear suddenly, catching-out some of the less attentive fans (myself included) and begin the set with the recent single track, ‘Catatonic’. Thereafter, it’s a great mix of old and new, all of it sounding as wonderful as ever. It’s sad that Dave Berk is no longer on the drum stool, but Marty Love has filled the void with perfect aplomb, keeping the chaos in check as the rest of the band punk / rock’n’roll in the purest fashion. In case you haven’t already realised, I love this band. I don’t think I’ve ever heard / seen anything more genuine. I understand that some folks might not get it, but it’s their loss. Songs like ‘Incendiary Device’, ‘Save The Baby Seals’ or ‘Real Cool Baby’… they wouldn’t work if the band wasn’t real. As the gig goes on, more and more people are dancing and singing along, until it seems like the whole, packed venue is bopping. Johnny Moped is a band that transcends stupid ideas of you’re supposed to like or not like. If you can’t dig this, you can’t dig nothing, as a wise man once said. I can’t disagree with that and neither should you. Basically (ahem) you won’t see much that’s any better than this ! After the gig, there’s a much sillier bus ride back to Brighton. There’s no better end to an evening !

SEYMOUR STEIN. Rough Trade East, 25/6/18. I expect most music fans will know Seymour Stein from his work at Sire Records in the mid-Seventies, signing and releasing seminal albums by bands such as the Ramones, Talking Heads, the Dead Boys and the Undertones. Others may be more interested in him as the man who signed Madonna and Depeche Mode. But, as his autobiography illustrates so well, there is so much more to his story. Having been involved in the music business at King Records in Cincinnati since the late Fifties, he was involved with the more cutting edge of pop and rock music throughout the Sixties and Seventies. His book illustrates his amazing career through the highs and lows and also accounts his personal life (he was married to Linda Stein for a decade before becoming openly gay in the Eighties after their divorce.) This Q&A event, hosted by Mute Records mainman and longterm accomplice, Daniel Miller, was an entertaining and intriguing event. Seymour may now be a lot older (76 years) but his passion for music and sense of humour have certainly not depleted. Daniel begins with an appropriate reminiscence than Seymour always used to visit the Rough Trade record shop first to check out the new bands every time he visited London, to which Seymour confesses, ‘Oh yes, I’ve always loved Rough Trade’, which generates the first howl of laughter from the assembled audience. That being said, the remainder of the laughs were very much intended and Seymour had more than enough stories to keep everyone enthralled. It’s a really great and very enjoyable event, as is the book itself, and it was very cool to get a closer idea of the character behind the man responsible for so many influential record releases. It can be argued that if Seymour hadn’t signed all of these bands / artists, then inevitably someone else would’ve done so. But the fact is, he was there with his finger on the pulse way beyond everyone else. You’d be a brave man to deny him credit for what he’s achieved, for all of us !