LIVE REVIEWS, JANUARY-JUNE 2023.
DISCHARGE, 100 Club, 9/1/2023. I arrived a bit late for this gig, as I wasn’t particularly keen to see the support bands, but made sure that I was there in time for Discharge. I’d been very impressed when I’d seen the current line-up at New Cross Inn and certainly didn’t want to miss them here. Vocalist Jeff Janiak has really helped to re-vitalise the band and now, with Bones, Tezz and Rainy from the bands original heyday back in the fold, they really do sound more powerful and abrasive than ever. The ‘metalisms’ that marred their progress during the late Eighties are now kept to a minimum and they are back to doing what Discharge do best; short, brutal punk rock assaults that are both cathartic and exhilarating. Songs like ‘Fight Back’, ‘Ain’t No Feeble Bastards’ and ‘Never Again’ have stood the test of time and are rightly considered to be punk classics. And, while the threat of nuclear war and international conflict may not be as prominent now as it was during the Thatcher / Reagan era, it’s never far away, ensuring that the lyrics have lost none of their poignancy. Of course, not everyone is going to enjoy the sound that Discharge create, but if you ever did appreciate what they do, then you really need to see this line-up.
UK SUBS / THE MISTAKES. 100 Club, 12/1/23. Although several people have told me that The Mistakes were well-worth seeing, I wasn’t too impressed with this occasion. They played a rather generic mix of hardcore and street-punk that just didn’t stand-out to my mind. I’ve been wrong about these things before and I hope I’ll be impressed in the future, but this wasn’t a gig that made me want to hear more. The UK Subs, on the other hand, were at their best once again, playing so many great songs picked from across their entire five decade career. The current line-up has now gelled into a truly great live band while Charlie Harper looks and sounds just as vital and enthusiastic as when I first saw and heard the band. They rip through all the old favourites, from ‘CID’ through to ‘Teenage’, but plenty of their less obvious tracks and more recent songs receive just as great a response from the audience. Rumours keep circulating that the Subs are planning to slow-down their schedule in the near future but with the band firing on all cylinders as well as this, you have to wonder if that’s what they really want to do? Regardless, catch them while you can!
DOGSHITE / RITES OF HADDA. The Birds Nest, 14/1/23. Rites of Hadda are intriguing. Their music isn’t something that’s instantly accessible but as I hear more of them the more non/sense it begins to make. Musically, they do at times remind me of Hawkwind (Nik Turner era) rather than a regular punk band (although when was punk ever supposed to be ‘regular’?) If it’s attitude you want, then this band and, in particular, their singer Wasp have plenty of it. Definitely a group that deserve further investigation. In contrast and despite their off-putting name, Dogshite have an incredibly catchy set of songs and quickly win the attention of everyone in the venue. With a mixture of 70’s Punk, a few nods towards Anarcho and several hints of Ska and Two-tone, Dogshite have created a set that’s accessible whilst also remaining sharp and challenging. They also have a great sense of humour, never forgetting that music is supposed to be fun! If you haven’t already done so, you really need to see this band live or, if that’s not possible, at least give their mini-album ‘Mass Deception’ a good listen… you’ll be in for a treat!
WINGMEN. Islington Academy, 21/1/23. After their ‘secret’ appearance in Deptford, I was really looking forward to this. As part of their first UK tour, the Wingmen were playing their official London debut and I’m glad to say, it lived up to expectations. With a line-up featuring former/current members of The Stranglers, The Damned, Johnny Moped and Ruts DC, a good-sized audience had turned up to check-out the band and their curiosity was rewarded with a really great evening . Of course, the band are keen to establish their own identity and the set mostly features the songs from their debut album, which I’m sure won’t disappoint any fans of the afore-mentioned bands. That said, this is a band that’s very much its’ own beast, with songs that deal with recent and contemporary issues (including Brexit and the Covid lockdowns) but they’re also unafraid to include a few appropriate covers to bolster the setlist, including The Stranglers ‘Long Black Veil’ and the Kraftwerk classic, ‘The Model’. But it’s when they reach the encore that they decide to have some fun, with covers of ‘Do Anything You Wanna Do’, ‘Solid Gold Easy Action’ and the Supergrass hit ‘Pumping on Your Stereo’ (no doubt as a nod towards their keyboard player, Rob Coombes.) The Wingmen have proved themselves to be a great band and I can only hope that they find time between their other bands to carry on playing together, as this is a project that really deserves time to take things further.
THE PHOBICS. The Prince Albert, Brighton, 29/1/23. Last time the Phobics played a matinee gig at the Prince Albert, I had to miss it due to a dental emergency (so much pain!) but this time I was determined not to miss the event (made all the more enticing as the Wingmen are also playing in Brighton later that evening.) I had to make the most of the synchronicity… Anyway, gigs in Brighton tend to be social occasions, as it gives me a chance to catch up with various friends that I wish I could see more often (no names mentioned to avoid embarrassment.) So I miss the other bands on the bill, but make sure that I see The Phobics, who play a fine, full-throttle set and receive an appropriate response from the audience. It’s a bit early in the day for them, really, as their dirty, punky rock’n’roll really needs the cover of night to achieve full effect but clearly just enough booze has been partaken to reach their usual standards. It’s a great gig and, to my mind, they should’ve been headlining rather than middle-of-the-bill, but regardless, they ruled the roost and I’m pretty sure most of the audience agreed with that.
WINGMEN, Brighton Concorde, 29/1/23. And so, after perhaps a few further drinks, several of us stroll down to the Concorde to catch The Wingmen one mo’ time. The set remains pretty-much the same as their show in London a week before, but as this is the final date of the tour they also add a few more surprises, including a cover of Bowies’ ‘Hang on to Yourself’ early in the gig. They nail it, of course, but then top it at the end of the set with a blistering version of The Stooges’ ‘I Got a Right’, proving that they can play as hard as anyone. As the time is edging towards last-train departure, we have to leave to get home and I think we may have missed some of the encore, but Wingmen had been even better tonight than they had been in London and have obviously developed their chemistry during the course of their tour. Trust me, this is a band you need to check out, and I really hope they’re able to continue alongside their other bands.
THE RESIDENTS. Union Chapel, 31/1/23. Having been delayed due to the heinous lockdowns, the Residents finally make it to London to celebrate (depending on what you were reading) the ‘Duck Stab’ reissue and the ‘Dyin’ Dog’ project (slightly late) or their 50th anniversary (slightly early.) In Resident-world, it all made perfect sense, so no need to worry. I’m not sure if the Union Chapel was the best venue for this show and, with the initial problems the band encountered as they appeared onstage (no sound from the guitar) it seemed that I was right, but once this problem was resolved, things actually went rather well. The band-format for this show was probably the most ‘orthodox’ that I’ve seen for The Resiidents (vocalist, guitar, drums, keyboards) but this is still The Residents and consequently unlike anyone else. The setlist features a lot of older material, starting with the Hank Williams’ cover ‘Jambalaya’ before tackling the classics ‘Hello Skinny’, ‘Laughing Song’ and ‘Bach is Dead’. But as you’d expect (you really should!) they also delve into more recent material like ‘Boxes of Armaeddon’, ‘Hungrry Hound’ and ‘Die! Die! Die!’. The Residents have always been about moving forward and seeing what they do with their old material just as much as the new. As such, we also get to hear new interpretations of ‘Smelly Tongues’, ‘Constantinople’ and’ Blue Rosebuds’, perfectly satisfyng the Eyeball-obsessives just as much as the merely-curious. ‘Diskomo’ provides a suitably upbeat tone for the start of the encore, before ‘Nobody Laughs When They Leave’ ends the evening in an appropriately sombre atmosphere. After all, even The Residents can’t last forever… or will they?
BRUNO AND THE OUTRAGEOUS METHODS OF PRESENTATION. The Lexington, 5/2/23. This was a matinee gig to celebrate the 59th Birthday of gig-going legend Chris Plummer and there were loads of bands playing over the course of the afternoon. I’m particularly keen to check out Bruno and TOMOP again. They play a really great set this afternoon and I’m sure they didn’t lose the attention of anyone in the venue throughout the gig. As I’ve said before, Bruno’s songs remind me of the early Modern Lovers material, not necessarily sounding like them, but taking a similarly naïve-yet-authentic approach that encompasses both 60’s garage punk and snotty 70’s attitude. Bruno is an outsider in real terms, but given the time and space to develop I think he could create something really special. I hope it all comes together before the usual music-biz interference gets a chance to mess it up. Catch this band now while it’s raw and unpredictable.
OFF! Rough Trade East, 9/2/23. I’ve been a fan of Off! since their first EP was released, but having followed their subsequent records and seeing them play live on several occasions, I was still unprepared for their latest album, ‘Free LSD’. Their brutal assault of stripped-down hardcore is even more insistent than before, whilst the tracks are interspersed with noisy, free-jazz-like bursts of energy that perfectly counter-balance the punk rock attitude. Unfortunately, I’d been unable to get a ticket for their gig at the Moth Club but I was quick-off-the-mattress for this one. I was feeling pleased with myself and that continued until the evening of the gig, which was supposed to start at 7.00pm. I left home in plenty of time , but only got as far as Abbey Wood before I found myself stuck on a train that wasn’t going anywhere! At first I wasn’t too concerned as I’d allowed plenty of time to get to the gig, but as the watch-hands started to approach 7.00, I started to panic with pointless but strangely appropriate words like ‘FUCK, FUCK, FUCK!’ I kept trying to read a newspaper to calm myself down, but it wasn’t working. Finally, at 7.15, the train started moving and I reached Liverpool Street at about 7.30. then there’s a ten minute rush through Spitalfields to get to RTE where I find that… Off! aren’t playing until 8.00pm. I don’t know whether to feel pleased that I haven’t missed their set or feel pissed-off that that I’ve been so stressed-out about nothing. Fortunately, a quick beer helps me to settle-down. Off! eventually appear onstage and proceed to deliver a full set, made-up mostly of the songs from ‘Free LSD’ before blasting through various tracks from their earlier releases. It’s an intense and uncompromising performance that really slaps you in the face and despite the line-up changes, this band are taking things even further forward. Keith Morris may be in his late-sixties, but with this band he’s found a truly natural output for his creative urges. Do you want to be blown away? Go and see this band and it’ll answer your prayers.
JESSE MALIN. The Garage, 17/2/23. There was a slight disappointment to this gig, as Tommy Stimson (Replacements etc) had been billed as support but had been forced to cancel due to some medical issue. That was a big shame but as it turned out, Jesse’s set more than made up for the loss. Playing a great set of songs from right across his career, it’s a great mix of tones, tempos and varying atmospheres, including a well-chosen selection of covers, with songs by The Pogues, The Replacements and even Lords of the New Church (an impressive version of ‘Russian Roulette’.) Jesse himself makes use of the entire venue, as much in the audience as he spends time onstage and at one point even performing songs on top of the bar itself! Although musically he may have moved on from the traditional New York Punk Rock roots s of the Dolls and Ramones, but his attitude remains true and his music rocks like no other. He produces songs that have no problem with appealing to a more mainstream audience but never sacrifice his integrity. Miss him at your peril.
DAMIDGE / CHERRY REDS / DINOSAUR SKULL. Pelton Arms, 18/2/23. Another great line-up at The Pelton. Three bands that sound completely different, style-wise, but still manage to compliment each-other in terms of approach and attitude. Dinosaur Skull are Cil and Mike (formerly of the Werecats) but this new band are a much-more pop-orientated project (of the indie-kind.) They play a great set that perfectly sets-up the evening with plenty of catchy, entertaining songs and worthy lyrics. The Cherry Reds were (I believe, but might be wrong) playing their first gig for some time and as a result there’s quite a few people to see them. Their mix of late Seventies Punk’n’Mod goes down really well and certainly makes me want to see them again… even if the name has been used by far too many bands. Finally, it’s time for Damidge and, with their current line-up, featuring John Overdrive on drums and Moyni Phobic on bass, they manage to deliver a surprisingly tight, powerful set despite the fact that singer Al has been sick with the lurgi all week and has to spend much of their set sitting on a stool! (Kids… this is proper rock’n’roll attitude rather than cancelling a gig at the merest hint of a broken fingernail…) This current Damidge line-up is sounding great, they’re a bunch of really nice people (don’t tell them I said that) and I really hope they get some recordings done soon, as they keep promising.
WE ARE NOT DEVO. New Cross Inn, 3/3/23. As you may already know, I’m not a big fan of ‘tribute bands’. I don’t mind these things as one-off events or something just done as a bit of fun, but it now seems to be taken far too seriously, with full-time bands touring on a professional basis and even trying to mimic the original band members. However, there are some exceptions and ‘We Are Not Devo’ are one of them. For a start, a Devo tribute band is only ever going to have a limited appeal so you can’t really accuse them of just trying to make some quick cash and the whole ethos of Devo sort of lends itself to the concept. Most importantly, the music allows enough space for the new band to add some of their own character, most notably the fact that the lead singer is female, which adds a nice twist to the proceedings. The vocals remain close enough to Mark Mothersbaughs’ style to please the fans, but there’s a different edge to it. In an hour-long set, We Are Not Devo play all the ‘hits’ that you’d want to hear, plus a few less obvious songs that will appeal to the more die-hard fans. They perform with plenty of energy and imagery and maintain that sly sense of humour that always helped to keep Devo set apart from any others. I have no problem recommending this band and if you do get to see them, I’m sure you’ll enjoy it too.
KILLING JOKE. 100 Club, 9/3/23. Killing Joke had announced a one-off gig at the Royal Albert Hall, which I wasn’t too keen on seeing. Having to watch KJ from a seat, rather than being able to get down to the front, just isn’t right, so I was much happier when they announced several low-key warm-up dates at small venues around the country. Despite the usual hassles in securing tickets, I eventually found someone with a spare (cheers, Kevin!) and ended-up going along to see them at the 100 Club. Result! There was no support band for these dates, so at 9.00, Killing Joke took to the stage without any delays. These dates are a special celebration of their first two albums, the self-titled debut and ‘What’s This For’, playing them both in correct order. As such, the first sound we hear from the stage is the sinister intro for ‘Requiem’, a sequence that still sends tingles down my spine. Geordies’s awesome guitar opens up and sets the perfect tone before the rest of the band join in. It’s one of those songs that just can’t be bettered. There’s not many gaps between songs as they proceed through the album, with ‘Wardance’, Tomorrow’s World’, ‘The Wait’, ‘Complications’ just as vital now as they were in 1980. When they complete the songs from the first album, there’s no formal break before they delve into the tracks from ‘What’s This For’. ‘ The Fall of Because’ has always been a key-moment in Killing Joke’s ongoing legacy and, yet again, it never disappoints. Other fan-favourites like ‘Tension’, ‘Unspeakable’ and ‘Follow the Leaders’ prove to be further highlights of the set, before it comes to an end, but there are still plenty of songs from the same era and, as an encore, we get stunning renditions of ‘Change’, ‘Are You Receiving?’, Turn to Red’ and, of course, ‘Pssyche’. Killing Joke have always been an incredibly powerful live band, whether they’re playing large or small venues, but there’s always something special about seeing them so close-up. By all accounts, their gig at the Royal Albert Hall a few days later was pretty impressive as well, but this set at the 100 Club was more than enough for me.
HAGAR THE WOMB / DOGSHITE / RABIES BABIES. The Royal Sovereign, 11/3/23. I’d never been to this pub-venue before and as a result it took me ages to get there. Now that I know where it is, it won’t be a problem again, but trying to figure out where you’re going whilst sitting on a bus full of noisy, drunk people is never going to go smoothly. That said, once I get there it turns out to be a nice little venue, even if it is a bit too packed for comfort. This weekend marks International Women’s Day and Carmels’ birthday (Dogshite vocalist, in case you don’t already know) so there’s a great atmosphere. Rabies Babies play first, delivering there brand of raw, noisy punk rock before Dogshite take to the stage (no doubt playing early to allow time for excessive drinking.) The audience is so packed in front of the ‘stage’ area that I can hardly see the tops of their heads, but they sound as good as ever and everyone is jostling around in high spirits. Finally, it’s time for Hagar the Womb and the merriment continues. I do miss Steph (the sensible one on guitar) but her replacement Laura (a Rabid Baby) has proved to be an excellent choice and fits-in perfectly with the rest of the rabble, err, I mean, band… Amongst all the usual Hag-classics, we even get a new song tonight, the entirely truthful ‘The Night We Stole The Mekons Beer’ (or something like that.) Was this a great evening or a magnificent evening? Answers on a postcard please…
HEAVY METAL KIDS / THE PHOBICS. New Cross Inn, 17/3/23. Here’s two bands who were a great match! Having played with the Heavy Metal Kids on previous occasions, and confirmed fans to boot, The Phobics took to the stage to warm-up proceedings and did a great job. They seem to be quickly building things up again after the enforced hiatus of the lockdowns and the songs from their most recent album, ‘Burnt Rubber’, are still sounding relatively fresh. They go down really well, not just because New Cross Inn is practically their home-turf, but also because the fans of the Heavy Metal Kids (and, indeed, several members of the band themselves) are quickly caught-up in The Phobics raw brand of punk rock’n’roll. By the time they finish, the atmosphere feels great and everyone’s ready for the headliners. It’s already been said so many times that the Heavy Metal Kids were one of the true precursors to the Punk scene in the UK, even though they never seem to get the credit they deserve. They were authentic, not a bunch of chancers pretending to have attitude, and they had great songs that were delivered by a band who could certainly play well, but didn’t waste their time trying to be too clever. Sadly, their original frontman, Gary Holton, died during the Eighties but the remainuing band members reformed in 2003 and have since been recording and playing live, albeit with several different line-ups, ever since. Tonight turns-out to be the first time I’ve seen them with their current singer, Simon Gordon, and I’ve got to say he does a really good job. In fact, this proves to be one of the best times I’ve seen them, with the band sounding great and the audience responding enthusiastically. Lots of old favourites, like ‘Chelsea Kids’, ‘She’s No Angel’ and ‘Delirious’ alongside more recent tracks like ‘Blow it all Away’ and ‘Hit the Right Button’, although for me the highpoint is a superb version of ‘Squalliday Inn’, always one of my favourites. There was a good turn-out for this gig but it wasn’t as full as it should have been. Regardless, the band played a truly great set and all I can say is, if you haven’t already seen them, make sure you do so soon.
DISORDER / BUTCHER BABY. Helgi’s, 18/3/23. This is my first visit to Helgi’s. a small bar / venue in Hackney with a mostly punk’n’metal crowd. It’s quite easy to get to, but once there, the place is absolutely packed. It’s hard enough just getting through the main bar area but when I get to the small room at the back that acts as the venue, I’m barely able to get through the door! The main support band, Butcher Baby, start their set just after I arrive and despite the claustrophobic situation, the PA sound isn’t too bad. Butcher Baby are a London based band going for an early Eighties UK Hardcore sound (Discharge, GBH etc) with hints along the way of American bands like Poison Idea and Negative Approach. Not the most original of styles, but in such a small and packed venue they sound pretty powerful. As soon as they end their set, most of the audience head outside for some fresh air, while Disorder quickly set-up their gear. As soon as they’re ready, they launch into their set and the place quickly fills-up again. The current line-up of Disorder are a three-piece featuring only bass-player / singer Taf from the original band, but it makes little difference to the bands legendary, abrasive sound. Disorder broke punk rock down to its’ basics (fast, short songs drenched in distortion) and, alongside fellow Bristol band Chaos UK, became an unlikely international influence on bands as far afield as Scandinavia, Japan and Mexico! I haven’t seen them live since the Eighties, so I was curious to see what they would be like now. As it turns out, their set is actually pretty good although they do seem to have various PA problems. But they blast through their set regardless and songs like ‘Complete Disorder’ and ‘Rampton Song’ stand-out, while a slow, menacing version of the Chaos UK track ‘Victimised’ fitted perfectly amongst their own songs. So I enjoyed the gig. Disorder and Butcher Baby played good sets and Helgi’s was a reasonably cheap venue with a good atmosphere. Not a bad night-out at all.
THE OUTCASTS / OMEGA TRIBE / DISSENT. New Cross Inn, 23/3/23. This was a rather decent line-up, three bands worth seeing even though they have pretty different styles. Dissent (not to be mixed-up with all the other bands with the same name) are based in Deptford and play a mix of late-Seventies /early Eighties punk rock. They are a band I appreciate more now that I’ve seen them a few times and their recent CD, ‘Knee Deep in Scheisse’, includes some great tracks. They proved to be a great opening band for this evening. Omega Tribe are a pretty well-known band in their own right, although these days they mostly play new material and very few of their original songs from the Eighties. It’s taken me a while to get used to this, but as it turns out the new material is rather good in its’ own right and that’s fine by me. Tonight is a shorter set than usual, but if anything, it sounds more focused than usual. Omega Tribe are a band that you need to treat almost like a completely new group, although in some ways you can still hear the links with their past. I won’t say that everyone who liked this band in the past is going to enjoy what they’re doing now, but you should try to hear them because you might be quite impressed. Finally, it’s time for The Outcasts, one of the best bands from the original Belfast punk scene and a consistently fine live band since they reformed. There’s been a few line-up changes since then (brothers Greg and Martin Cowan remain in place, while original drummer Raymond Falls left the band a few years ago and more recently, guitarist Petesy Burns departed and has since been replaced by Buck of The Defects) but the quality of their gigs hasn’t suffered at all. Tonight, they start the set with a fine cover of The Stooges’ classic ‘1969’, before turning to their own songs. For the next hour or so, they play tracks like ‘Magnum Force’, ‘Self Conscious Over You’, ‘Gangland Warfare’ and ‘You’re a Disease’ and also include an excellent version of ‘The Pressure’s On’ by Rudi, another of the great bands from the original Belfast punk scene. There’s just a short encore tonight, their seldom played cover of ‘Ruby’, but it proves to be a fine end to the set. The Outcasts prove themselves once again and, even if they don’t seem desperate to write new songs, the old ones still stand up very well. Get to see them while you can.
THE BEAT / BOWWOWWOW / LONDON CALLING. The Roundhouse, 16/6/23. This was a bit of a strange line-up, but it certainly attracted a large audience. The Roundhouse was packed, if not actually sold-out, so there’s a buzzing atmosphere all evening. The opening band, London Calling, are a Clash tribute band and do the job pretty well, although I don’t really see the point of it. They added no quirk or character of their own to the music, so we might as well have had a DJ playing The Clash Greatest Hits over the PA. But I’m sure a lot of people enjoyed it. It’s not until Bowwowwow arrive onstage that I start to pay attention. This is the band I’m most interested in seeing tonight, even though only Annabella remains from the original band. First time I saw them, there were three original members and they were great. Next time, there were only two original members but they still sounded great… So what would they be like now? Well, I have to say, Annabella put on a really good show, dancing around the stage and providing a frenetic focal point for the audience. Her voice sounded good and she really seemed to be enjoying herself, while the band performed the songs almost perfectly. ‘C30, C60, C90, GO!’ was played second-song in the set and it really grabbed the audience’s attention, ensuring that everyone was either dancing or listening. As they weren’t playing a full-length set, they were able to pepper their hits and best-known songs throughout the set, which kept the fans very happy. ‘Louis Quatorze’ and ‘W.O.R.K’ sounded great and went down well, but the biggest cheer went out for ‘Go Wild in the Country’ halfway through the set, although a Bob Marley cover was a bit of an odd choice. Inevitably, ‘I Want Candy’ is their finale and gets a great response, although personally I didn’t think it was the best moment of the set. But Bowwowwow had returned and once again played an impressive set. Evidently they went down well on the whole tour, so perhaps we’ll get to see them play some of their own dates soon. Fingers-crossed, eh?
By the time The Beat are due onstage, the venue is really crammed and the audience is eager to see the band. The Beat originally enjoyed success between 1978-83, combining a punky version of ska along with reggae, soul and pop. Post-split, former members of the band enjoyed further success with their new groups, General Public and Fine Young Cannibals. However, in more recent times there have been two versions of the band, The English Beat, fronted by Dave Wakeling in America, and The Beat, fronted by Ranking Roger in the UK. Both remained popular, especially on the live circuit, but since the untimely loss of Ranking Roger in 2019, there has just been Dave Wakeling’s version of the band and, even though he is now the only original member, their popularity seems to go from strength to strength. This is the first time I’ve ever seen any version of the band and I was pretty impressed, firstly by how good the band, and particularly Dave Wakeling, sounded and secondly, just how many songs I recognised. I suppose as it’s so long since their original heyday, it becomes easy to forget just how many hit records they had, but hearing them altogether again, it really makes for an excellent party. ‘Twist & Crawl’, ‘Hands Off…She’s Mine’, ‘Too Nice to Talk To’, ‘Ranking Full Stop’, ‘Mirror in the Bathroom’… Undeniably, The Beat wrote and recorded some truly great music and the songs will still have you wanting to get up and dance. They still sound remarkably vital and fresh, just as pop music should. Inevitably, they finished the evening with their version of ‘Tears of a Clown’ and it was the perfect finale. It may have taken me more than three decades to see them, but I’ll certainly do my best to catch them again.