LIVE REVIEWS, JULY - DECEMBER 2017.
GREENDAY / THE STRANGLERS / RANCID / GOGOL BORDELLO / THE HIVES / THE DAMNED / BASH & POP / STIFF LITTLE FINGERS / JESSE MALIN. Hyde Park, 1/7/17. For the first time since the Black Sabbath event a few years ago, a line-up was announced as part of the ‘British Summer Time’ festival that was quite tempting. However, the ticket price was not exactly a bargain. Once you included booking fees etc, you were looking at around £75 for one day which was rather off-putting. However, a week or so before the event I heard a rumour that, as it hadn’t yet sold-out, an abundance of cheap tickets were starting to become available online. I kept a close watch and finally snapped-up a bargain at just £27.00. Result ! Similarly, several of my friends managed the same feat. Of the four of us, I don’t think anyone paid more than £35.00. You see what happens if you can keep your nerve…
Anyway, arriving at Hyde Park there’s the usual lack of information about which entrance you have to use but eventually, I get inside the grounds and head straight-up to the Barclaycard Stage (a rock gig sponsored by a credit-card… how sick is that ?) where the first performance of the day is due to start at 1.00pm which in this case is Jesse Malin. Fortunately, Tom and Moyni both arrive just in time as Jesse’s full band appear onstage. I wasn’t sure what kind of reaction he would get, on the smaller stage at such an early point in the day, but there’s already a crowd gathering including obvious fans, so when he begins the set with ‘She Don’t Love Me’, there’s a very positive response. As the songs continue, more and more people join the audience, adding to the atmosphere. Within just a few songs the audience has grown to quite a large crowd and everyone seems to be enjoying themselves. Not a bad way to start the afternoon ! After about 6 or 7 of his own songs, Jesse announces that he can’t come to England without playing a song by The Clash, and they end their set with a riveting version of ‘Rudie Can’t Fail’ that has most of the audience dancing. Especially considering the circumstances, Jesse Malin had played a great little set and I’m sure that more than a few people would be chasing-up his albums afterwards.
The stage-times are pretty tight and in some cases the running order was quite bewildering, but mostly it worked out for us. There was a five minute walk from the smaller stage down to a point where you could see and hear what was going on at the mainstage, so promptly leaving one place got you to the other just as the next band came on. In this case, Stiff Little Fingers are the opening band on the main stage. I haven’t seen them for quite a while and this was never going to be the ideal place, but with original bass player Ali McMordie back in the band, I was pretty curious to see what they would be like. With a limited amount of time, I’m glad to say they stuck to the more-familiar material and it did sound alright. Jake Burns is now much larger than he ever was, but his voice sounded fine and the rest of the band played a strong, tight set. Starting off with ‘Suspect Device’ was a smart-move (even if we only heard the last few moments of it as we trekked-down from the other stage) but for me it was better hearing old favourites like ‘Roots, Radicals, Rockers & Reggae’, ‘Barbed Wire Love’, and ‘Tin Soldiers’ played with the intent that they deserve. There’s only one more recent song, ‘Strummerville’, but the biggest cheer comes for ‘Alternative Ulster’ which brings the short set to a close.
Back up to the small stage, just in time for the recently-revived Bash & Pop. Originally formed by Tommy Stinson after The Replacements broke up (and before his stint in Guns’n’Roses) he decided to revive the band-name (even though none of the other original members are involved) after the recent Replacements’ reunion fell apart. As such, I think they were playing mostly new material, although I wouldn’t swear to that. Fortunately, the songs veer much more towards The Replacements’ style of rock’n’roll and powerpop rather than ‘that other band’ he was involved-in so it’s good catchy stuff. Tommy did look a bit out of place in the bright sunshine but the songs were catchy and plenty of people were paying attention.
And then it’s another run back to the mainstage, as it’s time for The Damned. I think a lot of people were surprised that they were playing so early in the day (going by the number of t-shirts being worn by people at the event, The Damned were second only to Green Day) but I’m sure there’s a lot of music business politics involved with these things. Anyway, they only have about forty minutes onstage (which pretty-much excluded ‘Curtain Call’) so they opt for a rapid-fire set of songs from ‘Love Song’ and ‘Neat Neat Neat’ through to ‘New Rose’ and ‘Smash It Up’, finding time for a reminder of their mid-Eighties hits (‘Grimly Fiendish’ and ‘Eloise’) plus a couple of less-obvious but fine moments from ‘Nasty’ and ‘Ignite’. It was weird having to watch them from such a distance (and quite scary to see Captains’ mug smirking down from the giant screens !) but even despite the limitations that gigs like this impose on a bands usual performance, they looked as if they were enjoying themselves and the audience certainly loved it. I can’t say it was the best gig I’ve ever seen them play, but it was fun and in the circumstances they made the most of it.
There’s a few more bands that we’re interested in seeing but not entirely enthusiastic, so we find ourselves a reasonable vantage point (we can see the main stage while being close to both the bars and the toilets) and spend the next couple of hours indulging in the very-reasonably-priced, delicious, quality beers (Sarcastic ? Me ? Never… well, only occasionally…) The Hives are next on the mainstage and while I do enjoy their catchy brand of garage-pop, this really wasn’t a good way to see them. This is the kind of music that needs to be seen and heard in small, sweaty clubs, not in a huge arena situation where even if you were in the front row, you’d still be 25 yards away from the stage. Frontman Pelle tries to get the audience involved but in this kind of situation it’s just not going to happen. Songs like ‘Main Offender’, ‘Hate To say I Told You So’ and ‘Tick Tick Boom’ still sound great, but they don’t go-off the way we know they can.
After another short break, it’s time for Gogol Bordello. I had been hoping these would be fun but, not being too familiar with their material and seeing them for the first time at a place like this, I really don’t get too grips with what they’re doing. I start watching but after a while, I realise that they’re just not keeping my attention. Maybe some other time.
At least Rancid fare a lot better, and although the sound seems worse for them, they’ve clearly got a lot of their own fans in attendance and it starts to warm things up again. I can’t remember when I last saw Rancid and it certainly wasn’t at anything like this, but they put a lot of effort into their songs and although seeing a band like them on a huge stage like this doesn’t really compute, they manage to make an impression.
After another short break, it’s time for Gogol Bordello. I had been hoping these would be fun but, not being too familiar with their material and seeing them for the first time at a place like this, I really don’t get too grips with what they’re doing. I start watching but after a while, I realise that they’re just not keeping my attention. Maybe some other time.
At least Rancid fare a lot better, and although the sound seems worse for them, they’ve clearly got a lot of their own fans in attendance and it starts to warm things up again. I can’t remember when I last saw Rancid and it certainly wasn’t at anything like this, but they put a lot of effort into their songs and although seeing a band like them on a huge stage like this doesn’t really compute, they manage to make an impression.
By the end of this we’re all ready to head back to the smaller stage, where The Stranglers are playing the final set of the day. The good thing about this stage is that it isn’t surrounded by endless security fences and VIP areas. Although there’s a large audience here to see them, you can still get close enough to have a really good view and the sound is far better than down in the main arena. ‘Waltzinblack’ heralds their arrival onstage and then they’re straight into an excellent version of ‘Five Minutes’, undoubtedly the most aggressive piece of music heard all day. With only a slightly longer time onstage than the other bands, they stick to shorter songs and deliver them in rapid succession, from ‘Grip’ and ‘Nice’n’Sleazy’ through to ‘Peaches’ and ‘Bear Cage’, with ‘Relentless’ representing their more recent albums. With JJ Burnel and Baz Warne fronting the band, they have all the presence and character of their early days and perform the songs better than ever. As they end the set with great versions of ‘Something Better Change’, ‘Duchess’ and ‘No More Heroes’, I’m sure they left the stage leaving many in the audience agreeing that this had been the best performance of the day.
And then, time for a final beer and a chance to see what Green Day are like these days. After having seen them at places like The Garage and the Boston Arms, it’s really weird to see them headlining a stage like this. I think we all knew that they would get popular, but never envisioned this scale of success. The first thing to say is that, although they’re musical outlook hasn’t changed that much, they’ve certainly learned how to perform in front of arena crowds. Billie-Joe makes the calls and grand gestures that are necessary to get across to this kind of venue and although they would have never got away with this kind of thing at Gilman St, he also manages to not make it seem too corny. I was half-expecting that I wouldn’t recognize most of the songs, but they do actually play a lot of their earlier material, including ‘2000 Light Years Away’, ‘Welcome To Paradise’, ‘Longview’, ‘Basketcase’ and even their cover of Operation Ivy’s ‘Knowledge’. I recognize quite a few of the later songs as well, but I wouldn’t be so sure on their names. Anyway, it’s not a bad show. If someone has to be on such a massive level, I’d much rather it be Green Day who at least have something to say for themselves. None of us lasted through the whole set and I can’t see myself rushing back to see them again, but they certainly weren’t embarrassing.
And then, time for a final beer and a chance to see what Green Day are like these days. After having seen them at places like The Garage and the Boston Arms, it’s really weird to see them headlining a stage like this. I think we all knew that they would get popular, but never envisioned this scale of success. The first thing to say is that, although they’re musical outlook hasn’t changed that much, they’ve certainly learned how to perform in front of arena crowds. Billie-Joe makes the calls and grand gestures that are necessary to get across to this kind of venue and although they would have never got away with this kind of thing at Gilman St, he also manages to not make it seem too corny. I was half-expecting that I wouldn’t recognize most of the songs, but they do actually play a lot of their earlier material, including ‘2000 Light Years Away’, ‘Welcome To Paradise’, ‘Longview’, ‘Basketcase’ and even their cover of Operation Ivy’s ‘Knowledge’. I recognize quite a few of the later songs as well, but I wouldn’t be so sure on their names. Anyway, it’s not a bad show. If someone has to be on such a massive level, I’d much rather it be Green Day who at least have something to say for themselves. None of us lasted through the whole set and I can’t see myself rushing back to see them again, but they certainly weren’t embarrassing.
BRIAN JAMES GANG / DEPARTMENT S. 100 Club, 6/7/17. I was still making my mind-up about this gig when Tom Phobic got in touch with the offer of a freebie ticket, which finally made me decide that it had to be done. Meeting-up early at Bradleys bar, we eventually head into the 100 Club in time to catch Department S who, with Leigh Haggerty now in their ranks, are sounding decidedly better these days. You have to get past the point that their best known song, ‘Is Vic There’, is probably the least representative song of the entire set and then what you hear is a rather good rock’n’roll band more in line with the Heartbreakers than the New Wave scene that they’re often (wrongly) assumed to be part of. I won’t say they’re an exceptional band, but they’re certainly worth checking out.
Brian James seems to have block-booked the 100 Club for every July 6th onwards, but it’s the anniversary of The Damneds’ first gig, so why shouldn’t he ? He plays with his regular band tonight and they sound great, much better than last years rather chaotic performance. The thing that really sets them apart is Brians’ guitar sound, instantly recognisable even on the newer songs. He has such a great style of playing that many have tried to imitate but not even got close to (even Captain Sensible admits as much !) The only failing is that Brian hasn’t really got the best voice for the more uptempo material. He can handle slower, more expressive vocals (if you’ve heard his Bluesy ‘Chateau Brian’ album, or even his fine solo single ‘Ain’t That A Shame’, you’ll know what I mean) but having previously played with frontmen like Dave Vanian and Stiv Bators, he’s not so able to fill their shoes. That being said, it’s great to watch and hear him play guitar and, really, that’s what this is all about. At the end of the set, his former cohort in Lords of the New Church, Dave Treganna joins him onstage and it’s a nice bonus to bring the evening to a close. Same time next year, perhaps ?
Brian James seems to have block-booked the 100 Club for every July 6th onwards, but it’s the anniversary of The Damneds’ first gig, so why shouldn’t he ? He plays with his regular band tonight and they sound great, much better than last years rather chaotic performance. The thing that really sets them apart is Brians’ guitar sound, instantly recognisable even on the newer songs. He has such a great style of playing that many have tried to imitate but not even got close to (even Captain Sensible admits as much !) The only failing is that Brian hasn’t really got the best voice for the more uptempo material. He can handle slower, more expressive vocals (if you’ve heard his Bluesy ‘Chateau Brian’ album, or even his fine solo single ‘Ain’t That A Shame’, you’ll know what I mean) but having previously played with frontmen like Dave Vanian and Stiv Bators, he’s not so able to fill their shoes. That being said, it’s great to watch and hear him play guitar and, really, that’s what this is all about. At the end of the set, his former cohort in Lords of the New Church, Dave Treganna joins him onstage and it’s a nice bonus to bring the evening to a close. Same time next year, perhaps ?
THE DICKIES. The Underworld, 7/7/17. Back in the UK to celebrate their 40th Anniversary, The Dickies arrive in Camden with the recent furore from the Warped Tour hot on their heels. For those who are unaware of events, here’s a quick recap ; The Dickies had been playing a bunch of dates on the Warped Tour across America. At one show, a woman had staged a protest against the band accusing them of sexism, to which Leonard had lost his temper and let out a stream of abuse towards the perpetrator. A clip of the incident was released online, together with the claim that they had been thrown-off the tour as a result and initially it hadn’t looked good for the band. However, within a very short time, further facts emerged. The protestor had been holding a banner that basically accused the band of being child-molesters and had even thrown it at Leonard (none of which was shown on the internet clip.) Furthermore, Kevin Lyman (founder of the Warped Tour) issued a statement which clarified that The Dickies had not been thrown-off the tour (it was their last scheduled date) and that the protestor was not actually a festival-goer but someone working on the Tour. As such, he stated that if an individual had been offended by one of the bands, they should have approached him about it rather than escalating the situation in public. And, at the end of the day, what was it that caused such offence ? Leonards’ between-song jokes and stage- props (the Stuart puppet.) For gods’ sake, you expect that kind of response from the PMRC, not someone in the supposed ‘alternative’ culture. As more information became available, it seemed to come down to this ; someone wanted to create some publicity for themselves and taking parts of The Dickies stage-show out of context seem to be an easy target. Leonard has since apologized for losing his temper, but has anyone apologized for inciting the situation in the first place ? Not that I’m aware of.
So, with this in mind, the band were due to play two nights at the Underworld, performing their first and second albums in their entirety plus additional material to bring it up to full set-lengths. But would the attendance be affected by the recent fuss.
As it turns out, no. Far from Dickies fans being the vulgar bigots that someone hoped they were, it seems that most people had investigated the facts online and come to their own conclusions. As the band arrived onstage for the first night and began the opening tracks of ‘Incredible Shrinking Dickies’, it was clear the audience was on their side. ‘Give It Back’, ‘Doggie Do’ and ‘Paranoid’ are played in quick succession before Leonard asks Stan, ‘Hey, my wi-fi is down at the moment, has anything interesting being happening online ?’ Stan replies, ‘You can have my mind, I don’t even want to look at it !’ The big cheer this gets really shows whose side everyone is on and the set continues. ‘Shadow Man’ introduces a sax player (that’s the first time I’ve seen them include a sax live, even though it features on the original albums) and ‘Mental Ward’ sees Leonard donning a strange skull-cap whilst systematically snaring Stan with gaffer tape. ‘Eve of Destruction’ still sounds as awesome as when I first heard it (on the Peel show, of course) and side two of the album quickly follows, with lesser-played songs like ‘Walk Like An Egg’ and ‘Shake & Bake’ sounding really great. The finale comes with the instrumental ‘Rondo’, a totally different pace to the rest of the album but still a perfect ending. The band leave the stage for a few moments before returning for the rest of the set. Starting with the old b-sides, ‘Hideous’ and ‘I’m Ok, You’re OK’, before delving into some of their later songs like ‘Welcome to the Diamond Mine’, ‘Toxic Avenger’ and the cover of ‘Golden Boys’. Leonard dedicates ‘Pretty Ballerina’ to ‘all the women I’ve loved… and lost’ (Stan shows no sympathy at all) while ‘If Stuart Could Talk’ sees the return of that disgusting, non-politically correct puppet (everyone laughed) and ‘Gigantor’ ended the set on full throttle. They disappear from the stage again, but then they’re back for the encore, finishing with their version of ‘Nobody But Me’ and the inevitable, but always enjoyable, ‘Banana Splits’. Still one of the most entertaining punk bands I have ever seen, I really can’t wait for the second night !
So, with this in mind, the band were due to play two nights at the Underworld, performing their first and second albums in their entirety plus additional material to bring it up to full set-lengths. But would the attendance be affected by the recent fuss.
As it turns out, no. Far from Dickies fans being the vulgar bigots that someone hoped they were, it seems that most people had investigated the facts online and come to their own conclusions. As the band arrived onstage for the first night and began the opening tracks of ‘Incredible Shrinking Dickies’, it was clear the audience was on their side. ‘Give It Back’, ‘Doggie Do’ and ‘Paranoid’ are played in quick succession before Leonard asks Stan, ‘Hey, my wi-fi is down at the moment, has anything interesting being happening online ?’ Stan replies, ‘You can have my mind, I don’t even want to look at it !’ The big cheer this gets really shows whose side everyone is on and the set continues. ‘Shadow Man’ introduces a sax player (that’s the first time I’ve seen them include a sax live, even though it features on the original albums) and ‘Mental Ward’ sees Leonard donning a strange skull-cap whilst systematically snaring Stan with gaffer tape. ‘Eve of Destruction’ still sounds as awesome as when I first heard it (on the Peel show, of course) and side two of the album quickly follows, with lesser-played songs like ‘Walk Like An Egg’ and ‘Shake & Bake’ sounding really great. The finale comes with the instrumental ‘Rondo’, a totally different pace to the rest of the album but still a perfect ending. The band leave the stage for a few moments before returning for the rest of the set. Starting with the old b-sides, ‘Hideous’ and ‘I’m Ok, You’re OK’, before delving into some of their later songs like ‘Welcome to the Diamond Mine’, ‘Toxic Avenger’ and the cover of ‘Golden Boys’. Leonard dedicates ‘Pretty Ballerina’ to ‘all the women I’ve loved… and lost’ (Stan shows no sympathy at all) while ‘If Stuart Could Talk’ sees the return of that disgusting, non-politically correct puppet (everyone laughed) and ‘Gigantor’ ended the set on full throttle. They disappear from the stage again, but then they’re back for the encore, finishing with their version of ‘Nobody But Me’ and the inevitable, but always enjoyable, ‘Banana Splits’. Still one of the most entertaining punk bands I have ever seen, I really can’t wait for the second night !
THE DICKIES. The Underworld, 8/7/17. So, back for the second night and, being a Saturday, this time I arrive early and go for some pizza with Stan, Ed and Adam before the show. It’s a really warm afternoon, so it’s great to get away from the club for a while and enjoy a decent beer before the evening commences.
Back at the venue, the place gradually fills up again. It’s not sold-out but comfortably full-up, the same as the previous evening, and by the looks of it, there are a lot of people who have come to both shows while others have just picked their favourite album. After the same intro tape (from a James Bond soundtrack, although I can’t remember which one) the band appear onstage again and Leonard recaps for those who weren’t here the previous night. ‘We’re going to play ‘Dawn of The Dickies’, leave the stage and then come back to play the rest of the set’. Just in case anyone panics and gets worried that they’re being short-changed...
With ‘Saxy Joe’ back onstage, they begin with ‘Where Did His Eye Go’, probably the only punk song about Sammy Davis Jnr and one of my favourites. ‘Fan Mail’, another great song with genuinely insightful lyrics, and ‘Manny Mo & Jack’ before the first few tracks I’m really waiting to hear, the rarely played ‘Infidel Zombie’ and ‘I’m a Chollo’, both sounding as good as I hoped they would. On to side two with their inspired version of ‘Nights in White Satin’ and ‘Stuck in a Pagoda’, before Leonard cheekily tells the audience, ‘You’re a bunch of great looking kids… we’d like to take each and everyone of you out for a Chai Latte and really get to know you… but we just ain’t got the time…’
Then there’s the other tracks I was particularly waiting to hear, ‘I’ve Got a Splitting Hedachi’, ‘Attack of The Molemen’ (complete with Leonard on pop-up keyboards) and a truly wonderful version of ‘She Loves Me Not’. While that last song has always been a bit of a throwaway on record, live they take it much further. Everytime you think it’s over, they launch into it again, even to the extent of Leonard leaving the stage only to leap back to the microphone one more time. You really had to see / hear it, but it was a real highlight.
Back for the rest of the set and it’s quite different to the previous evening, opening with ‘Rosemary’ and ‘Howdy Doody in the Woodshed’ before reprising ‘Paranoid’, ‘Golden Boys’ and ‘Toxic Avenger’ (no problems hearing them again.) ‘Free Willy’ and ‘Oh Boy’ (a song originally written for the Ramones) follow on before the evening finally comes to a close with ‘Shake & Bake’, Eve of Destruction’ and ‘Banana Splits’, leaving everyone smiling and cheering as The Dickies Leave The Building.
If ever a band really deserved to celebrate their 40th Anniversary, then it’s The Dickies. Few would ever have expected them to make it and the amount of problems and tragedies they’ve had in their time certainly would have prevented many others. But against the odds (and certainly against the wishes of the music press) they’ve made it this far and still sound as great as ever. Now, come along chaps… how about a brand new album to cap it off ?
Back at the venue, the place gradually fills up again. It’s not sold-out but comfortably full-up, the same as the previous evening, and by the looks of it, there are a lot of people who have come to both shows while others have just picked their favourite album. After the same intro tape (from a James Bond soundtrack, although I can’t remember which one) the band appear onstage again and Leonard recaps for those who weren’t here the previous night. ‘We’re going to play ‘Dawn of The Dickies’, leave the stage and then come back to play the rest of the set’. Just in case anyone panics and gets worried that they’re being short-changed...
With ‘Saxy Joe’ back onstage, they begin with ‘Where Did His Eye Go’, probably the only punk song about Sammy Davis Jnr and one of my favourites. ‘Fan Mail’, another great song with genuinely insightful lyrics, and ‘Manny Mo & Jack’ before the first few tracks I’m really waiting to hear, the rarely played ‘Infidel Zombie’ and ‘I’m a Chollo’, both sounding as good as I hoped they would. On to side two with their inspired version of ‘Nights in White Satin’ and ‘Stuck in a Pagoda’, before Leonard cheekily tells the audience, ‘You’re a bunch of great looking kids… we’d like to take each and everyone of you out for a Chai Latte and really get to know you… but we just ain’t got the time…’
Then there’s the other tracks I was particularly waiting to hear, ‘I’ve Got a Splitting Hedachi’, ‘Attack of The Molemen’ (complete with Leonard on pop-up keyboards) and a truly wonderful version of ‘She Loves Me Not’. While that last song has always been a bit of a throwaway on record, live they take it much further. Everytime you think it’s over, they launch into it again, even to the extent of Leonard leaving the stage only to leap back to the microphone one more time. You really had to see / hear it, but it was a real highlight.
Back for the rest of the set and it’s quite different to the previous evening, opening with ‘Rosemary’ and ‘Howdy Doody in the Woodshed’ before reprising ‘Paranoid’, ‘Golden Boys’ and ‘Toxic Avenger’ (no problems hearing them again.) ‘Free Willy’ and ‘Oh Boy’ (a song originally written for the Ramones) follow on before the evening finally comes to a close with ‘Shake & Bake’, Eve of Destruction’ and ‘Banana Splits’, leaving everyone smiling and cheering as The Dickies Leave The Building.
If ever a band really deserved to celebrate their 40th Anniversary, then it’s The Dickies. Few would ever have expected them to make it and the amount of problems and tragedies they’ve had in their time certainly would have prevented many others. But against the odds (and certainly against the wishes of the music press) they’ve made it this far and still sound as great as ever. Now, come along chaps… how about a brand new album to cap it off ?
FALLEN LEAVES. Hope & Anchor, 22/7/17. In case you’ve been wondering, the Fallen Leaves have a bi-monthly residency at the Hope & Anchor, similar to their previous exploits at the Inn On The Green and the 12 Bar Club. Basically, they headline each event and bring in different support acts each time. This produces a pretty regular audience although you don’t have to turn up for each and every occasion (even though that may be preferable.) The thing I can say is that everyone I know who has gone down to one of these gigs has thoroughly enjoyed themselves and most have returned to further nights. It has a different atmosphere to the Rockaway Beach events at the same venue but no less enjoyable.
As usual, I meet a bunch of friends as soon as I walk into the venue, having just missed the support band (there was food involved) but in plenty of time to get a beer and find a good spot to watch the Fallen Leaves. As soon as they start playing, they have everyone’s attention. Rob Green is such an intriguing frontman while Rob Symmons is the perfect foil, making some incredible guitar sounds but in such an understated way that it balances perfectly beside the singer rather than stealing the show. Meanwhile, bass player Matthew Karas and drummer Buddy Ascott provide the perfect rhythms to allow the others the space they need. I’m beginning to recognise a lot of the songs now, not just the ones from the latest albums (although at one point they play a new track and Rob Green announces that it’s so new that ‘you may know it better than we do, even though it’s the first time you’ll hear it !’ For me, the best moments are ‘Prodigal Son’, ‘Motorcycle Girl’ and a fine, extended version of ‘Trouble’. Undoubtedly one of the best bands around at the moment and I’m sure more and more people are going to agree as they get to hear them. Get yourself in the queue soon.
As usual, I meet a bunch of friends as soon as I walk into the venue, having just missed the support band (there was food involved) but in plenty of time to get a beer and find a good spot to watch the Fallen Leaves. As soon as they start playing, they have everyone’s attention. Rob Green is such an intriguing frontman while Rob Symmons is the perfect foil, making some incredible guitar sounds but in such an understated way that it balances perfectly beside the singer rather than stealing the show. Meanwhile, bass player Matthew Karas and drummer Buddy Ascott provide the perfect rhythms to allow the others the space they need. I’m beginning to recognise a lot of the songs now, not just the ones from the latest albums (although at one point they play a new track and Rob Green announces that it’s so new that ‘you may know it better than we do, even though it’s the first time you’ll hear it !’ For me, the best moments are ‘Prodigal Son’, ‘Motorcycle Girl’ and a fine, extended version of ‘Trouble’. Undoubtedly one of the best bands around at the moment and I’m sure more and more people are going to agree as they get to hear them. Get yourself in the queue soon.
THE DICKIES / RED RAUCOUS / CHURCH OF EON. Lewes Con Club, 23/7/17. A late night followed by an early morning has always been my idea of Hell (or perhaps Hull) but in some cases it has to be done. After I’d enjoyed their two gigs in Camden so much, I had been tempted to catch the final date of The Dickies tour in Lewes. Calling my friends John & Kate to find out if they’d be attending, I not only discovered that they would but also that it was going to be John’s birthday (43 again) so that made it a something I just couldn’t miss.
So as I said, early start as I need to be at London Bridge station by midday. I arrive in plenty of time so I decide to buy a drink from one of the station shops. I know it’ll be expensive, but what I don’t expect is that a bottle of coca cola (no cans available) actually costs nearly a pound more than a can of cider ! Which means they’re driving me to alcohol ! In the circumstances, I succumbed to temptation…
Anyway, a relatively short journey down to Brighton only to find that it’s decided to rain just as I get there. It continues steadily during all of my walk over to John & Kates’ house, when it promptly decides to stop. Hmm !
That being said, I’m just in time for dinner and Kate has laid-on a very nice spread for Johns’ 36th birthday, so I’m chuffed to that they asked me to join them. (Beers are also involved.)
Although Lewes is just outside Brighton, it’s only a short bus-ride, which takes us into the heart of the quaint little town. It really doesn’t look like the location for a punk rock gig, but soon enough we find the venue and it’s a lovely place. Contrary to rumours, it’s actually the Constitutional Club rather than the Conservative Club, shortened to the Con Club for musical purposes. It has a great, cheaply priced bar and a large beer garden that’s perfect for an evening like this. Despite it being a Sunday evening, the place steadily fills up and we bump into lots of familiar faces, all of whom seem keen to congratulate John on his 31st birthday and buy him a beer. He graciously accepts (many times.)
The first band onstage are Church of Eon, who I’ve been meaning to see for a while. Fronted by Nic Austin, who is currently back in Chelsea after his original stint in the band during the ‘Evacuate’ era, Church of Eon continue the anthemic punk / rock style he has previously played, giving it a larger, harder sound. It’s a pity they’re opening the show before more people arrive, but I can certainly hear why quite a few people have been raving about this band.
Anyway, a relatively short journey down to Brighton only to find that it’s decided to rain just as I get there. It continues steadily during all of my walk over to John & Kates’ house, when it promptly decides to stop. Hmm !
That being said, I’m just in time for dinner and Kate has laid-on a very nice spread for Johns’ 36th birthday, so I’m chuffed to that they asked me to join them. (Beers are also involved.)
Although Lewes is just outside Brighton, it’s only a short bus-ride, which takes us into the heart of the quaint little town. It really doesn’t look like the location for a punk rock gig, but soon enough we find the venue and it’s a lovely place. Contrary to rumours, it’s actually the Constitutional Club rather than the Conservative Club, shortened to the Con Club for musical purposes. It has a great, cheaply priced bar and a large beer garden that’s perfect for an evening like this. Despite it being a Sunday evening, the place steadily fills up and we bump into lots of familiar faces, all of whom seem keen to congratulate John on his 31st birthday and buy him a beer. He graciously accepts (many times.)
The first band onstage are Church of Eon, who I’ve been meaning to see for a while. Fronted by Nic Austin, who is currently back in Chelsea after his original stint in the band during the ‘Evacuate’ era, Church of Eon continue the anthemic punk / rock style he has previously played, giving it a larger, harder sound. It’s a pity they’re opening the show before more people arrive, but I can certainly hear why quite a few people have been raving about this band.
The next band are Red Raucous and while I certainly didn’t dislike them, I couldn’t help thinking that maybe they should have played before Church of Eon. Playing a blend of early rock’n’roll with an almost skiffle-style sparseness, their overall sound was a bit of a come-down after the first band. That being said, they certainly knew what they were doing and in the right situation, I’m sure they could really rip it up. But this just wasn’t that situation.
I’ve already bumped into Stan and he told me that the band has been having a really great time, which shows as soon as they hit the stage. Playing a mixture of songs taken from both of the sets in Camden, they begin with ‘Where Did His Eye Go’ before playing pretty much everything I wanted to hear. ‘Paranoid’, ‘Toxic Avenger’, ‘Nights in White Satin’, Pretty Ballerina’, ‘Fan Mail’, If Stuart Could Talk’ and ‘Gigantor’. The venue is pretty-much full by this point and everyone is having a great time. But it’s the encore that supplies the special end-of tour treat, when the band call their legendary merch-guy Ian to the stage and he sings ‘Breaking The Law’ with them. That song works so well for The Dickies, it really needs to be recorded ! A mere seconds after the end, Ian is back at the merch-stall with his shirt back on and his hair back in place… total professional. ‘Banana Splits’ ends the show and it really was one of their best. In fact, the only dissenting voice heard at the end was John who was bemoaning the fact that they hadn’t played ‘Wagon Train’, but we’ll let him off because, after all, it was his 25th birthday...
I’ve already bumped into Stan and he told me that the band has been having a really great time, which shows as soon as they hit the stage. Playing a mixture of songs taken from both of the sets in Camden, they begin with ‘Where Did His Eye Go’ before playing pretty much everything I wanted to hear. ‘Paranoid’, ‘Toxic Avenger’, ‘Nights in White Satin’, Pretty Ballerina’, ‘Fan Mail’, If Stuart Could Talk’ and ‘Gigantor’. The venue is pretty-much full by this point and everyone is having a great time. But it’s the encore that supplies the special end-of tour treat, when the band call their legendary merch-guy Ian to the stage and he sings ‘Breaking The Law’ with them. That song works so well for The Dickies, it really needs to be recorded ! A mere seconds after the end, Ian is back at the merch-stall with his shirt back on and his hair back in place… total professional. ‘Banana Splits’ ends the show and it really was one of their best. In fact, the only dissenting voice heard at the end was John who was bemoaning the fact that they hadn’t played ‘Wagon Train’, but we’ll let him off because, after all, it was his 25th birthday...
LOST CHERREES / SLOW FACTION / THE WERECATS. The Unicorn, 28/7/17. This is a rather fine line-up at The Unicorn so I meet-up with a bunch of friends and settle-in for a long evening. First onstage are The Werecats, playing their punky blend of powerpop. Think of The Fastbacks and then add a bit more Ramones and perhaps some indiepop and you’ll get the idea. Great, snappy songs that you can hum within seconds, at the same time as bopping in front of the stage. They seem to get better every time I see them, while also retaining a certain chaotic element that really adds to their charm. If you want to see a band that will leave you smirking, look no further.
Slow Faction have a more political edge, but musically they’re just as enjoyable. The most obvious reference point has to be The Clash, but I’d also mention bands like DOA and Channel Three in the way they deliver their songs with a real sense of purpose. That being said, the vocal style is very-much English and keeps everything grounded. Slow Faction are another band who seem to steadily improve every time I see them, so try and take some time to catch them for yourselves.
Lost Cherrees are next, playing their melodic yet sometimes ferocious mix of punk styles. They still have the same awareness of social issues that they set-out with in the early Eighties, but along with changes in personnel, they’ve continued to update their sound and keep their lyrics contemporary. Still with two female vocalist, they add a natural harmonious element that tempers the noisier parts taken by the guitars and drums. I have to admit, while some may still be calling out for their earlier songs, I actually prefer the newer ones, like ‘Dear Tony’ and ‘State of The Nation’. Now that they seem to have reached a settled line-up, I can only imagine that this band is going to get better and better.
Slow Faction have a more political edge, but musically they’re just as enjoyable. The most obvious reference point has to be The Clash, but I’d also mention bands like DOA and Channel Three in the way they deliver their songs with a real sense of purpose. That being said, the vocal style is very-much English and keeps everything grounded. Slow Faction are another band who seem to steadily improve every time I see them, so try and take some time to catch them for yourselves.
Lost Cherrees are next, playing their melodic yet sometimes ferocious mix of punk styles. They still have the same awareness of social issues that they set-out with in the early Eighties, but along with changes in personnel, they’ve continued to update their sound and keep their lyrics contemporary. Still with two female vocalist, they add a natural harmonious element that tempers the noisier parts taken by the guitars and drums. I have to admit, while some may still be calling out for their earlier songs, I actually prefer the newer ones, like ‘Dear Tony’ and ‘State of The Nation’. Now that they seem to have reached a settled line-up, I can only imagine that this band is going to get better and better.
DOA / LOST CHERREES. New Cross Inn, 31/7/17. There was a strange sense of déjà vu about this gig when I walked into the venue expecting to see Lost Cherrees onstage shortly, only to find members of the Werecats standing in front of me. Had I returned to the previous gig ? Well, no, a couple of them were playing in an earlier band (Crystal Piss) and the others had turned up to show their support. So I wasn’t in some big North/South London timeslip. But that could have been fun…
It’s still light outside so it’s rather strange watching Lost Cherrees start their set in this situation (New Cross Inn has huge windows looking out onto the main road, with no curtains…) That being said, they play a good set even if there isn’t as much atmosphere as there was at The Unicorn a few days ago. But tonight, there’s something special in store as I get to see them play their cover of Pulp’s ‘Common People’ for the first time. It works really well and doesn’t really need to be altered very much to make it fit-in perfectly with the rest of their set. It was always a great song with poignant lyrics so I’m actually surprised that no other punk bands have had the idea to do it before now. (Lost Cherrees have also released their version on a recent EP, so be sure to hear it.)
By the time DOA are onstage, the daylight has faded and the audience are now all inside the venue. It’s not as big a crowd as their last appearance here, but with it being a Monday night just a few days before the start of Rebellion Festival (meaning a lot of other bands are also playing in London over the next week or so) it’s still a reasonable turn-out. Their set is filled with both old and new songs, but everything is played with such passion and dedication that it’s never the kind of set where you find suitable moments to sneak-off to the bar. Blink and you’ll miss another great song, basically. The current band may only have been together for three years or so, but they’ve recaptured the energy and dynamics of the very best older line-ups, so songs like ‘The Enemy’, ‘World War Three’ and of course, their blistering version of The Dils’ ‘Class War’ sound as good as ever. But as is increasingly happening with veterans of the Punk / hardcore scene, the relevance of their older songs now seems to have returned with a vengeance and in DOA’s case, their classic ‘Fucked Up Ronnie’ is easily switched to ‘Fucked Up Donald’ to make the most of its’ original intent. They may be nearing their 40 year mark and the current line-up only maintains Joey Keighley from their original days, but bands like this seem just as needed now as they were in the early-Eighties. Until something else comes along to continue their work, I’m so glad they’re still out there and still sound so vital.
It’s still light outside so it’s rather strange watching Lost Cherrees start their set in this situation (New Cross Inn has huge windows looking out onto the main road, with no curtains…) That being said, they play a good set even if there isn’t as much atmosphere as there was at The Unicorn a few days ago. But tonight, there’s something special in store as I get to see them play their cover of Pulp’s ‘Common People’ for the first time. It works really well and doesn’t really need to be altered very much to make it fit-in perfectly with the rest of their set. It was always a great song with poignant lyrics so I’m actually surprised that no other punk bands have had the idea to do it before now. (Lost Cherrees have also released their version on a recent EP, so be sure to hear it.)
By the time DOA are onstage, the daylight has faded and the audience are now all inside the venue. It’s not as big a crowd as their last appearance here, but with it being a Monday night just a few days before the start of Rebellion Festival (meaning a lot of other bands are also playing in London over the next week or so) it’s still a reasonable turn-out. Their set is filled with both old and new songs, but everything is played with such passion and dedication that it’s never the kind of set where you find suitable moments to sneak-off to the bar. Blink and you’ll miss another great song, basically. The current band may only have been together for three years or so, but they’ve recaptured the energy and dynamics of the very best older line-ups, so songs like ‘The Enemy’, ‘World War Three’ and of course, their blistering version of The Dils’ ‘Class War’ sound as good as ever. But as is increasingly happening with veterans of the Punk / hardcore scene, the relevance of their older songs now seems to have returned with a vengeance and in DOA’s case, their classic ‘Fucked Up Ronnie’ is easily switched to ‘Fucked Up Donald’ to make the most of its’ original intent. They may be nearing their 40 year mark and the current line-up only maintains Joey Keighley from their original days, but bands like this seem just as needed now as they were in the early-Eighties. Until something else comes along to continue their work, I’m so glad they’re still out there and still sound so vital.
THE PHOBICS / THE SATELLITES. The Birds Nest, 18/8/17. The Morgellons were also supposed to on this bill but one of them was taken-ill on the way to Deptford so they unfortunately had to cancel. That’s a shame because you don’t see many gigs these days where you want to see all three bands (especially not for free…) Anyway, at least it means that things don’t have to start so early and gives everyone a chance to have a chat and be sociable before the music gets too loud ! After their recent appearance at the 100 Club, it’s a real contrast to see The Satellites in a small, packed venue like this, but still just as much fun. No room for the Rock’n’Roll hoover this time, but they still run through all their old goodies, from ‘High Rise Hillbillies’ and ‘Sick Planet’ through to ‘Windscale Boy’ and ‘Sick Planet’. Del flaunts his dance-moves while the rest of the band hold everything together. It’s great to see the audience really getting into the set and, as before, the highlight comes with the excellent ‘Urbane Gorilla’. The Satellites are a lot of fun and I’m looking forward to seeing them again.
The Phobics seem to be playing a lot more regularly these days and getting a great response wherever they are. The only problem is that I end up repeating myself when I write the reviews, but that can’t be helped. In the small confines of the Birds Nest, they play a raucous set of punk-rock’n’roll that gets the packed crowd dancing and doubtlessly doubles the bar takings (although that might just down to Moyni…) They play some great gigs and make some great records… isn’t it about time that promoters a bit further afield start giving them a chance to play for a wider audience ? (Rebellion Festival… I’m talking to you !!!)
JOHNNY MOPED / THE WEIRD THINGS. The Lexington, 19/8/17. Billed as their only London gig this year (which may or may not be true… they’ve probably already forgotten that they said it) the Mopeds’ return to The Lexington is full-to-the-brim once again. Luckily, the first two people I bump into as I approach the bar are Toad and Jacko, so it’s great to catch up with them. Unfortunately, I’ve already missed the opening band, The Featherz, but I do get upstairs in time to watch a few songs by The Weird Things. Featuring former members of Case, Tenpole Tudor and The Riffs, they’ve got a very South London-styled garage-punk sound that’s pretty damn catchy.
But tonight is all about the Mopeds. This is actually the first time I’ve seen them since the recent early-retirement of Dave Berk, so there is something of a missing presence onstage (the way he used to play his cymbals was so unique !) but the new drummer Martin certainly fills the drum-stool very effectively. That being said, Johnny himself seems to be filled with a new sense of confidence (possibly following the success of the recent album) and is performing better than ever. He even flirts with the ladies in the audience (‘He’s still got it !’,declares Robot.) Musically, the band are sounding great, obviously enjoying themselves and making the most of it. They play through all the old favourites and plenty from the recent album, also including a great version of ‘Looney’ from the Slime 7” and the brand new single ‘Catatonic’. When the set ends, they’re called back onstage straight away, playing an extended encore that completes the evening perfectly. I can’t imagine any gigs being much more fun than this one… not until they play again, anyway !
But tonight is all about the Mopeds. This is actually the first time I’ve seen them since the recent early-retirement of Dave Berk, so there is something of a missing presence onstage (the way he used to play his cymbals was so unique !) but the new drummer Martin certainly fills the drum-stool very effectively. That being said, Johnny himself seems to be filled with a new sense of confidence (possibly following the success of the recent album) and is performing better than ever. He even flirts with the ladies in the audience (‘He’s still got it !’,declares Robot.) Musically, the band are sounding great, obviously enjoying themselves and making the most of it. They play through all the old favourites and plenty from the recent album, also including a great version of ‘Looney’ from the Slime 7” and the brand new single ‘Catatonic’. When the set ends, they’re called back onstage straight away, playing an extended encore that completes the evening perfectly. I can’t imagine any gigs being much more fun than this one… not until they play again, anyway !
PERE UBU – MOON UNIT. The Lexington, 24/8/17. Generally-speaking, the ‘Moon Unit’ configuration of Pere Ubu is an occasional project that comes together for more spontaneous performances, in some ways similar to David Thomas & The Two Pale Boys. Or at least that’s my interpretation ,which I have to make clear may be completely wrong. However, on this occasion, they seem to have assembled themselves to preview some of the material from the forthcoming Pere Ubu album, ‘Twenty Years in a Montana Missile Silo’. Although now seated during shows, David Thomas is still very much the centre of attention, directing the proceedings, adding narrative between songs and telling relevant tales both about the album and the gig itself. He relates the story of a fan who, before the gig, had made a request to hear the song ‘George Had a Hat’. While this request is only very-partially fulfilled, it does give David a chance to explain how the essence of Pere Ubu was demonstrated in the second line of the song when he sang ‘but it wasn’t where it wasn’t at’, instead of the line most bands would have selected, ‘and it wasn’t where it wasn’t at’. You’ll need to think about this yourselves… Musically, Moon Unit is an adventure, both for the band and the audience and, while it may not be as direct as a usual Pere Ubu performance, it still needs to be witnessed as often as possible.
TEN BENSON / FUTURE SHAPE OF SOUND / THE DELTAS / MIRAGE MEN. Clerkenwell Festival, 27/8/17. Clerkenwell Festival takes place in Spa Fields every year and it’s probably the best small-scale event in London. It’s free, there’s a whole load of different things going on, food and drinks easily available at decent prices and the music stage always seems to have an interesting line-up. This year, the main band I wanted to see were The Mirage Men, an instrumental surf-garage combo who dress as Pharoahs and infuse their tunes with a mystical Egyptian tone. Unfortunately I thought they were playing later on in the afternoon, but as I’m walking down towards the park I can hear them already playing. It sounds really good as well ! So, I walk a bit more briskly and hope that I haven’t missed too much, but I reach the stage area just in time to watch them complete their final song and make their farewells. Goddammit ! Anyway, I meet up with a bunch of different friends and we wander around, checking out the Jumble Sale (always a good place for bargains) and the Dog Show (not an entirely serious competition… one category was for dogs who most looked like their owners…) before returning to see the next band, The Deltas. They’re a band who have been together all the way back to 1980, playing a mix of classic rock’n’roll and rockabilly. They’re really good at it, as well, which makes up for me missing The Mirage Men. They’ve got the right sound, the right instruments and most importantly, the right attitude. They’re playing because they believe in it. Great stuff !
Unfortunately, the next band are rather dull. Even their name, ‘The Future Shape of Sound’, gives it away. You get the impression that they were all trained to play properly at school. Technically excellent but lacking in imagination. Oh well, good time to go for a drink…
The headline band is Ten Benson. I remember seeing them, maybe 15 years ago and didn’t even realise until this event that they were still together. Not that it would’ve made any difference, because I wasn’t very impressed back then and, even though they’ve changed quite a bit, I’m still not impressed now. Indie kids trying to play Americanised heavy metal – who ever persuaded them that was a good idea ? They don’t sound terrible (and nowhere near as dull as the previous band) but it’s just not anything special. In the end, we wander down to the other end of the park where our friend Debbie (from the Nitty Gritty club) is DJ’ing a mix of great old soul and R’n’B. This is much more like it ! Unfortunately, everything has to end at 6.30 so her set gets cut-short, but this was a much better way to end the afternoon. I can’t recommend Clerkenwell Festival enough. It’s run by the local community for the local community and covers a broad spectrum of tastes and ideas. I just hope that it’s able to continue in this fashion for many more years.
Unfortunately, the next band are rather dull. Even their name, ‘The Future Shape of Sound’, gives it away. You get the impression that they were all trained to play properly at school. Technically excellent but lacking in imagination. Oh well, good time to go for a drink…
The headline band is Ten Benson. I remember seeing them, maybe 15 years ago and didn’t even realise until this event that they were still together. Not that it would’ve made any difference, because I wasn’t very impressed back then and, even though they’ve changed quite a bit, I’m still not impressed now. Indie kids trying to play Americanised heavy metal – who ever persuaded them that was a good idea ? They don’t sound terrible (and nowhere near as dull as the previous band) but it’s just not anything special. In the end, we wander down to the other end of the park where our friend Debbie (from the Nitty Gritty club) is DJ’ing a mix of great old soul and R’n’B. This is much more like it ! Unfortunately, everything has to end at 6.30 so her set gets cut-short, but this was a much better way to end the afternoon. I can’t recommend Clerkenwell Festival enough. It’s run by the local community for the local community and covers a broad spectrum of tastes and ideas. I just hope that it’s able to continue in this fashion for many more years.
THE WALL / SPIZZENERGI / SNIDE. The Vinyl Bar, 2/9/17. It’s been over a year since The Wall last appeared in London, which is admittedly a lot longer since my last wait to see them (see my previous interview with the band for full details) but I was still very pleased to find out that they would be playing again. As it was also scheduled to be a co-headline with Spizzenergi, that just made things all the better. I’d never even heard of this venue before but leaving details to the last minute, I discover that it’s practically next door to St Pauls Cathedral and also just a short walk from Cannon Street station, so that’s a bonus for me.
That being said, I didn’t really like the place at all. It’s an odd shape that’s far more suited for it’s usual intention (trendy over-priced bar for City lads) so the drinks are expensive, most of the beers aren’t actually available and the staff are miserable and unhelpful. The sound also isn’t very good, but at least the bands make the most of it. Snide are a female-fronted punk band from Maidstone and the guitarist is wearing a Travis Cut t-shirt which automatically earns an extra point ! They play a mix of early Clash-style tunes with a street-punk tone. Catchy and full of energy, they’re a good start to the evening.
That being said, I didn’t really like the place at all. It’s an odd shape that’s far more suited for it’s usual intention (trendy over-priced bar for City lads) so the drinks are expensive, most of the beers aren’t actually available and the staff are miserable and unhelpful. The sound also isn’t very good, but at least the bands make the most of it. Snide are a female-fronted punk band from Maidstone and the guitarist is wearing a Travis Cut t-shirt which automatically earns an extra point ! They play a mix of early Clash-style tunes with a street-punk tone. Catchy and full of energy, they’re a good start to the evening.
Spizzenergi are on their best form tonight, running through a regular set of older songs but adding the recent singles ‘City of Eyes’ and ‘Here Come The Machines’ to provide a new flavour to proceedings. Spizz is the eternal showman, often performing as much offstage as on, but once you put him in front of an audience he can’t help but show-off. Together with the fact that he has the best line-up of his the band that he’s had for years, this pretty much ensures a great gig. Of course, songs like ‘Soldier Soldier’ and ‘Where’s Captain Kirk’ are always going to get the biggest cheers, but the whole set goes down really well. They’re just damn good fun and there’s no denying it !
The Wall play the final set of the night but probably suffer the worst sound problems, especially for the first few songs. Too much drum sound, too little guitars. Plus, as they’re going on rather late (10.30pm) quite a few of the audience have to leave before they’ve finished, which doesn’t help. That being said, they do sound good once the mix starts coming together. They play most of the same songs as last year although presented in a different set order to give them a different momentum. But songs like ‘Exchange’, ‘New Age’ and ‘Suckers’ are going to sound great wherever they play them in a set. Andzy’s voice sounds really strong, one of the things that I always liked about the band. The vocals weren’t just yelled-out, as was the case in all too many UK punk bands in the early Eighties. Similarly, the music, although very powerful, never resorted to mere thrashing. They created a unique structure and energy for songs like ‘Barriers’ and ‘Remembrance’ that really set them apart. New songs like ‘Damnation Disco’ and ‘The Antagonist’ continue this approach and show that the band still have much to offer. For me, though, the highlights have to be the glorious ‘Ghetto’ and the traditional finale, ‘Uniform’. Called back for an encore, it transpires that they’ve actually played all the songs that they had for the set, so we even get a second version of ‘Ghetto’, which leaves me more than happy.
So… a fine gig despite the venue (and I hope I don’t have to go back there again.) But the promoters put on a great line-up and I’ll keep my fingers-crossed that they can find a more suitable place to continue their good work.
So… a fine gig despite the venue (and I hope I don’t have to go back there again.) But the promoters put on a great line-up and I’ll keep my fingers-crossed that they can find a more suitable place to continue their good work.
SPARKS. Rough Trade East, 8/9/17. To celebrate the release of their latest album, ‘Hippopotamus’, Sparks were playing a short set in RTE followed by a signing session. This worked well for me - not only do I buy an album that I’ve been waiting for, but I also got it signed and saw a free gig ! For the sad, recollecting asshole inside all of us, what more could you want ? (Okay, free beer would have been good, but now I’m just being greedy…)
I meet up with fellow Sparks-fanatic Ian Damaged before the gig, enjoy a sneaky IPA in The Ten Bells and then stroll down to the shop. The place is already packed but we buy our copies of the album and then get a good vantage point over by the counter. I don’t think I’ve ever seen so many people packed into this place before, and I’ve seen some great events down here. We don’t have a long wait before the band take the stage, but Russell apologises for the delay (I’m not sure if this is for their appearance onstage or for the length of time since their last LP ?) Either way, with a full band behind them they begin with ‘What The Hell Is It This Time’, a great glam-stompin’ blast with suitably witty lyrics that really brings together everything that’s always been great about Sparks. Hardly waiting for the applause to die down, they go straight into ‘Missionary Position’, another song that really emphasizes the full band arrangement. Changing the tone entirely, they then go into the title track which takes an almost demented nursery-rhyme approach but maintains an insistent attraction from start to end. You can’t help but love it ! Then they’re straight into ‘I Wish You Were Fun’, another wonderful song with lyrics I could certainly apply to a few people ! Then it’s time for the token oldie, but there’s never going to be anything ‘token’ about ‘This Town Ain’t Big Enough’. The song that introduced me to Sparks all those years ago and it still sounds extraordinary. Just listen to it – how many people have played music and sung lyrics as complex as this without it sounding pretentious ? That’s the beauty of Sparks – their intent has never been compromised by their intelligence (or vice-versa.) They rock and they’re totally unique. To end the performance, they play ‘Edith Piaf (Said It Better Than Me)’, almost an update of their previous classics ‘When Do I Get To Sing ‘My Way’’ in both lyrical and musical tone. But this isn’t just a recap, this is another great song in its’ own right. Melodramatic perhaps, but in all the right ways to make it effective. Russell ends the set by introducing the members of the band and humbly mentioning his ‘big brother, Ron’ (quite appropriate for the East End, don’t you think ?) I don’t think I’ve ever been less than impressed by a Sparks show and this is no exception, even if it was only six songs. The new album is awesome, if you don’t at least check it out, you’re a fool. Myself, I just can’t wait for the full gig coming at Shepherds Bush…
I meet up with fellow Sparks-fanatic Ian Damaged before the gig, enjoy a sneaky IPA in The Ten Bells and then stroll down to the shop. The place is already packed but we buy our copies of the album and then get a good vantage point over by the counter. I don’t think I’ve ever seen so many people packed into this place before, and I’ve seen some great events down here. We don’t have a long wait before the band take the stage, but Russell apologises for the delay (I’m not sure if this is for their appearance onstage or for the length of time since their last LP ?) Either way, with a full band behind them they begin with ‘What The Hell Is It This Time’, a great glam-stompin’ blast with suitably witty lyrics that really brings together everything that’s always been great about Sparks. Hardly waiting for the applause to die down, they go straight into ‘Missionary Position’, another song that really emphasizes the full band arrangement. Changing the tone entirely, they then go into the title track which takes an almost demented nursery-rhyme approach but maintains an insistent attraction from start to end. You can’t help but love it ! Then they’re straight into ‘I Wish You Were Fun’, another wonderful song with lyrics I could certainly apply to a few people ! Then it’s time for the token oldie, but there’s never going to be anything ‘token’ about ‘This Town Ain’t Big Enough’. The song that introduced me to Sparks all those years ago and it still sounds extraordinary. Just listen to it – how many people have played music and sung lyrics as complex as this without it sounding pretentious ? That’s the beauty of Sparks – their intent has never been compromised by their intelligence (or vice-versa.) They rock and they’re totally unique. To end the performance, they play ‘Edith Piaf (Said It Better Than Me)’, almost an update of their previous classics ‘When Do I Get To Sing ‘My Way’’ in both lyrical and musical tone. But this isn’t just a recap, this is another great song in its’ own right. Melodramatic perhaps, but in all the right ways to make it effective. Russell ends the set by introducing the members of the band and humbly mentioning his ‘big brother, Ron’ (quite appropriate for the East End, don’t you think ?) I don’t think I’ve ever been less than impressed by a Sparks show and this is no exception, even if it was only six songs. The new album is awesome, if you don’t at least check it out, you’re a fool. Myself, I just can’t wait for the full gig coming at Shepherds Bush…
CHARLY BLISS / CHASTITY BELT. The Garage, 14/9/17. Having heard their recent single releases and most of the album, I was really curious to see Charly Bliss. It’s not the most inspiring band-name in the world, but the songs have a really catchy quality that makes me think of that period in the early Ninities when female-fronted bands like The Fastbacks and Blake Babies started to receive well-deserved recognition. I can also hear hints of The Pixies and Imperial Teen in their music, while singer Eva Hendricks has more than a passing vocal resemblance to Jane Weidlin (check out the excellent Frosted album .) Arriving early for their support slot, we found the venue sold-out with a really odd mix of people who presumably are mostly there for the headliners, but when Charly Bliss walk out onstage and start their first song, you can see plenty of people taking notice. Eva is a great front-person, looking as if she’s enjoying every second of being onstage. Her enthusiasm is infectious and it quickly becomes obvious that more and more people are heading towards the front to enjoy the set. Songs like ‘Percolator’ and ‘Westermarck’ are instantly lovable, with melodic hooks that will be stuck in your head for weeks. They play the kind of music that sounds good on record but so much better when you hear it live. Seeing the reaction at this gig and the way they drew people in to their performance, I can only see this band becoming a lot more popular. The set ends in chaos with several members of the band rolling around on the stage as their guitars feedback, beaming smiles on their faces. I think they would’ve been enjoying themselves even if no-one else was there, but this evening they had plenty of people eager to join the party !
Anyway, the headliners are an Australian all-girl band called Chastity Belt, which is a terrible name for a band. But a lot of people have shown up to see them so why not wait to see what they’re like ? Big mistake. If you ever thought what Nick Cave would sound like, in drag and singing Fleetwood Mac outtakes, this would probably give you a good idea. Absolutely appalling, really dour stuff – and this is only the first song ! Perhaps they’ll get a bit more lively with the next one ? Nope. Just as bad. We make a hasty exit.
Anyway, the headliners are an Australian all-girl band called Chastity Belt, which is a terrible name for a band. But a lot of people have shown up to see them so why not wait to see what they’re like ? Big mistake. If you ever thought what Nick Cave would sound like, in drag and singing Fleetwood Mac outtakes, this would probably give you a good idea. Absolutely appalling, really dour stuff – and this is only the first song ! Perhaps they’ll get a bit more lively with the next one ? Nope. Just as bad. We make a hasty exit.
BLUE ORCHIDS / THE BITTER SPRINGS. The Lexington, 17/9/17. I still have the first album and early singles by the Blue Orchids that I bought after hearing them on (where else ?) the Peel Show. That being said, I never got to see them at the time and although they have continued sporadically over the years (with only Martin Bramah as a constant presence) it was only recently, after I heard the ‘Once & Future Thing’ CD, that I realised I should finally get around to seeing them live. That being said, on the night of the gig, it almost went horribly wrong. Having had a busy weekend, I decided to head-up to the gig late in the evening, missing the other bands. Fortunately, I checked the Lexington website beforehand and discovered that it was actually Band of Holy Joy who would be headlining and Blue Orchids would be playing before them. Subsequently, I make a last minute dash to get there on time (you can never trust public transport on a Sunday) and manage to arrive with breathing space. In fact, I even catch the last few songs from The Bitter Springs who do sound rather good. I’m starting to think I really shouldn’t have had that idea about arriving late…
Anyway, after a short break, Blue Orchids begin their set. Now, one of the reasons why I hadn’t been to see them before now was that I was worried that they wouldn’t play my favourite song, ‘Bad Education’ from the first LP. However good they may have been otherwise, I would still remain miffed if they omitted it from the set. Well, as another smack on the head, they actually start the set with it ! And it sounds great, with a fuller sound than the original recorded version but lacking none of the pathos. This is the kind of song that the likes of Morrissey could only ever wish to write. Beautiful. And as it turns out, there’s plenty more to follow from the first album, including ‘A Year With No Head’, ‘Sun Connection’ and ‘Hanging Man’. Interspersed with songs from subsequent line-ups and ‘Skull Jam’ from their most recent EP, I’m actually left surprised that they didn’t play anything from ‘The Once & Future Thing’, but with a set like this, I’m not going to complain. Martin Bramah’s vocals have become deeper and more confident now, while his guitar style, whilst still unique and adventurous, is perhaps more subtle. Lesser known songs like ‘Agents of Change’ and ‘Thirst’ sound much more accomplished, while excellent versions of the songs ‘Disney Boys’ and ‘The Flood’ from their second single bring everything towards the close. But as a finale, I certainly wasn’t expecting the peculiar mix of their debut single, ‘Work’, and the vintage Fall track ‘Before The Moon Falls’. It’s an odd proposition but works very effectively and it was fun to watch puzzled fans in the audience slowly giving-in and just enjoying it. Not bothering to leave the stage, the band invite Vic Godard onstage for the instant-encore, which turns out to be a cover of Vics’ ‘Music of a Werewolf’. Martin amuses himself by asking ‘Is Vic There ?’ but the two clearly enjoy playing the song together. It’s a really great end to the gig and I will certainly be making efforts not to miss the Blue Orchids again in the future.
Anyway, after a short break, Blue Orchids begin their set. Now, one of the reasons why I hadn’t been to see them before now was that I was worried that they wouldn’t play my favourite song, ‘Bad Education’ from the first LP. However good they may have been otherwise, I would still remain miffed if they omitted it from the set. Well, as another smack on the head, they actually start the set with it ! And it sounds great, with a fuller sound than the original recorded version but lacking none of the pathos. This is the kind of song that the likes of Morrissey could only ever wish to write. Beautiful. And as it turns out, there’s plenty more to follow from the first album, including ‘A Year With No Head’, ‘Sun Connection’ and ‘Hanging Man’. Interspersed with songs from subsequent line-ups and ‘Skull Jam’ from their most recent EP, I’m actually left surprised that they didn’t play anything from ‘The Once & Future Thing’, but with a set like this, I’m not going to complain. Martin Bramah’s vocals have become deeper and more confident now, while his guitar style, whilst still unique and adventurous, is perhaps more subtle. Lesser known songs like ‘Agents of Change’ and ‘Thirst’ sound much more accomplished, while excellent versions of the songs ‘Disney Boys’ and ‘The Flood’ from their second single bring everything towards the close. But as a finale, I certainly wasn’t expecting the peculiar mix of their debut single, ‘Work’, and the vintage Fall track ‘Before The Moon Falls’. It’s an odd proposition but works very effectively and it was fun to watch puzzled fans in the audience slowly giving-in and just enjoying it. Not bothering to leave the stage, the band invite Vic Godard onstage for the instant-encore, which turns out to be a cover of Vics’ ‘Music of a Werewolf’. Martin amuses himself by asking ‘Is Vic There ?’ but the two clearly enjoy playing the song together. It’s a really great end to the gig and I will certainly be making efforts not to miss the Blue Orchids again in the future.
THE FALLEN LEAVES / KILLER B’s. Hope & Anchor, 23/9/17. This is another evening when there are several gigs that I would have liked to have seen, but in the event, The Fallen Leaves were the best option. They’re gigs are so consistently good, I know it makes sense. I’ve also arranged to meet legendary Grazza at the gig, on one of his visits to the old homeland from his current luxury lifestyle in Australia (so he claims.) In turn, his old friend Buddy is playing drums for The Fallen Leaves and he’s also arranged to meet yet another acquaintance, Bibs, so it seems like it’s going to be a very sociable evening.
We all arrive early in time to see The Killer B’s, who I’d seen some months previously at this self-same venue. Unfortunately, they were nowhere near as impressive this time, sounding a lot more like average pub-rock than I remembered. Perhaps I was getting them mixed-up with another band, I thought, but someone else made a comment to the same effect, so there must have been some change to the combo in the last few months to account for this.
The venue isn’t as full for The Fallen Leaves as usual, although I knew several regular attendees were off at different gigs this evening, but there’s still a great atmosphere when they play and it makes a change not to have to squeeze my way through the crowd to get a good view ! ‘Prodigal Son’, ‘Funny World’ and ‘All That You Choose’ sound as great as ever, while ‘Trouble’ give Rob Symmons a chance to make some great guitar sounds as Rob Green enjoys a mug of tea ! Their traditional competition to see who has travelled furthest to the gig is won by Grazza himself (even though Bibs is indignant as ‘he’s not even the real Australian !’) But it’s one of those events where there’s a real connection between the band and the audience and, together with their fine songs, this always adds up to a very enjoyable evening.
Afterwards, we all return to the bar for a few more beers, but being in the company of two Aussies, I should have been more careful. I do remember at one point telling Bibs that I didn’t want another beer as I’d only just started the one in front of me, but it made no difference and a few minutes later I ended up with two beers in front of me. It’s an Australian custom, apparently, and who was I to argue ? But it was a great night and even the eventual night-buses didn’t spoil the fun !
We all arrive early in time to see The Killer B’s, who I’d seen some months previously at this self-same venue. Unfortunately, they were nowhere near as impressive this time, sounding a lot more like average pub-rock than I remembered. Perhaps I was getting them mixed-up with another band, I thought, but someone else made a comment to the same effect, so there must have been some change to the combo in the last few months to account for this.
The venue isn’t as full for The Fallen Leaves as usual, although I knew several regular attendees were off at different gigs this evening, but there’s still a great atmosphere when they play and it makes a change not to have to squeeze my way through the crowd to get a good view ! ‘Prodigal Son’, ‘Funny World’ and ‘All That You Choose’ sound as great as ever, while ‘Trouble’ give Rob Symmons a chance to make some great guitar sounds as Rob Green enjoys a mug of tea ! Their traditional competition to see who has travelled furthest to the gig is won by Grazza himself (even though Bibs is indignant as ‘he’s not even the real Australian !’) But it’s one of those events where there’s a real connection between the band and the audience and, together with their fine songs, this always adds up to a very enjoyable evening.
Afterwards, we all return to the bar for a few more beers, but being in the company of two Aussies, I should have been more careful. I do remember at one point telling Bibs that I didn’t want another beer as I’d only just started the one in front of me, but it made no difference and a few minutes later I ended up with two beers in front of me. It’s an Australian custom, apparently, and who was I to argue ? But it was a great night and even the eventual night-buses didn’t spoil the fun !
ALTERNATIVE TV / VIC GODARD. Amersham Arms, 24/9/17. To be honest, I could have done with a nice quiet evening at home, but this gig couldn’t be missed for several reasons. Firstly, it was a tribute to Robert Dellar, who sadly died at the end of 2016 after years supporting various underground causes, in particular the Mad Pride project which was established to forward the rights and activities of people who have suffered from mental health issues. Featuring many of his favourite performers, this promised to be an interesting event. Secondly, it also marked the first gig by Alternative TV in London for several years (virtually on Mark Perry’s home turf of Deptford) so I knew I had to be there.
In the event, I only went along in the evening (the event had started from noon) but arrive just in time to see Vic Godard and his current band, who I believe feature members of The Bitter Springs (meaning I’ve seen these guys on two successive weekends.) I’m pretty sure they didn’t play any of the early Subway Sect material, but there were definitely songs from the early Eighties period as well as more recent records. It’s pretty enjoyable, not as edgy as the original Subway Sect line-up, but it has plenty of its’ own charm and it’s great to see Vic enjoying himself onstage. I think I ought to go back an investigate more of the later Vic Godard releases.
Alternative TV dedicate their set to Robert (as I’m sure others had over the course of the day) but in their case, they’re determined to play an exceptional set for him. I’ve seen them play some great gigs over the years, but this must have been one was one of their most focused performances ever. Playing a really diverse mix of old and new material, they didn’t just rely on their best-known songs but instead performed a set of complementary songs that really worked perfectly together. We still got to hear classics like ‘Lost in Room’ and (eventually) ‘Action Time Vision’, but along the way there were tracks from the recent ‘Opposing Forces’ album, others from the ‘Vibing Up The Senile Man’ era (which always sound so much more effective when heard live) including a truly unsettling version of ‘The Radio Story’. One of the real highlights was the version of the recent single ‘Negative Primitive’ which really stood out even amongst the rest of this excellent set and towards the end, they’re joined onstage by former member Tyrone Thomas, really bolstering the already impressive sound with yet more guitar. It’s a shame that Alternative TV never really get the credit they deserve because, while some albums / line-ups may not have worked as well as others, they’ve always taken risks and pushed themselves forwards in a way that has produced so much great, innovative music, and still continue to do so. Seeing this gig just reminded me that you should always pay attention. You never know when their next classic is just around the corner. I’m sure Robert approved of it all.
In the event, I only went along in the evening (the event had started from noon) but arrive just in time to see Vic Godard and his current band, who I believe feature members of The Bitter Springs (meaning I’ve seen these guys on two successive weekends.) I’m pretty sure they didn’t play any of the early Subway Sect material, but there were definitely songs from the early Eighties period as well as more recent records. It’s pretty enjoyable, not as edgy as the original Subway Sect line-up, but it has plenty of its’ own charm and it’s great to see Vic enjoying himself onstage. I think I ought to go back an investigate more of the later Vic Godard releases.
Alternative TV dedicate their set to Robert (as I’m sure others had over the course of the day) but in their case, they’re determined to play an exceptional set for him. I’ve seen them play some great gigs over the years, but this must have been one was one of their most focused performances ever. Playing a really diverse mix of old and new material, they didn’t just rely on their best-known songs but instead performed a set of complementary songs that really worked perfectly together. We still got to hear classics like ‘Lost in Room’ and (eventually) ‘Action Time Vision’, but along the way there were tracks from the recent ‘Opposing Forces’ album, others from the ‘Vibing Up The Senile Man’ era (which always sound so much more effective when heard live) including a truly unsettling version of ‘The Radio Story’. One of the real highlights was the version of the recent single ‘Negative Primitive’ which really stood out even amongst the rest of this excellent set and towards the end, they’re joined onstage by former member Tyrone Thomas, really bolstering the already impressive sound with yet more guitar. It’s a shame that Alternative TV never really get the credit they deserve because, while some albums / line-ups may not have worked as well as others, they’ve always taken risks and pushed themselves forwards in a way that has produced so much great, innovative music, and still continue to do so. Seeing this gig just reminded me that you should always pay attention. You never know when their next classic is just around the corner. I’m sure Robert approved of it all.
SPARKS. Shepherds Bush Empire, 27/9/17. There are few things that make me happier than a Sparks show. The fact that it’s over forty years since I first heard them and I still genuinely look forward to hearing their new albums is remarkable enough, but their live shows are always joyous, celebratory events full of wit and energy. Their latest album, ‘Hippopotamus’, is another instant fan-favourite that makes a mockery of the mainstream at the same time as breaking new ground. Sparks, it seems, are continually just a touch too far ahead of the game.
A few of us meet up for a couple of drinks before the gig and then head-in to the venue, making sure we don’t miss any of the show. The place is packed but fortunately we don’t have a long wait before the band take to the stage. Starting with one of the highlights of the new album, ‘What The Hell Is It This Time ?’, it seems as if everyone already has the record and is singing along. What a great opener ! They wait for the applause to die down, before Russell launches into the acapella simplicity of ‘Propaganda’, swiftly followed by ‘At Home, At Work, At Play’. With the full band behind them, Sparks recreate their original art-pop-rock to perfection, with all of the glorious glam-pomp that it deserves. Then the set jumps forward with a wonderful version of ‘Good Morning’ and a surprisingly early outing for ‘When Do I Get To Sing My Way ?’
With everyone in the venue already won-over, it’s back to the new album, with ‘Probably Nothing’, ‘Missionary Position’ and the demented nursery rhyme of the title track itself proving to be just as well-received as any of their earlier classics. In fact, tracks that are more than forty years old, like ‘Never Turn Your Back on Mother Earth’, work almost seamlessly inbetween new songs like ‘Edith Piaf Said It Better’ and ‘I Wish You Were Fun’, not because they necessarily sound similar but because the aesthetic and intent remains so vital. ‘My Baby’s Taking Me Home’ has one of the most simplistic yet beautiful lyrics ever written, while ‘Number One Song In Heaven’ sees Rons’ traditional shuffle centre-stage, always appreciated by the fans.
‘This Town Ain’t Big Enough For The Both Of Us’ remains invigorating even after hearing it so many times, a truly unique, musical tour de force, but rather than ending the set on this upbeat note, they close with the glorious melodrama of ‘Life With The Macbeths’, which brings everyone to the feet in the demands for an encore. We only have a short wait before the band re-emerge and, while the encore is relatively short, it’s worth its’ weight in kimono’s. ‘Johnny Delusional’ from the recent ‘FFS’ collaboration and a wonderful finale of ‘Amateur Hour’ leaves everyone more than satisfied and while we could all go home and think, ‘well they didn’t play that song’, let’s face it, they have so much great material to choose from how could it all fit in one show (they did the ’21 Nights’ event a few years ago to try and cover that point !) Sparks remain exceptional. I dare anyone to see one of their shows and not enjoy themselves. Myself, I just can’t wait until they come back again.
THE CAVEMEN / THE MISCALCULATIONS / LUCY & THE RATS. Nambucca, 29/9/17. The night started-off with a bit of a miscalculation of our own. Having arranged to meet Grazza for a couple of beers at The Dublin Castle before the gig, we decide to catch a bus over to Holloway Road, failing to take into account one important factor. Neither of us had ever used this route before. So after a bewildering bus-ride we end up getting off at completely the wrong location. Another bus in the opposite direction finally gets us to the right place and, fortunately, we’re there just as Lucy & The Rats are starting their set. I’m really glad we made it on time as tonight they sound really good. I’d seen them before and liked them, but tonight they were totally in their element. Simple, brash punk rock powerpop, snarling in all the right places but also delivering infectious harmonies that will stick in your brain all the way home. Perhaps the PA sound had something to do with it, but either way, they played an excellent set that really captured all their energy and tuneage to full effect. There’s another two bands to go after these guys and they’ve already got a real challenge to live up to !
Unfortunately, The Miscalculations don’t do much to impress. They’re good but not great. Musically, they have some good tunes and plenty of energy, but the vocals don’t appeal to me very much. Perhaps I was expecting too much, as several people had sung their praises before this gig, but especially after Lucy & The Rats, they just didn’t stand out.
Headliners The Cavemen also seem to have a bit of an uphill struggle on this occasion. I do like this band and they can be relied upon to deliver an energetic and entertaining set, but this wasn’t one of their best performances and that’s what they needed this evening to really make their mark. I tend to think that, if it had been any other show, I would’ve enjoyed them a lot more, but this time they had already been upstaged (not that I'm saying this to be mean, it's just the way the evening went.) Lucy & The Rats ruled this gig but there’s still plenty of reasons to keep going to see The Cavemen again.
Unfortunately, The Miscalculations don’t do much to impress. They’re good but not great. Musically, they have some good tunes and plenty of energy, but the vocals don’t appeal to me very much. Perhaps I was expecting too much, as several people had sung their praises before this gig, but especially after Lucy & The Rats, they just didn’t stand out.
Headliners The Cavemen also seem to have a bit of an uphill struggle on this occasion. I do like this band and they can be relied upon to deliver an energetic and entertaining set, but this wasn’t one of their best performances and that’s what they needed this evening to really make their mark. I tend to think that, if it had been any other show, I would’ve enjoyed them a lot more, but this time they had already been upstaged (not that I'm saying this to be mean, it's just the way the evening went.) Lucy & The Rats ruled this gig but there’s still plenty of reasons to keep going to see The Cavemen again.
THE FALLEN WOMEN. Paper Dress Vintage, Hackney, 30/9/17. My friends Willy and Lolo were celebrating their 20th Anniversary together (not being married) which was reason enough for me to attend this event (I love these guys !) But on top of anything else, one of Lolo’s numerous musical exploits, The Fallen Women, were scheduled to perform a set. For the uninformed, The Fallen Women are an intriguing concept. An all-female Fall covers band that invites members of the audience to provide their own vocals. A cross between karaoke, garage-punk and avant garde, this would be rather sickly if they concentrated on the songs of any other band, but in the context of The Fall (with their continually changing line-up and Smith’s infamously non-conformist vocal style) it makes some sort of sense. The band don’t play exact replicas of Fall classics but instead conspire to capture the spirit of the songs, giving the brave souls who decide to take the microphone more than an appropriate backing for their efforts. As the first few songs went through, I was even tempted to offer my own services, but it did not come to pass (probably a good thing.) Afterwards, Willy and Lolo have their first dance, having never had the wedding by which to embarrass the poor lad, but at least Lolo has the good taste to request a Ronnie Spector tune for the event. Fine taste, great chaps !
INFA RIOT / THE GONADS / EVIL B’STARDS / SPIZZTRONIC / THE PHOBICS / BEXATRON. New Cross Inn, 1/10/17. Third gig in one weekend, so I’m starting to feel a bit wiped-out, but this is relatively local and it’s a good line-up. I arrive pretty early and catch some of the set by Bexatron which, I have to admit, totally failed to impress, but The Phobics are onstage next and deliver a great set that starts to stir-up the atmosphere. Being a Sunday evening, the place isn’t packed but everyone begins paying attention and they certainly have the desired effect, warming-up the audience for the rest of the bands.
The next act is the legendary Spizz, on this occasion performing-solo to a series of backing tapes including both his own songs and several covers. Unfortunately, this seems to bewilder the audience who were obviously expecting a full-band after The Phobics high-energy set. That being said, it was still good fun and as long as you let yourself get into the spirit of the thing, there was plenty to enjoy.
The Evil B’stards are a new band put together by Menace drummer Noel Martin, allowing him to play guitar for a change as well as adding a fine double-bass player. Noel fronts the band rather well, playing both old Menace tracks and some new material. He’s got plenty of character and soon gets everyone on his side, so it’s a fine set and I’d certainly say this is a band who are well-worth seeing in their own right.
The Gonads are the main support tonight and, having seen them once before (which was terrible) I wasn’t looking forward to seeing them again. But that being said, they actually sounded a lot better tonight and there were a few songs that were genuinely enjoyable. I still can’t say that Gary Bushell is a great singer, but they actually acquitted themselves quite respectably on this occasion.
The headliners tonight are the (fairly) recently reformed Infa Riot. For some reason, I never really paid much attention to the band in the past, although the few songs I did hear on compilations were pretty good. For some reason, I just never investigated further so I was pretty intrigued to see/hear what they would be like and, I’m glad to say, I was rather impressed. Frontman Lee Wilson has a lot of charisma and guitarist Barry Damery has a great sound that really gives the songs the power they need. I can’t tell you what songs they played just for the fact that I’m not familiar with the names, but there were more than a few that I recognised and I thoroughly enjoyed the whole set. I’m just glad that they’re back and I’ve got a chance to catch up with them. Definitely a band I’ll be checking-out again.
The next act is the legendary Spizz, on this occasion performing-solo to a series of backing tapes including both his own songs and several covers. Unfortunately, this seems to bewilder the audience who were obviously expecting a full-band after The Phobics high-energy set. That being said, it was still good fun and as long as you let yourself get into the spirit of the thing, there was plenty to enjoy.
The Evil B’stards are a new band put together by Menace drummer Noel Martin, allowing him to play guitar for a change as well as adding a fine double-bass player. Noel fronts the band rather well, playing both old Menace tracks and some new material. He’s got plenty of character and soon gets everyone on his side, so it’s a fine set and I’d certainly say this is a band who are well-worth seeing in their own right.
The Gonads are the main support tonight and, having seen them once before (which was terrible) I wasn’t looking forward to seeing them again. But that being said, they actually sounded a lot better tonight and there were a few songs that were genuinely enjoyable. I still can’t say that Gary Bushell is a great singer, but they actually acquitted themselves quite respectably on this occasion.
The headliners tonight are the (fairly) recently reformed Infa Riot. For some reason, I never really paid much attention to the band in the past, although the few songs I did hear on compilations were pretty good. For some reason, I just never investigated further so I was pretty intrigued to see/hear what they would be like and, I’m glad to say, I was rather impressed. Frontman Lee Wilson has a lot of charisma and guitarist Barry Damery has a great sound that really gives the songs the power they need. I can’t tell you what songs they played just for the fact that I’m not familiar with the names, but there were more than a few that I recognised and I thoroughly enjoyed the whole set. I’m just glad that they’re back and I’ve got a chance to catch up with them. Definitely a band I’ll be checking-out again.
CONTROL FREAKS / JOHNNY THROTTLE. Paper Dress Vintage, 6/10/17. Starting the evening at the Punk Rock’n’Roll Art Show down in Bermondsey, myself and that Aussie geezer, Grazza, are the only two brave enough to take the bus up to Hackney for some live entertainment. We arrive at Paper Dress Vintage just in time for the support set from Johnny Throttle and I’m damn-glad we got there. The band are on fiery-form this evening, blasting through their set with more energy than should be allowed in such a confined space ! Afonso spends as much time in the audience as he does onstage and their potent-brew of nasty rock’n’roll is looking set to steal the show. In any other circumstances, undoubtedly that’s what would have happened, but the Control Freaks also had some aces up their sleeve. Formed around Greg Lowery, formerly of The Rip-Offs, Supercharger, the Zodiac Killers etc, I already had a good idea of the kind of sounds to expect, but the Control Freaks are very-much a new beast. The attitude remains snotty, the music is played with that same kind of punk rockin’ disregard for virtuosity (energy over finesse !) but there also seems to be more of a lean towards catchy tunes this time around, in the same way that many of the early UK punk bands could be noisy and snotty but also leave your head full of melody. They even cover the Protex classic ‘I Can Only Dream’ (which shows exceptionally good taste on their part !) Greg and guitarist Conrad sporadically jump into the crowd, while the other guitarist Natalie swigs from a bottle of Tequila and happily shares it with her adoring fans ! This was a great night, two bands who really blew the roof off the place. I missed my last train home and had to resort to the night-buses, but in this case it was entirely worth the inconvenience !
CRISIS / THE SATELLITES. Dublin Castle, 14/10/17. This gig sold-out really fast, even leading to a second night being added, which was kind-of strange as so few people had made the effort to see ‘1984’ playing a set of original Crisis material. Tony and Clive from ‘1984’ remain in the new configuration of Crisis alongside a new vocalist and drummer (original Crisis member Luke Rendall had initially intended to join this line-up but was eventually unable to commit to their plans.) All this being said, this is as close to seeing a full Crisis reunion as we’re ever likely to get and the songs still stand-up remarkably well, so I can certainly understand the interest.
It’s also a great night for bumping into old friends and the pub rapidly becomes a get-together for old faces which creates a great atmosphere even before the gig starts.
I miss the first band, but make sure I’m in place for The Satellites. It’s a shorter set and, alas, no Hoover, but just as much fun. I mean, with snappy songs like ‘High Rise Hillbillies’, ‘Windscale Boy’ and ‘Urbane Gorilla’, who’s not going to enjoy them ? Well, I suppose you do have to tune-in to their admittedly eccentric style of punky-humour, but once you’re there, you’re going to have some fun !
The venue is packed by the time Crisis take the stage and they seem a little tentative at first, with the opening track ‘Frustration’ taking an almost careful tempo, but once they launch into ‘Holocaust’, ‘No Town Hall’ and the classic ‘PC 1984’, they find their pace and sound fine with it. ‘White Youth’ adopts a moodier, more atmospheric tone that works especially well in the almost claustrophobic conditions, and it’s really great to finally get to hear songs like ‘Alienation’ and ‘On TV’ played live (1984 had previously only played the songs written by Tony…) Lesser known tracks like ‘Militant’ and ‘Kill Kill Kill’ may be a bit naïve, lyrically, but again sound good when heard live and the set eventually comes to an end with ‘UK 79’ and an excellent version of ‘All Alone in Her Nirvana’. Faced with an almost solid audience inbetween them and the dressing room, the band opt to remain onstage and play one more song, ‘Kanada Kommando’, which finally satisfies the crowd and ends the gig. It had certainly been a successful return and whilst it’s not a real ‘reunion’, as such, the band played the songs with the respect they deserve and certainly sounded great with it.
It’s also a great night for bumping into old friends and the pub rapidly becomes a get-together for old faces which creates a great atmosphere even before the gig starts.
I miss the first band, but make sure I’m in place for The Satellites. It’s a shorter set and, alas, no Hoover, but just as much fun. I mean, with snappy songs like ‘High Rise Hillbillies’, ‘Windscale Boy’ and ‘Urbane Gorilla’, who’s not going to enjoy them ? Well, I suppose you do have to tune-in to their admittedly eccentric style of punky-humour, but once you’re there, you’re going to have some fun !
The venue is packed by the time Crisis take the stage and they seem a little tentative at first, with the opening track ‘Frustration’ taking an almost careful tempo, but once they launch into ‘Holocaust’, ‘No Town Hall’ and the classic ‘PC 1984’, they find their pace and sound fine with it. ‘White Youth’ adopts a moodier, more atmospheric tone that works especially well in the almost claustrophobic conditions, and it’s really great to finally get to hear songs like ‘Alienation’ and ‘On TV’ played live (1984 had previously only played the songs written by Tony…) Lesser known tracks like ‘Militant’ and ‘Kill Kill Kill’ may be a bit naïve, lyrically, but again sound good when heard live and the set eventually comes to an end with ‘UK 79’ and an excellent version of ‘All Alone in Her Nirvana’. Faced with an almost solid audience inbetween them and the dressing room, the band opt to remain onstage and play one more song, ‘Kanada Kommando’, which finally satisfies the crowd and ends the gig. It had certainly been a successful return and whilst it’s not a real ‘reunion’, as such, the band played the songs with the respect they deserve and certainly sounded great with it.
PENETRATION. Islington Academy, 26/10/17. While I was getting fed-up with a lot of the ‘Fortieth Anniversary’ blah blah blah that was being peddled this year, it always proved to be much more appropriate when the bands celebrating the milestone just got on with it and played the music. After all, the majority of critics and observers at the time said that Punk was only going to last six months, so the fact that the genre continues to develop and enthuse audiences on a worldwide basis is the ultimate two-fingers in the direction of the naysayers.
In this case, Penetration were not only celebrating the 40th Anniversary of their inception, but also the fact that they are still producing new material of exceptional quality. It’s not just nostalgia when they’re still defying expectations !
The gig starts with three songs originally only recorded as demos in 1977, but recently revived and given the full studio treatment by the current line-up on one of the recent 7” releases. ‘In The Future’, ‘Duty Free Technology’ and ‘Race Against Time’ are all great songs and I think many fans have always been confused that they were missed from the bands’ albums back at the time. But it’s great to hear them now, and they’re soon followed by more familiar tracks from the early days, such as ‘Don’t Dictate’, ‘Firing Squad’ and ‘Life’s A Gamble’. Their covers of Patti Smith’s ‘Free Money’ and the Buzzcocks ‘Nostalgia’ remain remarkable both for the passion that the band put into them and for Pauline’s vocal interpretation. Indeed, it’s Pauline’s voice that still remains the most instantly recognisable facet of the band, still distinct and highly emotive. Further favourites like ‘Danger Signs’ and ‘Come Into The Open’ continue the set before it comes to an end with three of the best songs from the recent ‘Resolution’ album, each receiving as much enthusiasm from the audience as the older material.
For the encore, they visit their other recent single, with the excellent covers of ‘I Don’t Mind’ (again, Pauline’s voice really adds a twist to this classic song) and ‘Shake Some Action’. Finally, an excellent version of ‘She Is The Slave’ brings the evening to a close. No need for birthday cakes… when a band still sound a s good as this, it’s all about what’s happening now.
In this case, Penetration were not only celebrating the 40th Anniversary of their inception, but also the fact that they are still producing new material of exceptional quality. It’s not just nostalgia when they’re still defying expectations !
The gig starts with three songs originally only recorded as demos in 1977, but recently revived and given the full studio treatment by the current line-up on one of the recent 7” releases. ‘In The Future’, ‘Duty Free Technology’ and ‘Race Against Time’ are all great songs and I think many fans have always been confused that they were missed from the bands’ albums back at the time. But it’s great to hear them now, and they’re soon followed by more familiar tracks from the early days, such as ‘Don’t Dictate’, ‘Firing Squad’ and ‘Life’s A Gamble’. Their covers of Patti Smith’s ‘Free Money’ and the Buzzcocks ‘Nostalgia’ remain remarkable both for the passion that the band put into them and for Pauline’s vocal interpretation. Indeed, it’s Pauline’s voice that still remains the most instantly recognisable facet of the band, still distinct and highly emotive. Further favourites like ‘Danger Signs’ and ‘Come Into The Open’ continue the set before it comes to an end with three of the best songs from the recent ‘Resolution’ album, each receiving as much enthusiasm from the audience as the older material.
For the encore, they visit their other recent single, with the excellent covers of ‘I Don’t Mind’ (again, Pauline’s voice really adds a twist to this classic song) and ‘Shake Some Action’. Finally, an excellent version of ‘She Is The Slave’ brings the evening to a close. No need for birthday cakes… when a band still sound a s good as this, it’s all about what’s happening now.
THE PRIMEVALS / THE PHOBICS. Hope & Anchor, 27/10/17. Another fine Rockaway Beach night at the Hope & Anchor. These events are always a treat, for the simple reasons that it’s a great venue and the club always attracts a friendly attendance which ensures the perfect atmosphere. Tonight is even more special as it’s a Halloween party and plenty of punters dress the part, making the audience just as much a part of it as the bands. Unfortunately, I missed the first band, Go Go Cult, but arrive in plenty of time for The Phobics. Tom fronts the band in his zombie-finery and, as is usual, they play an excellent set. There’s something about the Hope & Anchor that always brings the best out in The Phobics and they blast through their set with all the energy you’d expect from a bunch of teenagers on amphetamines. But when you see a rock’n’roll show as good as this, age just doesn’t come into it. It’s good because it’s good and that’s all that matters. If you weren’t there for this one, you should’ve been.
Tonights’ headliners are Garage-rock band The Primevals. Originally formed in Glasgow during the early Eighties, this was apparently their first gig back in London for quite some time and there’s quite a crowd to greet them. When the set starts-up with several upbeat trashy songs, I’m pretty impressed. It’s going well and I’m starting to wonder why I don’t know more about them, but towards the middle of their set, the songs begin to become less distinctive and they seem to lose their momentum. They’re certainly not bad, but they fail to keep up their initial pace and after a while I’m not paying so much attention. That being said, I wouldn’t mind seeing them again because the good songs were definitely worth hearing, so be sure to give them a chance.
Tonights’ headliners are Garage-rock band The Primevals. Originally formed in Glasgow during the early Eighties, this was apparently their first gig back in London for quite some time and there’s quite a crowd to greet them. When the set starts-up with several upbeat trashy songs, I’m pretty impressed. It’s going well and I’m starting to wonder why I don’t know more about them, but towards the middle of their set, the songs begin to become less distinctive and they seem to lose their momentum. They’re certainly not bad, but they fail to keep up their initial pace and after a while I’m not paying so much attention. That being said, I wouldn’t mind seeing them again because the good songs were definitely worth hearing, so be sure to give them a chance.
THE PROFESSIONALS. The Garage, 28/10/17. I don’t know if this was deliberate, but tonight is the 40th Anniversary of the release of ‘Never Mind The Bollocks’, so it’s appropriate that The Professionals are playing a gig to launch their new album, ‘What In The World’. Although he had contributed to the album, Steve Jones is still not involved with the live band but, to give him his due, Chris McCormack has done wonders in replicating Jonesy’s guitar style so that, musically, the band are now sounding as good as they should be. They get straight into the set tonight, kicking-off with ‘Payola’ and ‘Northern Slide’ before playing the opening track of the new album, ‘Good Man Down’. Tom Spencer is becoming much more assured as a frontman and developing his own style with the new songs, while Paul Cook and Paul Myers provide the perfect rhythm section. Next up, ‘Join The Professionals’ and from there-on, it’s a equal mix of old and new, with old songs like ‘Just Another Dream’ and ‘Kick Down The Doors’ receiving big cheers whilst new tracks like ‘Rewind’ and ‘Going Going Gone’ are met with just as much enthusiasm. The set eventually comes to an end with ‘Silly Thing’, originally released as a Sex Pistols’ single but, for all intent and purpose, it was really The Professionals all along. Then there’s a short break before the encore, and even despite the significant date, I don’t think anyone was expecting this… To celebrate the Anniversary, they blast through ‘Bodies’ and Pretty Vacant’ ! They sound really magnificent and its’ the perfect end to the gig. Going by this evening performance, The Professionals are back and delivering new material that more than lives up to their name.
THE MELVINS / REDD KROSS. Electric Brixton, 31/10/17. Now, this was a line-up too good to miss. I haven’t seen Redd Kross for a long time and, although I have to admit The Melvins can be a bit hit or miss as a live band, I was guessing that with a band like Redd Kross opening-up for them (Steve McDonald would also be playing bass for them) The Melvins would have to be pretty sharp. In the event, I’m glad to say I was right. This was also my first visit to The Electric (formerly The Fridge and originally Brixton Ace) so I was curious to see what it’s like now. Thankfully, the venue inside is pretty much the same as it was back in the days of The Ace, with a good-sized stage and a great view from wherever you stand (even though the bar was a bit of a piss-take - £5.00 for a can of Tyskie !) Redd Kross have just started as we arrive, opening with ‘Lady in The Front Row’ and playing through their set as if they’re enjoying every moment of it (which they probably are.) Great songs like ‘Switchblade Sister’, ‘Neurotica’ and ‘Jimmy’s Fantasy’ sound just as good as always and, with a large part of the audience clearly here to see them, they go down really well. As usual, they throw some cool covers into the mix, including ‘Deuce’ and ‘Saviour Machine’, finally ending with ‘Linda Blair’. It was a pleasure to see them again and I hope they manage to get back over here in their own right sometime soon !
I think I can honestly say, this was the best time I’ve seen The Melvins to date. I mean, they started with a cover of Flippers’ ‘Sacrifice’, so how could they go wrong ? I can’t say I’m familiar with their song-titles, but they really nailed-them tonight, playing hard, sounding really powerful and keeping everyone’s attention throughout. Top marks for their peculiar take on ‘I Want To Hold Your Hand’… now, here’s a thought… I wonder if Macca would jam with them ? That would be something to see, but really, on tonights’ evidence, The Melvins don’t need any help. This was a great night, both bands were on top form and the venue (apart from the bar) was excellent.
CHRIS & COSEY . Rough Trade East, 1/11/17. Rather than an album launch, this evening was an event to promote a new electronic gadget called the TG One Eurorack, which is basically a sample player that Chris Carter has been involved in creating, which incorporates many of the sounds and effects originally devised and used by Throbbing Gristle themselves. To begin, Chris presents a 30 minute performance making full use of the new equipment. Perhaps not as overwhelming as a full-blown TG show but certainly very impressive and powerful. There’s then a short break, before both Chris and Cosey return to the stage for a Q&A session with Mute records founder, Daniel Miller. A lot of this centres around the new TG One device and reminiscences about early (and often volatile) Throbbing Gristle gigs, but there is also room for further questions from the audience. Chris and Cosey then make themselves available for a signing session, as well as further chats with the assembled fans, with no hurry or pretence whatsoever. This was a really great event, as these things ought to be.
PETER PERRETT. Electric Ballroom, 4/11/17. The release of Peter Perretts’ recent album, ‘How The West Was Won’, took many people by surprise, including myself. After so many years with no new records, even when he Only Ones had reactivated successfully for a brief spell, it seemed unlikely that new material would be forthcoming. And so, when this album did emerge, it was a surprise in itself and a real kick in the eye when it turned out to be so good. So these set of dates around the UK were enthusiastically welcomed and this London show, despite the ridiculously-early stage-time, was crammed to capacity. Playing a lengthy set, Perrett certainly doesn’t disappoint. With an obvious emphasis on material from the new album, every track is played (although some, like ‘C Voyeurger’ actually date back quite some time) whilst older favourites like ‘’The Big Sleep’, ‘Baby Don’t Talk’ and ‘Flaming Torch’ also flavour the set. Predictably, but also quite understandably-so, the biggest response is reserved for ‘Another Girl Another Planet’, a song so perfect that it’s still bewildering that it wasn’t a hit single when originally released. (What was the World thinking ?) Anyway… the curfew is supposed to be 9.30 (as I said, ridiculous) but Perrett returns to the stage for an extra encore, declaring that he’s going to carry on playing until they throw him off, performing ‘No Solution’, ‘The Whole of the Law’ and ‘It’s The Truth’ before finally leaving the stage. For a man who’s gone through so much trauma in his life (admittedly, much self-inflicted) to return with such a vital performance is truly remarkable. We never doubted his talent, but whether he could actually physically do it was another matter. Thank the gods that he’s been able to do so, because it is a real pleasure to have him back.
ANTHRAX / HAGAR THE WOMB / CRESS / ANARCHISTWOOD. The Gunners, 11/11/17. As a celebration of the excellent ‘Grow Your Own’ label, a days-worth of bands had been organised at The Gunners. Not having the capacity for these lengthy affairs any more, I arrive early in the evening, just in time to see Anarchistwood. They seem to have a different line-up every time I see them but it inevitably works well. This set is as theatrical as ever, with lead vocalist Funk Cutter (unconvincingly) disguised as a man (complete with marker-pen beard) and a second lady-vocalist joining proceedings when needed. It’s as much fun as they always are. Next up, Cress, all the way from Wigan. Oddly, I’ve never seen them before, although they’ve been together for a long time and have an impressive discography. They play a mix of Anarcho-pink and crust/grindcore which is certainly powerful, but on this occasion I’d have to say they didn’t play anything that really stood out from others who play this style. Not bad, I’d see them again, but I won’t start buying their records just yet. Whilst waiting for the music to continue, I make full-use of the excellent vegan-curry on offer and almost forget the reason I’m there (the music) but with the sounds of sound-checking confusion from the main room, I realise that Hagar The Womb are due onstage and make my way back to the audience. From the very start, they’re as wonderfully chaotic as usual, crowded on the small stage and fighting for space to get through the songs. Mitch decides to make use of his wireless bass contraption and promptly leaves the stage altogether, wondering through the crowd, lurching into people’s faces and screaming the backing vocals whether or not they’re even warranted. And then, when he does decide to return to his band-mates, he courts further controversy when Karen spots him allegedly trying to chat-up Steph in the middle of a song ! Mitch denies this vehemently, Steph blushes and Karen swears it’s true, but then again, she may have been drinking… This is what we want from our bands – real drama ! Fortunately, they also have some great songs as well and manage to perform most of them without too many mishaps. It’s all very wonderful as far as I’m concerned.
Finally, Anthrax are headlining, meaning that Steph has to bring her guitar-skills to the stage once again. The band is on good form tonight, with their newer songs sounding just as effective as their older material. They were always a band that bridged the gap between early Punk Rock and the later Anarcho-punk sounds, so although very direct and powerful, they always maintained a real sense of melody and wrote songs that you’d remember. Tonight, they’re also joined onstage by Sarah from P.I.G. to add a second set of vocals to some of the songs. It makes a big difference in a very positive way and I hope we get to see more of her contributions. It’s a really good end to the evening and I look forward to seeing more of these events in the future.
ALICE COOPER / THE TUBES. Wembley Arena, 16/11/17, I’m not a fan of mega-venues like Wembley, so it has to be something special to get me there. I’ve seen Alice Cooper a few times over the years so, although I know it’ll always be a good show, this on its’ own wouldn’t usually be enough to tempt me. But this occasion was something special. For the first time since the early Seventies, the original members of the Alice Cooper Band (Alice, Michael Bruce, Neal Smith and Dennis Dunaway) would be reuniting on a British stage. Admittedly / unfortunately they would not be playing the entire set, but just the chance to see the original band (even without their fallen comrade, Glen Buxton) was more than enough to make this an event that I had to attend. To me, the Alice Cooper Band were one of the best from the early Seventies, if not of all time and even though Alice has made some great records in his subsequent solo career, nothing matches up to those original classic albums. This was one reunion I’d always hoped to see, so there was no way I was going to miss it. Arriving with Tom Phobic to see The Tubes (a band who’ve always intrigued me, although only ‘White Punks on Dope’ ever lived up to the hype) we promptly bump into our friend Mark and grab a beer before finding our seats for the early start. Admittedly, it’s not an ideal place to see a band like The Tubes, but it’s mostly disappointing. New Wave at best, muso rock at worst, the songs just aren’t that great and it’s clear that most people are just waiting for ‘White Punks’ which, predictably, comes at the end of the set. There’s an instrumental break before Fee Waybill re-emerges in his Quay Lewd persona, supported by a roadie as he struts across the stage. My first impression was, ‘Lady Gaga has really let herself go’, but the song did sound great and it was worth the patience. The main support was The Mission. Enough said. We decide to return to the bar for the next 45 minutes. And then its’ time for Alice Cooper. The first hour features his current band who, although appearing in a very glam-metal style, actually play the songs very well, with no unnecessary solo’s or embellishments, just the way we want to hear them. Starting with one of the best moments of the recent Cooper output, ‘Brutal Planet’, they then lunge through the classic ‘Under My Wheels’ and ‘Lost in America’ in quick succession, establishing that they know what they’re doing in case anyone was in doubt. As I mentioned before, you can always rely on a great show from Alice Cooper and this was no exception. Alice stalked the stage with real panache, creating a true anti-hero in the best kind of way and demanding the attention of every person in the venue. ‘Department of Youth’ is delivered with plenty of bombast but it’s the superb version of ‘Halo of Flies’ that really steals this part of the set (the only disappoint is that I’d have preferred to see it played by the original band.) ‘Cold Ethyl’ and ‘Only Women Bleed’ are further highlights from the ‘solo’ years, but the combination of ‘The Ballad of Dwight Fry’, a brief excerpt of ‘Killer’ and ‘I Love The Dead’ really raises the pulses of the assembled masses before we finally reach the moment we’ve all been waiting for. The second drum kit is revealed and suddenly, the original band members are onstage. You could feel the excitement and momentum of the occasion – the Alice Cooper Band were onstage in London after all this time ! It sounded magnificent and they looked great. They may have only played the last twenty minutes of the set (the encore, effectively) but it was awesome. ‘I’m Eighteen’, ‘Billion Dollar Babies’, ‘No More Mr Nice Guy’, ‘Muscle of Love’ and, of course, ‘School’s Out’ (complete with both old and new band members.) It’s a raucous celebration and something I had thought I would never be lucky enough to see. I would love to see the original band play a full set one day, but in the meantime, this gig made me as happy as I get. If you doubt the Coop, you really need to hear those original albums again. You’ve been told !
COYOTE MEN / KING SALAMI. The Lexington, 24/11/17. Not even the headliners, but El Hombres Coyote were more than enough to ensure my attendance. After all, they don’t make their way down from Newcastle, errr, I mean Mexico too often these days. That being said, first band to take the stage at a ridiculously early time on a Friday evening meant that only the faithful are there from the start. The place rapidly fills-up as they continue to play, but for my book, they should have been top of the bill. Well, what do you wanna know ? These wild, masked men of Latin heritage tore the stage up… if that tosser Trump thinks he can keep these guys in their place with just a wall, he’s got another thing coming. They’ll eat their way through it ! Rock’n’Roll so raw, the cattle haven’t even been killed, and a delivery so brutal that even the bones weren’t left behind. Most people cowered (as they should) while those who instinctively knew the truth lurched forward to enjoy the best noise this side of the Rio Grande. Even a Werecat was spotted taking notes at the front… If you want to rock-out in a style rarely seen this side of The Cramps or The Mummies, then you have no excuse for not being there.
Headliners this evening are King Salami and the Cumberland Three, a band who have steadily improved over the past few years and are now, undoubtedly, a force to be reckoned with in their own right. I enjoy what I see of their set, although after The Coyote Men, they did seem a little too hospitable. Not that I’m saying that it was a bad selection of bands, just that my loyalties lay closer to the wonderful chaos of Coyotes. In real-time, if you get the chance to see either band, be sure you don’t miss out.
Headliners this evening are King Salami and the Cumberland Three, a band who have steadily improved over the past few years and are now, undoubtedly, a force to be reckoned with in their own right. I enjoy what I see of their set, although after The Coyote Men, they did seem a little too hospitable. Not that I’m saying that it was a bad selection of bands, just that my loyalties lay closer to the wonderful chaos of Coyotes. In real-time, if you get the chance to see either band, be sure you don’t miss out.
PUSSYCAT & THE DIRTY JOHNSONS / ANARCHISTWOOD. The Dublin Castle, 30/11/17. This proved to be a rather eclectic line-up (and would’ve been even more so if I’d been paying attention to some of the other bands) but in the end, Anarchistwood and PATDJ were enough for one night ! Anarchistwood are playing a supposedly-unannounced gig tonight, although plenty of people seem to have turned up for it. Hot from the shoot for their latest video, ‘Bomb in a Luggage Rack’, we find them looking stunning in the same white costumes and effortlessly corrupting male/female imagery. For a change, it’s a pretty straight forward four-piece band set and they really rock-out, albeit in their own peculiar style. Think Crass meets the Au Pairs via the Residents… it is catchy, you just have to hear it in the right way. Once you’re bitten, you can’t help letting it spread through your veins…
Pussycat & the Dirty Johnsons take an altogether more familiar sound, but also twist it in their very own style. The best rock’n’roll always has an edge. PATDJ add mystery (Pussycat herself is constantly masked, perhaps the female Coyote person… with a more feline approach…) while the Dirty Johnsons back her with a truly authentic, nasty rockabilly snarl. Great tunes combined with an attitude that, at the same time, entices your presence whilst scaring the Hell out of you. This is what it’s always been about, appeal to those who want to do things differently whilst upsetting the morons who deserve to be upset ! Anarchistwood and Pussycat & The Dirty Johnsons might not be the most obvious bands to share a stage, but in so many ways it makes sense. They’re both out to achieve the same thing and, let’s be honest, why to the same thing twice ? This was a great gig !
DUNCAN REID & THE BIG HEADS / THE PHOBICS / STONE HEROES. New Cross Inn, 2/12/17. This is another all-day event, but I decide to turn-up just for the evening. I know the idea behind these things is good, giving stage-time to a wide variety of bands, but my attention-span just isn’t up to it very often. I’d rather just see a few bands and keep my interest-level high. Anyway, the first attraction today are Stone Heroes, who play a fine set. As their name suggests, there’s certainly a Penetration influence within their music (and the powerful female vocals also draw comparisons) but they’ve also got plenty of their own style to keep things interesting. Lots of ideas and, while they’re obviously pretty accomplished musicians, they never try to be too clever just for the sake of it. It’s always about the energy. Be sure to see them if you get the chance. The Phobics are, of course, on home turf, so I already know this is going to be a good one. What can I say that I haven’t already mentioned in previous reviews ? This is a band that play rock’n’roll at its’ purest level. It sounds deceptively simple, three chords and all that, but few other bands can do it as well as these guys. The reason is that they know their references and they don’t just start in ‘77. Go back to the Sixties and the Fifties, cos if you don’t know that stuff you’re missing out. And don’t just try to write songs like the bands you love, write about yourself. That’s the authenticity of The Phobics. Musically, you might be hearing a style that harks back to The Ramones and Heartbreakers, but they’re also singing songs about living and drinking in Deptford right now ! There’s no problem in having your influences, but its’ when you put your own experiences into the mix that you make it real. Yeah, all you need to know is that this was yet another great set from the band. Headlining tonight are Duncan Reid & the Big Heads, fronted by the former Boys singer / bassist but very much a band in their own right. The current line-up is always a pleasure to see and hear, with all the energy of his previous band and plenty of their own great tunes. With two girls and two lads in the band, it’s a great balance as well, although there are no stereotypes. Everyone plays with as much passion and enthusiasm as everyone else, putting their effort in for the whole of the band. Of course, Duncan has a lot of back catalogue to his name, but this band is very much about their current songs and they only play a few older Boys tracks, but it works because the new material is just as instantly likeable as those old classics. I wish I knew the song names so that I could point you towards particular tracks, but really, you just need to see them live or hear any of their records. Pop with Punk Rock attitude… Punk Rock with Pop sensibilities. Ignore them at your risk !
ROCKET FROM THE CRYPT / THE SCHIZOPHONICS. Electric Ballroom, 8/12/17. Hooked-up with my old friend Jabs before this gig, which was great. He’s another one of those people, I may not see him for ages but when we do catch-up, it’s just like we’d seen each other last weekend. Anyway, a couple of beers in the Black Heart and then over to the Electric Ballroom to see the first band. Also from San Diego, The Schizophonics have been creating a bit of a buzz and when you see them, you soon know why. Singer / guitarist Pat Beers (how can you not admire a name like that ?) is a frenetic ball of energy, performing jumps, somersaults, splits and extortions at a manic pace whilst handling both vocal and guitar strings. It’s almost overwhelming, drawing your attention away from the songs themselves, but there’s certainly something there, something worth hearing as well as watching. This is something that you’ll have to make your own mind up about. Due to the ridiculously early stage times (the Electric Ballroom, like too many other venues, likes to clear everyone out by 10.00 so they can charge students and tourists even more money to come in for a late night club… those wankers deserve it…) the venue is still filling-up by the time RFTC arrive onstage. After their previous London gig at Koko, I expected the place to be packed and raucous, but tonight was odd, perhaps due to the aforementioned early start. RFTC sound as great and certainly deliver the set with as much panache as ever, but the element that’s missing tonight seems to be the feedback from the audience. Although there’s plenty of applause, that offstage energy just doesn’t seem to be there for the band and so they don’t excel as they usually do. Which, before you worry, means they were still amazingly good but just didn’t reach their usual heights. It was a weird night… I really enjoyed myself but, although the band played as well as ever, I found the audience surprisingly lackluster... Ahh, what the fuck ? I’ll still be there next time they play. I just hope there won’t be so many beards in attendance…
999 / THE MORGELLONS / BLUE CARPET BAND. New Cross Inn, 9/12/17. Blue Carpet Band might have a pretty daft name, but they have got steadily better over the last year or so and become a rather good live act. Of course, frontman Djamel is the real focus of attention and his frenetic stage antics are certainly the main strength of the bands’ performance, but they’ve also got songs that you’d want to hear as well. Morgellons are an entirely different proposition but no less enjoyable. Their music is more cerebral, although certainly not lacking its’ own raw power. It draws people-in rather than going for the throat but once it has your attention, you won’t be going anywhere else. This is the first time I’ve seen 999 for a while and, I have to admit, last time I saw then the sound was awful and the gig was pretty lacklustre. Tonight, however, they’re back on form. They play a set that covers their full career although unsurprisingly, it tends to focus on tracks from their early singles and the first two albums. I doubt if this disappoints anyone though and the set is enthusiastically received. Songs like ‘Homicide’, ‘Emergency’ and ‘Feelin’ Alright With The Crew’ still sound fresh and unlike anyone else, so its’ really good to see and hear the band playing them so well again.
HO99O9. Electric Ballroom, 13/12/17. After their previous sold-out gig at Camden Underworld, Ho99o9 had been booked to headline the much bigger Electric Ballroom. In the event, it may have been a little over-ambitious, but regardless, the place is still probably two-thirds full, which was a very reasonable turn-out. It was a good place to see them as well, as the high stage meant that you could watch their performance as well as hearing them through a good, loud PA. They play with as much energy as ever, with Eaddy diving in and out of the audience on numerous occasions. The audience response is manic and instantaneous, with people crashing around the dancefloor or clambering onstage to dive back into the pit… it may look pretty brutal, but there’s also a good atmosphere and people are careful that no-one gets hurt inadvertently. I had been a little worried in advance how Ho99o9 would fare in a bigger venue, but I’m glad to say that, once again, they delivered another great show.
CRISIS / ACTIFED. Brixton Windmill, 13/12/17. I like The Windmill as it’s a great pub venue, but it isn’t one of the most convenient places to get to. That being said, this was a gig I had no intention of missing. Appropriately enough, this was a fundraiser for the Homeless-peoples charity, Crisis, and the band of the same name had been approached to help-out. The place is busy but not too packed and Actifed are already onstage by the time I arrive. They sound good, another one of those bands that took punk rock in a different direction and created something of their own. Crisis are another band who took a similar course, developing from a raw, basic punk style but gradually bringing-in different influences to create something unique. They always maintained a very edgy sound, but instead of sticking to the three-chord template, played with different tones and atmosphere to create genuinely unsettling music like ‘White Youth’ or ‘Afraid’, as well as more uptempo songs like ‘PC 1984’ and ‘Alienation’. Although this line-up only features Tony Wakeford from the original band, they sound really good and certainly do justice to the songs. With talk of new songs soon to be added to the set, it’ll be very interesting to see how the new version of the band develops, but regardless, they’re certainly well-worth catching.
ANARCHISTWOOD . Vinyl Deptford, 21/12/17. Vinyl Deptford is a lovely little café / record shop and, as a bonus, it has a great, similarly-small basement which is used to host gigs and exhibitions. Tonight is a special event, the premiere of Anarchistwoods’ new video, ‘Bomb in The Luggage Rack’, directed by their talented friend Lindsey Studholme. The place is packed as the film gets its’ first public airing and it’s very imaginative and entertaining. You should definitely track it down on youtube... And then it’s time for the band themselves, who perform as eccentrically as usual, although never losing track of the fact that the audience are also there to enjoy themselves. Vocalist Funk Cutter even brings her young son on stage to play guitar during a lively version of ‘White Punks on Dope’ – he does a great job ! This was one of those evenings that really brought a smile to your face, as well as leaving you with something to think about.
MORGELLONS / HOLY FACTION. The George & Dragon, Acton, 22/12/17. It may be a bit of a hike to get to, but this place is a fine pub and this event, billed as ‘Shake Some Acton’, was really good fun. The pub itself is part of a local micro-brewery, with the vats on show when you go to the rear bar, while the bands get to play in the relatively small confines of the front room. But that’s perfect for a gig like this. There’s lots of familiar / friendly faces and everyone’s packed together, enjoying themselves. Holy Faction start proceedings with a decent dark-punky sound, but Morgellons really own this one. The PA sound may not be great, but they play a great set, maybe the best I’ve seen them. They always seem to thrive when the audience is on their side, and tonight was certainly the case. This may not have been the average idea of an Xmas Party, but for me, it was just about right !
MOTORHEADACHE. New Cross Inn, 28/12/17. I’m not a big fan of tribute bands but, since we all loved Motorhead, this seemed like a good idea as well as an excuse to meet up for a few drinks in between Xmas and New Year. It was a pretty enjoyable evening as it awful Heavy Metal bands and certainly nothing to get excited about. The headliners, on the other hand, do have a pretty good reputation as a live act, so we were expecting a lot from them. However, although it was good to hear all of the Motorhead songs live again, the band weren’t really as good as we’d heard. The singer / bass player did make an effort and looked the part, with stage equipment to match, but the other musicians just looked like a couple of bozos and didn’t even play in a particularly authentic style. That wouldn’t have mattered if this was just a one-off tribute, but this is a band who tour quite regularly, so you would expect them to do it properly. But, all being said, we didn’t take it too seriously and we did have a good night. It just didn’t change my opinion of tribute bands…