LIVE REVIEWS, JULY - DECEMBER 2018.
THE MISPELT / BUCHA EFFECT / PIG / HYPE. The Birds Nest, 6/7/19. An odd mix of bands, but it works. Hype are a three piece band from Belgium (I think) and look out-of-place (they’re pretty young and wearing suits) but play an interesting, technical and eclectic brand of rock, somewhere inbetween Jimi Hendrix (they even cover one of his songs rather impressively) and No Means No. It’s also quite amusing watching them while the TV in the next room is showing the Belgian national team playing in the World Cup… the guitarist has a radio-pack so he’s able to run through during songs to bring back reports for his bandmates ! (Belgium beat Brazil 2-1, so they were well-chuffed ! Next up are PIG and I have to say, this is the best I’ve seen them so far. Another three-piece fronted by Sarah Taylor on bass and vocals, they deliver a great set of powerful songs that mixes both the more melodic elements of early Punk and the raw energy of Anarcho. They also have a good line in between-song banter, making it all very enjoyable. I like this band more every time I see them ! The main draw for Bucha Effect tonight is that they’re playing their new song, ‘Tommy Hates Cheese’ for the first time, and it’s all about Tom Phobic who has to grin and bear it ! But it’s all good fun (I mean, how can someone who’s half-Italian hate cheese ???) and certainly a highlight of their set, even though they have plenty of other neat tunes to assault our ears… they’ve got a very particular sense of humour, but once you catch it, there’s a lot to enjoy. Finally, The Mispelt play a pretty decent set of melodic punk rock combined with a few heavier influences (I would imagine.) They’re not bad actually, but it’s a bit unfortunate that two local bands have been on already and played particularly good sets, as it kind of stifles the attention they get. But I thought they were pretty decent and I’d be happy to see them again.
SUBWAY SECT / OH GUNQUIT / LOS PEPES / MIRAGE MEN. Somerstown Festival, 14/7/19. This is the first time I’ve been back to the Somerstown Festival for about ten years. I’m not really sure what’s been going-on there during that time, but with new organisers, it’s started becoming a bit more ambitious and interesting, with a better selection and variety of bands. I arrive pretty early to see The Mirage Men (this time I see their whole set and not just the end of it !) They’re very good fun, a trashy Surf instrumental band dressed as Pharaohs, in the grand tradition of themed Surf bands (although I doubt they ever expected a stage invasion by Pearly Queens !) Total fun, very recommended. There are actually two stages at either end of the street, but this one seems to have the better line-up… next on, Los Pepes. I’ve seen them before and not been impressed, but today they’re really good, blasting out raw rock’n’roll somewhere inbetween The Saints and New Bomb Turks. Going on this performance, I’ll be making a point of seeing them again soon. Next up, Oh Gunquit… always entertaining and today is no different. Singer Tina bounces around the ‘stage’ area (it’s the pavement) balancing on bollards and tooting the trumpet (no puns intended.) With a mix of vintage R’n’B, dirty rock’n’roll and New Wave pop, they’re a lot of fun, plain and simple. There’s a gap after they’ve finished, so a few of us wander down to the other stage to see what’s happening, but it doesn’t seem very exciting, so we just waste some time, drink some beers and head back to see Vic Goddard / Subway Sect. Well, it’s not a bad set although I’m much more a fan of their early material. The problem is that after several pretty upbeat bands, this set is a bit lacking in energy and doesn’t really grab your attention. So we hang around for a while and then I head off to Camden as a few of us are going to another gig in the evening…
CHELSEA / THE DeRELLAS. Camden Underworld, 14/7/18. I have to admit (probably again) that I’ve never been a big fan of Chelsea. I’ve seen them a few times over the years, always because I’ve been there to see other bands on the line-up, and I’ve either thought they’ve been not bad or pretty poor. Which is a shame, because the band have a genuine place in Punk Rock history, with Gene October playing an integral part in the seminal Roxy Club as well as releasing the ‘Right to Work’ single in mid-77. But the era I like the most is the 1982 period featuring guitarist Nick Austin. The current line-up, featuring both Austin and ’77-era guitarist James Stevenson is certainly an interesting combination and has been highly recommended by several people whose opinion I usually trust, so, this has to be done…One of the other deciding factors on this gig was the fact that The DeRellas are supporting. Despite several line-up changes in recent times, this band have steadily continued to develop into one of the most reliable rock’n’roll bands on the scene in recent years. Much like The Phobics, they play because it’s what they do. There’s no pretence, no bullshit, they’re just playing the music they love and putting it out there so that the audience can share it. In some cases this would be admirable but unremarkable, but in their case, the DeRellas have excellent songs like the new single ‘High Rise Supersize’ that’ll truly blow you off your feet. I’m not kidding, if you don’t dig this, you don’t dig nothin’ ! They put everything into it and when they hit the mark, they’re really up there. This gig is going real well and we’ve only got as far as the support band… let’s see what Chelsea have got ?
Well, I’ll have to say, tonight, for the first time, I’m actually very impressed. The band are really tight and sound more convincing than ever, while Gene delivers a great frontman performance. When I’ve seen them before, it seemed as if the whole band wasn’t playing on the same page, if you see what I mean, but tonight they sound really together and really focused. I still won’t say that they were a classic punk band, but when they delivered classics like ‘War Across The Nation’ and ‘Evacuate’, they sounded as good as anyone else from that original era (even though those songs were written five years later…) ‘Right To Work’, I have to say, was still a bit plodding and lyrically, seems to miss the point (surely, the right should be not having to work a mundane job ?) But even if you take that into account, songs like ‘Last Drink’ and ‘Urban Kids’ soon make up for the discrepancy ! Despite being over 40 years down the line, Chelsea played a set that, at last, I was pretty impressed with and I have no problem in reporting the fact. If they can maintain this kind of standard, I’ll be more than happy to see them again.
THE DICKIES. Camden Underworld, 20/7/18. The Dickies have returned to London on a fairly regular basis in recent years, so it’s sometimes easy to take them a little bit for granted. That is, of course, until you’re actually watching them play. Apart from the unfortunate occasion a few years ago when Leonard was suddenly taken ill shortly before the end of their tour and the last few dates featured various guests and a highly commendable performance from their merch-guy on vocals (which was quite an event in itself, but not their usual blistering standards) the band are always one of the tightest and most entertaining bands that you could ever hope to see. I can’t remember how many times I’ve been walking out at the end of one of their gigs telling someone, that was one of the best times I’ve ever seen them ! In fact, the only criticism you could fairly level is that they’re not the most prolific band when it comes to new material ; the last album, ‘All This And Puppet Stew’ was released in 2001, and its’ predecessor, the superb ‘Idjit Savant’ was 1995. But although a few new cover versions and vague rumours have teased the fans over the years, actual new songs have not been forthcoming. However, with the current line-up remaining pretty-much intact probably longer than any other version of the band,, and sounding consistently great with it, you know that it’s always a possibility. Perhaps tonight would provide a surprise…
Well, against all odds, the opening song actually delivered a shock to the fans – a new song to the set, albeit a cover by some obscure beat-combo. ‘I Want To Hold Your Hand’ was treated to the full Dickies makeover, not particularly faster, but with all the crunching power chords and punk rock harmonies that you’d only previously heard in your dreams. NOFX should be hanging their heads in shame when compared to these guys ! With that unexpected opener whetting the appetites of the crowd, the set then launches into old faves ‘Give It Back’, ‘I’m OK, You’re OK’ and ‘Tricia Toyota’ before another bombshell drops. A totally original new song ! And, perhaps as a cynical sneer towards the pop-punk industry that has grown so huge while their huge influence has been generally ignored, it’s called ‘I Hate Punk Rock’ ! I may have got that interpretation completely wrong, by the way, but it’s a great song nonetheless, loads of energy and as catchy as Hell. Back to the oldies and not-so-oldies, they deliver ‘Got It At The Store’, ‘Free Willy’ and ‘Fan Mail’ before great versions of ‘Welcome to the Diamond Mine’ and ‘Golden Boys’ from the criminally –underrated ‘Idjit Savant’ album, as well as the hard-glam stompin’ of ‘Stuck In A Condo With Marlon Brando’. But then, just as we’re settling back into another great set, there’s one final surprise. ‘This is a new song that’s pays tribute to two of our biggest influences’, declares Leonard. ‘The GoGo’s and Gary Glitter !’ The announcement may have elicited chants of ‘Leader !’ but the song itself, borrowing a chorus from ‘Vacation’, is a classic piece of Dickies-style sly- humour entitled ‘Gary Glitters Getaway’. Just wait until you hear it !
The remainder of the set sticks to the classics, with a welcome return for ‘Wagon Train’. But it’s the power and theatrics of songs like ‘Paranoid’, ‘You Drive Me Ape’ and ‘Gigantor’ that never seem to lose their effectiveness, no matter how many times you’ve seen them,. And there isn’t a long wait for the encore, as they blast through ‘You’re So Hideous’, ‘Shake & Bake’ and, of course, ‘Banana Splits’. Only one encore, a Dickies tradition, but by this point everyone has such a big smile across their face, no-one’s going to complain. In a perfect world, this band should have been up there alongside The Cramps or the Ramones. Perhaps not mainstream, but revered by everyone with good taste. Fate may have worked against them on that score, but at the end of the day, they are still one of the best live bands you’re ever likely to see and, even heading into their fifth decade, you would be a fool to miss them !
The remainder of the set sticks to the classics, with a welcome return for ‘Wagon Train’. But it’s the power and theatrics of songs like ‘Paranoid’, ‘You Drive Me Ape’ and ‘Gigantor’ that never seem to lose their effectiveness, no matter how many times you’ve seen them,. And there isn’t a long wait for the encore, as they blast through ‘You’re So Hideous’, ‘Shake & Bake’ and, of course, ‘Banana Splits’. Only one encore, a Dickies tradition, but by this point everyone has such a big smile across their face, no-one’s going to complain. In a perfect world, this band should have been up there alongside The Cramps or the Ramones. Perhaps not mainstream, but revered by everyone with good taste. Fate may have worked against them on that score, but at the end of the day, they are still one of the best live bands you’re ever likely to see and, even heading into their fifth decade, you would be a fool to miss them !
RUBELLA BALLET / HAGAR THE WOMB / CTRL. The Victoria, Dalston, 21/7/18. The first of two book launch events in one weekend ! You wait ages for one, etc… Sunday night saw a gig to promote Sylvain Sylvains’ biography, but tonights’ gathering was for something a little closer to home, celebrating Gail Thiberts’ book, ‘Soap The Stamps, Jump the Tubes’. Also autobiographical, this tome recounts her mis/adventures as a punk rocker, mainly in London during the Eighties. Living in an array of squats and bedsits, she goes to countless gigs, gets drunk and encounters an endless cast of peculiar characters, some that become true friends and others that prove much less reliable. The best thing about it is that so many places and situations will be recognisable to anyone who was involved in the London Punk scene during those years and, in tribute to this, Gail had gathered together a selection of bands and individuals from her illustrious past to enjoy the party together. So I arrive to find lots of old friends, familiar faces and a great atmosphere. The gig had started very early, so I’ve already missed several bands by the time I arrive, but the first set I see is by the band CTRL who are playing a tribute to Joy Division. Now, I’m not usually too impressed with covers-bands, but this lot actually deliver a pretty sharp set, starting with ‘Ceremony’ which was only ever played live by JD and never properly recorded. They also deliver the the songs with a real rough edge, catching the punk roots of the band rather than the polished image that has come to be believed by the public (mostly due to them being hijacked by the ‘classic rock’ twats, long in retrospect.) CTRL take it back to a presentation that’s probably a lot closer to the original band than the ‘professional’ tributes that I really have no interest in seeing. Anyway, I catch most of their set, in between conversations with various friends, but then it’s time for the main attraction – Hagar the Womb!
Always one of my favourite bands, even if Ruth and Karen aren’t as drunk as usual and the set is surprisingly together ! But that’s still not to say that the chaos element isn’t still there, with bassist Mitch taking every opportunity to leave the stage and wander through the audience and bar area, screaming at unsuspecting punters as he passes by. Give some people a wireless guitar gizmo and this is the sort of abuse that’s bound to happen, I’m afraid. But thank your lucky stars for such irreverent use of technology ! The rest of the band still blast through the set regardless but it’s not until the final song, inevitably ‘Dressed to Kill, that things get weird onstage as well. Their friend Dave (six foot tall, long dreadlocks, Moulin Rouge-style dress) joins Karen for a duet and anarcho-choreography (Fuck the Rhythm !) It is, of course, highly entertaining and I’m already looking forward to their next gig. Finally, the headliners are Rubella Ballet. I have to admit, I’ve seen them numerous times over the years and whilst enjoying their sets and appreciating what they do, I’ve never really been blown-away by them. But tonight was different. Perhaps it was the atmosphere, perhaps it was the noisy PA, but tonight they sound really powerful and better than I’ve ever seen them before. I’m really glad I saw this gig and I’ll be paying much more attention next time I see them. A fine end to a great evening !
SYLVAIN SYLVAIN. The Dublin Castle, 22/7/18. Arranged as the launch-night for Sylvain’s autobiography, ‘There’s No Bones in Ice Cream’, this evening would feature both a live music set and a Q&A session with the man himself. Unfortunately, on the day itself we’re in the middle of a heatwave and it’s horribly humid even at 9.00 in the evening. Regardless of this, a large crowd has turned-out for the event which is good to see, but it also means that the packed venue is very much like a sauna. To be honest, it was a bit surprising that this was being held at such a small venue in the first place, and combined with the heat it really didn’t make conditions pleasant, but despite all of this, it turned into a great evening. By the time Sylvain arrives onstage, the place is so crowded that people are having to stand outside and watch proceedings through the opened-doors ! He starts his mostly-acoustic set with ‘Teenage News’, encouraging everyone to sing along and quickly establishing a real rapport with the audience. The set continues with plenty of familiar songs as well as stories to put them in context. He’s joined by a friend onstage (I only caught her first name, Alison) who provides additional vocals, which are ideal for covers like ‘Great Big Kiss’ and ‘Femme Fatale’, and also add depth to the more upbeat tracks like ‘Pills’ and ‘Jetboy’. ‘You Can’t Put Your Arms Around a Memory’ is a poignant and fitting tribute to his former bandmate, Johnny Thunders, and his own song ‘Leaving New York’, is proof that he’s still writing good new material as well. Towards the end of the set, further guests appear onstage, which is where it gets a bit chaotic. Obviously, this is a bit spontaneous and unrehearsed so, when combined with the lack of space and conditions, a final blast through ‘Personality Crisis’, with Thurston Moore guesting on vocals, only just makes it through to the end, more by determination rather than by plan ! But it really didn’t matter because, however sloppy it may have been, Sylvain had created such a good atmosphere in the place that everyone was just going to enjoy themselves whatever happened. It was one of those gigs where technical-perfection really didn’t matter, it was the character that counted. Anyway, there’s a short break before Sylvain returns to the stage once more, this time for a Q&A session, as part of the Camden Rock’n’Roll Book Club. They discuss a bunch of stuff, mainly concerning his illustrious musical past, which was very entertaining (Sylvain knows how to tell a good story and always adds a lot of humour) although really, you need to read his book, which goes into a lot more detail and is quite possibly the best overview of the New York Dolls that you’ll ever come across. But, yeah, I enjoyed this gig and even if I did have to resort to night buses to get home, I was really glad that I didn’t miss this one !
MONKEY & ROY / ANGELOS EPITHEMIOU / SARAH KENDALL / BOURGEOIS & MAURICE. The Bill Murray, 23/7/18. A comedy club named after one of my favourite actors / comedians ! And tonight, the comperes will be the excellent Nina Conti and Shenoah Allen, so it’s an ideal event to make my first visit. As it turns out, the venue is actually pretty small so everyone is packed-n, which makes for a great atmosphere. Roy appears first, getting everyone to chant his praises before Monkey makes his appearance and, of course, steals the show. I mean, a full-on, Nina-size Monkey, what more could you want ? Another twist to the ventriloquist genre, transforming the performer into the puppet ! Brilliant, and Roy is a perfect, understated foil to Monkey’s exuberant character, although never just a ‘straight-man’ and very entertaining in his own right. Soon enough, they introduce the first guests, Bourgeois & Maurice, a camp, satirical Cabaret musical duo with a good selection of witty songs. Next onstage is Sarah Kendall, an Australian comedian who claims she was added to the bill at the last minute and wasn’t really prepared for it… whether or not that’s true, she starts quite slowly but once she hits her stride, she delivers some great stories and has everyone laughing. Monkey and Roy return for another brief appearance and then it’s the turn of Angelos, a character-creation who first appeared on ‘Shooting Stars’… think of a male version of a bag-lady and you’ll be close. Again, a lot of fun once you get into the swing of it. And then, the final return of Monkey & Roy, this time offering to help members of the audience as onstage Agony Aunts (and Uncles.) Both of these guys have a wonderful talent for improv so this is hilarious and they eventually whip-up the crowd into such a frenzy that Monkey ends the set crowd-surfing over the seated-audience all the way to the exit ! I’m sure that wasn’t planned, but it was superb. I have no idea if the Monkey and Roy duo is going to be an ongoing act, but if you get the chance, you should see them and I also have no problem in recommending the other acts as well. Check out the Bill Murray as it’s a really nice venue and it really deserves to be supported.
TSOL / CHANNEL 3. Camden Underworld, 3/8/18. As usual, Rebellion Festival ‘oop north’ generates a bunch of great gigs in London around the same time, particularly as American bands pass through the UK. Tonights’ gig is an early starter which means that I miss the first band all together, but I’ve made sure that I’m there in plenty of time for Channel Three as they’re without doubt my main reason for attending this gig. Unfortunately, the same can’t be said for many of the punters and, as I and my friend Tina-the Blag make our way down to the stage as CH3 set-up, we suddenly realise we’re the only people in front of the band. That being said, Mike Magrann takes it in good humour and asks us to go back out and find everyone else ! Luckily, he has nothing to worry about as, once the guitars are cranked-up and the band rip in to the first song, the fans start rushing down from the bar area and there’s soon a decent audience paying attention which continues to steadily grow to a healthy crowd as more people arrive at the club. It’s easy to see/hear why. As I’ve said before on many occasions, CH3 are one of the best bands still playing and producing new music to have come out of the original, early Eighties Californian hardcore/punk scene and I really can’t understand why they’re not a lot more popular in the UK. They’ve got loads of great songs, so much energy and are always an exciting and entertaining live band. They sound as good, if not better, than bands from the same era who’ve become very successful, so why haven’t CH3 had their slice of the pie ? It’s certainly well-about time that it went their way. In the meantime, though, I get the impression that the band themselves are too concerned. They’re clearly still enjoying being onstage and playing their music to new audiences, so they always make the most of it. Even though I hadn’t heard their new album, ‘Put ‘em Up’, before this show, but the new songs sound great and fit-it perfectly with old favourites like ‘Manzanar’ and ‘I Got a Gun’. A bunch of fans are dancing to every song, even the guy with the matching-Exploited t-shirt and Mohican combo ! It’s always great to see this band and all I can say is, if you haven’t already done so, catch them next time and find out what you’ve been missing. I’m pretty certain you won’t want to miss them again !
I have to admit, I’ve never been the biggest fan of TSOL. Even back in the Eighties, they flitted between different styles and, after original / current vocalist Jack Grisham left the band, went on to make some truly appalling trad-rock albums. However, more recently the band have been playing in a style much more true to their original output and musically, at least, I’m far more comfortable with this. Tonight, they play with a lot of style and energy and, paying more attention than I have in the past, I’m actually a lot more impressed than I expected to be. Jack Grishams’ vocals are pretty divisive (you either love ‘em or hate ‘em) but if you’re one of the former, there’s not much you’d dislike about this performance. He also comes across as a pretty likeable character with a lot of humour, which certainly helps to offset any negativity you may have felt about different line-ups and their output. They even manage to play an unlikely Damned cover at the end of their set, blasting through an edgy version of ‘Politics’ to keep us all on our toes. Yup, I have to admit, I saw TSOL in an entirely new light after this gig and I will be going back to check out their early records once again. Even for a Friday night in Camden, this was a fine event and I’m already looking forward to tomorrow…
WOLF GIRL. The Lock Tavern, 3/8/18. As the TSOL / CH3 gig had ended by 10.00, Tina and I decide to see if anything else is going on in the vicinity. First stop, the Devonshire Arms, but they have some awful metal band going through the motions so we quickly wander up to the Lock Tavern. Fortunately, this is a much more interesting prospect, as we find that Wolf Girl are playing. I’d already heard a few tracks by them via downloads and I knew that they played a rowdy form of indie-pop, somewhere inbetween Tallulah Gosh and the Ramones. Seeing them live certainly didn’t disappoint. They sound even more boisterous live, but always with great, catchy songs at the heart of everything. It’s only a short set and I think we caught about six songs (I remember introductions for ‘Middlesexy’, ‘Maths’ and I think they said the last song was called ‘Sourpuss’ (which is a great title and as catchy as Hell – Damaged Goods need to take notice !) Yeah, I can’t say much more because I didn’t see the full set and I wasn’t really familiar with the songs, but this was fun ! Now, that’s gotta count for something ? I’ll be happy to see them again !
DRI / MDC. Camden Underworld, 4/8/18. Continuing the pattern of the weekend, Saturday evenings are early gigs at the Underworld. I don’t object to this, although I wish this was something they used to do 30 years ago, when I had to miss encores to go and catch my last train back to Kent. But that’s just another example of being an old fucker and retrospect being a son of a bitch (or the daughter of a dickhead… I wouldn’t want to be sexist with my metaphors.) Anyway, with DRI and MDC on the bill (one of the support bands was also called ‘BKS’, which makes this very initial-themed) this was another ‘don’t miss’ event. MDC have been on top form in recent years, especially with originally drummer Al Schvitch back on the beats, while their most recent album ‘Mein Trump’ caught them at their best. On top of this, it’s also the first time they’ve toured with fellow Texans DRI for many decades, making this a cool reunion of sorts. I have to admit that I lost interest in DRI after they adopted their ‘Crossover’ phase (more metal than the original, blistering hardcore that they’d previously played) but reports I’d heard that they were now back closer to their original roots made me more than curious. So, even though it’s one of the hottest days of the year, I can’t miss this one.
MDC are already in full flight by the time I arrive, even though I thought I’d be there early enough to catch the whole set. But even having missed a couple of songs, they still don’t fail to impress. With a packed audience in front of them, the band blast through their set with even more energy and commitment than ever before, delivering their wry, social-political observations with all the adrenalin-rush that’s needed
to make them convincing. You don’t need statements like ‘John Wayne Was a Nazi’or ‘Don’t Open The Door’ if the music doesn’t match the sentiment ! Dave Dictor, with recently cropped-hair, looks as determined and demented as ever, delivering the message to think for yourself even if he may be up against the whole Western World. In this day and age, bands like MDC are more vital than ever, not telling you how to thin but just to think. The final song, ‘I Remember’, puts it all in perspective ; shit happened 40 years ago. Despite it’s smiley media-face, the same shit is still happening. Don’t let it happen on your watch.
MDC are already in full flight by the time I arrive, even though I thought I’d be there early enough to catch the whole set. But even having missed a couple of songs, they still don’t fail to impress. With a packed audience in front of them, the band blast through their set with even more energy and commitment than ever before, delivering their wry, social-political observations with all the adrenalin-rush that’s needed
to make them convincing. You don’t need statements like ‘John Wayne Was a Nazi’or ‘Don’t Open The Door’ if the music doesn’t match the sentiment ! Dave Dictor, with recently cropped-hair, looks as determined and demented as ever, delivering the message to think for yourself even if he may be up against the whole Western World. In this day and age, bands like MDC are more vital than ever, not telling you how to thin but just to think. The final song, ‘I Remember’, puts it all in perspective ; shit happened 40 years ago. Despite it’s smiley media-face, the same shit is still happening. Don’t let it happen on your watch.
After MDC’s set, I’m pretty psyched-up to see DRI. They certainly have a lot of power in their music and a load of energy, but I have to say I wasn’t so impressed by their more-metallic approach. Older songs like ‘Couch Slouch’, ‘Violent Pacification’ and I Don’t Need Society’ still send a tingle down the spine, but a lot of the set seems a but less-convincing. I enjoyed the gig but I can’t help thinking, they went for that crossover hardcore/metal thing (they even coined the phase) and even though lyrically they still stuck to their principles, it didn’t pay-off, so now they’re heading back to their hardcore roots. I’m certainly not saying that the gig was bad and I certainly enjoyed a lot of the set, but compared to MDC, I wasn’t so sure about DRI’s motivation. I’m glad that I got to see them at last but I’m not so sure that I’d want to see them again, whereas MDC are currently a band I would want to see at every opportunity.
WEIRDOS / BLEACH BOYS. New Cross Inn, 8/8/18. It’s just a few days after the end of Rebellion festival, so I’m not expecting this Wednesday evening gig to be very busy but, as it turns out, there’s a decent attendance and people are obviously keen to see original LA punk rock legends, the Weirdos. Which of course, is how it should be. I arrive pretty early and there’s already a few familiar faces present, so I think this is going to be a good evening. The main support comes from The Bleach Boys, who I’ve seen a few times over the years. They like to point out that the band has been playing live since 1977, although it seems there have been numerous line-up changes since then and I wouldn’t really say their current sound recalls that era, probably fitting more in the early-80s punk genre. They’re not bad… they have a few good songs and are certainly enthusiastic about what they’re doing. But it’s The Weirdos that I’m here to see and, from the outset, they really make their mark. The venue isn’t packed but there’s enough people to make it work and there’s a great atmosphere. The PA sound is great, clear and loud, just what you need to hear a band like this. Starting the set with ‘We Got the Neutron Bomb’, they sound so much more powerful than when they played in Camden back in 2016. That gig lacked atmosphere and a decent sound-mix, both of which are clearly evident here. The set continues with songs like ‘Life of Crime’, ‘Happy People’, ‘It Means Nothing’… every one sounding as vital as it ought to. John Denney delivers his vocals with gritty perfection whilst his brother Dix plays the catchy, powerful riffs like his life depends on them. The rhythm section, Bruce and Jeff, nail everything down in place, ensuring the energy is never lacking. The classics keep on coming… ‘Solitary Confinement’, ‘Message From the Underworld’ and, of course, the punk rock anthem ‘Destroy All Music’. It all seems to be speeding past too soon, and they finally end the evening with awesome versions of ‘Helium Bar’ and ‘The Hideout’. I enjoyed seeing them at the Underworld previously, but this gig was so much better and they were just as I’d always wanted them to be. I can only hope that we get another chance to see them in the UK and that, if it happens, they get the much bigger audience that they obviously deserve.
SLAUGHTER & THE DOGS /THE DeRELLAS. 100 Club, 11/8/18. The same line-up and same venue as last year, but I enjoyed those two nights a lot so I certainly wasn’t going to complain. Perhaps it’ll become an annual event ? Making sure that I arrive in plenty of time (the gigs had started ridiculously early last year) I’m there to catch The DeRellas and I’m glad I was. They’re sounding really good tonight, providing a perfect warm-up for the rest of the evening. Their current line-up is the best they’ve ever had, just the right mix of knowing what they’re doing and keeping it loose enough to maintain an edge. They’ve really hit their stride this year and their catchy, punky brand of glam-rock’n’roll is totally infectious. They end their set with latest single ‘High Rise Supersize’ and I hope everyone who enjoyed them took the cue and made sure to buy a copy of the record before they went home… Slaughter & The Dogs take to the stage and from the very start, there’s something about this gig that’s even better than before. Certainly, the sound is much clearer this time, we can hear the vocals properly and Mick Rossi’s guitar is really sharp and powerful, but the band also seem to be enjoying themselves a lot more. Not that they weren’t enjoying themselves last year, but this time around it’s really evident. Starting-off with ‘Victims of the Vampire’ (which had been missed last year) they’re really launch themselves into the set, quickly following the opening song with ‘We Don’t Care’, ‘You’re a Bore’ (dedicated to record labels) and ‘Boston Babies’ before introducing ‘Stranded’ from the recent ‘Vicious’ LP.
They play their first cover of the evening ‘Who Are The Mystery Girls ?’ before another recent song, ‘Maybe If We Followed The Devil’, before further old favourites, finally ending the main set with a great version of ‘Situations’ and the classic ‘Where Have All The Bootboys Gone ?’ It seems to have gone by in a flash, but certainly left everyone hungry for more. Well, we didn’t have to wait long for the band to return to the stage, first to play their version of the T-Rex masterpiece ‘Get It On’ and then to be joined onstage by their old friend Tony James, for a wonderful run through the Generation X hit ‘Ready Steady Go’ and then ending the evening with their debut single, ‘Cranked Up Really High’. Certainly, this was the best time I’ve ever seen the band and, while they’re on form like this, I can’t wait to see them again. Everyone had a great time, the band and the audience, and that’s the way it should always be. With the energy-levels they produced tonight, they’ve still got plenty of the old-bite left in them and you need to see them as soon as you can.
THE VIBRATORS / THE SATELLITES. The Water Rats, 17/8/18. I didn’t make the decision to go to this gig until the last minute, as I’d been having a particularly shitty day at work, but I’m glad that I did get there in the end. As it turned out, there was a really good, lively crowd with lots of familiar faces and a fine atmosphere. Just standing in the bar before the music even started, you could tell it was going to be a goodie. The Satellites seem intent on proving me correct right from the start. They play a really solid, tight set, no doubt aided by the addition of the legendary Mannie on drums (one by one, The Satellites seem to be transforming in to the Morgellons) but with the results sounding this good, that’s certainly not a complaint. I’ll admit that The Satellites may be something of an acquired taste, but their genuine and very British eccentricity is a charm in itself. Once you figure them out, it all makes perfect non/sense. They’re not a regular ‘punk rock’ band in any way, but their songs are full of energy and their sense of humour is abundant. Other bands could try to do similar things and end up sounding like crap, but when The Satellites deliver ‘AC/DC’ or ‘Urbane Gorilla’, they do it in just the right way. They never become just a one-joke gimmick band and make sure that the music is strong enough to back up the (admittedly) peculiar sense of humour. I can’t explain it, but it works for me and always brings a grin to my face. Next up, The Vibrators have a really buoyant crowd in front of them and make the most of it. They hardly seem to have skipped a beat in the change of guitarists from Darryl Bath to Nigel Bennett and are on top form (as a band who still play and tour so consistently ought to be.) They deliver their set with a convincing sense of purpose, with songs like ‘Amphetamine Blue’ or ‘Whips and Furs’ sounding as good as ever. They even play a version of ‘Sound of the Suburbs’ to reference Nigels’ former band, The Members, and although it isn’t what we’re really here to hear, it works pretty well and doesn’t spoil the flow of the set. I’m not going to say that the current version of The Vibrators are a band you should see every time they play in your vicinity, but at least they’ve stuck to their roots and can still be relied upon to deliver an entertaining gig. You can’t fault them for that.
YE NUNS / THE EMBROOKS, The Lexington, 27/8/18. There were few better ways to spend a Bank Holiday than attending this gig. Unfortunately, I missed the opening band, but was in plenty of time for The Embrooks. They seem a lot heavier than when I’ve seen them previously, really going for that classic power-trio style, although keeping their roots firmly in late Sixties Garage, Mod and Beat sounds. It seems that the hiatus they took for a few years has given them a chance to reassess their approach and they now deliver their songs in a harder, more determined fashion. If you’ve never seen them before, you really need to correct that error as soon as you can. By this point, The Lexington is pretty full-up and The Embrooks have warmed-up the audience perfectly, ready for the appearance of Ye Nuns. As I’ve said before, I’m not a fan of ‘tribute’ bands per se, but the way that Ye Nuns have interpreted the music of The Monks makes a big difference. Admittedly, their versions of the songs are pretty true to the originals, but the fact that they’re played from the perspective of an all-female group turns some aspects on their heads. They dress-up in an array of convent-related finery and are clearly enjoying themselves, but at the same time, they’re obviously intent on keeping the music of The Monks alive and letting people hear the songs live is such an integral part of what the original band was all about. The Monks made some truly special music and, now that they’re no longer around to share it, Ye Nuns are doing a great job to spread the word. Ignore it at your peril.
THE PHOBICS / DAMIDGE, Fordham Park, New Cross, 1/9/18. Another free ‘Party in the Park’ event and fortunately it’s another nice sunny day. There are several different stages spread across the park as well as food and drink facilities (although the local off-licenses tend to be the better option) and various workshops presenting information on important community issues (especially appropriate in an area where gentrification is currently rife.) Anyway, as it turns out the bands I’m interested in seeing are playing on the ‘Black Star’ stage, so I remain in that area for most of the afternoon. Plenty of friends in attendance, so it’s a fine, relaxed afternoon. The Phobics are higher-up on the bill this year and although there are a few initial sound problems, once the PA is sorted-out they run-through their set with their usual style and energy. With so many friends and family in attendance, it makes for a really inclusive and entertaining set that gets a great response. Unfortunately, the next band that I’d wanted to see, Meinhof, had cancelled at the last moment due to unforeseen problems, but that just meant that the headliners, Damidge, got to play a bit earlier and a bit longer. I’ve seen this band a few times over the past few years and they’ve changed quite a lot (both their line-up and their musical style.) Right now, they’re a lot more focused and enjoyable, playing Seventies-style punk rock in a catchy, accessible manner. Singer Al is a good frontman and, with more gigs under their belt, they really seem to be making their mark. After their set, there are a few bands still playing on other stages but gradually the festival winds down as it enters the early evening. However, I have further plans…
EDDIE & THE HOTRODS, New Cross Inn, 1/9/18. New Cross Inn is almost next-door to Fordham Park and, with the Hot Rods on stage tonight, there’s no excuse not to hang around for some further live music. Although certain Phobics who were meant to attend bottle-out, having already drunk too much over the course of the afternoon, I still catch-up with several friends at the gig and, with a decent crowd filling-up the place, there’s a great atmosphere. Only Barrie Masters remains from the original band, but his high-energy performance more than makes up for the absence of other original members. The current Hot Rods come from the same musical background and really know what to do with these songs, playing them as tight and powerful as they deserve. And what great songs they are… ‘Teenage Depression’, ‘Quit This Town’, ‘Life on the Line’, ‘Power & The Glory’ and, of course, ‘Do Anything You Wanna Do’. It’s unfortunate that the Hot Rods became eclipsed by the ensuing Punk Rock scene and, to their credit, they never tried to jump on that bandwagon, but it’s also undeniable that they, along with the likes of Dr Feelgood, really paved the way for bands like the Pistols, The Damned and The Clash. In so many ways, they had more in common with the early Punk bands than they had differences, but in retrospect, the music press has attempted to ignore the part they played. Tonight, they play their set with just as much style and energy as they’ve always done and only the most determined cynic would have failed to enjoy them. Afterwards, I stay for another drink with my friend Steve, enthusing about the gig, when Barrie Masters comes up to the bar to chat to various friends and fans in that old Pub Rock / Punk Rock tradition of the bands being no different to the fans. Really nice bloke, very down-to-earth and genuine. This was a really great end to a long but very enjoyable day.
WILD BILLY CHILDISH & CTMF / JOHNNY MOPED / THE SHADRACKS. Koko, 6/9/18 If any independent label truly deserves to celebrate its’ 30th Anniversary, surely that must be Damaged Goods ? Having stuck to their original intentions, to only release music that they enjoy, they’ve supported so much great music along the way. So many bands could have been asked to play at this event, but appropriately enough the headlined by Billy Childish, the artist that the label is most readily associated with. Also on the bill were the ever-wonderful Johnny Moped, one of the bands that inspired the label in the first place, and latest-signings The Shadracks, introducing a new musical generation to the roster (singer Huddie is the son of Mr Childish.) With the show starting pretty early, it’s unfortunate that a lot of people were still arriving while The Shadracks played. They may be the least-experienced band on the line-up but they played an admirably-confident set, intent on presenting their own music with a real sense of purpose and a strong set of songs. Songs like ‘When I Can’t Remember’ and ‘Things I Hear’ combine snappy tunes with lo-fi, trashy punk rock to great effect and I’m sure they’ll stick in your ears long after you’ve heard them. Label boss Ian appears onstage to introduce the Mopeds, prompting a spontaneous and shambolic rendition of ‘Happy Birthday’ from the audience, but it’s the band we all really want to see. Not the best sound they’ve ever had (it should’ve been so much louder, for a start) but as usual, they deliver a great set, playing songs as recent as the ‘Catatonic’ single all the way back to their 1977 classic ‘Hard Lovin’Man’. Johnny even manages (eventually) to dedicate a song to Tom Phobic, who’s also celebrating a birthday tonight. Gawd bless ‘em all, guv’nor ! Finally, it’s time for what is, nowadays, a rare live appearance by Billy Childish. Ably backed by Wolf Howard and Nurse Julie, the band play a great selection of original songs and covers from Billy’s illustrious musical past and present, including ‘Troubled Mind’, ‘Lie Detector’, Jack The Ripper’, ‘Punk Rock Ist Nicht Tot’ and ‘Archive From 1959’. With a great atmosphere and a sold-out audience, this was a perfect way to end the evening and an ideal celebration of a label that really deserves the recognition.
TV SMITH / YOU, The Unicorn, 8/9/18. I haven’t seen TV Smith live for a while, partly as he doesn’t seem to play in London so often these days. But this is a nice September evening and there’s no excuse for not attending. It’s a little odd as there are a few other gigs happening tonight so some of people that I’d usually expect at a TVS gig aren’t there, but the place is still pretty busy and the audience is friendly and lively. Support comes from a band called You, which turns out to be a three-piece featuring drummer Jamie Oliver from the UK Subs. It’s a bit different to the music he plays with the Subs, more melodic perhaps, but still with plenty of energy and attitude. I’d be very interested in hearing some more of them. There’s a short break before TV Smith takes to the stage, but as soon as he begins his first soon he has the full attention of the audience. Playing a mixture of songs old and new, from early Adverts material through to selections from his latest album, ‘Land of the Overdose’, it all comes together to make a great set. And, in case anyone wasn’t already enthralled, Paul Ronney Angel joins him onstage for some additional guitar-sounds as the set comes to an end. It may have been a little unrehearsed, but it just added to the overall spirit of the event. It had been a great evening and I’m glad I was there to see it.
BLUE CARPET BAND / HOOLIGAN / THE PHOBICS / THE ANORAKS, New Cross Inn, 15/9/18. The loss of Garry Borland, front-man for the highly-rated Scottish band Heavy Drapes, was a real tragedy. The band had been rapidly improving ever since I first saw them (at New Cross Inn, funnily enough) and their debut album had only just been completed, ready for release later this year. In one horrible moment, one of the most promising bands on the UK punk scene was over. It was a true tribute to the excitement that they had stirred that so many other bands came together to play this memorial gig for Garry and the band. It was an all-day event with more bands than I could possibly see (or remember… there was beer involved) but the fact that they came together to celebrate a band who had not been able to fulfil their obvious potential, was a massive tribute in itself. Over the course of about six hours, we saw The Anoraks (great, catchy upbeat punk rock), Underclass UK, Snide, Rage DC, Borrowed Time (all fine punky rockers and stalwarts of the DIY scene in London), The Phobics played a blistering set of punk rock’n’roll (particularly fitting, as they had supported Heavy Drapes at what turned out to be their last gig in London.) Hooligan had come over from Dublin to take part in this event and played a great set of no-nonsense punk rock. Finally, Blue Carpet Band finish the evening with one of the best sets I’ve seen them play to date… a bit different to most of the bands who played tonight but good with it. An enjoyable gig for sure, it’s just unfortunate that it happened due to such awful circumstances.
THE CHORDS UK. Sound of The Suburbs, Ruislip, 22/9/18. It’s my first visit to this shop, but I’ve known the owner, Tony, for a while as he’s a regular gig-goer. As well as having a great selection of records and CD’s covering a wide range of styles, the shop has also started playing host to instore performances from bands and singers, which is something I’ve always enjoyed. I’d had to miss the recent Chords UK gig at the 100 Club, so this was an excellent way to catch up with them again. Their new album, ‘Nowhere Land’, is a really great record, even better than its’ predecessor, so I’m really looking forward to hearing the new songs played live. Anyway, I meet-up with old friend Tina-the-Blag and we make our way upto Ruislip. It’s not such a long way from central London and, once there, only a short walk from the rube station. We arrived fairly early, but the shop is already crowded. Plenty of people have turned-out for this event and, even though many are checking through the record racks, it feels more like a regular gig than a shop. Although billed as an acoustic set, the band still set-up with regular guitars played through smaller practice amps, while the drumkit is stripped-down to a mere tambourine (no doubt a lot easier to transport…) Rather than just playing a few songs, the band play through a whole set, probably around 45 minutes, mixing plenty of tracks from ‘Nowhere Land’ with a selection of favourites from the original Chords. In such confines, there’s a really friendly atmosphere and plenty of banter between the band and the audience, making everyone feel a part of the event. ‘Our World’, ‘Gentrified the Elephant’ and ‘Hipsters of London’ really stand out from the new album and get the positive response that they deserve, while old faves like ‘Now It’s Gone’ and ‘British Way of Life’ bring big cheers. It’s a really enjoyable set and, at the end, we’re treated to a great, extended version of ‘Maybe Tomorrow’ that had everyone singing along. What a fine way to spend a Saturday afternoon ! The band won some new fans, the shop found some new customers and everyone enjoyed themselves together. This is something that can only be encouraged !
THE FALLEN LEAVES, Hope & Anchor, 22/9/18. After a busy afternoon in Ruislip, I eventually make my way back to the Hope & Anchor to see The Fallen Leaves. As usual, the place is pretty full-up without getting too packed and there’s a great atmosphere. The band play another highly enjoyable set and, seeing them on a pretty regular basis, it’s particularly interesting to see them introduce new songs and watch them develop over the ensuing gigs. The Fallen Leaves are one of the best bands in London at the moment and, although it does seem that they’re not as well known as they ought to be, I think they’re pretty content with it. As it is, they can play, write and record as and when they want to and don’t have to get too involved in the business side of things. It also makes it a bit more special for the fans, as most seem to discover them by word of mouth or even by accident, which makes the experience all the more specialfor it. On this particular occasion, Tessa Pollitt comes down to see them for the first time. Of course, Tessa had known Rob Symmons since the Slits and Subway Sect had played together on the ‘White Riot’ tour, but she had been unaware that he had a current band until I mentioned it during our recent interview. She decided that she wanted to check it out and I’m happy to say that she really enjoyed their set! That’s the way it works with the Fallen Leaves – you really need to see them for yourself. Trust me, you’ll be in for a treat!
AMYL & THE SNIFFERS / THE SKINNER BROTHERS. The Moth Club, 25/9/18 When Amyl & The Sniffers visited the UK earlier this year, it coincided with a very busy week. As it turned out, I ended up going to five gigs in four days by which point I was too shattered to go to anything else, even though I wanted to. The only consolation was that I already knew that the band would be back in London only three months later, so I decided it would have to wait. Tonight is my first visit to Hackneys’ Moth Club and it seems like a decent venue. Certainly, the company of a whole of friends helps the atmosphere, especially when we’re confronted by the support band ,who quite possibly are one of the worst I’ve ever seen. Several songs into their set, we’ve all retreated to the bar and are actually daring each other to go and watch an entire song by them. Personally, I’d rather chew my legs off, they were that dull. And a shit name as well. Fortunately, they don’t play very long and in complete contrast, Amyl & The Sniffers crash onto the stage to launch into their first song. The only problem is that, with such a packed audience, it’s difficult for us ‘of a certain height’ to get a decent view. But with all the guile of a seasoned-punker, I manage to bundle my way down to the front and end up with a good spot. The band have plenty of energy, mixing their short bursts of punk snot with hard rock riffs that would make (early) AC/DC proud and bass sounds that veer more towards classic hardcore, but it’s the antics of diminutive, blond front-woman Amy that really lift them above the others. She’s a genuine ball of unpredictable raw power, equal parts Debbie Harry, Bon Scott, Iggy Pop and David Yow. One moment screaming into the microphone, then diving over the audience, before finally throwing herself head-first at the drumkit. If you just see pictures, you may think this is some kind of skimpy sex scam, but when you see her performing, you can see it’s no scheme. The moves are far too spontaneous and that’s what makes the difference. Have you ever seen a woman front a band with such abandon ? It’s exciting, but not just in a bland pin-up kind of way. Musically, the band are good, but Amy takes it all to another level. They’re getting plenty of good reviews right now and it’s deserved ; I just hope that they get the chance to take it further and don’t give up the attitude. Right now, Amyl & The Sniffers are the real thing and I hope they stay that way. In true Aussie style, they end the evening with a punked-up version of ‘Dirty Deeds Done Dirt Cheap’ and I got the impression that most of the audience had no idea it was a cover version. No matter, they played it well and Bon Scott would’ve loved it. This was a riot for girls who just don’t care…
AMYL & THE SNIFFERS. Brixton Windmill, 26/9/18 It was no surprise that Amyl & The Sniffers also played a low-key pub gig while in London, but it was a bit of a shock that it was so early. They were due onstage at 7.15, ferchrissakes ! That’s hardly enough time to recover from last nights hangover (band and audience alike on that one, I suspect…) But they’d sneaked an early set onto The Windmill schedule (with another gig happening later in the evening) as a special treat for all involved and in that case, I’m glad I found out about it early enough to grab a ticket. I trek across London straight from the sweatshop and meet-up with plenty of faces from the previous night (Charlie & Yuko had come up from Brighton for the second night in a row for this one !) The Windmill is a perfect venue for something like this, relaxed enough to ensure a good atmosphere, grungie enough to keep it on the level. There is a support band who are already halfway through their set by the time I arrive and, to my ears, they sounded rather good in a sorta indie/garage way (I mean that as a compliment) but I never did find out who they were called despite my efforts (if anyone has the info, please let me know as I’d like to hear them again…) Anyway, after this there’s only a short wait before the Sniffers take the (extremely low) stage. They blast into the first song, but Amy soon recognises the main problem. Being vertically-challenged (an affliction that I identify with) unless you’re in the front-row, no-one can see her. But seizing the pioneer-spirit of her Aussie-forefathers, see quickly spots a resolution and grabs an empty beer crate (it was full before she spotted it…) and brings it to the microphone, giving herself at makeshift stage-rise ! It works, and now everyone can see the face behind the voice, at least until she starts charging around the rest of the stage. The set continues at a thunderous pace. Guitarist Dec announces between songs ‘As you can tell by our accents, we’ve come all the way from Wales’, before Amy dives into the audience, only to return to the stage complaining ‘No-one caught me… I landed on my back !’ The set is shorter then the previous night, but very-much to the point, taking their punk rock right back to the pub rock. I am a bit cautious that all the recent press reviews may work against them in the long run (remember what happened to The Hives) but at the same time, I hope they make the most of the attention whilst keeping their sound and attitude intact. Aussie rock’n’roll has a reputation for not putting up with bullshit, so I have high hopes for this band. Catch them as soon as you can.
HO99O9. Dr Martens Boot Store, Camden. 11/10/18. A special free gig was announced at short-notice, featuring H09909 playing a short set at the Dr Martens shop in Camden Market. I’m not entirely sure what it involves, but the band have some sort of sponsorship deal with DM’s and, much that Dr Martens are no longer the essential footwear that they once were (Solovair are much more authentic) it’s still a damn-sight more credible than the likes of Nike etc, so good luck to ‘em. And we get a free gig out of it, so I’m not going to complain. All you had to do was put your name down on a weblist and turn up on time. Even I can manage that. Fortunately, the event is kept pretty low key, as the shop isn’t that big, but everyone who arrives seems to get-in. First bonus, there’s free beers! Limited amounts, of course, but most welcome. Second bonus, H09909 play virtually a whole set, rather than just a few songs (as often happens at things like this.) The place is packed and buzzing by the time they arrive on the tiny stage and they burst into the set with as much energy and enthusiasm as ever. The OGM is sporting an outfit, complete with an oversize hat, that seems to replicate the style of classic Parliament / Funkadelic, while Eaddy is in his usual early 80’s punk rock finery, complete with a stylish Venom t-shirt! In a way, their sartorial choices indicate their roles within the band – The OGM provides the more eclectic musical input while Eaddy provides the full-on physicality of their live performance. Not that their roles are strictly limited to this, and they obviously cross-over on a pretty regular basis, but I suspect that this is what creates the precarious balance at their gigs. Whatever the case, they do it just right, bordering on the very edge of chaos whilst managing to keep the energy and intent perfectly focused. The set also includes a bunch of new material which seems to be taking them even further forward. If this is a good indication, the next album is going to be awesome! The entire set is incredible, so full of unpredictable spontaneity. By the end, everyone looks sweaty and exhausted, but as soon as they can the band members return to the room to talk with their fans and share their time. At the moment, HO99O9 have so much potential and it seems as if they are intent on making the most of it. If you haven’t already seen them live, you need to do so as soon as you get a chance, because I can assure you, they’re like nothing you’ve ever seen before.
THE PHOBICS / DIRTY VIV. The Pelton, 13/10/18 As this venue seems to have recently taken over from The Birds Nest as The Phobics home-from-home, I have become a little wary about repeating myself when I review their gigs here. The most awkward part is that it’s the atmosphere of the place that plays such an important part and that’s always difficult to explain in a review… you really need to be there to experience it. Further than that, there isn’t much more I can say that I haven’t already said about previous gigs. There are plenty of friends in attendance, along with the regular pub-goers, and everyone is having a great time. The PA sound is good and the band play a great set with plenty of their older favourites alongside a few more recent tracks that give us a sneaky preview of how the next record will be sounding. I had a great time once again, as did the majority of the audience. I know this venue is a bit out-of-the-way, but it’s a really great place to see live music and you ought to make the effort to support it. You’ll also be doing yourself a favour.
TONY DRAYTON + THURSTOM MOORE / BIG JOANIE / CXR. Rough Trade East 16/10/18 I’ve probably whinged about this before, but it’s one of those evenings when there are two events happening in the same evening and, technically, it’s possible for me to attend both. Sometimes these set-ups work-out fine, other times they don’t, but I know that I’ll spend a good part of the first gig stressed-out about whether I’m going to make it to the second. Is it worth it ? Possibly not, but once the idea occurs it seems as if I have to give it a go. I don’t have a choice in the matter…
First up, it’s a launch for the new anthology of the legendary fanzine ‘Ripped and Torn’. With the line-up going in reverse order, Tony D (for Drayton) is interviewed onstage by Thurston Moore (whose Ecstatic Peace Library have published the book.) These things can sometimes get a little self-indulgent, but this is a really entertaining conversation with plenty of details infused with Tony’s dry sense of humour. This is two music fans discussing a moment in time that presented so many possibilities. In Tony’s case, he published the first Scottish punk rock fanzine in 1976, covering bands like the Sex Pistols and The Damned alongside The Modern Lovers, Iggy Pop, Suicide and even Throbbing Gristle. The fanzine captured the essence of the new scene before the music press decided to divide everything into neat pigeon holes. ‘Ripped and Torn’ continued until 1979, and Tony relocated from Glasgow to London where he subsequently published the equally impressive ‘Kill Your Pet Puppy’ fanzine, covering bands as varied as Bauhaus, Adam & The Ants, Crass and The Mob as well as more esoteric subjects. The book is an essential purchase for anyone who has never seen Tony D’s original publications and, just like ‘Sniffin’ Glue’, offers a real insight to the atmosphere and events of the era. After their talk ends, there are two bands playing short sets. ‘Big Joanie’ are a three-piece all girl band playing a (what is now called) post-punk style recalling the likes of The Raincoats, Au Pairs and Kleenex. Stripped down guitars and drums, up-front vocals and quirky rhythms that gradually crawl into your brain. I would certainly be curious to hear more. The final band are CXR but unfortunately, I have to leave for the second gig before they take to the stage…
First up, it’s a launch for the new anthology of the legendary fanzine ‘Ripped and Torn’. With the line-up going in reverse order, Tony D (for Drayton) is interviewed onstage by Thurston Moore (whose Ecstatic Peace Library have published the book.) These things can sometimes get a little self-indulgent, but this is a really entertaining conversation with plenty of details infused with Tony’s dry sense of humour. This is two music fans discussing a moment in time that presented so many possibilities. In Tony’s case, he published the first Scottish punk rock fanzine in 1976, covering bands like the Sex Pistols and The Damned alongside The Modern Lovers, Iggy Pop, Suicide and even Throbbing Gristle. The fanzine captured the essence of the new scene before the music press decided to divide everything into neat pigeon holes. ‘Ripped and Torn’ continued until 1979, and Tony relocated from Glasgow to London where he subsequently published the equally impressive ‘Kill Your Pet Puppy’ fanzine, covering bands as varied as Bauhaus, Adam & The Ants, Crass and The Mob as well as more esoteric subjects. The book is an essential purchase for anyone who has never seen Tony D’s original publications and, just like ‘Sniffin’ Glue’, offers a real insight to the atmosphere and events of the era. After their talk ends, there are two bands playing short sets. ‘Big Joanie’ are a three-piece all girl band playing a (what is now called) post-punk style recalling the likes of The Raincoats, Au Pairs and Kleenex. Stripped down guitars and drums, up-front vocals and quirky rhythms that gradually crawl into your brain. I would certainly be curious to hear more. The final band are CXR but unfortunately, I have to leave for the second gig before they take to the stage…
RADIO BIRDMAN. The Dome (also) 16/6/18 So, as planned but not particularly enjoyed, I have a brisk walk back to Liverpool Street followed by a succession of tube-trains upto Tufnell Park. I’m stressed-out all the way, even though everything seems to be going according to plan. In the event, I reach the venue and walk into the gig just as Radio Birdman are blasting through the first song of the set, an incendiary version of ‘Do The Pop’. Once I realise that I’ve only missed a few seconds of the set, I begin to relax and start to enjoy the gig. After all, it’s quickly apparent that the band are firing on all cylinders tonight. Second song , ‘Smith & Wesson Blues’, follows-on with hardly a pause for breath. They’ve set the standards straight away and, fortunately for us, they don’t slack their delivery throughout the following hour or so. Rob Younger’s vocals and Deniz Tek’s guitar sound so distinctive and instantly recognisable as they share command of the proceedings, keeping the audience completely focused on the stage. ‘Descent Into The Maelstrom’ slows the pace but increases the drama and tension, just like the Edgar Allen Poe tale itself. They take an early opportunity to include a version of The Doors ‘Not To Touch The Earth’ (they always had good taste in covers) before the first song from their 2006 album, the appropriately titled ‘We’ve Come So Far (To Be Here Today)’. It’s only a few more songs before the title track of that album ‘Zeno Beach’ is also played and it sounds as good as anything else in the set, even placed between classics like ‘More Fun’ and ‘Man With Golden Helmet’. (‘Zeno Beach’ is certainly an album that continues to improve with age !) ‘Alone in The Endzone’ is as riveting as it ought to be and ‘1-94’ is a blast of surf-pop beefed-up via Detroit rock and Aussie punk. But it’s not until almost the end of the set that an unmistakable bassline rumbles out of the PA and the band launch into my personal favourite, ‘Hand of Law’. With its’ almost menacing tone, it still sends a shiver down my spine. After this, there’s only one place for them to go and they end the set with ‘New Race’, an exercise in pure adrenalin ! Of course, the insistent cries for an encore bring them back onstage after only the briefest absence. Even after a set where they’ve delivered 100%, there’s no half-measures as they give us ‘Anglo Girl Desire’ and a magnificent ‘Aloha Steve & Danno’. I don’t know about the band, but I certainly had to catch my breath by the end of this ! In so many ways, this band really shouldn’t be this good so far down the line, but the only fact you need to know is that they are. Rock’n’Roll in its’ purest form – Yeah Hup, indeed !
ALTERNATIVE TV / EXTNDDNTWRK / RICHARD YOUNGS / MAP 71. Café Oto, 19/10/18. Although I’ve seen some great gigs at Café Oto, it’s not one of my favourite venues for events like this. The way that the space is set-out prevents you from getting close to the stage and often stops you even getting a decent view of the stage area. That being said, they’ve had a great PA sound every time I’ve been there and they do promote a wide range of interesting artists, so I’d rather Café Oto continues than not. But I think if they made themselves a little more audience-friendly they’d be doing themselves and the punters a favour. Anyway, tonight is a showcase for the Fourth Dimension label (Herne Bay – Krakow – The World!) featuring several of their recent artists. The show starts early but I’m fortunately on time, for once, as I was really looking forward to seeing Map 71. I’ve enjoyed their two albums to date, but this will be the first time I’ve seen them live. Just a duo, featuring Lisa Jayne on vocals and Andy Pyne on percussion, they nonetheless produce a sound that’s intriguing and enthralling. The lyrics present observations and images in an almost deadpan delivery (although not lacking a sense of humour) while the rhythmic patterns create an enticingly hypnotic effect allowing you to drift right into the hart of the music. I am very impressed and I look forward to seeing / hearing them again. After their set ends, some friends decide to sneak over to a nearby pub for some of us sneak over to a nearby pub for some proper drinks (another gripe about Café Oto – the bar is expensive and has a very limited choice of options.) But we don’t stay too long and head back to check out Richard Youngs. I have to admit that I’m not particularly familiar with his music, but the vocal-only performance that I see isn’t really something that captures my imagination. It just wasn’t something that I could put into any kind of context and I think others in the audience seemed to be having the same problem. I only saw the second half of his set, but I’m sorry to say it just didn’t work for me. However, the next set was another that I was really looking forward to seeing. Andrew Fearn is best known as the instrumental half of Sleaford Mods, but he has also released his own (mostly instrumental) music under the title ‘EXTNDDNTWRK’ (‘Extended Network’.) It’s an avenue for him to explore his more eclectic influences and whilst not entirely at odds with the more rhythmic tracks that he produces for the ‘Mods, it gives him more space to delve deeper into the ideas that the tracks present. One moment may be catchy and melodic whilst another will revel in darker, more industrial sounds. Onstage, he doesn’t have much more equipment than he has at ‘Mods gigs, but he’s certainly using it in a much more involved way. The first EXTNDDNTWRK album was really just a collection of demos and individual recordings, which was fine in itself, but after this performance I really hope that he gets to release another album of his own material sometime soon as I think it could be something very impressive. Finally, Alternative TV take to the stage to headline the event. They don’t play live very often these days, partly because the various members live in different parts of the country and also because Mark Perry seems more interested in making events special rather than just accepting whatever offer comes along. In this case, having recently released the critically-acclaimed ‘Dark Places’ EP on Fourth Dimension, ATV were more than happy to headline this show, and from the very start, they more-than-proved that they were entitled to that status. For me, the thing with ATV is that, although some of their decisions may have been a little naïve at times, their intentions have always been real and, when you put it all together, it works. If you take things like ‘Vibing Up The Senile Man’ in the context of 1977/78 Punk Rock, it’s not going to work, but if you put it in the ongoing scheme of ATV’s musical explorations, it makes perfect sense. In their current sets, the band include elements from all of their previous projects and it’s remarkable how well they all work when put together. Yeah, we all love the three-chord splendour of ‘Action Time Vision’, but ‘The Force is Blind’ also works, as does ‘Lost in Room’ and more recent tracks like ‘This Little Girl’. Taken as a whole, the work of Alternative TV has never been predictable except in the fact that it’s always going to be something different and something worth investigation. Forty years down the line, they remain a band that I never want to miss. Sometimes Punk Rock in style, but always Punk Rock in attitude. If you miss this band, you really do so at your peril.
THE FALLEN LEAVES / TAURUS TRAKKER / SPIZZOLOGY. Underdog Gallery, 26/10/18. The Punk Rock’n’Roll Artshow has become more and more popular over the past few years and the opening nights, featuring live sets from various bands, have become particularly well attended. Tonight is pretty busy as soon as the doors open, but there’s a bit of a wait before the first musical presentation. Spizz appears in his ‘karaoke’ guise, singing a mix of his own songs and various old Glam classics to a selection of backing tapes. It’s an amusing start to proceedings as long as you don’t take it too seriously and, at the very least, it gives the man yet another excuse to get on stage! Next up are Taurus Trakker, now playing as a three piece although previously they’ve played as a duo. They play a raw version of punky-blues, driven along by powerful drum beats while the guitar picks out the melodies. The addition of a bass player has also filled-out their sound, making the songs even more effective. They’re a fine band and I will be doing my best to see them some more. Finally, the headliners are The Fallen Leaves and it has to be said that they suffer a bit from a poor PA sound, but they still run through a shorter-than-usual set with plenty of style and energy. This is a band that you really need to see live, because their performance is so idiosyncratic, but never in an affected way. Plus songs like ‘Prodigal Son’ and ‘Motorcycle Girl’ are instantly enjoyable, pop music informed by punk rock from both the Sixties and the Seventies… So, this was another successful evening – Long may the Punk Rock’n’Roll Artshows continue!
HOWLIN’ FIENDS. Overdrive Studios, plus LOUIS LING & THE BOMB. The Birds Nest, 27/10/18. Two separate gigs, but I’m reviewing them together as the venues are only a short walk apart and we spent most of the evening strolling between the two. Having started out at the Birds Nest, we find out that French band Louis Ling and The Bomb won’t be playing until later in the evening, so we head across to Overdrive Studios where various local bands are playing. Overdrive is a rehearsal studio with several rooms and on occasions they open-up in the evening for gigs. They have their own bar and, obviously, a decent PA, so these things are always good fun. As it turns out, we only see one band this evening, the Howlin’ Fiends, who play a good, raucous brand of garage rock… Ian Damaged is most taken by the fact that their guitarist has one of the very-limited-edition Billy Childish guitars, which seems to be in good hands if the sound of the band was anything to go by! Anyway, after hanging out with friends for a while, we head back to the Birds Nest to see Louis Ling and The Bomb. (Louis Lingg, for those who might be interested, was an anarchist who was sentenced to death in Chicago for his involvement in a bomb plot…) The band certainly live up to their provocative name, playing a style of electro-punk that mixes the energy and aggression of Hardcore with electronic melodies and loud guitars. Vocals are shared between different members of the band and their performance is very compelling. They seem to draw-in ideas and inspiration from a whole range of influences, but use them to create something that’s completely their own. I knew nothing about this band before we saw them, but we were all very impressed. I strongly suggest that you check out their records as soon as you can and hope they don’t keep us waiting too long before they return to London again.
DOWN BY LAW / THREE MONTHS TO KILL / ABANDON CAUSE /MOVING TARGETS. Camden Underworld, 29/10/18. Down By Law were over for a short European tour which initially hadn’t included any UK dates, but being the Anglophiles that they are, they found a way to add a one-off date in London. They’d fly in from Belgium with only the equipment they could carry, borrow the rest of the gear that they need to play the gig, and then fly back to resume their European dates the following morning. You’ve got to give them credit for that kind of effort! On top of this, having discovered that their old friends Moving Targets are also in London at the same time, they’ve arranged for them to join the bill, making this a rather impressive line-up… Anyway, I turn up early to meet-up with DBL, only to discover that they still haven’t arrived but I do end-up chatting with Kenny Chambers, which is cool. Eventually, DBL get to the venue, having been held-up at the airport. Fortunately, as they’re using equipment already soundchecked by the other bands, they don’t need too long to sort things out and everything gets back on schedule. It’s great to catch-up with Dave and Sam again, although on this occasion they have a Spanish rhythm section, from Dave’s occasional band The Bandeleros, so these are guys I haven’t met before. They turn out to be really nice, though, as would be expected. Anyway, Moving Targets are onstage first and it’s great to see them again. Kenny Chambers always wrote great songs and it’s always been bewildering why the band didn’t become more appreciated in the UK first time around. Tonight, they play a fast-paced set of old songs, together with a blistering cover of Bullet LaVolta’s ‘Dead Wrong’ (Kenny also played in that band, another Boston combo who should have been more popular.) There’s quite a few people here to see Moving Targets (they’d played their own show, selling out the Shacklewell Arms just a few days earlier, so this date had only been advertised by word-of-mouth) and they go down really well. It’s really good to have them back – catch them if you can. I don’t get to see as much of the next two bands as I would have liked to see, as DBL have to leave straight after their set and this is the only time I’ll have to chat with them. But Abandon Cause are pretty good, playing powerful, politically-informed hardcore with a convincing delivery, while Three Months To Kill are a bit more eclectic, with varying tones and tempos, as well as aggressive vocals. Again, they sound pretty interesting and I wish I could have seen more of them. Finally, Down By Law take to the stage and dive straight into their set. All the old favourites are played and the new guys really put a lot of energy into the performance, perfectly backing Dave and Sam’s solid delivery. Songs like ‘Gruesome Gary’, ‘No Equalizer’, and ‘The Last Brigade’ sound just as great as ever, while we get one big surprise when Sam takes the vocals for a cover of the Wire classic, ‘Mannequin’. Damn good choice, I’d say. But all too soon it’s over and there’s a rush for everything to be packed-up, as they’re booked-in at a hotel near the airport to enable them to catch their early flight… the tour, as they say, must go on!
ANTISECT / ANTHRAX. Camden Underworld, 9/11/18. With shades of the previous gig, Anthrax arrive late as they’ve been recording during the day, but just make it on time. Fortunately and are able to set-up and play a fine set. I’ve seen them quite a few times since they ‘reformed’ and I’ve always been very impressed. Originally, they were a band who effectively crossed between the earlier, more melodic styles of punk and the more aggressive anarcho/UK hardcore sounds that were just starting to appear. The original band released records on Crass records and Small Wonder, two of the most interesting labels of that era, which gives a good indication of the ideas they were pursuing. Since returning, they’ve continued in a similar direction, writing new material that refuses to fit into any particular genre whilst at the same time presenting an accessible, powerful style of punk rock. As this gig proved, they’re one of the more interesting bands to have reformed in recent years and it’s a shame that they don’t seem to get more acclaim. Antisect, on the other hand, have had a lot of coverage since reforming, but not all it positive. Just as many people seem to have found fault in the band as have enjoyed the opportunity to see them live again after such a long absence. Equally, the new album, ‘The Rising of the Lights’, has been criticized for being too different to their original album, too polished or on the wrong label. Now, I can understand that some fans might not enjoy it because it is different and, let’s face it, 30 or more years down the road, would you really expect a band to write songs in exactly the same style? But too many people just seem to be looking for reasons to gripe and most of them seem to be in the UK (which is probably why the band mostly play abroad.) To me, the new album is a very powerful record with great lyrics and imaginative arrangements. If you don’t like it, that’s fair enough, but don’t dislike it just because you think you should. Anyway, the gig starts well, with the three-piece sounding incredibly powerful until, about ten minutes into the set, Pete’s amp blows-out. The ensuing delay while a new amp-head is set-up really disrupts the momentum, but they get back into the set and it seems to be going well again, until the new amp decides to follow-suit. This is more than any band ought to have to deal with and, whilst yet another replacement is quickly found, this really disrupts the whole set and it’s unfortunate because whenever I’ve seen them live, they’ve always delivered an incredible show. I still enjoyed the gig, but facing problems beyond their control, they were unable to match-up to their usual standards. No worries, catch them next time… I’m sure they’ll have sturdier amps and will effortlessly blow you away as they usually do!
KILLING JOKE. London Roundhouse, 17/11/18 If there’s one thing you can always say about Killing Joke, it’s that they never disappoint as a live band. Admittedly some gigs aren’t as good as others, but even those ones still produce enough energy to blow you away, while the best ones take it to a truly higher level. Currently celebrating their 40th Anniversary (I used to be pissed-off that I never saw them early-on, but even that means I saw them 36 years ago) they remain true to their original intentions and, far from mellowing with age, now sound more righteous and brutal than ever. And, while they never became a part of the mainstream, they’ve maintained a large following that seems to include new members every time they tour… not surprising, really, as their music remains insistent and their lyrics, both old and new, are still valid and impassioned. The Roundhouse is packed long before the band take to the stage and by the time the pounding drums of ‘Unspeakable’, from 1981’s ‘What’s This For’ album, begin proceedings the atmosphere is buzzing. But instead of continuing with older favourites, as many bands do on their Anniversaries, the setlist then jumps to recent years with ‘European Super State’ and ‘Autonomous Zone’, stressing that the band don’t just rely on their past. After this, there’s plenty of room over the next two hours for tracks like ‘Eighties’, ‘Requiem’ and ‘Follow The Leaders’ but always shoulder-to-shoulder alongside recent classics like ‘New Cold War’ and ‘Corporate Elect’. It really doesn’t matter how old or new the songs are because this set is completely vital. The audience is caught-up in the frantic sound, gasping for breath and drenched in sweat perhaps, but always ready to let the music take them further. When the set ends with awesome versions of ‘The Wait’ and ‘Pssyche’, it’s as if the crowd are pushing themselves to keep up with the band. The ensuing break gives everyone a chance to catch their second-wind before the band return with the moody, atmospheric ‘SO36’. It allows more space to recover before ‘Love Like Blood’ (appropriately dedicated to Paul Raven) gets the place moving again. A finale of ‘The Death and Resurrection Show’, ‘Wardance’ and ‘Pandemonium’ ends the evening with another selection that scans their four decades and still lives up to every expectation. How many bands can do this so effectively ? Against the odds, Killing Joke are still here, featuring all four original members and sounding just as unique, powerful and essential as they ever were.
THE DAMNED / JOHNNY MOPED, Brighton Dome, 19/11/18. This was too good to miss, so I catch a train straight after work and meet up with those lovable-reprobates John & Kate in a pub near to the venue. There’s time for a few drinks before heading into the venue in time for the Mopeds. Much that it’s more usual to see this band in smaller venues, it’s actually pretty impressive to see how well they can put themselves across on larger stages. As a band, they’re surprisingly tight and they have so many great, catchy songs that there’s plenty for audiences to get into. The venue is still filling up as they play, but it’s good to see so many punters heading towards the front to get a good view and enjoy the set. They’re on top form tonight and even the unexpected appearance of their former keyboard player (who will remain nameless because, one, she was embarrassingly drunk, and two, I can’t remember it) joining a bemused Johnny for an unplanned duet didn’t faze them at all. As I’ve said before, I know Johnny Moped isn’t to everyone’s taste, but for me, they’re just about as good as it gets. It also has to be said that The Damned are on great form these days and the return of Paul Gray to the fold has really made things even better. This is their ‘Evil Spirits’ tour, promoting the album that was released earlier in the year, so I was expecting a few more of the new songs, but in the event, they blend just a handful into the set, the rest of which is made-up of songs from the full range of their career. They start with a blistering version of ‘Born to Kill’ and an energetic run through ‘Democracy?’ before the first of the new songs, ‘Standing On The Edge of Tomorrow’, which, followed by a ‘Wait For The Blackout’ and ‘Lively Arts’, fits perfectly into the set. Similarly, ‘Devil in Disguise’ is placed between ‘Dr Jekyll and Mr Hyde’ and ‘Stranger on the Town’, creating a smooth transition between the songs. The set continues in the same cohesive manner, blending the more atmospheric moments (‘The History of the World’, ‘I Don’t Care’) with their older, more frantic outbursts (‘Love Song’, ‘1 of the 2’.) The main set ends with the ultimate double-header, ‘New Rose’ and ‘Neat Neat Neat’. Could you imagine anything prompting more calls for an encore than that? They return with a wonderful version of ‘Curtain Call’ followed by the awesome ‘Ignite’ (both of them Vanian songs, I believe, but so different in style) before they return for a final encore. Sporting red Santa hats, it has to be ‘Sanity Clause’ and then, inevitably, ‘Smash It Up’. Of course, everyone could have griped that they didn’t play all of their personal favourites, but this was a really great set and I doubt if any fans were left disappointed.
THE DAMNED / JOHNNY MOPED, Shepherds Bush Empire, 23/11/18. Again, I have to go straight from work to this gig, but meet with a few friends in a nearby pub before we head over to see the Mopeds. It’s nice when you can do these things at a leisurely pace! The band are on top form again, playing support on this tour has certainly made them tighter than ever and with a set made-up of both old and new material, there’s something for everyone to enjoy. Toad, Jacko, Robot and Martin hold everything together perfectly, while Johnny delivers his vocals in his own idiosyncratic way, eccentric but always hitting the target. I’m sure these dates with The Damned will have earned them a lot of new fans. There isn’t a long break before the headliners appear, and the venue seems to be packed by this point. For some reason, they’ve changed the setlist around tonight, which makes things more interesting for those who have already seen any earlier dates. They start off with ‘We’re So Nice’ before blasting through ‘Born To Kill’ and ‘Democracy?’ Thereafter, the songs are mixed-up a bit and they also include their cover of ‘Alone Again Or’, before the set ends with ‘Love Song’, ‘1 of the 2’, New Rose’ and ‘Neat Neat Neat’, leaving everyone pretty breathless. The first two encores remain the same, but things are going so well that they come back for a third time, giving us a frantic and unexpected rush through ‘Antipope’. I know I’m fairly biased towards The Damned, but when they’re playing and sounding as well as this, you really need to make the effort to see them. Yeah, I know it’s not as chaotic and unpredictable as it once was, but for a band who are now into their fifth decade, they can still keep the excitement levels pretty damn high!
ARTHUR COMIX / ACID ATTACK, New Cross Inn, 1/12/18. This is another case of two gigs in one evening, but the timings looked like it would be possible to get to both and that’s what I decided to attempt… First-up was something I never expected to see. The Snivelling Shits were a band formed by music journalist Giovanni Dadomo in 1977, alongside fellow journalists Dave Fudger and Pete Makowski. During their short career, they also featured (renowned producer) Steve Lillywhite, Barry Myers (aka DJ Scratchy) plus members of Eddie & the Hot Rods and The Vibrators. They released their only 7” single in 1977, the legendary ‘Terminal Stupid’ / ‘I Can’t Come’ which, in the true contrariness of Punk Attitude, was a parody and a classic at the same time. Although championed by John Peel, only one other song was released, the excellent ‘Isgodaman’ on the ‘Streets’ compilation (although the label, Beggars Banquet, insisted the band use a different name, ‘Arthur Comix’, as they feared shops wouldn’t stock a record with a naughty word on the cover!) The band didn’t last very long, despite a brief tenure as ‘The Hits’, but Giovanni would go on to co-write ‘I Just Can’t Be Happy Today’ and ‘There Ain’t No Sanity Clause’ with The Damned. At the end of the Eighties, a dodgy, err, I mean, aspiring record label called Damaged Goods discovered that further material had actually been recorded by the original band and, with Giovanni’s assistance, released the ‘I Can’t Come’ LP in 1989. Although it wasn’t a chart-topper, it helped to establish the band as a cult-favourite, with a sound that was clearly part of Punk Rock but at the same time unlike anyone else. Additionally, Giovanni’s lyrics combined humor and intelligence in a truly unique way – how many other bands do you know that had songs about ‘Crossroads’ and ‘Yukio Mishima’ ?
Sadly, Giovanni died in 1997, so no-one ever expected to see the band again. But just as Damaged Goods was approaching its’ 30th Anniversary, fate stepped in and Ian met original guitarists Pete and Dave. As he was arranging a series of gigs for the DG Anniversary, the two Shits started thinking about playing at one of the shows. Fortunately, an appropriate singer was available in the form of Tom Phobic… Tom had been a close-friend of Giovanni and had also spent time with him in a band called ‘Famous Monsters’. In addition to this, their vocal-styles were suitably close, so it started to become do-able. Alongside drummer James Sherry and bassist Richard Leeds, the new Shits prepared themselves, but before their official ‘reunion’ gig at The Lexington, they decided to play a secret warm-up show to get over their nerves, which is why this gig was announced under their pseudonym, ‘Arthur Comix 2.0’.Squeezed in the middle of an all-day event, their early-evening set starts rather quietly as most people in the venue either didn’t know they were playing or didn’t know who they were, but as they start to play, it’s sounding really good and people soon become interested. Opening with ‘Terminal Stupid’, there’s at least a few people who recognise the song and others that just get into it. ‘Only Thirteen’ follows, and a great version of ‘(Waiting for my) Crossroads’, drawing more and more people towards the stage. They might not know who the band are, but they’re playing well and the songs are standing up for themselves. The next track is the epic ‘Bring Me The Head of Yukio Mishima’ before the set ends with the classic that is ‘Isgodaman?’ The set had been short but to the point and by the end of it they got a big round of applause… if this was the warm-up, I couldn’t wait for the main event! Afterwards, I hang around for a while to chat with several of the Shits and a few other friends, but then I have to make a pretty speedy exit because I’m also going to…
Sadly, Giovanni died in 1997, so no-one ever expected to see the band again. But just as Damaged Goods was approaching its’ 30th Anniversary, fate stepped in and Ian met original guitarists Pete and Dave. As he was arranging a series of gigs for the DG Anniversary, the two Shits started thinking about playing at one of the shows. Fortunately, an appropriate singer was available in the form of Tom Phobic… Tom had been a close-friend of Giovanni and had also spent time with him in a band called ‘Famous Monsters’. In addition to this, their vocal-styles were suitably close, so it started to become do-able. Alongside drummer James Sherry and bassist Richard Leeds, the new Shits prepared themselves, but before their official ‘reunion’ gig at The Lexington, they decided to play a secret warm-up show to get over their nerves, which is why this gig was announced under their pseudonym, ‘Arthur Comix 2.0’.Squeezed in the middle of an all-day event, their early-evening set starts rather quietly as most people in the venue either didn’t know they were playing or didn’t know who they were, but as they start to play, it’s sounding really good and people soon become interested. Opening with ‘Terminal Stupid’, there’s at least a few people who recognise the song and others that just get into it. ‘Only Thirteen’ follows, and a great version of ‘(Waiting for my) Crossroads’, drawing more and more people towards the stage. They might not know who the band are, but they’re playing well and the songs are standing up for themselves. The next track is the epic ‘Bring Me The Head of Yukio Mishima’ before the set ends with the classic that is ‘Isgodaman?’ The set had been short but to the point and by the end of it they got a big round of applause… if this was the warm-up, I couldn’t wait for the main event! Afterwards, I hang around for a while to chat with several of the Shits and a few other friends, but then I have to make a pretty speedy exit because I’m also going to…
TOM HOLLISTON. The Beehive, Bow, 1/12/18. Tom is, of course, best known as the guitarist for No Means No, from 1993 until their ‘retirement’ in 2006, although he was also involved with the Show Business Giants and the awe-inspiring Hanson Brothers. These days, he tours as a solo artist, just himself, an acoustic guitar and his surreal sense of humour to keep the wolves away from the door (a common problem in Canada, or so I’m tol) Anyway, Bow is only a short DLR ride from Deptford and, as chance would have it, as I arrive I bump into Fat Bob from Hardskin who has just got off a train from the opposite direction. However, this is no immediate help as neither of us have been to The Beehive before and don’t know where it is. But for once, vague directions actually turn out to be helpful and we find the place pretty quickly. Tom is sitting in the bar when we turn up so it’s great to have a beer and a chat before he’s due to play. At this point, there doesn’t seem to be many people here for the gig, but when we go through to the back room, we find that it’s not that big and consequently, already pretty packed (this wasn’t Tom’s main London gig, by the way, but an extra show added at the last minute…) His set is a lot of fun… Tom sit’s while he plays acoustic guitar, so it’s a deceptively sedate gig, but listening to his lyrics and the bizarre / humorous jokes and stories he tells between songs, there’s so much to enjoy. I can’t tell you what songs he played because this was the first time I’d heard them, but they’re catchy, the lyrics grab your attention and, even if it is just acoustic, the general approach really isn’t that far away from his previous projects. This turns out to be a really great gig and a fine way to complete the evening. If you’ve ever been a fan of his previous musical exploits (or just someone who enjoys interesting music) you ought to check him out, either live or on record, as soon as you can.
VIVE LE ROCK XMAS PARTY, Nambucca, 5/12/18. Y’know, Nambucca isn’t one of my favourite venues, but the annual VLR Xmas parties are always great events. This year, the place seemed to be more packed than ever, to the extent that a few of us even found it quicker to go to the pub over the road to get a drink rather than wait in the herd here, but that’s just a case of something becoming (deservedly) popular and that’s not a bad thing… Either way, we still spend most of our time in the venue, with lots of friends and friendly faces to chat to, while the VLR house band (members of Urban Voodoo Machine and Ruts DC amongst others) back a whole bunch of guest vocalists including Neil X (Sigue Sigue Sputnik), Jim Jones, Sarah Vista and Glen Matlock. In a blur of alcohol and loud music, it all seems to go by in no time at all, but the best evenings always do that. Vive Le Rock sure knows how to put on a good party – long may this tradition continue!
999/ WITCHDOKTORS / THE PHOBICS. New Cross Inn, 8/12/18. This was another all-day (or at least most of it) gig and whilst I’ll admit it’s good value for your money and does give an opportunity for new bands to play, I’m not a big fan of these things. The thing is, if too many bands are playing, I lose my attention (which may involve alcohol) and end-up not really enjoying the bands that I particularly want to see. Now, this is a personal thing and I’m not criticising the motivation behind such events, I’m just saying why I don’t often attend these things from start to finish. It’s a dilemma and one which I may never resolve… Anyway, I end up arriving later in the evening, in time to see The Phobics, of course. On their home turf, they sound great and go down really well. This isn’t just partisan, as there’s quite a few people here who haven’t seen them before, but they’re really good at delivering a set that demands attention and tonight they get it. For me, geographically, they’re a local band, but they deserve to be recognised on a national basis (after all, international is already happening!) Main support tonight are the Witchdoktors and quite deservedly so. I wouldn’t necessarily say that they’re better than The Phobics, but in a similar way, they play their rock’n’roll in such a dedicated and convincing manner that it always makes them a band that you need to see. Equal parts Rocket From the Crypt, Rev Horton Heat and The Cramps, they really know how to work their set and at the very least, it’s always very entertaining. I must get around to an interview some time soon… Tonights’ headliners are 999, a band who deserve so much more credit than they get these days. Admittedly, I’m not a fan of everything they’ve ever recorded, but their early records really were special and sounded like no-one else. I think the problem is that they did go through a pretty lack-lustre period and, after seeing them play some really great shows, I also saw them play some rather uninspiring gigs more recently. However, the past few times I’ve seen them, they’ve certainly been a lot more impressive and tonights’ set turns out to be the best I’ve seen since the early Eighties. The thing is, they have a lot of really great, catchy and powerful songs at their disposal. They need a good sound to make the most of them, but once they have that, they can still take the place apart. Tonight, they play a great set and it’s so good to see them playing as well as this. How many great songs do they have ? ‘Emergency’, ‘I’m Alive’, ‘Homicide’, ‘Feeling Alright With The Crew’, ‘Nasty Nasty’… I really don’t know why they’re not given more recognition in the numerous Punk Rock retrospectives. Perhaps some of their members had previously been involved with Pub Rock bands, but so had Joe Strummer and it’s really no reason to disregard the music they went on to make. When I see a band sounding as good as this, I can only enjoy it. That’s all that really counts.
THE BRIEFS / MORE KICKS, The Lexington, 9/12/18. It’s been over a decade since The Briefs last played in London, so it’s great to have them back! The only problem is that, having sneaked this one-off UK date into their European tour schedule, they fly-in to London this evening before returning to Holland the next morning… if it all goes smoothly, it’s great, but on the day, Customs decide to be awkward arseholes and hold them up at the airport. I was supposed to be interviewing them tonight but as it turns out, there’s no time for that to happen. Things get weird and I see the first band, More Kicks, who are pretty good in a trashy punk rock kind of way, but miss the next one, The Miscalculations, who I had wanted to see (not sure how this happened but I’m sure it involved people buying me some beer…) I make sure to get upfront for The Briefs and that’s the important thing. The arrive onstage and Chris kicks-off the drum-beat to begin their short introduction, before they burst into ‘Stuck On You’, ‘I Think My Baby is a Communist’ and ‘Ain’t It The Truth’. In case you’d forgotten, this is a band with so many great songs! With a mix covering each and every one of their albums, this is a set that just keeps getting better and better – ‘Rotten Love’, ‘We Americans’, ‘Where Did He Go’, and ‘New Pair of Shoes’, alongside brand new songs like ‘She’s The Rat’ and ‘Kids Laugh At You’. The set lasts nearly an hour but flies by in no (real) time at all. The final encore – ‘Poor & Weird’ – obvious, but perfect. What a great song, what a great set, what a great band. Isn’t it great to have them back? (No response necessary…)
HARDSKIN / CYANIDE PILLS / BACKSTREET ABORTIONS, The Lexington, 14/12/18. Okay, we’re into a set of gigs that complete the Damaged Goods 30th Anniversary celebrations (eg, Ian having a good excuse to get drunk… nit that he needs an excuse…) First night and it’s a totally stellar line-up! Backstreet Abortions, despite the unwholesome monicker, are a band who actually back-up the name by highlighting the issues that it entails (check them out on facebook to see what I mean.) They may feature ex-members of The Varukers and Sick on The Bus, but musically, they have a much catchier style that will draw you into Jesse’s thought-provoking lyrics. Well-worth checking out. The Cyanide Pills are a band that you should all know by now. Hailing from Leeds, they started out as the UK’s version of The Briefs but have steadily created their own style and approach, producing insistent punk rock’n’roll in a style that wouldn’t shame The Heartbreakers, The Dils or The Parkinsons. You’ve gotta love ‘em for it and if you don’t, you’re just having a bad day. Finally, it’s Hardskin and this is a gig we’ve been waiting for. They’ve been away for a longtime, during which the kids on the street have lost their direction and allowed shitty things like Brexit, Boris Johnson and Ed Sheeran to happen. But now they’re back to reclaim the bar and, trust me, those beers are going down! What can I say, Fat Bob is sexier than ever (the birds love it!) Johnny Takeaway delivers the riffs in blistering fashion and Nipper is still Scottish, but apart from that, they are perfect. Forget Punk, forget rock’n’roll, fer-gods-sake, please forget Urban r’n’b. Hardskin is where it’s happening and if it isn’t happening for you, sniff some glue and learn the truth! You know it makes… sense???
JOHNNY MOPED, SNIVELLING SHITS / ARMITAGE SHANKS, The Lexington, 15/12/18, Second of the Dam-Good gigs and another awesome line-up. I must admit, I was never a particular fan of the Armitage Shanks when they used to play regularly at St Johns Tavern etc, but this evening they sound so much better than I remember them being! Garage-Punk with a Medway accent, they’re really good and I certainly wasn’t expecting it! I will definitely be checking out their old records again. Main support tonight is the official return of the Snivelling Shits. Ian introduces them and then they’re straight into ‘Terminal Stupid’. They’re a little shaky to begin with, but by the time they’re halfway through the song, they’re really getting into it and sounding great. There’s more than a few people who are here primarily to see this band and they don’t disappoint anyone. They play the same set as they did at the warm-up and every song gets an enthusiastic response from the audience. ‘Bring Me the Head of Yukio Mishima’ goes down particularly well before they end the set with a superb version of ‘Isgodaman?’ There’s plenty of cheering and calls for an encore, but they in a way, it was cool that they left everyone still wanting more. Fingers crossed that we won’t have to wait too much longer for some more gigs. Anyway, it’s time for the headliners and, even after two great support bands, Johnny Moped take to the stage and deliver the best set of the night. ‘VD Boiler’ and ‘Panic Button’ kick-off the show, quickly followed by the title track of the ‘Real Cool Baby’ album and the yet-to-be released ‘Hey Belinda’, both sounding as classic as any older Moped tunes. In truth, this has been the best part of their return, that they can still deliver new material that is just as enjoyable as their original songs. Yes, I want to hear ‘No One’, ‘Darling, Let’s Have Another Baby’ and ‘Hard Lovin’ Man’, but I also want to hear ‘Ain’t No Rock’n’Roll Rookie’ and ‘He’s Got It’. Plus it’s also meant that several ‘lost’ songs like ‘Honey Bun’ and the excellent ‘Save The Baby Seals’ have been resurrected and are now receiving the attention they always deserved. For the encore, they deliver a surprise in the form of a cover of ‘New Rose’. It’s suitably shambolic but that’s part of their charm and their connections with The Damned are such that it’s entirely appropriate. The encore ends with ‘Musical Bore’, ‘Little Queenie’ and ‘Incendiary Device’, leaving everybody hot and sweaty but still cheering for more. This was undoubtedly one of the best gigs of the year and if you weren’t there, you only have yourself to blame.
ADAM ANT. The Roundhouse, 20/12/18. Thanks to my friend Michael (and his much-better-half Jane, who decided not to go to the gig) I get offered a freebie for this gig. I’d already wanted to go but my cash-flow situation had said otherwise, so when this opportunity came along I was rather chuffed. The evening starts a little strangely though, as I have to meet M&J (as they’re not known) at a Billy Childish exhibition in Farringdon. Despite my phone giving me poor directions (always blame the technology!) I eventually get there and then, after a series of slow-moving buses, Michael and I arrive in Chalk Farm. Once inside, we miss whatever support there may have been and soon enough, the lights go down and the show begins with the unnerving bass notes of ‘Plastic Surgery’ (possibly my favourite Ants song) and the opening lives up to my expectations. The set has a lot to live up-to after this, but ‘Dog Eat Dog’ sounds as great as when I first heard it and ‘Vive Le Rock’ reclaims its’ full effect as a live anthem. The set continues at a powerful pace, including material from the original Ants with Adams’ later successes, from ‘Beat My Guest’ to ‘Friend or Foe’ and from ‘Ants Invasion’ through to ‘Prince Charming’ (a song that always sounds so much more effective when played live rather than its’ studio recording.) What can I say, the set list tonight was pretty-much what I would have wanted, with a mix of the original Ants and the best of his later solo material. Nothing from his most recent album (which did include some good tracks) but that wasn’t going to be a deal-breaker. The encore, featuring ‘Goody Two Shoes’ (one of his best pop/rockabilly moments) ‘Red Scab’ and a brutal version of ‘You’re So Physical’ puts everything in its’ place. This may well have been the best gig I’ve seen from Adam Ant and there’s already seen some very good ones. Let’s hope he continues performing like this for many years to come.
THE SATELLITES / STELLA / INNER TERRESTRIALS The Lexington, 28/12/18. Okay, this is a bit of an odd one. Due to the usual lull of at the end of December, Tom Phobic persuaded me to go and see The Satellites at The Lexington. That actually sounded like a good idea, even though I had no intention of seeing the headline band, but while I’m on my way to the venue, I get a text from Tom… ‘I was in a pub with Spizz and the Witchdoktors and we are going to do a tour of gas lamps in London…’ There’s no point in trying to reason with nonsense like that, the poor lad is obviously lost for the evening! Fortunately, the gig is still pretty enjoyable. The Satellites actually play first and are just as much fun as ever. Obviously, they’re not to everyone’s taste, but Del’s eccentric lyrics and vocal style are what really makes their punk rock tuneage stand out. It may not be the original line-up, but with songs like ‘AC/DC’, ‘Vietnam’ and ‘Nightmare’, they still deliver a great set and ‘Urbane Gorilla’ really is a classic by anyone’s standards. Eeyore in the UK indeed, whatever it means… Stella are a band fronted by Nina Spencer, former singer of Manufactured Romance. They also have Beverley from The Anoraks playing drums, so this is interesting. I really wasn’t sure what it would sound like, but the set was a lot more Bluesy than I expected, highlighting Nina’s strong vocals. Think of The Bellrays, perhaps, but with a more post-punk setting. It wasn’t entirely my sort of thing, but it did sound interesting and I could imagine it appealing to a wider audience. Finally, the Inner Terrestrials take to the stage. I’ve seen them before and I wasn’t impressed. Now I’ve seen them again and I’m still not impressed. I made a quick exit and was able to get home early, but it had been a good evening, so no complaints.
BLUE CARPET BAND. The Birds Nest, 31/12/18. I’m not a big fan of New Years Eve, but this was a free event at a (fairly) local pub, so I went along to meet Tom, Moyni and a few other friends. Fortunately, even though the pub was crowded, most people were being reasonable and not the kind of drunken wankers who often come out of the woodwork on New Years Eve, so it’s not a bad evening at all. There’s a whole load of bands playing throughout the evening but none of them particular attract my attention and it isn’t until the Blue Carpet Band play the midnight set that the live music starts to sound good. The place is packed, the band is on very good form and singer Djamel is at his frenetic best, constantly diving in and out of the audience whilst nailing the vocals with style. I’ve seen this band quite a few times now and whilst they’ve definitely shown a lot of potential, I’ve always felt that they needed something more to really hit the mark. But they’ve been steadily improving and tonight was definitely the right setting for them. It all came together and was definitely the best time I’ve ever seen them, with a great atmosphere and an enthusiastic audience that drive them to their best. If they can keep up these kind of standards, they’re going to become a very popular band… Good for them!