live reviews june-DECEMBER 2015
RADIO BIRDMAN / JOHNNY
THROTTLE. The Dome, 23/6/15 After arriving early and meeting various
friends in the pub, we all head upstairs en masse to see the recently
reassembled Johnny Throttle. Personally, I always preferred this combo to The
Parkinsons and Afonso’s antics as frontman really make them a lot of fun to
watch. Probably best to see them in a smaller venue, but they still come across
well on a bigger stage.
Radio Birdman haven’t played in the UK for a while (their last attempt saw them refused entry at Dover by culturally-challenged immigration officers) so the place is packed and buzzing with anticipation. However, the first few songs suffer quite noticeably from a bad PA mix and even the fact that they’ve started the set with ‘Smith & Wesson Blues’ and ‘Do The Pop’ can’t hide the mess. However, the sound suddenly comes together after a few songs and the set really takes off. Once in their stride, there’s no stopping them. Rob Youngers’ voice is as potent as it ever was and Deniz Tek’s guitar sound is sharp and direct. ‘Descent In To The Maelstrom’ captures a sense of tension, while the unusual choice of the Beatles ‘Glass Onion’ is the first of three cover versions spread out in the middle of the set. ‘Shot By Both Sides’ is probably the biggest surprise, played with suitable aplomb even if it took a few moments to attune to the different vocal style, and finally ‘Loose’ coming as a far more familiar choice. ‘Man With Golden Helmet’ is a more tempered moment, while ‘Anglo Girl Desire’ takes things back to the pace that the band are best known for. Last cover of the night is a great version of ‘You’re Gonna Miss Me’, before a final flourish of ‘Hand of Law’, ‘More Fun’ and ‘New Race’ brings the breathtaking set to a close. In many ways, you wouldn’t expect a band to be as good as this, so many years down the line, but anyone who was there will be able to tell you, they sounded completely vital. I can only hope that it won’t take them so long to head back over here next time.
Radio Birdman haven’t played in the UK for a while (their last attempt saw them refused entry at Dover by culturally-challenged immigration officers) so the place is packed and buzzing with anticipation. However, the first few songs suffer quite noticeably from a bad PA mix and even the fact that they’ve started the set with ‘Smith & Wesson Blues’ and ‘Do The Pop’ can’t hide the mess. However, the sound suddenly comes together after a few songs and the set really takes off. Once in their stride, there’s no stopping them. Rob Youngers’ voice is as potent as it ever was and Deniz Tek’s guitar sound is sharp and direct. ‘Descent In To The Maelstrom’ captures a sense of tension, while the unusual choice of the Beatles ‘Glass Onion’ is the first of three cover versions spread out in the middle of the set. ‘Shot By Both Sides’ is probably the biggest surprise, played with suitable aplomb even if it took a few moments to attune to the different vocal style, and finally ‘Loose’ coming as a far more familiar choice. ‘Man With Golden Helmet’ is a more tempered moment, while ‘Anglo Girl Desire’ takes things back to the pace that the band are best known for. Last cover of the night is a great version of ‘You’re Gonna Miss Me’, before a final flourish of ‘Hand of Law’, ‘More Fun’ and ‘New Race’ brings the breathtaking set to a close. In many ways, you wouldn’t expect a band to be as good as this, so many years down the line, but anyone who was there will be able to tell you, they sounded completely vital. I can only hope that it won’t take them so long to head back over here next time.
SPIZZENERGI / PROTEX. Dublin Castle, 27/6/15. Having missed their recent gigs in London, I certainly wasn’t going to miss Protex again. And putting them on a bill alongside Spizzenergi, at the very least I knew it was going to be fun.
I think there’s two of the original Protex members in the current line-up, but whatever the deal, as soon as they start the first song, they sound great. They’re obviously enjoying themselves and putting everything into the songs, and even though the room isn’t packed, there’s a real buzz between the band and audience. Protex had a great run of singles back at the time, and really deserved more recognition than they got. Songs like ‘I Can’t Cope’ and ‘Don’t Ring Me Up’ still sound remarkably fresh, especially with all the energy this band are putting into it. They even play a few new songs that stand-up well next to the more familiar ones, and certainly indicate that their upcoming album will be a worthy addition to their legacy. Belfast produced some great bands in the late-Seventies / early Eighties, many being documented by the Good Vibrations label. Unfortunately, most of them never really achieved success further afield despite releasing some great records. But there are plenty of people who still remember bands like Protex with a lot of deserved respect. That we are now getting a chance to see them play live again is a testament to the quality of those original songs.
I think there’s two of the original Protex members in the current line-up, but whatever the deal, as soon as they start the first song, they sound great. They’re obviously enjoying themselves and putting everything into the songs, and even though the room isn’t packed, there’s a real buzz between the band and audience. Protex had a great run of singles back at the time, and really deserved more recognition than they got. Songs like ‘I Can’t Cope’ and ‘Don’t Ring Me Up’ still sound remarkably fresh, especially with all the energy this band are putting into it. They even play a few new songs that stand-up well next to the more familiar ones, and certainly indicate that their upcoming album will be a worthy addition to their legacy. Belfast produced some great bands in the late-Seventies / early Eighties, many being documented by the Good Vibrations label. Unfortunately, most of them never really achieved success further afield despite releasing some great records. But there are plenty of people who still remember bands like Protex with a lot of deserved respect. That we are now getting a chance to see them play live again is a testament to the quality of those original songs.
Spizzenergi… what can you say ? Not as many surprises these days - at least, not compared to the days when the band changed their name every year and made almost as many musically diversions as well. What it’s about these days is the simple fact that Spizz belongs onstage, the natural habitat for his show-off tendencies. And, of course, when he has classic songs like ‘Where’s Captain Kirk’, ‘Red & Black’ or ‘Central Park’ at his disposal, he’s got more than enough reasons to show-off. The other thing is that, at the moment, he’s got the best band line-up he’s had for some time, with both the technical ability to play the songs properly and plenty of guts to give them the delivery they deserve. There have been times in the past when the band has just seemed to be made up of odd musicians picked-up along the way, but right now, they really sound like a band that’s come together properly. Let’s hope that translates into some more new material – the recent single ‘City of Eyes’ is a good sign that more may be on its’ way. But for this show, the encore brings us a couple of covers, ‘The Model’ and ‘I Fought The Law’, both performed in the inimitable Spizz fashion. With the bonus of Protex on the same bill, this was a really great evening and I’ll definitely be making an effort to catch both bands again soon.
FFS (Sparks & Franz Ferdinand.) The Troxy,
29/6/15. A few tracks had been sneaked-out early to tempt fans
with the prospect of this collaboration, but the album itself only arrived a
few days before the gig. I listened to it and was immediately hooked. Sparks
were being Sparks and F/F were delving into their Art-Rock-Pop influences to
create a new animal, something with elements of each but at the same time, very
much its’ own beast. By the evening of the gig, I knew all the songs and was
really looking forward to hearing them live.
The Troxy is an lovely venue, despite being in a relatively remote location. But the place is absolutely packed and the audience is very mixed, between Sparks fans and a lot of F/F fans who could generally be described as ‘students’. I’m wondering how this will work out, but from the outset, the band play a set that pleases everyone. Frankly, I would have been happy just to hear the new album, but each band gets a few of their own numbers included to keep their fans happy. The set starts with ‘Johnny Delusional’ and ‘The Man With a Tan’, before the F/F single ‘Walk Away’ gets a turn. ‘Dictators Son’ returns to the FFS album, and then the less obvious Sparks oldie, ‘Achoo’ is played, sounding better than ever with the full band behind it. And that’s pretty much the way the set progresses… two or three new songs followed by older favourites from one or the other sides. The thing is, it all comes together really well, because the two bands compliment each other. No-one is trying to show-boat, this is something they’re all enjoying and it’s certainly brought their creative powers very much to the forefront. I’m not really a fan of F/F, although I do respect their approach and like some of their songs. Fortunately for me, their choice for this evening includes most of the songs I would have wanted to hear, so I really get into it. After ‘Achoo’, the remaining Sparks songs tend to be their ‘hits’ and so get a great response from the whole crowd. ‘Number One Song In Heaven’ (including Rons’ brief dance spot) and ‘This Town Ain’t Big Enough’ get massive cheers, as do F/F songs like ‘Do You Want To’ and ‘Michael’. But this is really about the current album, and the highlights come from songs like ‘The Power Couple’ and ‘Piss Off’. The encore ends with the perfectly appropriate ‘Collaborations Don’t Work’, allowing FFS to beat the critics to their punchline and proving them all wrong in the same breath. Sparks have worked with a lot of different people over the years and become good at picking their partners. The only problem that FFS could possibly incur would be, after an album as good as this, how will the individual parties follow it up with their own work ?
The Troxy is an lovely venue, despite being in a relatively remote location. But the place is absolutely packed and the audience is very mixed, between Sparks fans and a lot of F/F fans who could generally be described as ‘students’. I’m wondering how this will work out, but from the outset, the band play a set that pleases everyone. Frankly, I would have been happy just to hear the new album, but each band gets a few of their own numbers included to keep their fans happy. The set starts with ‘Johnny Delusional’ and ‘The Man With a Tan’, before the F/F single ‘Walk Away’ gets a turn. ‘Dictators Son’ returns to the FFS album, and then the less obvious Sparks oldie, ‘Achoo’ is played, sounding better than ever with the full band behind it. And that’s pretty much the way the set progresses… two or three new songs followed by older favourites from one or the other sides. The thing is, it all comes together really well, because the two bands compliment each other. No-one is trying to show-boat, this is something they’re all enjoying and it’s certainly brought their creative powers very much to the forefront. I’m not really a fan of F/F, although I do respect their approach and like some of their songs. Fortunately for me, their choice for this evening includes most of the songs I would have wanted to hear, so I really get into it. After ‘Achoo’, the remaining Sparks songs tend to be their ‘hits’ and so get a great response from the whole crowd. ‘Number One Song In Heaven’ (including Rons’ brief dance spot) and ‘This Town Ain’t Big Enough’ get massive cheers, as do F/F songs like ‘Do You Want To’ and ‘Michael’. But this is really about the current album, and the highlights come from songs like ‘The Power Couple’ and ‘Piss Off’. The encore ends with the perfectly appropriate ‘Collaborations Don’t Work’, allowing FFS to beat the critics to their punchline and proving them all wrong in the same breath. Sparks have worked with a lot of different people over the years and become good at picking their partners. The only problem that FFS could possibly incur would be, after an album as good as this, how will the individual parties follow it up with their own work ?
THE PHOBICS. The Birds Nest,
4/7/15. Having not been to Deptford for a while, I meet up
with Tom & Gaye early on for an invigorating visit to Goddards’ Pie &
Mash shop before taking the short stroll along to the venue. You need the walk
after the pies to work-off those newly found calories…
I don’t know what it was, but tonight turned intro a really good one. There may have been a dodgy whiff coming up from the creek, but everyone is intent on enjoying the nice weather and having a jolly time. Support comes from The Bucha Effect. First time I’ve seen them and I think there was a birthday involved, so any sloppiness can be excused. They play a good, solid style of melodic street punk and it gets everyone in the right mood. By the time The Phobics set-up on the tiny stage, it’s as if everyone is up for it, and the atmosphere is really buzzing. Lots of friends in the audience and everyone seems to be bopping and laughing. It’s one of those occasions when The Phobics really get it right and nothing can go wrong (even if a few things, technically-speaking, might go wrong…) If rock’n’roll wasn’t supposed to be about nights like this, I can’t imagine what else it was supposed to be…
I don’t know what it was, but tonight turned intro a really good one. There may have been a dodgy whiff coming up from the creek, but everyone is intent on enjoying the nice weather and having a jolly time. Support comes from The Bucha Effect. First time I’ve seen them and I think there was a birthday involved, so any sloppiness can be excused. They play a good, solid style of melodic street punk and it gets everyone in the right mood. By the time The Phobics set-up on the tiny stage, it’s as if everyone is up for it, and the atmosphere is really buzzing. Lots of friends in the audience and everyone seems to be bopping and laughing. It’s one of those occasions when The Phobics really get it right and nothing can go wrong (even if a few things, technically-speaking, might go wrong…) If rock’n’roll wasn’t supposed to be about nights like this, I can’t imagine what else it was supposed to be…
THE OUTCASTS / NIGHT OF
TREASON / STONE HEROES. The Borderline, 5/7/15. A
Sunday night at the Borderline is probably not one of the most enticing
prospects, but I’m glad to say there was still a good turn-out for all three
bands and, if you missed it, you missed a fine evening. Everyone seemed to be
in the right mood for a great gig and that’s the way it went.
First on stage are Stone Heroes, a fairly new band from the deep-south of London, featuring my old friend Fleagle on guitar. Now, it may have been his involvement that initially got me interested, but once they’re onstage, it quickly transpires that they’re a band with a lot to offer. Since they’re named after a Penetration song, perhaps that comparison is a little too easy, but there are some similarities. They play punk with an intelligent rock edge, allowing their music to be more intricate rather than just thrashing along like a million others. But their biggest asset is vocalist, Janine, who has an incredible voice. She really sets them apart, with a great range and an emotive performance. It’s hard to describe more accurately, as I was hearing the songs for the first time, but I was very impressed. They seem to be playing quite a lot at the moment, so I would definitely recommend that you get to see them for yourself.
Next up are Night Of Treason, who raise the tempo somewhat with a brand of punk with its’ roots firmly in 1977. The Clash are an obvious starting point, but there’s plenty of twists and neat little melodic hooks in their songs to help them stand on their on two feet. Again, it probably would have helped if I was familiar with some of their music before seeing them, but they play a good set and keep the atmosphere on a good level.
Then it’s time for The Outcasts. It’s sad to see them without original (well, one of the two) drummer Raymond Falls, even though his replacement (JP from Hooligan, I believe) does a great job. Raymond was always such an important part of their sound, so it was great that he was part of the band again when they reformed. I’m hoping his departure isn’t going to remain permanent, but in the meantime, the rest of the band are still sounding superb. It’s not as packed or as raucous as their last London gig (the Good Vibrations night at the 100 Club) but for my money, this was a much more enjoyable evening. Greg, never one to shy away from a good natter, is especially chatty and it builds a real rapport in between the songs, while the band sound as powerful, varied and creative as ever. It’s almost like watching one of your favourite bands playing at a private party. What else can I say ? Loads of great songs, from ‘Seven Deadly Sins’ through to ‘Winter’ and ‘You’re A Disease’, plus covers of ‘Suffragette City’ and the Rudi classic, ‘The Pressure’s On’. It was, quite simply, a gig that was worth every penny. Admittedly, I’d love to hear some new songs from the Outcasts, but in the meantime, if they continue to play the old ones as well as this, I’ll be more than happy.
First on stage are Stone Heroes, a fairly new band from the deep-south of London, featuring my old friend Fleagle on guitar. Now, it may have been his involvement that initially got me interested, but once they’re onstage, it quickly transpires that they’re a band with a lot to offer. Since they’re named after a Penetration song, perhaps that comparison is a little too easy, but there are some similarities. They play punk with an intelligent rock edge, allowing their music to be more intricate rather than just thrashing along like a million others. But their biggest asset is vocalist, Janine, who has an incredible voice. She really sets them apart, with a great range and an emotive performance. It’s hard to describe more accurately, as I was hearing the songs for the first time, but I was very impressed. They seem to be playing quite a lot at the moment, so I would definitely recommend that you get to see them for yourself.
Next up are Night Of Treason, who raise the tempo somewhat with a brand of punk with its’ roots firmly in 1977. The Clash are an obvious starting point, but there’s plenty of twists and neat little melodic hooks in their songs to help them stand on their on two feet. Again, it probably would have helped if I was familiar with some of their music before seeing them, but they play a good set and keep the atmosphere on a good level.
Then it’s time for The Outcasts. It’s sad to see them without original (well, one of the two) drummer Raymond Falls, even though his replacement (JP from Hooligan, I believe) does a great job. Raymond was always such an important part of their sound, so it was great that he was part of the band again when they reformed. I’m hoping his departure isn’t going to remain permanent, but in the meantime, the rest of the band are still sounding superb. It’s not as packed or as raucous as their last London gig (the Good Vibrations night at the 100 Club) but for my money, this was a much more enjoyable evening. Greg, never one to shy away from a good natter, is especially chatty and it builds a real rapport in between the songs, while the band sound as powerful, varied and creative as ever. It’s almost like watching one of your favourite bands playing at a private party. What else can I say ? Loads of great songs, from ‘Seven Deadly Sins’ through to ‘Winter’ and ‘You’re A Disease’, plus covers of ‘Suffragette City’ and the Rudi classic, ‘The Pressure’s On’. It was, quite simply, a gig that was worth every penny. Admittedly, I’d love to hear some new songs from the Outcasts, but in the meantime, if they continue to play the old ones as well as this, I’ll be more than happy.
SUICIDE ; A PUNK MASS. The Barbican, 9/7/15. This was a weird event, even before it began. It’s as if it all tried to pile-up to spoil the occasion, but Suicide were always more than a match for mere circumstances. I’ll start at the beginning.
The evening was in the middle of a 48 hour tube strike, meaning travel within London is almost at a stand-still. On top of this, there’s some sorta mini-marathon going on in the area directly surrounding The Barbican, with all of these incredibly smug-looking wankers jogging around in designer sportswear pretending to be good examples of the human race. Fact is, most of them work in City banks or law firms, which makes them only slightly higher than putrid jellyfish on my scale of things. Anyway, despite the hazards, I catch up with Tom and Dee and manage a suitably unhealthy beer and snack before leaving the morons to continue congratulating themselves.
The Suicide event actually starts very early, but it’s not until we’re in our seats that we find out why. It’s going to be in two halves, with various guests involved along the way. It begins with an a cappella group (I won’t call them a choir, doesn’t seem appropriate) vocally interpreting Suicide in their own peculiar way. It raises as many sniggers from the audience as it receives applause, but it is at least an interesting take. Following hot on their heels comes Henry Rollins, who enthusiastically tells the tale of how he came to publish Alan Vega’s book, ‘Cripple Nation’, and also re-issued several of Vega and Rev’s long-out-of-print albums. It’s funny watching Rollins being such a fan-boy, but he’s also clearly very sincere about the way he feels about the band and his monologue is a great introduction.
Once done, the performance begins in earnest, firstly with Martin Rev performing pieces from his solo albums, backed with three female vocalists and additional noise from the giant Moog installation. His performance is very much what he is. Clad in a black PVC bodysuit, it may not be the most appropriate attire for a 67 year old, but when you see him prowling the stage and assaulting (rather than merely playing – elbows are much more expressive than fingers !) his keyboards, I doubt that anyone is going to be foolish enough to criticise his dress-sense.
After this, it’s Alan Vega’s turn to present some of his solo material. Over the years, he’s released a wide array of albums. Some have even been potentially-commercial, but tonight, it’s all about the passion and righteous indignation of a life spent in modern America. Vega’s video montage work plays at the rear of the stage while the music reaches huge crescendos. Vega himself may seem quite infirm (he suffered a stroke in 2012 and now uses a stick to walk) but his voice and intent are as focused as ever. ‘I can hardly walk’, he tells us. ‘It’s just like the old days !’ This isn’t a lengthy performance, but it really gives you a slap in the face. As it draws to a close, it left me thinking, well, it’s already been this good, how great is it going to get when Suicide play ?
I’ll take the interval to mention the audience and venue staff. Suicide certainly deserve a large audience so I’m not going to criticise them for playing in this venue, but it wasn’t really the best place to see them. A large amount of the audience seemed to be completely out of place (if Suicide had played at a club, for example, they probably wouldn’t have been interested, but the Barbican gave it ‘cultural’ credibility…) and at least some of the venue staff acted as if they really didn’t want to have to endure this riff-raff with their horrible noise. Well, fuck ‘em all. Suicide had a pay-day and they deserved it. Just one final thing, a conversation I overheard, some rich student type with brand new shiny tattoo’s and a voice just like Jack Whitehall’s character in ‘Fresh Meat’… ‘Like, I’ve got so into alternative music since I’ve been at college. I can spend a whole weekend just listening to Nick Cave…’ That statement was pathetic, but worse was that his companion actually seemed impressed with it…
Second part and the a cappella chaps are back, better received this time. And then, as soon as they’re over, it’s time for Alan and Martin to return to the stage, together. Rev quickly builds the volume and Vega stares down the audience. This is going to be serious. They’re both putting everything in to it, Vega especially exerting every ounce of his strength to express himself. Individual songs don’t really matter as this was more about the entire performance. A relentless assault on the senses at one moment, and strangely insistent the next. Underneath all the noise, melodies and even rockabilly hooks aren’t that far away,you just have to delve into it. Suicide may deal with some of the nastier aspects of life, but it’s not without humour, as long as you can keep up with them. The appearance of Bobby Gillespie and Jehnny Beth (Savages, this years Elastica ?) is a pretty pointless exercise, but Suicide continue because they know it’s not about anyone else. Indeed, they play until Vega can’t continue. There’s an attempt to play ‘Ghostrider’, but even with vocal support from Rollins, Vega is clearly exhausted and it finally comes to an end because it has to. They’ve made their statement and that’s all we can ask for. Was it the best time I’ve seen Suicide ? Maybe not, although listening to a bootleg of the evening, perhaps it was ? As they once said themselves, it’s a way of life.
The evening was in the middle of a 48 hour tube strike, meaning travel within London is almost at a stand-still. On top of this, there’s some sorta mini-marathon going on in the area directly surrounding The Barbican, with all of these incredibly smug-looking wankers jogging around in designer sportswear pretending to be good examples of the human race. Fact is, most of them work in City banks or law firms, which makes them only slightly higher than putrid jellyfish on my scale of things. Anyway, despite the hazards, I catch up with Tom and Dee and manage a suitably unhealthy beer and snack before leaving the morons to continue congratulating themselves.
The Suicide event actually starts very early, but it’s not until we’re in our seats that we find out why. It’s going to be in two halves, with various guests involved along the way. It begins with an a cappella group (I won’t call them a choir, doesn’t seem appropriate) vocally interpreting Suicide in their own peculiar way. It raises as many sniggers from the audience as it receives applause, but it is at least an interesting take. Following hot on their heels comes Henry Rollins, who enthusiastically tells the tale of how he came to publish Alan Vega’s book, ‘Cripple Nation’, and also re-issued several of Vega and Rev’s long-out-of-print albums. It’s funny watching Rollins being such a fan-boy, but he’s also clearly very sincere about the way he feels about the band and his monologue is a great introduction.
Once done, the performance begins in earnest, firstly with Martin Rev performing pieces from his solo albums, backed with three female vocalists and additional noise from the giant Moog installation. His performance is very much what he is. Clad in a black PVC bodysuit, it may not be the most appropriate attire for a 67 year old, but when you see him prowling the stage and assaulting (rather than merely playing – elbows are much more expressive than fingers !) his keyboards, I doubt that anyone is going to be foolish enough to criticise his dress-sense.
After this, it’s Alan Vega’s turn to present some of his solo material. Over the years, he’s released a wide array of albums. Some have even been potentially-commercial, but tonight, it’s all about the passion and righteous indignation of a life spent in modern America. Vega’s video montage work plays at the rear of the stage while the music reaches huge crescendos. Vega himself may seem quite infirm (he suffered a stroke in 2012 and now uses a stick to walk) but his voice and intent are as focused as ever. ‘I can hardly walk’, he tells us. ‘It’s just like the old days !’ This isn’t a lengthy performance, but it really gives you a slap in the face. As it draws to a close, it left me thinking, well, it’s already been this good, how great is it going to get when Suicide play ?
I’ll take the interval to mention the audience and venue staff. Suicide certainly deserve a large audience so I’m not going to criticise them for playing in this venue, but it wasn’t really the best place to see them. A large amount of the audience seemed to be completely out of place (if Suicide had played at a club, for example, they probably wouldn’t have been interested, but the Barbican gave it ‘cultural’ credibility…) and at least some of the venue staff acted as if they really didn’t want to have to endure this riff-raff with their horrible noise. Well, fuck ‘em all. Suicide had a pay-day and they deserved it. Just one final thing, a conversation I overheard, some rich student type with brand new shiny tattoo’s and a voice just like Jack Whitehall’s character in ‘Fresh Meat’… ‘Like, I’ve got so into alternative music since I’ve been at college. I can spend a whole weekend just listening to Nick Cave…’ That statement was pathetic, but worse was that his companion actually seemed impressed with it…
Second part and the a cappella chaps are back, better received this time. And then, as soon as they’re over, it’s time for Alan and Martin to return to the stage, together. Rev quickly builds the volume and Vega stares down the audience. This is going to be serious. They’re both putting everything in to it, Vega especially exerting every ounce of his strength to express himself. Individual songs don’t really matter as this was more about the entire performance. A relentless assault on the senses at one moment, and strangely insistent the next. Underneath all the noise, melodies and even rockabilly hooks aren’t that far away,you just have to delve into it. Suicide may deal with some of the nastier aspects of life, but it’s not without humour, as long as you can keep up with them. The appearance of Bobby Gillespie and Jehnny Beth (Savages, this years Elastica ?) is a pretty pointless exercise, but Suicide continue because they know it’s not about anyone else. Indeed, they play until Vega can’t continue. There’s an attempt to play ‘Ghostrider’, but even with vocal support from Rollins, Vega is clearly exhausted and it finally comes to an end because it has to. They’ve made their statement and that’s all we can ask for. Was it the best time I’ve seen Suicide ? Maybe not, although listening to a bootleg of the evening, perhaps it was ? As they once said themselves, it’s a way of life.
THE STRAPS / 1984 / BILLY
KARLOFF BAND / EK DECAY /
BILLYCLUB. The Pipeline, 25/7/15. Entitled ‘Jockstock’ in
honour of The Straps singer, this was a mini festival of punks bands from
around the UK,
starting mid-afternoon and carrying on until late. The Pipeline is a perfect
venue for something like this, friendly, not too expensive, plenty of space. So
I meet-up with old friends Matt and Steve and we head down there after a quick
drink at The OC. We’ve missed a few bands already, but get to see Billyclub who
play a pretty good mix of street-punk / hardcore. Keeping it short’n’ sharp,
they get the job done and are a good start to the evening. Next up are EK Decay
(that’s East Kilbride, I believe) and they start by pointing out that they’re
nothing to do with UK Decay and don’t even like that band (I think the word
‘shit’ may have been used…) This is too much for Steve who leaves the room
immediately but me and Matt stay for a few songs, which sound alright, before
eventually heading upstairs to find Steve. Quick round of drinks and a chat
with Pete Davies (original UK Subs drummer, now playing with The Straps) and
then back downstairs to see the Billy Karloff Band. Probably best known for
their appearance on the ‘Farewell to The Roxy’ album, I have no idea how many
original members are still in this band, but they played a decent set of
raucous, ’77-style punk rock with more than a few good tunes to their credit.
I’d only been curious to hear what this band were like, but by the end of the
set I was pretty impressed and wouldn’t mind seeing them again. I’ll definitely
have to track down some of their old records as well.
Anyway, the next band are ‘1984’, which is the main reason we’re at the gig. Basically, it’s a three-piece band recently put together by original Crisis member, Tony Wakeford, to play the original Crisis songs once again. Now, there are a few things which I ought to point out. Firstly, a lot of people seem to be referring to this band as a Crisis reunion, which it clearly isn’t. Tony is the only original member, which presumably is why they’ve decided not to call themselves Crisis, plus he is only playing the songs that he originally wrote, so I see no problem with him deciding to play them again. The other thing is that Tony has had some rather unsavoury political associations in the past which certainly taint much of his music since Crisis. He has publicly stated that he now regrets that involvement and, certainly, none of the Crisis songs were right wing in any way, but unfortunately, it’s still something that hangs over his head.
All that being said, I was hoping this band would do justice to the old Crisis material. In recent years, they’ve become quite rightly revered as one of the more interesting and creative bands of their era. If you haven’t heard any of the original records, try to imagine the midway point between The Ruts and early Joy Division. All the energy and angst of punk rock, but with a darker, less predictable sound. I’m very glad to say that 1984, even as a three-piece, really captured the sound of the original recordings. The Straps’ singer, Jock, joins them for their first song, the classic ‘Holocaust’ (apparently, he had at one point almost joined Crisis, although he doesn’t divulge any further details…) The sound is a bit muddy at first, but quickly settles and allows the songs to come through properly. Held down with solid, uncomplicated bass and drums, it allows plenty of space for the guitar to create the atmosphere, while the vocals elaborate on the bands’ left wing ideals and the alienation felt by many young people during the early years of Thatchers’ Reich. Crisis captured that moment, which is why it’s actually quite unsettling to hear how so much of it still applies even now. After Jock’s guest appearance, the rest of the vocals are split between Tony and guitarist Clive. The set progresses through singles like ‘No Town Hall’ and ‘PC 1984’, plus several tracks from the ‘Hymns of Faith’ album. There’s also room for a few surprises, including ‘Kill Kill Kill’, an early song that wasn’t released by the original band (and probably the most ‘punk rock’ song in their catalogue.) They also include several songs, most notably ‘All Alone in Her Nirvana’ which were originally written by Crisis but were later released when Tony and Douglas moved on to Death in June. Overall, this set pretty much takes up where Crisis ended and gives a good indication of how Crisis may have developed had they continued. I think most people in the venue were very impressed and the band certainly got a very enthusiastic response. I was disappointed that they didn’t play ‘On TV’ (it’s not one of Tony’s songs, but it’s one of my favourites…) but if that was the only fault, musically, it isn’t much of a gripe. I have no idea what plans they have, so I would urge anyone interested to catch 1984 as soon as you get the chance. It would be interesting to see if they could introduce new material into the set, but in the meantime, just getting the chance to see the old songs played live again is a pleasure.
Finally, The Straps are headlining and after a long evening, it’s a good way to round things off. I never saw them originally, but their early singles ‘Just Can’t Take Anymore’ and ‘Brixton’ are great records from the era just before UK punk nose-dived into the Exploited-pit. The Straps, like a lot of bands at the time, were bringing more interesting and varied influences into their music, which helped to make it stand-out more individually. I won’t claim they were the best of the bunch, but they were and still are worth checking out. I’ve seen them a couple of times over the past few years and this was the best so far. Catch them on a good night, like this one, and they you’ll be glad they’re still around.
Anyway, the next band are ‘1984’, which is the main reason we’re at the gig. Basically, it’s a three-piece band recently put together by original Crisis member, Tony Wakeford, to play the original Crisis songs once again. Now, there are a few things which I ought to point out. Firstly, a lot of people seem to be referring to this band as a Crisis reunion, which it clearly isn’t. Tony is the only original member, which presumably is why they’ve decided not to call themselves Crisis, plus he is only playing the songs that he originally wrote, so I see no problem with him deciding to play them again. The other thing is that Tony has had some rather unsavoury political associations in the past which certainly taint much of his music since Crisis. He has publicly stated that he now regrets that involvement and, certainly, none of the Crisis songs were right wing in any way, but unfortunately, it’s still something that hangs over his head.
All that being said, I was hoping this band would do justice to the old Crisis material. In recent years, they’ve become quite rightly revered as one of the more interesting and creative bands of their era. If you haven’t heard any of the original records, try to imagine the midway point between The Ruts and early Joy Division. All the energy and angst of punk rock, but with a darker, less predictable sound. I’m very glad to say that 1984, even as a three-piece, really captured the sound of the original recordings. The Straps’ singer, Jock, joins them for their first song, the classic ‘Holocaust’ (apparently, he had at one point almost joined Crisis, although he doesn’t divulge any further details…) The sound is a bit muddy at first, but quickly settles and allows the songs to come through properly. Held down with solid, uncomplicated bass and drums, it allows plenty of space for the guitar to create the atmosphere, while the vocals elaborate on the bands’ left wing ideals and the alienation felt by many young people during the early years of Thatchers’ Reich. Crisis captured that moment, which is why it’s actually quite unsettling to hear how so much of it still applies even now. After Jock’s guest appearance, the rest of the vocals are split between Tony and guitarist Clive. The set progresses through singles like ‘No Town Hall’ and ‘PC 1984’, plus several tracks from the ‘Hymns of Faith’ album. There’s also room for a few surprises, including ‘Kill Kill Kill’, an early song that wasn’t released by the original band (and probably the most ‘punk rock’ song in their catalogue.) They also include several songs, most notably ‘All Alone in Her Nirvana’ which were originally written by Crisis but were later released when Tony and Douglas moved on to Death in June. Overall, this set pretty much takes up where Crisis ended and gives a good indication of how Crisis may have developed had they continued. I think most people in the venue were very impressed and the band certainly got a very enthusiastic response. I was disappointed that they didn’t play ‘On TV’ (it’s not one of Tony’s songs, but it’s one of my favourites…) but if that was the only fault, musically, it isn’t much of a gripe. I have no idea what plans they have, so I would urge anyone interested to catch 1984 as soon as you get the chance. It would be interesting to see if they could introduce new material into the set, but in the meantime, just getting the chance to see the old songs played live again is a pleasure.
Finally, The Straps are headlining and after a long evening, it’s a good way to round things off. I never saw them originally, but their early singles ‘Just Can’t Take Anymore’ and ‘Brixton’ are great records from the era just before UK punk nose-dived into the Exploited-pit. The Straps, like a lot of bands at the time, were bringing more interesting and varied influences into their music, which helped to make it stand-out more individually. I won’t claim they were the best of the bunch, but they were and still are worth checking out. I’ve seen them a couple of times over the past few years and this was the best so far. Catch them on a good night, like this one, and they you’ll be glad they’re still around.
HAGAR THEWOMB / THE ETHICAL DEBATING SOCIETY / SHOCK OF MIGHTY. The Silver Bullet, Finsbury Park, 1/7/15. My first visit to The Silver Bullet and it turns out to be a great little pub-venue. It sorta reminds me of a smaller version of the old Powerhaus, with the bar to the side as you come in, and then a long room that leads down to a stage right at the back. Pretty good sound, as well, so I hope I get to see some more gigs here. Anyway, Shock of Mighty are playing as I arrive and I have to admit that I miss a lot of their set as I keep bumping in to various people that I hadn’t seen for a while, but they’re sounding good and seem to be getting more solid each time I see them. The Ethical Debating Society, it has to be said, have one of the most cumbersome band names I’ve ever come across (I later learn that it’s often shortened to ‘The Teds’, which is a lot more wholesome) and I’m busy having a chat with Mitch outside the pub when they start playing, but they soon catch my attention and I sneak back in to catch the rest of their set. First thing, they’re a three-piece featuring two guitar players and a drummer. (No bass… no problem ! After all, it worked for The Cramps and the Phantom Pregnancies ! The boy / girl front-people also swap vocals back and forth rather effectively. It’s brash and noisy, but there’s also some catchy little hooks in there and, on first impressions, this is all pretty promising. Towards the end of their set, the female singer abandons her guitar to join the audience for a boisterous version of ‘Oh Bondage Up Yours’, complete with a kazoo taking the place of the original saxophone ! I’m pretty sure that Poly would have approved. I must see this band again.
The Hags don’t so much assemble on stage as shamble on to it. Steph and Chris are unavoidably absent, so there’s a couple of members from the Hagar reserve team, but I sincerely doubt that they can be blamed for the glorious chaos that ensued. It all starts a little askew while the DJ is still playing music. Karen discovers that her microphone is already turned on and decides to perform a karaoke version of ‘California Uber Alles’ while the disc is being played. But it all starts to go really warped when the band start their first song, ‘Dressed To Kill’. The first version goes astray when Karen and Ruth start singing too soon and the whole band grinds to a halt. The second attempt goes a little better and makes it as far as the chorus before the girls are again way ahead of the rest of the band. Third attempt, they finally make it all the way through. So what is it that’s causing all this racing ahead ? Pure adrenaline ? The natural rush of being on stage ? No, by all accounts, it was a sneaky bottle of gin… Anyway, once underway, they just can’t be stopped, with songs old and new hovering on the edge of total mayhem, but just hanging on by the teeth. There’s some great new songs like ‘Showing Off’ and ‘Hated By The Daily Mail’, that at the very least show that the band have still got a knack for writing great tunes, even if standing-up straight I s causing problems. Ruth by this point is leaning against an amp with a glass of gin in her hand in a pose that Dean Martin would’ve been proud of, while Mitch somehow manages to hit himself over the head with his own bass in an act of self-mutilation that would have top-psychiatrists scratching their own heads. Finally, the set is drawing to an end, so what better way to finish ? They invite former member Veg back up on stage – for yet another version of ‘Dressed To Kill’ ! This time only one attempt gets them all the way through, but it’s a wonderful end to a truly incredible set. Long may there be enough booze to keep them going !
The Hags don’t so much assemble on stage as shamble on to it. Steph and Chris are unavoidably absent, so there’s a couple of members from the Hagar reserve team, but I sincerely doubt that they can be blamed for the glorious chaos that ensued. It all starts a little askew while the DJ is still playing music. Karen discovers that her microphone is already turned on and decides to perform a karaoke version of ‘California Uber Alles’ while the disc is being played. But it all starts to go really warped when the band start their first song, ‘Dressed To Kill’. The first version goes astray when Karen and Ruth start singing too soon and the whole band grinds to a halt. The second attempt goes a little better and makes it as far as the chorus before the girls are again way ahead of the rest of the band. Third attempt, they finally make it all the way through. So what is it that’s causing all this racing ahead ? Pure adrenaline ? The natural rush of being on stage ? No, by all accounts, it was a sneaky bottle of gin… Anyway, once underway, they just can’t be stopped, with songs old and new hovering on the edge of total mayhem, but just hanging on by the teeth. There’s some great new songs like ‘Showing Off’ and ‘Hated By The Daily Mail’, that at the very least show that the band have still got a knack for writing great tunes, even if standing-up straight I s causing problems. Ruth by this point is leaning against an amp with a glass of gin in her hand in a pose that Dean Martin would’ve been proud of, while Mitch somehow manages to hit himself over the head with his own bass in an act of self-mutilation that would have top-psychiatrists scratching their own heads. Finally, the set is drawing to an end, so what better way to finish ? They invite former member Veg back up on stage – for yet another version of ‘Dressed To Kill’ ! This time only one attempt gets them all the way through, but it’s a wonderful end to a truly incredible set. Long may there be enough booze to keep them going !
DERITA SISTERS / RUBBERLEGS / UGLY SCENES. The Birds Nest, 3/8/15. Not a bad line-up for a Monday night in Deptford ? Derita Sisters are an American band (with some German input) who I know little about, although I’ve heard rumours of hi-energy rock’n’roll, so, alongside Rubberlegs, this is a more than tempting prospect. Plus it’s a rather short journey down from Stratford, where I work. It just had to be done.
When I arrive, everyone seems to be hanging around outside. It’s a reasonably warm evening, so I join Tom Phobic and Brad Monkish and it turns out the other chaps they’re talking to are the Derita Sisters, so I get to meet them and they seem like good people, which gives me more encouragement for the gig itself.
The first band I see are Ugly Scenes, who play a raw but pretty enjoyable brand of street-punk, Apparently, they don’t play very often, but I get the impression that they could actually get pretty good if they did so. I certainly wouldn’t mind seeing them again.
Rubberlegs, as I’m sure I’ve said before, is made of various Phobics past and present and play a set of covers and originals. Similar to The Phobics, for sure, but perhaps a little more of a nod towards the glam side of Seventies rock’n’roll. A bunch of great guitar hooks, fine songs and a solid performance. You can’t help but enjoy it.
Derita Sisters assemble in the small corner space that acts as the stage in The Birds Nest before launching into their set with a real sense of determination. Fast, tight and direct, they deliver their songs at a machine gun pace and, like the much-missed New Bomb Turks, hardly take a breath between riffs. I wasn’t familiar with their songs before this gig, so I can’t really say what they played, but it was very enjoyable stuff ands seemed to be over all too soon. I’ll be reviewing their album elsewhere, so hopefully that will give you some more details to go on, but just as I live band, I certainly recommend that you try to catch them. Fast, furious and fun, this is a band that are doing it because they have no choice. And we should all be grateful for that.
When I arrive, everyone seems to be hanging around outside. It’s a reasonably warm evening, so I join Tom Phobic and Brad Monkish and it turns out the other chaps they’re talking to are the Derita Sisters, so I get to meet them and they seem like good people, which gives me more encouragement for the gig itself.
The first band I see are Ugly Scenes, who play a raw but pretty enjoyable brand of street-punk, Apparently, they don’t play very often, but I get the impression that they could actually get pretty good if they did so. I certainly wouldn’t mind seeing them again.
Rubberlegs, as I’m sure I’ve said before, is made of various Phobics past and present and play a set of covers and originals. Similar to The Phobics, for sure, but perhaps a little more of a nod towards the glam side of Seventies rock’n’roll. A bunch of great guitar hooks, fine songs and a solid performance. You can’t help but enjoy it.
Derita Sisters assemble in the small corner space that acts as the stage in The Birds Nest before launching into their set with a real sense of determination. Fast, tight and direct, they deliver their songs at a machine gun pace and, like the much-missed New Bomb Turks, hardly take a breath between riffs. I wasn’t familiar with their songs before this gig, so I can’t really say what they played, but it was very enjoyable stuff ands seemed to be over all too soon. I’ll be reviewing their album elsewhere, so hopefully that will give you some more details to go on, but just as I live band, I certainly recommend that you try to catch them. Fast, furious and fun, this is a band that are doing it because they have no choice. And we should all be grateful for that.
THE AVENGERS /MORGELLONS. The Garage, 6/8/15. It’s been a while since The Avengers were last in the UK, so I’m really looking forward to this one. While only Greg and Penelope remain from the original line-up, the current rhythm section of Joel and Luis have been playing together for over ten years and the band sound as strong as ever. I’ve been lucky enough to get to know them over the years, so I leave work early to meet with them at their soundcheck. Unfortunately, they’re all feeling pretty exhausted, having only just flown-in, and all seem to be in a quandary over whether to sleep or eat, but they’ve still got time to chat and catch up. Really nice people as well as one of my favourite bands, what more could you ask for ?
There’s time before the gig to wander over to a nearby pub and I bump in to a bunch of people heading towards the gig. Actually, it isn’t a particularly good evening for the show, as it’s the first day of Rebellion up in Blackpool and a lot of people who would normally have gone to this gig have already gone North for the weekend. On top of this, there’s also a tube strike making it a lot more difficult to get to the venue, but as it turns out, there’s still a decent crowd who won’t let such things stand in their way.
Back to The Garage, in time for The Morgellons. I’ve seen this band a few times over the past year or so and I’m usually pretty impressed. They’re coming from a solid punk base but incorporating different twists to the sound, sort of like the way bands did in what is now known as ‘post-punk’ (we all still called it ‘punk’ at the time…) The first few times I saw them, they included a cover of the early Joy Division track ‘The Drawback’, which they’ve since replaced with a version of ‘Blank Generation’, and that choice of songs is a pretty good indication of what they’re trying to do. Still raw and spiky, but with something else going on to keep it interesting. Catch them on a good night and it works rather well.
The place isn’t packed but there’s a good turn-out considering the previously-mentioned factors, and everyone seems enthusiastic, giving it a good atmosphere. The Avengers appear onstage and, after a brief instrumental intro, launch into ‘We Are The One’. They are playing great but unfortunately, the PA sound is leaving a lot to be desired. Having heard some of the soundcheck earlier-on, I can’t figure it out. Everything had sounded great, so what’s gone wrong in between times ? Surely the soundman will get things sorted out ? There is slight improvement over the next few songs, but it never really gets better than that, leaving the set with a rather murky sound throughout. The only things that pull it through are the quality of the band and the songs, but really, there was no need for this to be a problem, not in an established venue like The Garage.
None the less, The Avengers continue, playing all the classics with a freshness and energy that still puts other bands to shame. The thing is, while they very-much captured the time and place when they were written, their songs never restricted themselves to one-dimensional lyrics or style and so still resonate today. ‘The American In Me’ or ‘Open Your Eyes’ could be applied to just about any Western country these days, and while some songs may not remain as poignant, there’s little that audiences would be unable to relate to. The band themselves perform the set with an obvious love and enjoyment of the music and that’s why they remain so vital. I still think it’s a shame that this line-up hasn’t attempted to write new material together, as they clearly have a real chemistry as a band, but I can understand their reasons not to do so and, as they can hardly be accused of playing too often, it’s still more than special to see all the old material once again.
At the end of the night, they promised they’d be back again and it wouldn’t be such a long gap this time. When they do so, be sure not to miss them.
There’s time before the gig to wander over to a nearby pub and I bump in to a bunch of people heading towards the gig. Actually, it isn’t a particularly good evening for the show, as it’s the first day of Rebellion up in Blackpool and a lot of people who would normally have gone to this gig have already gone North for the weekend. On top of this, there’s also a tube strike making it a lot more difficult to get to the venue, but as it turns out, there’s still a decent crowd who won’t let such things stand in their way.
Back to The Garage, in time for The Morgellons. I’ve seen this band a few times over the past year or so and I’m usually pretty impressed. They’re coming from a solid punk base but incorporating different twists to the sound, sort of like the way bands did in what is now known as ‘post-punk’ (we all still called it ‘punk’ at the time…) The first few times I saw them, they included a cover of the early Joy Division track ‘The Drawback’, which they’ve since replaced with a version of ‘Blank Generation’, and that choice of songs is a pretty good indication of what they’re trying to do. Still raw and spiky, but with something else going on to keep it interesting. Catch them on a good night and it works rather well.
The place isn’t packed but there’s a good turn-out considering the previously-mentioned factors, and everyone seems enthusiastic, giving it a good atmosphere. The Avengers appear onstage and, after a brief instrumental intro, launch into ‘We Are The One’. They are playing great but unfortunately, the PA sound is leaving a lot to be desired. Having heard some of the soundcheck earlier-on, I can’t figure it out. Everything had sounded great, so what’s gone wrong in between times ? Surely the soundman will get things sorted out ? There is slight improvement over the next few songs, but it never really gets better than that, leaving the set with a rather murky sound throughout. The only things that pull it through are the quality of the band and the songs, but really, there was no need for this to be a problem, not in an established venue like The Garage.
None the less, The Avengers continue, playing all the classics with a freshness and energy that still puts other bands to shame. The thing is, while they very-much captured the time and place when they were written, their songs never restricted themselves to one-dimensional lyrics or style and so still resonate today. ‘The American In Me’ or ‘Open Your Eyes’ could be applied to just about any Western country these days, and while some songs may not remain as poignant, there’s little that audiences would be unable to relate to. The band themselves perform the set with an obvious love and enjoyment of the music and that’s why they remain so vital. I still think it’s a shame that this line-up hasn’t attempted to write new material together, as they clearly have a real chemistry as a band, but I can understand their reasons not to do so and, as they can hardly be accused of playing too often, it’s still more than special to see all the old material once again.
At the end of the night, they promised they’d be back again and it wouldn’t be such a long gap this time. When they do so, be sure not to miss them.
JERRY SADOWITZ. Soho Theatre, 7/8/15. At short notice, Jerry Sadowitz announced a warm-up show for his upcoming Edinburgh Festival appearance. For some strange reason, I’ve never actually seen him live, although having been a fan since the release of his ‘Gobshite’ album all the way back in 1987. This was a perfect occasion to make that right and my old friend Vicky decides to come along as well… we may need each others’ support to get through it !
Once seated inside the venue and without any fanfare, a strangely familiar figure appears onstage. Blonde hair, cigar, jewellery, ‘Now then, now then…’ Could it possibly be the return of Uncle Jimmy ? Indeed it is, here to clear his name, of course. Now, for those of you not familiar with the details, Sadowitz’s aforementioned album, ‘Gobshite’ was actually withdrawn shortly after release due to legal threats from Savile’s lawyers, saying that it implied the scumbag was a paedophile. A couple of years ago, in a tribute to the former DJ, Sadowitz posted the original material on Youtube… funnily enough, this time around, the lawyers didn’t raise any complaints.
Anyway, revenge may have taken some 25 years to arrive but Jerry makes the most of it. ‘They say that if you’re in the woods and are confronted with a bear, the best thing to do is to lay down and play dead. Of course, if you were in the woods and were confronted by Jimmy Savile, that’s not going to help at all…’ Beautiful ! Jerry soon loses the disguise and for the next hour or so, pretty much everything becomes a legitimate target. The SNP, Michael McIntyre (fair enough), immigrants (‘they’re not just trying to get to the UK, they’re trying to get away from the French…’) Interspersed with this, there’s also an array of his close-up magic tricks which are impressive enough in their own right. It’s a great show, set at a frantic pace and certainly not for the narrow-minded, but if you can accept his comedy as a necessary vent for the more preposterous thoughts of the world (which do seem to be increasing all the time) then this is perfect. Think of Lenny Bruce corrupted by Derek & Clive… this is the next step. It’s not for everyone, but then again, if everyone got it, maybe there wouldn’t be any need for it ?
Once seated inside the venue and without any fanfare, a strangely familiar figure appears onstage. Blonde hair, cigar, jewellery, ‘Now then, now then…’ Could it possibly be the return of Uncle Jimmy ? Indeed it is, here to clear his name, of course. Now, for those of you not familiar with the details, Sadowitz’s aforementioned album, ‘Gobshite’ was actually withdrawn shortly after release due to legal threats from Savile’s lawyers, saying that it implied the scumbag was a paedophile. A couple of years ago, in a tribute to the former DJ, Sadowitz posted the original material on Youtube… funnily enough, this time around, the lawyers didn’t raise any complaints.
Anyway, revenge may have taken some 25 years to arrive but Jerry makes the most of it. ‘They say that if you’re in the woods and are confronted with a bear, the best thing to do is to lay down and play dead. Of course, if you were in the woods and were confronted by Jimmy Savile, that’s not going to help at all…’ Beautiful ! Jerry soon loses the disguise and for the next hour or so, pretty much everything becomes a legitimate target. The SNP, Michael McIntyre (fair enough), immigrants (‘they’re not just trying to get to the UK, they’re trying to get away from the French…’) Interspersed with this, there’s also an array of his close-up magic tricks which are impressive enough in their own right. It’s a great show, set at a frantic pace and certainly not for the narrow-minded, but if you can accept his comedy as a necessary vent for the more preposterous thoughts of the world (which do seem to be increasing all the time) then this is perfect. Think of Lenny Bruce corrupted by Derek & Clive… this is the next step. It’s not for everyone, but then again, if everyone got it, maybe there wouldn’t be any need for it ?
1984 / SLOW FACTION / UNDERCLASS. The Gunners Pub, 14/8/15. The Gunners is a bit out of the way and so doesn’t get the credit it deserves. It’s a good little pub venue with a decent stage and PA, plus a good, fair-priced bar. The people who run it seem to be pretty decent as well, so if you see a decent gig advertised, you should give it a chance. As we all know, too many of the good small venues have disappeared in recent years, so we ought to support places like this when we can.
Anyway, having been completely confused as to where we’re supposed to be meeting-up, I eventually locate Matt and Steve before taking the stroll down to the venue. Once inside, The Underclass are already on stage. Coming from East London, they’ve got a good street punk sound but add in some older Seventies rock’n’roll swagger to some of the songs, giving it a bit of a different taste. It would probably be better to see them at a busier, more lively event, but they weren’t bad at all. Next up are Slow Faction and, again, not a bad band at all. More of a 1977 Punk Rock sound, but with some later, heavier punk elements and some decent lyrics about things that are going on around us now. As with Underclass, they suffer a bit from the sound being a bit muddy but they’ve got enough interesting songs to keep your attention. It’s always good to see a couple of worthwhile support bands.
1984 set up and have great sound right from the start, possibly because their set doesn’t involve so much distortion and big chords ! There’s a lesson for ya… Anyway, they play pretty much the same set as when we saw them at The Pipeline, just a few songs switched around, but having waited so long to see them played live at all, that’s no problem. Tracks like ‘Back in The USSR’ and ‘White Youth’ really show how different Crisis were from most of their peers, while more abrasive songs like ‘PC 1984’ and ‘Kill Kill Kill’ are just as raw as any of the better, early punk bands. There’s a few Crisis songs that I’m surprised to find aren’t being played, but as I later find out, they’re just playing those originally written by Tony (so I’m going to have to wait indefinitely to hear ‘On TV’…) The other intriguing thing is hearing several of the songs originally written by Crisis but only recorded later on by Death In June. In their original style, songs like ‘Nirvana’ and ‘Holy Water’ give a glimpse of how Crisis may have sounded had they continued and also show how Death in June were more of a continuation of Crisis, at least initially, than is usually credited. Apparently, 1984 are intending to re-record and release some of the original songs, so it will, be good to hear how that turns out. In the meantime, I recommend that you see this band. Tony Wakeford’s music since Crisis may well be an entirely different case, musically and politically, but the songs he played with Crisis were, and remain, powerful and valid.
Anyway, having been completely confused as to where we’re supposed to be meeting-up, I eventually locate Matt and Steve before taking the stroll down to the venue. Once inside, The Underclass are already on stage. Coming from East London, they’ve got a good street punk sound but add in some older Seventies rock’n’roll swagger to some of the songs, giving it a bit of a different taste. It would probably be better to see them at a busier, more lively event, but they weren’t bad at all. Next up are Slow Faction and, again, not a bad band at all. More of a 1977 Punk Rock sound, but with some later, heavier punk elements and some decent lyrics about things that are going on around us now. As with Underclass, they suffer a bit from the sound being a bit muddy but they’ve got enough interesting songs to keep your attention. It’s always good to see a couple of worthwhile support bands.
1984 set up and have great sound right from the start, possibly because their set doesn’t involve so much distortion and big chords ! There’s a lesson for ya… Anyway, they play pretty much the same set as when we saw them at The Pipeline, just a few songs switched around, but having waited so long to see them played live at all, that’s no problem. Tracks like ‘Back in The USSR’ and ‘White Youth’ really show how different Crisis were from most of their peers, while more abrasive songs like ‘PC 1984’ and ‘Kill Kill Kill’ are just as raw as any of the better, early punk bands. There’s a few Crisis songs that I’m surprised to find aren’t being played, but as I later find out, they’re just playing those originally written by Tony (so I’m going to have to wait indefinitely to hear ‘On TV’…) The other intriguing thing is hearing several of the songs originally written by Crisis but only recorded later on by Death In June. In their original style, songs like ‘Nirvana’ and ‘Holy Water’ give a glimpse of how Crisis may have sounded had they continued and also show how Death in June were more of a continuation of Crisis, at least initially, than is usually credited. Apparently, 1984 are intending to re-record and release some of the original songs, so it will, be good to hear how that turns out. In the meantime, I recommend that you see this band. Tony Wakeford’s music since Crisis may well be an entirely different case, musically and politically, but the songs he played with Crisis were, and remain, powerful and valid.
ALTERNATIVE TV / RUDE MECHANICALS. The Dublin Castle, 15/8/15. As Clive Giblin is currently playing guitar for both 1984 and ATV, he’s probably going to start thinking I’m stalking him after this week-end ! But I can’t help my busy diary. I spend the early part of the evening finishing my interview with Knox, next door at Rock’n’Roll Rescue, before getting accosted by that Spizz-chap and enjoying a swift beer. The place is actually rather full-up, so there’s plenty of people to chat with and the support band, Rude Mechanicals are onstage. A couple of people had recommended them to me, so I was rather curious. As it turns out, I watch most of their set but I’m not convinced. They have an odd sort of lo-fi theatrical approach to their performance, fronted by the striking Miss Roberts, but at times it almost seems as if they’re trying too hard. Some of the songs are quite insistent but others seem a little too wilful and for something like this to work, it needs to flow more naturally. At the moment, I’m not sure which way they will go, but they certainly have the potential to become something interesting.
Alternative TV have recently released a new album, ‘Opposing Forces’. It’s their first for quite some time and it’s rather good, so I’m looking forward to this gig. They don’t play live all that often these days (‘The record label wanted us to tour to promote the album. This is it !’) but they’re always worth seeing. While Mark Perry is the only original member, Clive Giblin also played with them during the Eighties and this line-up have been together for quite some time. So it’s perfect that they play a set drawn from right across the bands’ back catalogue, with selections from the classic ‘The Image Is Cracked’ album mixed with a few from the more experimental ‘Vibing Up The Senile Man’, others from the much under-rated ‘Peep Show’ era, and some from releases since then. As expected, there’s also a good selection from the new album and, whilst full of their own character, they fit nicely alongside the older material. Mark is even joined by Miss Roberts for a duet on ‘Unlikely Star’, which works very well (even though Mr Perry looks positively drab next to Miss Roberts’ elaborate costume !) All the well-known songs are played, but for me, the highpoint is an excellent version of ‘Lost In Room’, one of their greatest moments. The room was absolutely packed with a real mix of people, so it’s good to see there’s still a strong interest in the bands’ music. Of all the bands from the original punk era, ATV have remained one of the more intriguing and whilst I won’t claim that I love everything they’ve done, I will say that they are always worth investigating.
Alternative TV have recently released a new album, ‘Opposing Forces’. It’s their first for quite some time and it’s rather good, so I’m looking forward to this gig. They don’t play live all that often these days (‘The record label wanted us to tour to promote the album. This is it !’) but they’re always worth seeing. While Mark Perry is the only original member, Clive Giblin also played with them during the Eighties and this line-up have been together for quite some time. So it’s perfect that they play a set drawn from right across the bands’ back catalogue, with selections from the classic ‘The Image Is Cracked’ album mixed with a few from the more experimental ‘Vibing Up The Senile Man’, others from the much under-rated ‘Peep Show’ era, and some from releases since then. As expected, there’s also a good selection from the new album and, whilst full of their own character, they fit nicely alongside the older material. Mark is even joined by Miss Roberts for a duet on ‘Unlikely Star’, which works very well (even though Mr Perry looks positively drab next to Miss Roberts’ elaborate costume !) All the well-known songs are played, but for me, the highpoint is an excellent version of ‘Lost In Room’, one of their greatest moments. The room was absolutely packed with a real mix of people, so it’s good to see there’s still a strong interest in the bands’ music. Of all the bands from the original punk era, ATV have remained one of the more intriguing and whilst I won’t claim that I love everything they’ve done, I will say that they are always worth investigating.
DUNCAN REID & THE BIGHEADS / DEPARTMENT S / LOS PEPES. The Lexington, 22/8/15. I’d been meaning to see Duncan Reid’s new band for some time, but they seemed to develop an awkward habit of playing on the same night that I already had plans elsewhere. So I wasn’t going to miss this one. I also hadn’t been to the Lexington for a while, so it had to be time for another visit.
Los Pepes are playing when I arrive, and they’re good fun. Quirky Sixties style garage punk with catchy tunes and plenty of energy. I’ve seen them a few times and they’re always good fun.
Duncan Reid is actually playing in the middle of the bill, although most people seem to be there to see him. His current band, two girls and another bloke, play really solidly and the set is really enjoyable. It’s mostly new material which sounds really good. It leans more towards the powerpop side of things, but then again, if you ever liked The Boys, I doubt if you’ll have any problem with that. They do play a version of ‘Brickfield Nights’, possibly as a tribute to his former Boys colleague Honest John Plain who is in attendance (good to see him making a recovery from his recent accident !) but it’s really about the bands’ own songs and they stand up for themselves with style and plenty of energy. I really will have to catch up with his recent albums ! The set comes to an end, but there’s one more surprise, when Andrew Matheson, singer from the legendary Hollywood Brats, joins them onstage for a raucous version of ‘Sick On You’. The band sound great but Matheson steals the show with his stage- presence and excellent vocals. Not that anyone minds, as Duncan and the band are clearly enjoying every minute of it. I’m really glad I’ve finally seen the band and particularly glad I picked this evening.
The final band are Department S, best known for their one big hit ‘Is Vic There ?’ Although original singer Vaughan Toulouse died some time ago, the rest of the band reformed to record new and previously unreleased original material some time ago, and have also been playing live with some success. Again, this was the first time I’ve seen them and although I wasn’t blown away, they were certainly worth seeing. ‘Is Vic There’ was very much a New Wave single, but the rest of their set was a lot more punky-rock’n’roll, including a decent version of ‘Born To Lose’ itself. The only other song I know by them, ‘Going Left Right’, still sounds good and is probably more indicative of the way they sounded on the whole. I still have to say that, for me, Duncan Reid and the Bigheads were the best band of the evening, but Department S certainly weren’t bad and I was happy to watch the whole of their set. If you get the chance, you should check them out for yourself.
Los Pepes are playing when I arrive, and they’re good fun. Quirky Sixties style garage punk with catchy tunes and plenty of energy. I’ve seen them a few times and they’re always good fun.
Duncan Reid is actually playing in the middle of the bill, although most people seem to be there to see him. His current band, two girls and another bloke, play really solidly and the set is really enjoyable. It’s mostly new material which sounds really good. It leans more towards the powerpop side of things, but then again, if you ever liked The Boys, I doubt if you’ll have any problem with that. They do play a version of ‘Brickfield Nights’, possibly as a tribute to his former Boys colleague Honest John Plain who is in attendance (good to see him making a recovery from his recent accident !) but it’s really about the bands’ own songs and they stand up for themselves with style and plenty of energy. I really will have to catch up with his recent albums ! The set comes to an end, but there’s one more surprise, when Andrew Matheson, singer from the legendary Hollywood Brats, joins them onstage for a raucous version of ‘Sick On You’. The band sound great but Matheson steals the show with his stage- presence and excellent vocals. Not that anyone minds, as Duncan and the band are clearly enjoying every minute of it. I’m really glad I’ve finally seen the band and particularly glad I picked this evening.
The final band are Department S, best known for their one big hit ‘Is Vic There ?’ Although original singer Vaughan Toulouse died some time ago, the rest of the band reformed to record new and previously unreleased original material some time ago, and have also been playing live with some success. Again, this was the first time I’ve seen them and although I wasn’t blown away, they were certainly worth seeing. ‘Is Vic There’ was very much a New Wave single, but the rest of their set was a lot more punky-rock’n’roll, including a decent version of ‘Born To Lose’ itself. The only other song I know by them, ‘Going Left Right’, still sounds good and is probably more indicative of the way they sounded on the whole. I still have to say that, for me, Duncan Reid and the Bigheads were the best band of the evening, but Department S certainly weren’t bad and I was happy to watch the whole of their set. If you get the chance, you should check them out for yourself.
CHARLIE HARPER / GARY LAMMIN / SARAH PINK. Love Bar Festival, 27/9/15. This was an odd event. Some sort of exhibition although no-one seemed to really know what the purpose was. Similarly, the venue was a bit confusing. Located below the Queen Elizabeth Hall, it wasn’t clear whether it was supposed to be a bar, a gallery, or a club. There was a display of vintage punk posters, photo’s and paraphernalia and some original artwork, but the whole thing seemed a bit disjointed. Anyway, it was a good excuse for a bit of a social gathering and we had some music as well, so who’s to complain ? Sarah Pink got proceedings underway with a sort set of acoustic songs, including a cover of ‘John, I’m Only Dancing’ which is pretty entertaining, but the temperature inside the place is sweltering. There is a bar in the place, but everyone is coming back stunned that they’re charging five quid for small cans of lager, so I volunteer to take a walk to a local off-license which turns out to be much more economic. The only problem is that I took directions from Gaye (not renowned for her sense of direction) and consequently took ages (missing a short set from Spizz in between times.) Anyway, Gary Lammin takes his turn next and is probably the best-suited to playing an acoustic set. A good selection of Bermondsey Joyriders’ songs, including the recent single, ‘12 Bar Beat’. During the set, old punk footage is being shown on the wall behind him and it’s a nice coincidence to see film of Joe Strummer while Gary ends his set – highly appropriate considering Gary’s past involvement with the much-missed Clash front-man.
Charlie Harper ends the evening with a set of his songs including various UK Subs numbers which actually work surprisingly well in this stripped-down format. Apparently, he had a few problems with his guitar at one point (I must have missed this trying to find the loo…) but generally he gets through it confidently and competently. So it had a been quite an enjoyable evening even if most of us still don’t know what it was all supposed to be about !
Charlie Harper ends the evening with a set of his songs including various UK Subs numbers which actually work surprisingly well in this stripped-down format. Apparently, he had a few problems with his guitar at one point (I must have missed this trying to find the loo…) but generally he gets through it confidently and competently. So it had a been quite an enjoyable evening even if most of us still don’t know what it was all supposed to be about !
THE PHOBICS. The Birds Nest, 29/8/15. This turned out to be an evening full of surprises. The Birds Nest is holding its’ annual ‘Nestival’ event, featuring loads of bands playing over the entire weekend. The Phobics are set to headline the first night and, despite there being a lot of rather appalling bands playing before them, most of us are sitting outside having a couple of drinks and just chatting. It’s nice and relaxed up to this point, but by the time it comes for them to play, the audiences is rather lively, in a good-natured way, and the reaction is incredible. The place is packed and people are going barmy, jumping around and enjoying the music. I always enjoy this band, but this evening, it’s berserk ! People even end up body-surfing and I’m not even sure how that’s possible in a place with no real stage and such a low ceiling ! But it happened, every body seemed to have a damn good time and hopefully some of this lot will show up at future gigs.
THE NIGHTINGALES / THE ETHICAL DEBATING SOCIETY. The Sebright Arms, 31/8/15. I have a strange afternoon receiving text messages late and consequently making plans to meet people when they’re already some-where else. Now I know what Dr Who feels like when the Tardis makes an unscheduled landing. Anyway, eventually meet up with a bunch of chaps from Kent and we all walk up to Bethnal Green for the gig. First time I’ve been to this venue, and it seems really nice. Decent-sized bar upstairs and a nice venue downstairs with a good PA and stage. I’ll certainly hope to see a few more gigs down there.
There’s a good-sized audience for The Ethicals, and it’s interesting to see them now that I’ve got a better idea of what to expect. Lots of energy, plenty of interaction with the audience and a sense of humour to temper their harsher riffs. There is something catchy in the middle of it all, but you have to ease in to it, I suppose. Once you get it, they make total (new) sense. Again, their cover of ‘Oh Bondage Up Yours’ is a good starting point, stripped down to just drums, one noisy guitar and a kazoo, but more in the spirit of the original than any pristine covers band could ever manage. I’m starting to really like this band and I think they may well be one of the best new bands I’ve seen for a while. Be sure to catch them live and just enjoy it.
This is the first time I’ve seen The Nightingales since 1985 and, apart from Robert Lloyd, I think it’s a completely different line-up, but the again, they always seemed to be changing personnel so I guess this isn’t to be unexpected. As it turns out, they play a set of more recent material, none of which I’ve heard before but it still sounds rather good (even if I would’ve loved a version of ‘Paraffin Brain’ or ‘Urban Ospreys’ some-where in the selection. They also play at a rather relentless pace, with hardly a chance between songs to catch your breath before they launch in to the next one. It’s quite impressive and the band clearly remain intent on maintaining their own identity and vision. In the same way that The Fall have always steadfastly moved forward rather than taking short-cuts to make things easier for themselves, The Nightingales continue to continue. I’m glad they’re out there because it’s just the thing that the world needs.
There’s a good-sized audience for The Ethicals, and it’s interesting to see them now that I’ve got a better idea of what to expect. Lots of energy, plenty of interaction with the audience and a sense of humour to temper their harsher riffs. There is something catchy in the middle of it all, but you have to ease in to it, I suppose. Once you get it, they make total (new) sense. Again, their cover of ‘Oh Bondage Up Yours’ is a good starting point, stripped down to just drums, one noisy guitar and a kazoo, but more in the spirit of the original than any pristine covers band could ever manage. I’m starting to really like this band and I think they may well be one of the best new bands I’ve seen for a while. Be sure to catch them live and just enjoy it.
This is the first time I’ve seen The Nightingales since 1985 and, apart from Robert Lloyd, I think it’s a completely different line-up, but the again, they always seemed to be changing personnel so I guess this isn’t to be unexpected. As it turns out, they play a set of more recent material, none of which I’ve heard before but it still sounds rather good (even if I would’ve loved a version of ‘Paraffin Brain’ or ‘Urban Ospreys’ some-where in the selection. They also play at a rather relentless pace, with hardly a chance between songs to catch your breath before they launch in to the next one. It’s quite impressive and the band clearly remain intent on maintaining their own identity and vision. In the same way that The Fall have always steadfastly moved forward rather than taking short-cuts to make things easier for themselves, The Nightingales continue to continue. I’m glad they’re out there because it’s just the thing that the world needs.
KING KHAN & THE BBQ / FERRIDAY FIREBALLS. Birthdays, 2/9/15. A last minute gig as Tom Phobic gives me a call and announces that he has a spare ticket and that our old friend, Flyin’ Brian, will be playing with his band, The Ferriday Fireballs. Not that I know anything about them, but he’s been in some great bands before this, so I know it’s going to be worth the effort.
We turn up early and meet Brian in the bar, his usual haunt (which bar, any bar…) Time for a couple of beers before heading downstairs for the set.
It takes a brave band to start their gig with a cover of The Stooges ‘1970’, but the Fireballs do just that. But unlike any kind of predictable imitation, they’ve adapted it to vintage rockabilly style, maintaining its’ raw power but stripping it down to basics. Twangin’ guitar, basic stand-up drums and a lap-steel guitar produce a perfect, Cramps style-soundtrack all set to be punctuated by Brians’ hoopin’ an’ a-hollerin’ ! This is how I want to see and hear my rockabilly. They play a short set, but every song is a blast, pounding along with instantly catchy hooks and loads of energy. The only other song title I remember is ‘Your Love Must Be Destroyed’, and the music matches the title with plenty of style. I’m very impressed and so are most of the audience that have turned up early enough to catch these guys. Definitely a band that I need to see again.
Typically, many of the audience don’t bother coming down to the venue until the headliners are due onstage (this is trendy Dalston, after all.) They’ve missed out, but as the room fills up to sardine levels, King Khan & The BBQ start playing and it’s okay, but rather pedestrian after the Ferriday Fireballs. On top of that, I quickly remember why I didn’t like this venue the first time I was there… The band play pretty much on the same level as the audience, so you can only see anything if you’re in the first few rows and consequently, the front half of the room is rammed. If you want any breathing space, you have to stand towards the back, where you can’t see anything and although the sound isn’t bad, you’re left with pretty much no atmosphere. Tom and I stay for about 30 minutes before deciding it really isn’t worth hanging around much longer, and opt for our respective early bus / train home. The Fireballs had already been the highpoint of the evening, so there was no need to hang around for anything else.
We turn up early and meet Brian in the bar, his usual haunt (which bar, any bar…) Time for a couple of beers before heading downstairs for the set.
It takes a brave band to start their gig with a cover of The Stooges ‘1970’, but the Fireballs do just that. But unlike any kind of predictable imitation, they’ve adapted it to vintage rockabilly style, maintaining its’ raw power but stripping it down to basics. Twangin’ guitar, basic stand-up drums and a lap-steel guitar produce a perfect, Cramps style-soundtrack all set to be punctuated by Brians’ hoopin’ an’ a-hollerin’ ! This is how I want to see and hear my rockabilly. They play a short set, but every song is a blast, pounding along with instantly catchy hooks and loads of energy. The only other song title I remember is ‘Your Love Must Be Destroyed’, and the music matches the title with plenty of style. I’m very impressed and so are most of the audience that have turned up early enough to catch these guys. Definitely a band that I need to see again.
Typically, many of the audience don’t bother coming down to the venue until the headliners are due onstage (this is trendy Dalston, after all.) They’ve missed out, but as the room fills up to sardine levels, King Khan & The BBQ start playing and it’s okay, but rather pedestrian after the Ferriday Fireballs. On top of that, I quickly remember why I didn’t like this venue the first time I was there… The band play pretty much on the same level as the audience, so you can only see anything if you’re in the first few rows and consequently, the front half of the room is rammed. If you want any breathing space, you have to stand towards the back, where you can’t see anything and although the sound isn’t bad, you’re left with pretty much no atmosphere. Tom and I stay for about 30 minutes before deciding it really isn’t worth hanging around much longer, and opt for our respective early bus / train home. The Fireballs had already been the highpoint of the evening, so there was no need to hang around for anything else.
THE MORGELLONS / THE PHOBICS / PHOENIX CHROI. The Birds Nest, 4/9/15. I seem to be spending a lot of time down at The Birds Nest these days and most of those evenings involve The Phobics, but that’s no bad thing. Most of the people are friendly and sometimes the music is really good. I still think I preferred it when the stage was at the other end of the bar, but trivia like that is never going to stop a decent band kickin’ out the jams…
First band this evening are Phoenix Chroi and it’s the first time I’ve seen them, properly (I saw them soundcheck when they supported The Avengers at the Garage recently and was quite impressed with what I heard, but then missed their actual set when I went out to feed myself (D’oh!) Anyway, having a female singer and a sort of different punk style, reviews have lazily compared them to the Banshees and whilst there is some-thing similar in what they’re doing, I think they play more with a sort of psychedelic-punk approach rather than any gothic tinges. The music is a bit more dramatic than run-of-the-mill punk rock, but it’s also quite raw and enjoyable. I’ll be interested to see how they develop and I certainly intend to see them again.
The Phobics play a great, tight set, maybe not as lively as their previous turn at The Birds Nest, but still just as much fun for those at the front. Tom somehow manages to pull a scam, asking if someone can get him a drink, and then looking very smug as three arrive from different sources all at the same time. Not that he downs them all (wimp !) but you don’t get that many freebies too often ! The rest of the band are either too busy or too cool to look envious, and content themselves with playing a fine, blistering set.
The Morgellons are a band that I enjoy, but it has to be said, some audiences are more open to their darker style of punk than others. In the right atmosphere, with a supportive crowd, they can create a really powerful sound, and tonight, despite the odds, they did just that. It’s a small audience but people are willing to give them a chance and as the set goes on, those who are there are paying more attention and giving appropriate applause. The band, in response, play a great gig and certainly win over a small but appreciative bunch of new fans. Towards the end of the set, Tom Phobic gets called back onstage to share vocals on a cover of ‘Blank Generation’ and although there is some confusion over who is supposed to sing which lines, everyone is enjoying themselves so such details don’t matter that much. Three fine bands in one evening, whose going to complain about that ?
First band this evening are Phoenix Chroi and it’s the first time I’ve seen them, properly (I saw them soundcheck when they supported The Avengers at the Garage recently and was quite impressed with what I heard, but then missed their actual set when I went out to feed myself (D’oh!) Anyway, having a female singer and a sort of different punk style, reviews have lazily compared them to the Banshees and whilst there is some-thing similar in what they’re doing, I think they play more with a sort of psychedelic-punk approach rather than any gothic tinges. The music is a bit more dramatic than run-of-the-mill punk rock, but it’s also quite raw and enjoyable. I’ll be interested to see how they develop and I certainly intend to see them again.
The Phobics play a great, tight set, maybe not as lively as their previous turn at The Birds Nest, but still just as much fun for those at the front. Tom somehow manages to pull a scam, asking if someone can get him a drink, and then looking very smug as three arrive from different sources all at the same time. Not that he downs them all (wimp !) but you don’t get that many freebies too often ! The rest of the band are either too busy or too cool to look envious, and content themselves with playing a fine, blistering set.
The Morgellons are a band that I enjoy, but it has to be said, some audiences are more open to their darker style of punk than others. In the right atmosphere, with a supportive crowd, they can create a really powerful sound, and tonight, despite the odds, they did just that. It’s a small audience but people are willing to give them a chance and as the set goes on, those who are there are paying more attention and giving appropriate applause. The band, in response, play a great gig and certainly win over a small but appreciative bunch of new fans. Towards the end of the set, Tom Phobic gets called back onstage to share vocals on a cover of ‘Blank Generation’ and although there is some confusion over who is supposed to sing which lines, everyone is enjoying themselves so such details don’t matter that much. Three fine bands in one evening, whose going to complain about that ?
THE PANDORAS / OH ! GUNQUIT / THE FRANKLYS. Shacklewell Arms, 5/9/15. Now, this was a gig I never thought I’d get to see, especially as original Pandora’s singer, Paula Pierce, passed away back in 1991. But three former members have resurrected the renowned all-girl band, The Pandoras, and live reviews have been very positive. So this is something that tempts a lot of old fans and curious punters up to Dalston, resulting in a full house, and everyone seems to be looking forward to it.
I arrive early enough to see most of the set from The Franklys, an all-girl garage-punk band with a buoyant mix of fuzzy guitars and harmonious vocals. With and American, a Brit and two Swedes in their ranks, it’s a wonder that they ever even met each other, but somehow they all crash-landed in London, and it’s a good thing for discerning music-lovers that they did. Looking great and sounding better, expect great things from this band.
Next up are the bizarrely-named Oh! Gunquit, letting the side down with only two female members out of the five, but producing a damn fine mess of trashy rhythm’n’blues, garage punk, exotica and beat. The have some really great, catchy songs, plenty of energy and lots of style. And I never expected a trumpet solo ! Again, a really entertaining band and the atmosphere is certainly building-up nicely towards the headline slot.
The Pandora’s have to edge their way on stage through the crowded room, but once they’re set-up and ready, you can see they’re here to enjoy themselves just as much as the audience. Kim Shattuck, best known as lead singer / guitarist of The Muffs, has taken over Paula’s place upfront, with Melanie and Karen reclaiming their places on vox organ and bass guitar respectively, leaving new girl Hillary to pound the drums. It’s a strong line-up and from the first song until the end, they sound even better than I had hoped for. Sixties garage-punk with plenty of pop, this is about great songs and lots of fun. It’s one of those gigs where, when you look around, everyone seems to be grinning. And it’s not just older fans, there’s a real mix of ages in the crowd. I have to admit, I couldn’t name most of the songs they played but I recognised many of them from years ago and some of the other tunes stuck firmly in my head all the way home. If you couldn’t enjoy a gig like this, then you just ain’t got a soul. I’ve no idea whether this line-up intend to continue or if this tour is just intended as a one-off get-together, but if this performance was anything to go by, I’m sure they have it in them to add another great chapter to The Pandora’s story.
I arrive early enough to see most of the set from The Franklys, an all-girl garage-punk band with a buoyant mix of fuzzy guitars and harmonious vocals. With and American, a Brit and two Swedes in their ranks, it’s a wonder that they ever even met each other, but somehow they all crash-landed in London, and it’s a good thing for discerning music-lovers that they did. Looking great and sounding better, expect great things from this band.
Next up are the bizarrely-named Oh! Gunquit, letting the side down with only two female members out of the five, but producing a damn fine mess of trashy rhythm’n’blues, garage punk, exotica and beat. The have some really great, catchy songs, plenty of energy and lots of style. And I never expected a trumpet solo ! Again, a really entertaining band and the atmosphere is certainly building-up nicely towards the headline slot.
The Pandora’s have to edge their way on stage through the crowded room, but once they’re set-up and ready, you can see they’re here to enjoy themselves just as much as the audience. Kim Shattuck, best known as lead singer / guitarist of The Muffs, has taken over Paula’s place upfront, with Melanie and Karen reclaiming their places on vox organ and bass guitar respectively, leaving new girl Hillary to pound the drums. It’s a strong line-up and from the first song until the end, they sound even better than I had hoped for. Sixties garage-punk with plenty of pop, this is about great songs and lots of fun. It’s one of those gigs where, when you look around, everyone seems to be grinning. And it’s not just older fans, there’s a real mix of ages in the crowd. I have to admit, I couldn’t name most of the songs they played but I recognised many of them from years ago and some of the other tunes stuck firmly in my head all the way home. If you couldn’t enjoy a gig like this, then you just ain’t got a soul. I’ve no idea whether this line-up intend to continue or if this tour is just intended as a one-off get-together, but if this performance was anything to go by, I’m sure they have it in them to add another great chapter to The Pandora’s story.
FFS. The Forum, 9/9/15. There’s not much I can say in this review that will add to what I wrote about their previous London gig at The Troxy. The collaboration between Franz Ferdinand and Sparks has worked as magnificently and as naturally as any fan of either band could have wished for, and their live performances have been as near to perfect as it gets. I prefer this gig as there seems to be more space towards the front of the dance-floor and the audience seem even more intent on enjoying the spectacle, but really, how could the show get any better ? There are a few minor changes – some of the non-FFS selections are switched around, with the notable inclusion of Sparks’ ‘Sherlock Holmes’ early in the set, and an extra Franz Ferdinand song, ‘No You Girls’ in the encore, but it’s really about their new album, with tracks like ‘Dictators Son’, ‘Police Encounters’ and the wonderful ‘Power Couple’ really making their mark as new live classics. With both bands known for keeping themselves busy, it’s hard to imagine how they’re going to get the time to follow up this album but, for all our sakes, I really hope it happens !
BUCHA EFFECT / SARAH PINK. The Fox & Firkin, Lewisham, 12/9/15. Once in a while, two gigs occur on the same evening and they’re happening at venues close enough to make you think, yeah, I could get to both of them… It’s always a bad thing for me, as I just end up stressed out and looking at my watch every thirty seconds, but if it all comes together in the end, I’ll be going home feeling smug (which is what it’s really all about.)
So, Tom Phobic is already going to see our friends, The Bucha Effect and Sarah Pink, playing their sets at the Fox& Firkin in Lewisham. As neither of them are headlining, we figure out that we’ll have time to see them and then catch the DLR a few stops back to Deptford to see Anthrax, who are headlining at the Birds Nest. Anyone sensible would have just settled for one band or the other, but when did sense ever come in to it?
Anyway, no problem reaching Lewisham and not too long a walk up to the pub. Time to grab a couple of beers and then Sarah starts her set, playing a short acoustic selection which I’d first seen her play a few weeks ago. This time around, with a better sound and a bit more familiarity with the songs, it’s much more enjoyable. She plays the Bowie cover again, but her own songs are just as much fun and manage to point across their point whilst maintaining a sense of humour.
Actually, this is quite a nice little pub venue. With a decent stage and a good PA sound. Plus, they seem to have quite an open mind to different types of bands (their gig lists included everything from 70’s Disco’s and covers bands through to punk rock and dub reggae !)
The Bucha Effect are local lads playing a down-to-earth mix of street-punky rock. They’re a three piece but create a pretty big sound, with more than a few enjoyable tunes and a good sense of humour in their lyrics. A good old band to watch with a beer in your hands, and sometimes that’s just what you want. I’ve seen them before and I’m sure I’ll be seeing them again – Dibnah, indeed !
So, Tom Phobic is already going to see our friends, The Bucha Effect and Sarah Pink, playing their sets at the Fox& Firkin in Lewisham. As neither of them are headlining, we figure out that we’ll have time to see them and then catch the DLR a few stops back to Deptford to see Anthrax, who are headlining at the Birds Nest. Anyone sensible would have just settled for one band or the other, but when did sense ever come in to it?
Anyway, no problem reaching Lewisham and not too long a walk up to the pub. Time to grab a couple of beers and then Sarah starts her set, playing a short acoustic selection which I’d first seen her play a few weeks ago. This time around, with a better sound and a bit more familiarity with the songs, it’s much more enjoyable. She plays the Bowie cover again, but her own songs are just as much fun and manage to point across their point whilst maintaining a sense of humour.
Actually, this is quite a nice little pub venue. With a decent stage and a good PA sound. Plus, they seem to have quite an open mind to different types of bands (their gig lists included everything from 70’s Disco’s and covers bands through to punk rock and dub reggae !)
The Bucha Effect are local lads playing a down-to-earth mix of street-punky rock. They’re a three piece but create a pretty big sound, with more than a few enjoyable tunes and a good sense of humour in their lyrics. A good old band to watch with a beer in your hands, and sometimes that’s just what you want. I’ve seen them before and I’m sure I’ll be seeing them again – Dibnah, indeed !
ANTHRAX. The Birds Nest, 12/9/15. So, a quick round of farewells and we’re heading back to the train station. Things take a bit longer than expected as there are major roadworks going on around the town centre (is it just me, or are there always major roadworks going on, every time I go to Lewisham ?) Finally, on the DLR, a few stops, another short walk, and we arrive at the Birds Nest just on time. Anthrax are setting up onstage and here’s a surprise for me - Steph from Hagar The Womb is playing guitar for them ! Not that there’s anything wrong with this, it’s just that I wasn’t expecting her to be there ! Anyway, I have a quick chat before she plays and she tells me she thought I already knew she was playing for Anthrax as well. I guess it is entirely possible that someone did tell me but I wasn’t paying attention. I can be quite useless like that.
Anyway, in case anyone hadn’t already realised, this isn’t the American metal band of the same name, but the UK punk band that emerged in the late Seventies, releasing two great singles (one on Crass Records, the other on Small Wonder) before eventually splitting in 1984. In recent years, they’ve reformed and released new material that sounds even better than the original singles, so I’ve been wanting to see them for a while. I certainly wasn’t expecting the opportunity to eventually be at the Birds Nest, but that’s a bonus !
The gig is really good, even better than I had expected. The thing with Anthrax is that, although they certainly played a harsher style of punk with a lot in common with the likes of Conflict, musically, they also kept a link with earlier punk rock to keep a sense of melody in their songs, even though the guitars and drums may have been raging and creating a wall of sound at the same time. The older songs, like ‘They’ve Got It All Wrong’ still sound surprisingly raw and catchy, while the newer material still captures their original energy but moves it forward with new ideas and different elements. If a band is going to reform, especially after such a long time, this is the way that you’d want them to do it (although it very rarely happens as well as this.) Lyrically, they’ve clearly stuck to their principles (their recent 7” single, ‘One Last Drop’, was even a benefit release for the legendary 1-in-12 Club) but they’re intent on moving it all ahead. I certainly recommend that you get to see this band at the first opportunity you find.
Anyway, in case anyone hadn’t already realised, this isn’t the American metal band of the same name, but the UK punk band that emerged in the late Seventies, releasing two great singles (one on Crass Records, the other on Small Wonder) before eventually splitting in 1984. In recent years, they’ve reformed and released new material that sounds even better than the original singles, so I’ve been wanting to see them for a while. I certainly wasn’t expecting the opportunity to eventually be at the Birds Nest, but that’s a bonus !
The gig is really good, even better than I had expected. The thing with Anthrax is that, although they certainly played a harsher style of punk with a lot in common with the likes of Conflict, musically, they also kept a link with earlier punk rock to keep a sense of melody in their songs, even though the guitars and drums may have been raging and creating a wall of sound at the same time. The older songs, like ‘They’ve Got It All Wrong’ still sound surprisingly raw and catchy, while the newer material still captures their original energy but moves it forward with new ideas and different elements. If a band is going to reform, especially after such a long time, this is the way that you’d want them to do it (although it very rarely happens as well as this.) Lyrically, they’ve clearly stuck to their principles (their recent 7” single, ‘One Last Drop’, was even a benefit release for the legendary 1-in-12 Club) but they’re intent on moving it all ahead. I certainly recommend that you get to see this band at the first opportunity you find.
WALTER LURE / BERMONDSEY JOYRIDERS. Jazz Café, 17/9/15. I still remain unconvinced that the Jazz Café is the best venue for loud and lively bands. The acoustics work much better for something more involved that you want to stand back and listen to, but for something where you want to get down in the middle of the crowd and let the guitar and drums go right through you, it isn’t the best set-up. But that being said, the place is pretty packed and there’s a great atmosphere when I arrive, with the Bermondsey Joyriders already in full swing. Playing a support spot, they get straight to the point, playing their best songs and really making them count. The sound is a bit too thin, really, but they still deliver a great set and perfectly set the stage for the rest of the show.
Walter Lure appears onstage with his regular UK band and they promptly launch in to another memorable set of Heartbreakers and Waldo’s material, interspersed with various covers, including, for the first time I’ve seen it, a fine version of Johnny Thunders’ classic ‘You Can’t Put Your Arms Around a Memory’. They’re having sound problems up on stage and are – for them – even a little sloppy at times, but this is the kind of real rock’n’roll that just doesn’t need to be totally note-perfect. Walter has plenty of character and the quality of the songs are more than enough to carry it through. Towards the end of the set, the band are joined onstage by Jim Jones and Rupert Orton for some extra vocal /guitar support (they didn’t really need it, but it added to the occasion.) It was a great evening, plain and simple, and it wasn’t even the best time I’ve seen them. Walter may now be the last Heartbreaker standing, but he’s keeping their legacy live and loud in just the right way.
Walter Lure appears onstage with his regular UK band and they promptly launch in to another memorable set of Heartbreakers and Waldo’s material, interspersed with various covers, including, for the first time I’ve seen it, a fine version of Johnny Thunders’ classic ‘You Can’t Put Your Arms Around a Memory’. They’re having sound problems up on stage and are – for them – even a little sloppy at times, but this is the kind of real rock’n’roll that just doesn’t need to be totally note-perfect. Walter has plenty of character and the quality of the songs are more than enough to carry it through. Towards the end of the set, the band are joined onstage by Jim Jones and Rupert Orton for some extra vocal /guitar support (they didn’t really need it, but it added to the occasion.) It was a great evening, plain and simple, and it wasn’t even the best time I’ve seen them. Walter may now be the last Heartbreaker standing, but he’s keeping their legacy live and loud in just the right way.
JERRY SADOWITZ. Greenwich Comedy Festival, 19/9/15. I wait years to see a Jerry Sadowitz gig and then I get two in as many months ! Well, it was meant to be. After his performance at the Soho Theatre, I was more than happy to get a chance to see him again, plus it gave me a chance to indulge in Pie & Mash plus a few beers with old friends Tom, Moyni and Pedro. What better way to spend a Friday evening ?
Anyway, the festival is taking place in the grounds of the National Maritime Museum, with various tents and marquees set-up to host the facilities. The atmosphere actually seems rather civilised and sedate, although I’m sure Mr Sadowitz will change all of that. Biggest problem seems to be the lack of decent drinks (the event is sponsored by Magners, so guess what the only pint-option is at the bar…) We decide to go for a bit of sophisti-fucking-cation and sample some wine…
It’s eventually time for the show, and an orderly queue forms outside the marquee. Everyone files in and many (foolishly) head straight for the front. We go for a row of seats towards the back, but still with a great view of the proceedings. A brief introduction announces the presence of ‘Uncle Jimmy’ onstage, and Sadowitz appears in his Savile character, now then, now then… It may be an obvious source of fun for a comedian with such a dark sense of humour, but as I’ve pointed out before, Jerry was way ahead of the times on this topic . He deserves to have his fun at Savile’s expense and you can’t help but laugh at the relish he takes in ridiculing the fallen-celebrity. But of course there’s much more to Sadowitz than this, and he soon dispenses with the disguise (it was fooling no-one,
after all) and launches into his own performance which, surprisingly, doesn’t feature that much of the material he previewed when I saw him at the Soho Theatre. It is interspersed with various card-tricks, delivered in his own inimitable fashion, but much of what follows is like a high velocity rant with hardly a pause for breath. You may not like his material, but there’s no denying his presence as a performer. Personally, I love his style so, for me, it can’t go wrong. I really haven’t laughed so much at a comedy show (though one or two bands have warranted a similar amount of sniggers…) If you have never experienced him live, don’t make the mistake I did and leave it so long. This is something you really ought to see, even if only to find out just how many subjects you can laugh at !
Anyway, the festival is taking place in the grounds of the National Maritime Museum, with various tents and marquees set-up to host the facilities. The atmosphere actually seems rather civilised and sedate, although I’m sure Mr Sadowitz will change all of that. Biggest problem seems to be the lack of decent drinks (the event is sponsored by Magners, so guess what the only pint-option is at the bar…) We decide to go for a bit of sophisti-fucking-cation and sample some wine…
It’s eventually time for the show, and an orderly queue forms outside the marquee. Everyone files in and many (foolishly) head straight for the front. We go for a row of seats towards the back, but still with a great view of the proceedings. A brief introduction announces the presence of ‘Uncle Jimmy’ onstage, and Sadowitz appears in his Savile character, now then, now then… It may be an obvious source of fun for a comedian with such a dark sense of humour, but as I’ve pointed out before, Jerry was way ahead of the times on this topic . He deserves to have his fun at Savile’s expense and you can’t help but laugh at the relish he takes in ridiculing the fallen-celebrity. But of course there’s much more to Sadowitz than this, and he soon dispenses with the disguise (it was fooling no-one,
after all) and launches into his own performance which, surprisingly, doesn’t feature that much of the material he previewed when I saw him at the Soho Theatre. It is interspersed with various card-tricks, delivered in his own inimitable fashion, but much of what follows is like a high velocity rant with hardly a pause for breath. You may not like his material, but there’s no denying his presence as a performer. Personally, I love his style so, for me, it can’t go wrong. I really haven’t laughed so much at a comedy show (though one or two bands have warranted a similar amount of sniggers…) If you have never experienced him live, don’t make the mistake I did and leave it so long. This is something you really ought to see, even if only to find out just how many subjects you can laugh at !
MARK THOMAS / OI POLLOI / FLOWERS OF FLESH AND BLOOD. Thames Beach, 26/9/15. Unlike some comedians who are happy to spout politics only as far as it helps to line their wallets, Mark Thomas is someone who likes to try to put his ideas into action. His current ‘show’ is entitled ‘Trespass’, based around the theme of private ownership of places that ought to be public. To this end, he became involved with setting up a gig on the Thames ‘beach’ area, just along from the Southbank Centre. Advertised online at short-notice, the organisers were able to set-up a makeshift stage area with enough power coming from a portable generator to run the PA and amplifiers. A reasonably large crowd gather on the beach area, with even more spectators watching from the promenade up above, including the inevitable, bemused tourists who really don’t know what’s going on. The first band to play are anarcho-punks, Flowers of Flesh And Blood, who promptly launch in to their crust-style thrash. They take their cue from early Eighties UK bands like Antisect and Anthrax, with perhaps a nod towards some of the harsher US hardcore of the same period. They make a great noise and, in such surroundings, it seems totally out of place but all the more vital for being there. There’s such a great atmosphere. It feels like a party, made all the more fun because everyone knows, we’re not really supposed to be there. But just because some faceless bureaucrat has said so, it isn’t going to stop this event. And so it continues. Mark Thomas does a brief but hilarious spot in between the bands (pointing out, amongst many other things, the fact that in the same week that David Cameron was accused of simulating oral sex with a dead pig, the media were proclaiming that it was Jeremy Corbyn who was unelectable…) What he says is entertaining but it also has a point to make and I think that was what this afternoon was really about. You can enjoy yourselves while keeping your eyes open. Know what’s going on around you but don’t let it stop the fun.
The final band are Scottish anarcho-street-punk legends Oi Polloi, who, I must admit, I’ve never seen before. But I was actually rather impressed. Their frontman, Deek, also had a lot to say in between songs but again, with plenty of humour attached. Musically, they’re sort of reminiscent of early Subhumans with more of a basic punk feel to the songs, but with enough of their own character to really stand out. They play a selection of songs from right across their career including the wondrously entitled (and soon to become an anthemic) ‘Boris Johnson – Fuck Off ! (too damn right – he’s not a man of the people, he’s a man of the Media, and those are two very different things.) And so, as the sun goes down and it starts to get dark, we have the truly bizarre sight of 300 punk rockers dancing to a noisy band on a thin strip of beach with the illuminated view of St Pauls Cathedral as the backdrop !
The music comes to an end, but there are plenty of people (including Mark Thomas) helping to clear up after the party. It wouldn’t be right to leave all those empty beer cans and cider bottles behind. This is how DIY culture ought to be.
The final band are Scottish anarcho-street-punk legends Oi Polloi, who, I must admit, I’ve never seen before. But I was actually rather impressed. Their frontman, Deek, also had a lot to say in between songs but again, with plenty of humour attached. Musically, they’re sort of reminiscent of early Subhumans with more of a basic punk feel to the songs, but with enough of their own character to really stand out. They play a selection of songs from right across their career including the wondrously entitled (and soon to become an anthemic) ‘Boris Johnson – Fuck Off ! (too damn right – he’s not a man of the people, he’s a man of the Media, and those are two very different things.) And so, as the sun goes down and it starts to get dark, we have the truly bizarre sight of 300 punk rockers dancing to a noisy band on a thin strip of beach with the illuminated view of St Pauls Cathedral as the backdrop !
The music comes to an end, but there are plenty of people (including Mark Thomas) helping to clear up after the party. It wouldn’t be right to leave all those empty beer cans and cider bottles behind. This is how DIY culture ought to be.
THE ETHICAL DEBATING SOCIETY. New Cross Inn, 30/9/15. It’s a Wednesday night in New Cross, hardly the most tempting invitation in itself, but the TEDS are headlining an evening of bands and so, after a brief detour down to the Pie & Mash shop, I take a leisurely stroll up to the venue and arrive to find that the gig is running a lot earlier than expected, with the band onstage just finishing their set and TEDS due next. Bit of a result, really, as I’ve got work in the morning and had been dreading a really late night.
Anyway, the band quickly set-up and are ready to go. There isn’t a big crowd but it makes up for it with plenty of enthusiasm. For a three-piece, they can certainly make a big noise, although they’re most definitely removed from the ‘power trio’ format (no bass guitar, for a start.) The more I see them, the more I like what they’re doing. Seemingly cacophonous, they’ve got plenty of intricacies going on and can just as easily switch from full-on, confrontational mode to surprisingly melodic moments all within one song. They have some great lyrics as well, although you tend to catch snippets from the delivery rather than whole verses. And they’re really inclusive towards the audience. At one point, Tegan asks if anyone is in a band, and a girl informs them that she’s a guitarist. A couple of songs later, Chris invites the same girl up on stage to play with them when Tegan takes over kazoo duties for the great version of ‘Oh Bondage Up Yours !’ She does a fine job as well ! Anyway, the set comes to an end and I buy a copy of their single and have a chat with them before heading towards my train-home. New Cross, Wednesday night ? Turned out great !
Anyway, the band quickly set-up and are ready to go. There isn’t a big crowd but it makes up for it with plenty of enthusiasm. For a three-piece, they can certainly make a big noise, although they’re most definitely removed from the ‘power trio’ format (no bass guitar, for a start.) The more I see them, the more I like what they’re doing. Seemingly cacophonous, they’ve got plenty of intricacies going on and can just as easily switch from full-on, confrontational mode to surprisingly melodic moments all within one song. They have some great lyrics as well, although you tend to catch snippets from the delivery rather than whole verses. And they’re really inclusive towards the audience. At one point, Tegan asks if anyone is in a band, and a girl informs them that she’s a guitarist. A couple of songs later, Chris invites the same girl up on stage to play with them when Tegan takes over kazoo duties for the great version of ‘Oh Bondage Up Yours !’ She does a fine job as well ! Anyway, the set comes to an end and I buy a copy of their single and have a chat with them before heading towards my train-home. New Cross, Wednesday night ? Turned out great !
THE PHOBICS / DUPPY SISTER. Deptford Duke, 2/10/15. This is a really good idea for a club night – Punky Reggae Party ! There’s a chap called Steve who puts on various Soul, Reggae and Dub nights around the Deptford area and he’s decided to mix things up, featuring a punk band and a reggae band playing live with a DJ mix of genres in between. This was his first attempt to see how it was going to work out and, by the way the evening goes, it was a big success. The sets a good mood to get everyone in to the spirit of the thing, and then the first band, the all-girl reggae band Duppy Sister (playing their first gig) get everything going in the right direction. They’ve definitely got the right attitude and while they may have been a little shaky in places, for a debut gig they did really well and I hope they stick with it. They’ve definitely got a chance to put something really good together and surely that’s worth the effort ?
More good music from the DJ and then it’s time for The Phobics. The PA sound is really spot-on and the band play a great set, filling songs like ‘Midnight Milkshake’ and ‘Die Slowly’ with even more enthusiasm than usual. The atmosphere is really good, everyone is just enjoying the gig regardless of whether their allegiances are more with punk or reggae. Of course, playing on their home turf, ‘Down & Out in Deptford’ gets the biggest cheer of the night, but the whole set goes down really well. This had been a really great event and, in these days of increasingly divisive politics, it’s such a good thing to see people coming together rather than drifting apart.
More good music from the DJ and then it’s time for The Phobics. The PA sound is really spot-on and the band play a great set, filling songs like ‘Midnight Milkshake’ and ‘Die Slowly’ with even more enthusiasm than usual. The atmosphere is really good, everyone is just enjoying the gig regardless of whether their allegiances are more with punk or reggae. Of course, playing on their home turf, ‘Down & Out in Deptford’ gets the biggest cheer of the night, but the whole set goes down really well. This had been a really great event and, in these days of increasingly divisive politics, it’s such a good thing to see people coming together rather than drifting apart.
1984 / STONE HEROES. Brixton, The Veg Bar, 3/10/15. As part of the We Shall Overcome weekend of events, this gig was taking place at the unlikely named ‘Veg Bar’ in Brixton. Never been there before and it’s quite a walk from the station, but as with many of these things, it has to be done. The problem is that, directly before the gig, I’ve got to trek up to Tottenham. Typically, trains are running late so there are delays and then, when I do meet up with Steve and Lee, we have even further delays when we go to get something to eat but eventually, we’re on our way to the gig. Fortunately, it’s just straight down the Victoria Line so it doesn’t take too long to get to Brixton. Then there’s a 15 minute walk down towards Brockwell Park and we’re just starting to think, are we really going in the right direction, when we suddenly find the venue. Upstairs, it’s a fairly nice bar area and we bump into the members of 1984 (evidently, we’ve just missed a band called ‘Raw Poo’… the bad reviews just write themselves when you have a band name like that…) Anyway, we go down to the basement to catch the imminent set from Stone Heroes. It’s a bit of an odd place. As you walk in, the bar area is pretty claustrophobic but still looks pretty nice. But when you go through in to the music room, the place suddenly goes downhill. I don’t think there’s any such thing as ‘squatter-chic’, so I can only assume that they just haven’t got around to cleaning the place, yet. Not that I haven’t been to tatty squat venues before, but at least in those places they don’t try to charge you the best part of a fiver for a small bottle of beer. It’s a bit of a cheek.
The set-up for the bands is similar to the surroundings. No actual stage, not much space and a pretty poor sound. Stone Heroes are ready to play, but poor old Fleagle has to play guitar behind a pillar at the side of the ‘stage’ area as there’s no more room. Regardless, a decent crowd come in to see them and it’s an enjoyable set even if it’s not the greatest sound.
1984 fare a little better with the sound. As a three-piece, the mix is less complicated and, although it’s certainly not as good as the previous gigs I’ve seen, they actually come across pretty well. In fact, the version of ‘White Youth’ sounds rather impressive, with an almost dub-feel to it in places. I’m sure it was more by chance than anything intended, but their sparser sounding songs actually suited the acoustics in this place. They play a shorter set than usual and, fortunately, the band members are in good spirits as several mishaps occur. Clive manages to bust a string but does his best to carry on without it (‘it wasn’t an important one’) before having problems starting the same song as the others ! Meanwhile, Tony has to admit, ‘the problem with being vain and not wearing my glasses onstage is that I can’t read the set-list…’ So they get through it all and treat the problems with humour rather than getting annoyed. Knowing that they usually sound much better than this, I was able to enjoy this gig in the same kind of way. Good for them that they just decided to get on with their set rather than making a fuss.
There is one more band still to play, Slow Faction, and normally I would have stayed to watch them. But I really didn’t like this venue and, with a relatively long trek back home ahead of me, I decided to leave and not have to worry about rushing for my last train. Anyway, I hope someone decides to try and get this venue up to scratch. It certainly has potential and it probably wouldn’t take too much effort to establish it as a decent gig, but it will all depend on whether someone wants to do it for the right reasons rather than just making some quick cash.
The set-up for the bands is similar to the surroundings. No actual stage, not much space and a pretty poor sound. Stone Heroes are ready to play, but poor old Fleagle has to play guitar behind a pillar at the side of the ‘stage’ area as there’s no more room. Regardless, a decent crowd come in to see them and it’s an enjoyable set even if it’s not the greatest sound.
1984 fare a little better with the sound. As a three-piece, the mix is less complicated and, although it’s certainly not as good as the previous gigs I’ve seen, they actually come across pretty well. In fact, the version of ‘White Youth’ sounds rather impressive, with an almost dub-feel to it in places. I’m sure it was more by chance than anything intended, but their sparser sounding songs actually suited the acoustics in this place. They play a shorter set than usual and, fortunately, the band members are in good spirits as several mishaps occur. Clive manages to bust a string but does his best to carry on without it (‘it wasn’t an important one’) before having problems starting the same song as the others ! Meanwhile, Tony has to admit, ‘the problem with being vain and not wearing my glasses onstage is that I can’t read the set-list…’ So they get through it all and treat the problems with humour rather than getting annoyed. Knowing that they usually sound much better than this, I was able to enjoy this gig in the same kind of way. Good for them that they just decided to get on with their set rather than making a fuss.
There is one more band still to play, Slow Faction, and normally I would have stayed to watch them. But I really didn’t like this venue and, with a relatively long trek back home ahead of me, I decided to leave and not have to worry about rushing for my last train. Anyway, I hope someone decides to try and get this venue up to scratch. It certainly has potential and it probably wouldn’t take too much effort to establish it as a decent gig, but it will all depend on whether someone wants to do it for the right reasons rather than just making some quick cash.
EIGHT ROUNDS RAPID / THE JEZEBELS. The Unicorn, 9/10/15. The Unicorn is a great pub venue with some really good people running the place, so it’s a shame I don’t get to see more gigs up there. This evening, I go straight up to Camden after finishing work, have a wander around and get something to eat, but by the time I reach The Unicorn, I’m still far-too early and the bands are still sound-checking. Now I feel really conspicuous. Fortunately, a few more way-too-early birds start turning up and one of them is my old friend Rupert, so at least I’m not on my own. Time to share a few beers and chat as if we meant to turn up ahead of everyone else…
Finally, it’s time for Thee Jezebels to play and they turn out to be a great, all-girl garage-glam combo, with a couldn’t care less attitude towards virtuosity but plenty of punch in all the right places. They even play a fine, sleazy version of The Coop’s ‘Under My Wheels’, which scores big points in my book. Good fun and a fine way to start the proceedings.
This is the first time I’ve seen Eight Rounds Rapid outside of their Southend manor, and it’s really good to see the healthy attendance they’ve attracted for a London show. With Wilko’s son Simon on guitar, there’s always going to be the Dr Feelgood comparisons and the style is definitely there, but over the past few years, they’ve really started to carve out their own space. Simon’s a good guitar player in his own right and his riffs create a genuinely exciting edge, while singer David has steadily perfected his stage presence and delivery. Match to this a truly powerful rhythm section and you have a great band who instinctively know how to play rock’n’roll. Their music may be raw, but the songs are also catchy and infectious. I enjoyed them when I first saw them and they’ve got even better every time I’ve seen seen them since then. Any time soon, I think they’re really going to make their mark. Be sure you’re there to see it.
Finally, it’s time for Thee Jezebels to play and they turn out to be a great, all-girl garage-glam combo, with a couldn’t care less attitude towards virtuosity but plenty of punch in all the right places. They even play a fine, sleazy version of The Coop’s ‘Under My Wheels’, which scores big points in my book. Good fun and a fine way to start the proceedings.
This is the first time I’ve seen Eight Rounds Rapid outside of their Southend manor, and it’s really good to see the healthy attendance they’ve attracted for a London show. With Wilko’s son Simon on guitar, there’s always going to be the Dr Feelgood comparisons and the style is definitely there, but over the past few years, they’ve really started to carve out their own space. Simon’s a good guitar player in his own right and his riffs create a genuinely exciting edge, while singer David has steadily perfected his stage presence and delivery. Match to this a truly powerful rhythm section and you have a great band who instinctively know how to play rock’n’roll. Their music may be raw, but the songs are also catchy and infectious. I enjoyed them when I first saw them and they’ve got even better every time I’ve seen seen them since then. Any time soon, I think they’re really going to make their mark. Be sure you’re there to see it.
THE PROFESSIOINALS / EDDIE TENPOLE. The 100 Club, 16/10.15 I have to thank my friend Willy for obtaining a ticket for me as I got caught out when the gig unexpectedly sold-out rather rapidly. The thing was, from the outset it was made clear that Steve Jones would not be playing at this gig and, well, when I think of The Professionals, the first thing that springs to mind is his great guitar sound. Not that I’m saying it couldn’t be replicated by another guitarist, but if it’s going to be a Professionals gig, you want to see the real deal. That being said, on the other hand it was also tempting to go just for the chance to hear all those great songs being played live. After all, the original band didn’t actually play that many gigs in the UK back at the time and there’s a fair chance we won’t get another opportunity. Anyway, whilst I was musing on it, the gig sold-out and I thought I wouldn’t be going, but then Willy offered a freebie ticket, so I was chuffed as a cat with a Quorn slice…
The bonus comes in the form of a great support set from Eddie Tenpole. Playing acoustic and mixing old favourites with more recent tunes, he’s like an eccentric, one-man rockin’ party. He has some great tunes, a fine sense of rock’n’roll authenticity, a unique stage presence and plenty of anecdotes to share between songs. It’s an energetic set and warms everybody up perfectly, getting the whole place in just the right mood for the main band. (Just one thing… I wonder if Eddie will ever play with the full Tenpole Tudor band again ? Much that I enjoy his solo sets, the band were another dimension altogether. I’d love to see them again…)
The Professionals are introduced onstage and launch into their set without hanging around. It is great to see Paul Cook, Paul Myers and Ray McVeigh onstage and new boy, Tom Spencer, actually plays smart by not trying to pull-off a Steve Jones impersonation and just fronting the band as himself. The obvious thing to say is that they were rather ‘professional’ about it all, and with such a great set of songs at their disposal, they couldn’t really go wrong. Much that they were unfairly dismissed by the music press and trendsetters of the time, there aren’t many bands who released better singles than ‘Just Another Dream’, ‘Join The Professionals’ and ‘1-2-3’ (also recorded by The Avengers as ‘Second To None’ with Jonesy in the producers’ seat.) Their one and only album may have suffered from a lacklustre production (they should have done it themselves) but again, there’s no denying the power of tracks like ‘Kick Down The Doors’ and ‘Little Boys in Blue’. Following the Pistols was always going to be a tough job, but Cook’n’Jones actually did a fine job without just rehashing their past and it’s a shame they weren’t given more credit at the time. Musically, the set is great, and the only thing lacking is the character that Steve Jones would have undoubtedly provided, but by the time they end the main set with a version of ‘Silly Thing’ (although technically a Pistols’ song, this was really the point where The Professionals began…) I’m sure most people in the club are happy to have be there. The encore features a fine version of ‘White Light White Heat’ with Eddie Tenpole helping out on vocals, and then ‘Little Boys in Blue’ ends the gig. It was good, and it was great to hear those songs, as I expected. I’d be lying if I said I hadn’t missed Steve Jones, but in the event, it certainly wasn’t a letdown without his presence.
The bonus comes in the form of a great support set from Eddie Tenpole. Playing acoustic and mixing old favourites with more recent tunes, he’s like an eccentric, one-man rockin’ party. He has some great tunes, a fine sense of rock’n’roll authenticity, a unique stage presence and plenty of anecdotes to share between songs. It’s an energetic set and warms everybody up perfectly, getting the whole place in just the right mood for the main band. (Just one thing… I wonder if Eddie will ever play with the full Tenpole Tudor band again ? Much that I enjoy his solo sets, the band were another dimension altogether. I’d love to see them again…)
The Professionals are introduced onstage and launch into their set without hanging around. It is great to see Paul Cook, Paul Myers and Ray McVeigh onstage and new boy, Tom Spencer, actually plays smart by not trying to pull-off a Steve Jones impersonation and just fronting the band as himself. The obvious thing to say is that they were rather ‘professional’ about it all, and with such a great set of songs at their disposal, they couldn’t really go wrong. Much that they were unfairly dismissed by the music press and trendsetters of the time, there aren’t many bands who released better singles than ‘Just Another Dream’, ‘Join The Professionals’ and ‘1-2-3’ (also recorded by The Avengers as ‘Second To None’ with Jonesy in the producers’ seat.) Their one and only album may have suffered from a lacklustre production (they should have done it themselves) but again, there’s no denying the power of tracks like ‘Kick Down The Doors’ and ‘Little Boys in Blue’. Following the Pistols was always going to be a tough job, but Cook’n’Jones actually did a fine job without just rehashing their past and it’s a shame they weren’t given more credit at the time. Musically, the set is great, and the only thing lacking is the character that Steve Jones would have undoubtedly provided, but by the time they end the main set with a version of ‘Silly Thing’ (although technically a Pistols’ song, this was really the point where The Professionals began…) I’m sure most people in the club are happy to have be there. The encore features a fine version of ‘White Light White Heat’ with Eddie Tenpole helping out on vocals, and then ‘Little Boys in Blue’ ends the gig. It was good, and it was great to hear those songs, as I expected. I’d be lying if I said I hadn’t missed Steve Jones, but in the event, it certainly wasn’t a letdown without his presence.
BERMONDSEY JOYRIDERS etc. Underdog Gallery, 17/10/15. This was the opening evening for ‘Punk Rock’n’Roll Art Show’, an exhibition of Art by musicians, arranged by the Bermondsey Joyriders. Never a band to play to expectations, it’s certainly not a venture that many would predict, but when you look closer at the band, it’s not such an unlikely prospect. They’ve always tried to do things differently and while their music may be solidly founded in rock’n’roll tradition – from rhythm’n’blues through Mod and Punk – they’ve never been afraid to seek out new ways to add their own twist to the proceedings. The exhibition fills-up the extensive gallery, with work from the likes of Gaye Advert, Spizz, Knox, Paul Slack and Michelle Brigandage amongst many others. In the corner of the room, a small stage area hosts various performers and speakers, appropriate to the occasion. A brief talk by Henry Scott-Irving about the ‘Save Denmark Street’ campaign, a bizarre dance troupe, a demonstration of Martin Stacey’s sonic-sculpture and finally, a near-industrial performance by Bermondsey Joyriders themselves. It was all very much in keeping with the themes and spirit of the exhibition and perfectly mixed a great social occasion with plenty of ideas and entertainment. Punk Rock’n’Roll should never be afraid to find new places to play. This occasion was a great success.
KILLING JOKE. HMV Oxford Street, 24/10/15. As part of the launch for their new album, ‘Pylon’, Killing Joke had announced several signing-sessions at record stores around the UK, plus for the very lucky fans, a couple of small live performance, one of which was to take place at the recently relocated HMV shop in Oxford Street. Unfortunately, I wasn’t one of the lucky ones, having only found out about the free tickets shortly after they’d all been grabbed by people much quicker on their keyboards than I am. But I had a ticket for the Roundhouse gig already, so I pretended not to be too miffed, until my friend Kevin announces that his wife can’t get to the event, leaving him with a spare ticket. This time, I’m pretty damn fast, claiming the spot with less than 48 hours to go… Cheers, Kev !
It all starts pretty early, so I have to be at the front of the shop by 6.00. Surprisingly orderly queues, I have to say. Just as we’re about to be let-in , we’re told that if you want to get a copy of the new album signed, you have to buy it before the gig, resulting in a mad rush to find where the albums are racked-up in the shop and then waiting to pay for them as the slowest counter-staff in the world make every effort to increase my anxiety level.
But I shouldn’t have worried (it just comes natural to me) as once up on the first floor, there’s just another queue. This time, we’re eventually let through a staff-only door that leads to a secret gig-room, another few flights of stairs above the unsuspecting public. I wonder if Jaz has a conspiracy theory about this…
Anyway, I finally meet-up with everyone again, and we make our way towards the small stage to get a good view. There’s still a bit of time before the band are due to play, but the atmosphere is almost like a party and everyone’s talking to each other (apart from one lanky arsehole who keeps barging around – there’s always one.) Finally, the intro tape begins and, after a few minutes of sinister drones, the band appear onstage, beginning the short set with a blistering version of ‘The Wait’. I think most of us had just expected new material, so this is a great opening ! The next three tracks are all from the new album, ‘Autonomous Zone’, ‘Dawn of The Hive’ and ‘Euphoria’, all sounding as powerful and emotive as the very best Killing Joke material. Jaz announces his desire to see Tony Blair tried as a war criminal (too right !) but this is mostly about the music and that’s what matters. The brief set ends with a real blast, as they storm through a magnificent version of ‘Pssyche’. Only twenty-five minutes, but worth more than a whole tour by most bands. As a taster for the upcoming gigs, this was perfect.
Afterwards, there’s another short break, and then the band come out to sign albums, meet and chat to the fans and let people take photo’s. It’s a surprisingly relaxed end to the event, and I’m really glad I was able to be there. Thanks Kev, I owe you one !
It all starts pretty early, so I have to be at the front of the shop by 6.00. Surprisingly orderly queues, I have to say. Just as we’re about to be let-in , we’re told that if you want to get a copy of the new album signed, you have to buy it before the gig, resulting in a mad rush to find where the albums are racked-up in the shop and then waiting to pay for them as the slowest counter-staff in the world make every effort to increase my anxiety level.
But I shouldn’t have worried (it just comes natural to me) as once up on the first floor, there’s just another queue. This time, we’re eventually let through a staff-only door that leads to a secret gig-room, another few flights of stairs above the unsuspecting public. I wonder if Jaz has a conspiracy theory about this…
Anyway, I finally meet-up with everyone again, and we make our way towards the small stage to get a good view. There’s still a bit of time before the band are due to play, but the atmosphere is almost like a party and everyone’s talking to each other (apart from one lanky arsehole who keeps barging around – there’s always one.) Finally, the intro tape begins and, after a few minutes of sinister drones, the band appear onstage, beginning the short set with a blistering version of ‘The Wait’. I think most of us had just expected new material, so this is a great opening ! The next three tracks are all from the new album, ‘Autonomous Zone’, ‘Dawn of The Hive’ and ‘Euphoria’, all sounding as powerful and emotive as the very best Killing Joke material. Jaz announces his desire to see Tony Blair tried as a war criminal (too right !) but this is mostly about the music and that’s what matters. The brief set ends with a real blast, as they storm through a magnificent version of ‘Pssyche’. Only twenty-five minutes, but worth more than a whole tour by most bands. As a taster for the upcoming gigs, this was perfect.
Afterwards, there’s another short break, and then the band come out to sign albums, meet and chat to the fans and let people take photo’s. It’s a surprisingly relaxed end to the event, and I’m really glad I was able to be there. Thanks Kev, I owe you one !
NEGATIVE APPROACH / DREGS / HUNGER. The Boston Arms, 27/10/15. Although I only get to see them when they’re on tour, Negative Approach have been pretty regular visitors to London over the past few years and I’ve been able to get to know them fairly well. Really nice bunch of chaps, always fun to hang out with them, so I head up to the venue reasonably early this evening to catch up with them. Only to find out that they’ve been held-up on the ferries once again, and they’re still on their way. So, I end up hanging around until the venue opens before finally getting a beer and watching the first couple of bands. Hunger are a two piece (guitar and drums) with no bass, but hardly missing it. The guitarist manages to create a big enough sound to more-than account for the lack of further instruments. He handles vocals as well, and it’s pretty effective. Seeing them in a smaller venue would probably be quite impressive. Next band onstage are Dregs, a female-fronted hardcore band delivering some very powerful hardcore with some metallic edges (although no unnecessary solo’s, I’m glad to say.) I’m quite impressed by this band as well, particularly the brutal, raw vocals. It’s just not something you expect from a young lady and consequently even more remarkable.
Towards the end of their set, I spot Harold from NA at the entrance and figure-out (this took several minutes) that they must have arrived, so I go out and offer to help them load-in. This is becoming a bit of a habit, but it’s for a good cause. It’s a bit of a task, unloading the van and getting all the necessary equipment in through the stage door before the neighbours start complaining, but once it’s done, everyone heads down to the dressing room and finally relaxes. Time to see what we’ve all been doing since last year. We share a few beers and discuss the latest Alice Cooper documentary with John and Ron until it’s time for them to get ready to play.
There’s quite a good turn out for the gig, despite it being on a Tuesday evening and having not been widely advertised, and everyone seems intent on crowding towards the front of the stage which adds to the atmosphere. Ron and Harold crank up their amps before John Brannon prowls on to the stage, and then they’re straight off in to ‘Hypocrite’. These songs may be nearly 35 years old, but they maintain a vitality that keeps them as contemporary and powerful as any of the newer hardcore bands around today. A lot has to do with John’s distinctive delivery, but even that wouldn’t be as impressive if the rest of the band weren’t as tight and precise as they are. How many great songs do you want ? ‘Tied Down’, ‘Why Be Something That You’re Not ?’, ‘Ready To Fight’ and the classic ‘Can’t Tell No One’, just rip through the set, cathartic and celebratory at the same time. It’s one of those primal forces that you can’t really explain. You just have to experience it and, if you can open up to it, just go with it. As a bonus, tonight we also get a great version of ‘I Got A Right’ and even an Easy Action song , ‘Friends of Rock’n’Roll’ which, although slower than most of the NA material, lacks no less of a punch.
Afterwards, there’s a little more time to hang-out before another load-out and then they’re off to find their accommodation for the night. I wander off towards home, feeling all the better for having been at this gig.
Towards the end of their set, I spot Harold from NA at the entrance and figure-out (this took several minutes) that they must have arrived, so I go out and offer to help them load-in. This is becoming a bit of a habit, but it’s for a good cause. It’s a bit of a task, unloading the van and getting all the necessary equipment in through the stage door before the neighbours start complaining, but once it’s done, everyone heads down to the dressing room and finally relaxes. Time to see what we’ve all been doing since last year. We share a few beers and discuss the latest Alice Cooper documentary with John and Ron until it’s time for them to get ready to play.
There’s quite a good turn out for the gig, despite it being on a Tuesday evening and having not been widely advertised, and everyone seems intent on crowding towards the front of the stage which adds to the atmosphere. Ron and Harold crank up their amps before John Brannon prowls on to the stage, and then they’re straight off in to ‘Hypocrite’. These songs may be nearly 35 years old, but they maintain a vitality that keeps them as contemporary and powerful as any of the newer hardcore bands around today. A lot has to do with John’s distinctive delivery, but even that wouldn’t be as impressive if the rest of the band weren’t as tight and precise as they are. How many great songs do you want ? ‘Tied Down’, ‘Why Be Something That You’re Not ?’, ‘Ready To Fight’ and the classic ‘Can’t Tell No One’, just rip through the set, cathartic and celebratory at the same time. It’s one of those primal forces that you can’t really explain. You just have to experience it and, if you can open up to it, just go with it. As a bonus, tonight we also get a great version of ‘I Got A Right’ and even an Easy Action song , ‘Friends of Rock’n’Roll’ which, although slower than most of the NA material, lacks no less of a punch.
Afterwards, there’s a little more time to hang-out before another load-out and then they’re off to find their accommodation for the night. I wander off towards home, feeling all the better for having been at this gig.
SPIZZENERGI. Proud Gallery, 28/10/15. This was the opening event for an exhibition of work by the renowned illustrator, Graham Humphreys. If you’re not familiar with his name, the odds are that you will know at least some of his work, most notably the artwork used for horror films such as ‘Nightmare on Elm Street’ and ‘The Evil Dead’. Much that those movies inspired whole new generations of film, so did Grahams’ artwork, and his influence is still to be seen in different graphic genres to this day. The exhibition itself is very enthralling and I just wish the place hadn’t been so crowded so that we could have had more space to really enjoy the display of his original work. That being said, there was even more to enjoy… an array of free drinks (which we carefully sipped and didn’t over-indulge at all… oh, no…) and to top it all, a performance by Spizzenergi. Well, if songs like ‘Where’s Captain Kirk’ and ‘Soldier Soldier’ can’t be described a art-pop, then nothing deserves the title. So, the surroundings aren’t entirely incongruous (plus, it’s an event with free booze… Spizz had to be there !) A lot of the audience have wandered off by this time, so it’s not as horribly crowded as it was but there are still plenty of people to watch the gig. And although it wasn’t the best place to see them, it’s still thoroughly enjoyable. There’s a couple of recent songs, but mostly it’s a mix of older material, and there’s plenty of great stuff to enjoy. ‘Red & Black’ really should’ve been a single, ‘Central Park’ should have been a massive hit, ‘Spock’s Missing’ still brings an inane grin to my face as it bounces along… I almost missed this gig and it was only the last minute insistence of Gaye and Sarah that prompted me to go, but I was so glad I was there. A fine night and some great music. I would’ve been an even bigger idiot than I already am had I not been there.
PETE PARKERS’ ROCK’N’ROLL CLUB. Rock’n’Roll Rescue, Camden, 30/10/15. It’s not often that you come across a gig by chance, but on this occasion, with some spare time before I was due to go to the Hope & Anchor, I’d decided to take a stroll up to Camden to deliver some posters to Knox’s Rock’n’Roll rescue charity shop. What I wasn’t expecting was that a band were set-up and just about to play a set in the back-room. Well, it would’ve been rude not to watch them for a while, especially after I’m offered a bottle of beer (donation-pending.) Actually, I’ve seen this band before, supporting Bermondsey Joyriders at a gig in (eeuuugghh !) Romford, although tonight they’re just a two-piece (not sure if that’s an ongoing set-up or just for this gig.) Peter plays guitar and sings while Sakura handles the drums with a no-nonsense, just-what’s-needed approach. Their music is obviously influenced by early-Stones, Sixties R’n’B and primal rock’n’roll, but they have a charm of their own which gives it a fresh character. Especially in a small, friendly setting like this, you can’t help but enjoy the set, and I end up staying right to the end. I have it on good authority that they’re now the Official Rock’n’Roll Rescue House Band, so keep your eyes peeled and you’ll be able to catch them up there for yourselves one evening !
DERELLAS / THE PRISCILLAS / SCANT REGARD. Hope & Anchor, 30/10/15. The recently refurbished Hope & Anchor is quickly becoming one of my favourite small venues. Not only have they moved the stage back to its’ original position, but they’ve a good new PA and the gigs I’ve attended recently have had a great atmosphere. It’s good to see a venue with such an important place in London’s rock’n’roll history starting to reclaim its’ heritage. Tonight is another ‘Rockaway Beach’ club night, celebrating Halloween 24 hours early in trashy garage punk style. I arrive just as Scant Regard, the one-man twangin’ surf-guitar assault, hits the stage. The current project of former Rachel Stamp member and Adam Ant collaborator, Will Crewdson, this takes an approach more in line with Link Wray or Dick Dale’s harder sounds rather than the pop-friendly moments of The Ventures etc. With only a basic drum machine backing, it’s all about the guitar, and Will makes great use of it, building Spaghetti Western style atmosphere alongside James Dean angst. I really had no idea what this was going to be, but I enjoyed it thoroughly.
The Priscillas are in full-on Halloween mode tonight, great costumes and songs that sound like a party mix of New York Dolls, Shangri-Las, The Cramps and The GoGo’s. They bop along as if they’re only just holding it together, but they know what they’re doing. Rock’n’Roll isn’t supposed to be safe, it’s got to have an edge if it’s really going to work. When they hit the mark, The Priscillas push it as far as they can go, giving the music an exciting edge but always keeping it entertaining. Just the way it ought to be.
The DeRellas are another band who, if you catch them on the right night, can really take the place apart. Fortunately, those nights seem to be far more regular these days, probably a product of them gigging so much. I have to say, this is probably the best time I’ve seen them so far, really rockin’ in that great glam-punk kinda way, like the Dead Boys and Heartbreakers in a party with Hollywood Brats and Ziggy Stardust. The DeRellas have got up and done it for themselves, just like bands should do, and they’ve got rather good at it in the process. This is a band that are gonna be out there because they love what they’re doing. If that doesn’t deserve your support, nothing does.
The Priscillas are in full-on Halloween mode tonight, great costumes and songs that sound like a party mix of New York Dolls, Shangri-Las, The Cramps and The GoGo’s. They bop along as if they’re only just holding it together, but they know what they’re doing. Rock’n’Roll isn’t supposed to be safe, it’s got to have an edge if it’s really going to work. When they hit the mark, The Priscillas push it as far as they can go, giving the music an exciting edge but always keeping it entertaining. Just the way it ought to be.
The DeRellas are another band who, if you catch them on the right night, can really take the place apart. Fortunately, those nights seem to be far more regular these days, probably a product of them gigging so much. I have to say, this is probably the best time I’ve seen them so far, really rockin’ in that great glam-punk kinda way, like the Dead Boys and Heartbreakers in a party with Hollywood Brats and Ziggy Stardust. The DeRellas have got up and done it for themselves, just like bands should do, and they’ve got rather good at it in the process. This is a band that are gonna be out there because they love what they’re doing. If that doesn’t deserve your support, nothing does.
KILLING JOKE / JAH WOBBLE. The Roundhouse, 6/11/15. After the short taster gig at HMV, I was really looking forward to seeing their full show at The Roundhouse. There’s a load of old friends going along, so we all meet-up at the Elephants Head early on before taking the short walk up to the venue. As a bonus, Jah Wobble & Invaders of The Heart are supporting and, although they’ve gone onstage pretty early, I still manage to catch about half of their set, which is rather good. Wobble comes from a similar punk / reggae background as Killing Joke, so it’s a good match. Towards the end of his set, he even plays a couple of old PiL songs, ‘Public Image’ and ‘Fodderstompf’, the former played at a slower almost dub-like pace, whilst the latter is actually far more lively and enjoyable than the original album version (I always thought it unfair that ‘Fodderstompf’ was dismissed as an ‘album-filler’ by many critics at the time, as it actually had a great sense of fun, as this live version proved.)
Much that Jah Wobble was a perfect warm-up, it’s still always going to be Killing Joke’ night, and as soon as they appear onstage, the atmosphere erupts. Starting-off with ‘The Wait’, they’ve already set the bar for the rest of the gig, and it never falters. Songs from the new album, like ‘Autonomous Zone’ and ‘I Am The Virus’, stand alongside older favourites like ‘The Fall of Because’, ‘Change’ or ‘Requiem’ with no less power or purpose. There’s also a selection of less-often played older tracks, including ‘The Beautiful Dead’ and ‘Money Is Not Our God’, as well as a blistering version of ‘Exorcism’ which, for me, is almost the perfect expression of what a Killing Joke gig is all about. If I have to be honest, I could have lived without ‘Asteroid’ and would’ve preferred to hear a few more of the new songs (I’m sure ‘New Jerusalem’ would’ve been great live) but that’s just me being choosey. The main set ends with an awesome version of ‘Pssyche’ and then the encore starts with the surprising selection of ‘Turn To Red’ and ‘Madness’, before ‘Love Like Blood’ and ‘Pandemonium’ bring it all to an end. I could end by saying that this was one of the best Killing Joke gigs I have ever seen, but for a band who are so consistently great, live, it would just be unnecessary. With the latest album ‘Pylon’ being received so well, I can only hope it won’t be long before I get a chance to see them again.
Much that Jah Wobble was a perfect warm-up, it’s still always going to be Killing Joke’ night, and as soon as they appear onstage, the atmosphere erupts. Starting-off with ‘The Wait’, they’ve already set the bar for the rest of the gig, and it never falters. Songs from the new album, like ‘Autonomous Zone’ and ‘I Am The Virus’, stand alongside older favourites like ‘The Fall of Because’, ‘Change’ or ‘Requiem’ with no less power or purpose. There’s also a selection of less-often played older tracks, including ‘The Beautiful Dead’ and ‘Money Is Not Our God’, as well as a blistering version of ‘Exorcism’ which, for me, is almost the perfect expression of what a Killing Joke gig is all about. If I have to be honest, I could have lived without ‘Asteroid’ and would’ve preferred to hear a few more of the new songs (I’m sure ‘New Jerusalem’ would’ve been great live) but that’s just me being choosey. The main set ends with an awesome version of ‘Pssyche’ and then the encore starts with the surprising selection of ‘Turn To Red’ and ‘Madness’, before ‘Love Like Blood’ and ‘Pandemonium’ bring it all to an end. I could end by saying that this was one of the best Killing Joke gigs I have ever seen, but for a band who are so consistently great, live, it would just be unnecessary. With the latest album ‘Pylon’ being received so well, I can only hope it won’t be long before I get a chance to see them again.
VIVA LAS VEGAS / RATS FROM A SINKING SHIP / RUBBER LEGS. The Birds Nest, 13/11/15. The amount of times I end up at the Birds Nest these days, it’s practically becoming my local even though it isn’t very local. But it’s a great little pub and a good place to see bands. On this occasion, we get to see four members of The Phobics, albeit in different bands. Rubber Legs open up, featuring Tom and Moyni, plus former / occasional Phobic Paul on guitar (and Rhod on drums, don’t want to leave him out.) As a kind of step-aside from The Phobics, this band play a harder, trashier version of punky rock’n’roll, although that’s not to say we won’t get Heartbreakers or MC5 covers. Rubber Legs are establishing themselves as a fine little combo in their own right and that surely can’t be a bad thing.
Second band, Rats From A Sinking Ship, have come down all the way from Derby for this gig, so you have to admire their dedication. They’re a four-piece playing a more metallic version of punk with the vocalist rapping , which gives it an interesting twist. The lyrics have a more political edge and they certainly have potential, even though at the moment it’s early days. If they can work on a way to really focus their ideas and energy, they may well become something really good.
Headliners Viva Las Vegas (featuring Jeff, the final Phobic of the evening) crowd onto the stage area and launch in to their set of punkified Elvis songs. It’s a simple idea but, especially on a night like this, really works well. There’s agood atmosphere, everyone wants to enjoy themselves and there are plenty of great songs that we all already know. Actually, VLV don’t have to change very much to adapt the songs to their own style and, while it does get pretty chaotic at times, they have the powerhouse drumming of Noel Martin (Menace etc) at the back to hold everything in place. This is a much better gig than when I previously saw them, when the audience just seemed to stand back and watch. This time, it’s much more inclusive, with people getting up to sing backing vocals and, with lots of silly dancing going on, it’s more like a party than a gig. They may not change they world, but sometimes a party is just what you need !
Second band, Rats From A Sinking Ship, have come down all the way from Derby for this gig, so you have to admire their dedication. They’re a four-piece playing a more metallic version of punk with the vocalist rapping , which gives it an interesting twist. The lyrics have a more political edge and they certainly have potential, even though at the moment it’s early days. If they can work on a way to really focus their ideas and energy, they may well become something really good.
Headliners Viva Las Vegas (featuring Jeff, the final Phobic of the evening) crowd onto the stage area and launch in to their set of punkified Elvis songs. It’s a simple idea but, especially on a night like this, really works well. There’s agood atmosphere, everyone wants to enjoy themselves and there are plenty of great songs that we all already know. Actually, VLV don’t have to change very much to adapt the songs to their own style and, while it does get pretty chaotic at times, they have the powerhouse drumming of Noel Martin (Menace etc) at the back to hold everything in place. This is a much better gig than when I previously saw them, when the audience just seemed to stand back and watch. This time, it’s much more inclusive, with people getting up to sing backing vocals and, with lots of silly dancing going on, it’s more like a party than a gig. They may not change they world, but sometimes a party is just what you need !
THE BOYS / EAST TOWN PIRATES. The Pipeline, 14/11/15. I missed The Boys’ last gig in London, so this was going to be the first time I’d seen them since the release of their recent ‘Punk Rock Menopause’ album. Although I’d initially had worries after the departure of Duncan Reid from the band, I enjoyed the new album and it’s continued to grow on me ever since. It’s certainly up there amongst their best, so I’m really looking forward to seeing the songs live.
We get down to The Pipeline early to catch the opening band, East Town Pirates, featuring Rikki from Red Flag 77 and various other Ipswich reprobates. They play a fine mix of pirate-themed punk rock that bounces along with lots of energy and more than a few great tunes. They’ve also brought along a big crowd of their fans, so even though they’re the first band onstage, there’s already plenty of singing and dancing. It’s a good way to start the evening and I’ll definitely be hoping to catch this band again soon.
I totally missed the next band, The Fuckwits, as I went upstairs to get a drink, ended up chatting with some friends and next thing I knew, they’d finished their set. D’oh ! But at least that meant there wasn’t much longer to wait for The Boys.
This was one of those occasions when I just knew it was going to be a great gig, even before it started. As soon as they launched into the opening song, they sounded better than ever. Maybe it was the atmosphere in the venue, maybe it was the new batch of songs from the latest album, perhaps it was because this was Honest John Plain’s first gig since his recent ill-health. Whatever the reason, the band just seemed really up for it and as the enthusiasm went back and forth between them and the audience, it just got better and better. Everyone is dancing and singing along, and while older classics like ‘Terminal Love’, ‘Brickfield Nights’ and ‘First Time’ still get the best response, new songs like ‘1976’ and ‘I’m A Believer’ fit perfectly next to the more familiar material and get a very positive response. The great thing is that the gig is being filmed tonight for a forthcoming documentary and they really couldn’t have picked a better gig for it (…can’t wait to see the footage !) The main set ends and the audience is calling them back even before they leave the stage. The encore produces a real treat… original Hollywood Brats frontman Andrew Matheson joins them for a great version of ‘Tumble With Me’, and then, as they go straight in to ‘Sick On You’, the Brats’ guitarist Brady joins them as well. There’s a real Boys’n’Brats reunion-party happening, as even original Boys drummer Jack Black is dancing on the side of the stage, next to Casino Steel. It was a perfect way to end a great gig and all I can say is, I hope they don’t keep us waiting quite so long for the next album !
We get down to The Pipeline early to catch the opening band, East Town Pirates, featuring Rikki from Red Flag 77 and various other Ipswich reprobates. They play a fine mix of pirate-themed punk rock that bounces along with lots of energy and more than a few great tunes. They’ve also brought along a big crowd of their fans, so even though they’re the first band onstage, there’s already plenty of singing and dancing. It’s a good way to start the evening and I’ll definitely be hoping to catch this band again soon.
I totally missed the next band, The Fuckwits, as I went upstairs to get a drink, ended up chatting with some friends and next thing I knew, they’d finished their set. D’oh ! But at least that meant there wasn’t much longer to wait for The Boys.
This was one of those occasions when I just knew it was going to be a great gig, even before it started. As soon as they launched into the opening song, they sounded better than ever. Maybe it was the atmosphere in the venue, maybe it was the new batch of songs from the latest album, perhaps it was because this was Honest John Plain’s first gig since his recent ill-health. Whatever the reason, the band just seemed really up for it and as the enthusiasm went back and forth between them and the audience, it just got better and better. Everyone is dancing and singing along, and while older classics like ‘Terminal Love’, ‘Brickfield Nights’ and ‘First Time’ still get the best response, new songs like ‘1976’ and ‘I’m A Believer’ fit perfectly next to the more familiar material and get a very positive response. The great thing is that the gig is being filmed tonight for a forthcoming documentary and they really couldn’t have picked a better gig for it (…can’t wait to see the footage !) The main set ends and the audience is calling them back even before they leave the stage. The encore produces a real treat… original Hollywood Brats frontman Andrew Matheson joins them for a great version of ‘Tumble With Me’, and then, as they go straight in to ‘Sick On You’, the Brats’ guitarist Brady joins them as well. There’s a real Boys’n’Brats reunion-party happening, as even original Boys drummer Jack Black is dancing on the side of the stage, next to Casino Steel. It was a perfect way to end a great gig and all I can say is, I hope they don’t keep us waiting quite so long for the next album !
REZILLOS / DEPARTMENT S. Venue 229, 20/11/15. The 229 is actually quite a good, mid-sized venue, so it’s a shame that they don’t have gigs there on a more regular basis. Nice, high stage so you get a good view from pretty-much anywhere in the hall, good sound, and a reasonable bar. Perfect for a gig like this.
We arrive early to see Department S, but I have to say, after enjoying their set when I saw them at The Lexington, this gig didn’t work. They do have some decent songs but they don’t really work as well in a bigger venue. At The Lexington, it worked because I hadn’t known what to expect and although only a relatively small crowd, everyone was really into it. In a bigger venue like this, in front of an audience who are mostly there for The Rezillos, they don’t come across so well. If you get a chance to see them in a smaller venue, give them a chance, but something like this was never going to be the best way to see them.
The Rezillos arrive onstage right on time, and launch straight in to ‘Can’t Stand My Baby’. Fay is looking and sounding great as she dances around the stage in her own inimitable way. ‘Bad Guy Reaction’ and ‘Flying Saucer Attack’ follow in quick succession before the first of the new songs, ‘Take Me To The Groovy Room’. From there on, the set continues with a similar kind of mix between old and new, with lead vocals switching between Fay and Eugene. Angel Paterson keeps the perfect beat, driving everything along at just the right pace, while relatively-new lead guitarist Jim plays the chords with a great, effortless-manner that would make you think he’d always been in the band. Eugene also seems to be playing more guitar these days (even picking it up for songs he doesn’t play on !) but it all adds to the overall sound and keeps the audience on their toes. I have to say, the new songs tend to sound more like the Revillos rather than the original Rezillos, but as I’ve aways loved both bands, that’s certainly not a problem and, in some ways, makes more sense now that Jo Callis is no longer in the band. Although Fay’s snarling rendition of ‘Life’s A Bitch’ is something else altogether !
By the end of the set, they’ve already played most of the songs we all want to hear (except, strangely, the excellent recent single, ‘Out Of This World’) so when it comes to the encore, they deliver a great version of ‘Cold Wars’ followed by a stompin’ version of ‘Someone’s Gonna Get Their Head Kicked In Tonite’. It gets everyone dancing and, inevitably, the band get called back for a second encore… They manage ‘No 1 Boy’ before having to admit, they’ve run out of songs, and so end as they started, with another fine version of ‘Can’t Stand My Baby’. It’s taken them a while since their original reunion to get to this point, but now, with the new songs adding to the set, this line-up seem more confident and sound better than ever. Great stuff !
We arrive early to see Department S, but I have to say, after enjoying their set when I saw them at The Lexington, this gig didn’t work. They do have some decent songs but they don’t really work as well in a bigger venue. At The Lexington, it worked because I hadn’t known what to expect and although only a relatively small crowd, everyone was really into it. In a bigger venue like this, in front of an audience who are mostly there for The Rezillos, they don’t come across so well. If you get a chance to see them in a smaller venue, give them a chance, but something like this was never going to be the best way to see them.
The Rezillos arrive onstage right on time, and launch straight in to ‘Can’t Stand My Baby’. Fay is looking and sounding great as she dances around the stage in her own inimitable way. ‘Bad Guy Reaction’ and ‘Flying Saucer Attack’ follow in quick succession before the first of the new songs, ‘Take Me To The Groovy Room’. From there on, the set continues with a similar kind of mix between old and new, with lead vocals switching between Fay and Eugene. Angel Paterson keeps the perfect beat, driving everything along at just the right pace, while relatively-new lead guitarist Jim plays the chords with a great, effortless-manner that would make you think he’d always been in the band. Eugene also seems to be playing more guitar these days (even picking it up for songs he doesn’t play on !) but it all adds to the overall sound and keeps the audience on their toes. I have to say, the new songs tend to sound more like the Revillos rather than the original Rezillos, but as I’ve aways loved both bands, that’s certainly not a problem and, in some ways, makes more sense now that Jo Callis is no longer in the band. Although Fay’s snarling rendition of ‘Life’s A Bitch’ is something else altogether !
By the end of the set, they’ve already played most of the songs we all want to hear (except, strangely, the excellent recent single, ‘Out Of This World’) so when it comes to the encore, they deliver a great version of ‘Cold Wars’ followed by a stompin’ version of ‘Someone’s Gonna Get Their Head Kicked In Tonite’. It gets everyone dancing and, inevitably, the band get called back for a second encore… They manage ‘No 1 Boy’ before having to admit, they’ve run out of songs, and so end as they started, with another fine version of ‘Can’t Stand My Baby’. It’s taken them a while since their original reunion to get to this point, but now, with the new songs adding to the set, this line-up seem more confident and sound better than ever. Great stuff !
COWBELL / SAN DIMAS @ All You Read Is Love, Leytonstone, 27/11/15. There was nowhere like this in Leytonstone when I lived there (but I like to think my influence lives on…) (I’m fooling no-one…) AYRIS is a bookshop / coffee-bar-with-alcohol and, on some evenings, live music. It’s very European and, unsurprisingly, run by a brother and sister from Denmark. A bit pricey but a really nice place to visit and a good excuse to meet-up with my friends Ian and Alison. San Dimas are playing when I arrive and sound quite interesting but I only see the end of their set so I can’t properly review it. But from what I heard I wouldn’t mind seeing them again to get a better idea. Cowbell, I have to say, have a rather inappropriate name, conjuring-up whimsical-folky-frolics, which they aren’t at all. Playing live as a duo (guitar and drums) they play a mix of country, blues and rock’n’roll, with an intuitive grasp of pop melodies that really makes it insistant. For the most part, it works really well, although there are times when a bass guitar would really add to the overall sound. But mostly, their stripped-down approach really works well. One song reminds me of The Gun Club, and in some ways, that’s a good reference. Not that they’re particularly going for that sound, but I think there’s a similar intent to their direction. Especially in a setting like this, they worked really well and I thoroughly enjoyed their set, I’ll have to track down some of their records soon.
BERMONDSEY JOYRIDERS / PAUL-RONNEY ANGEL / TRAVIS CUT / RUBBER LEGS. Hope & Anchor, 28/11/15, This was our Benefit Gig for Eddie Spaghetti of the Supersuckers. As some of you probably already know, he was recently diagnosed with throat cancer and has been undergoing surgery and radiotherapy for the best part of the year. The good news is that it’s been successful and he’s been given the all-clear. The down-side is that, being in the States, such medical care does not come cheap and, as a musician who earns his pay from touring, he’s had very little income during all this time. So, friends and family set up the ‘Help Eddie Spaghetti Fight Cancer’ fund to raise some cash to help him through it. When we heard about this, we decided to set-up something over here in London, as a payback for all the great shows he’s played here over the last 25 years. Admittedly, it wasn’t a massive event, but what was really nice was that all the people who played offered to do so as soon as they heard who it was for. Similarly, the Hope & Anchor gave us a special bare-minimum rate to use the venue and quite a few people, including websites and magazines, also helped to advertise and promote the gig. Big thanks to all those involved.
Anyway, night of the gig, everyone arrives on time (a miracle in itself !) but the soundcheck take ages, meaning a later-than-expected start. Although this initially starts to get me stressed, once everything is ready, it all goes really smoothly. Everyone’s here for the same reason so they all support each other and there’s a really nice, inclusive atmosphere in the place. What more appropriate way to support Mr Spaghetti than listening to some rock’n’roll and having a good time ? I’m not going to get in to specifics because all the bands played great sets and I enjoyed the whole evening, even if I was stuck on the door most of the time. Rubber Legs and the Bermondsey Joyriders are both bands that I see pretty regularly, while it was great to see Travis Cut on stage again after an almost ten-year hiatus, and Paul-Ronney Angel played a fine acoustic set accompanied by the legendary Slim Cyder on accordion. By the end of the night, we’d cleared nearly £500 which is currently heading towards the fund, even as I type. I ended up having to run for my last train and catching it with just minutes to spare, but it was all worthwhile. Sometimes, these things just have to be done.
Anyway, night of the gig, everyone arrives on time (a miracle in itself !) but the soundcheck take ages, meaning a later-than-expected start. Although this initially starts to get me stressed, once everything is ready, it all goes really smoothly. Everyone’s here for the same reason so they all support each other and there’s a really nice, inclusive atmosphere in the place. What more appropriate way to support Mr Spaghetti than listening to some rock’n’roll and having a good time ? I’m not going to get in to specifics because all the bands played great sets and I enjoyed the whole evening, even if I was stuck on the door most of the time. Rubber Legs and the Bermondsey Joyriders are both bands that I see pretty regularly, while it was great to see Travis Cut on stage again after an almost ten-year hiatus, and Paul-Ronney Angel played a fine acoustic set accompanied by the legendary Slim Cyder on accordion. By the end of the night, we’d cleared nearly £500 which is currently heading towards the fund, even as I type. I ended up having to run for my last train and catching it with just minutes to spare, but it was all worthwhile. Sometimes, these things just have to be done.
WIRE. The Dome, Tufnell Park, 2/12/15. This was an odd gig as it didn’t really seem to get advertised very well and I’ve since been told by a few people that they missed it altogether simply because they hadn’t heard about it. So who knows what was going on. The Dome is still pretty full up so word must have got around somehow.
I never even found out if there was a support band as Wire started earlier than expected, meaning that we missed the first five minutes or so, but fortunately arrive as they start ‘The Boiling Boy’, always a highpoint whenever its’ played live. Sticking with ‘A Bell is A Cup’, they follow it with ‘Silk Skin Paws’, which is another song that’s slowly developed as it’s been played over the years. I think that’s the thing with Wire and their older material. If a song can be taken further, then they’re likely to keep it in the set. It’s only when there’s no further options that they lose interest in something. I’m sure the same will apply to the more recent material and it’ll be interesting to see which songs continue to develop over the next few years. Anyway, as you’d expect, the bulk of the set is drawn from the recent, self-tilted album, from the insistent pop of ‘In Manchester’ through to the hypnotic psychedelia of ‘Sleep-walking’. Various selections from their earlier albums appear but are seemingly chosen to compliment the newer material rather than just –playing the crowd favourites. ‘Blessed State’ fits in perfectly, whilst ‘Brazil’ is a shot of adrenalin to follow the almost overwhelming dirge of ‘Harpooned’. The encore ends with a new arrangement of ‘Used To’ that, as previously mentioned, takes the original song and turns it a different way to great effect. All too soon, it seems, the gig is over, although they’ve been playing for some 90 minutes. I can’t say this was one of the best Wire gigs in recent years for the simple fact that the sound was pretty poor, but that’s all too often the case at The Dome. The band themselves had played a great gig and, had it been somewhere more suitable, I’m sure this would’ve been one of their finest.
I never even found out if there was a support band as Wire started earlier than expected, meaning that we missed the first five minutes or so, but fortunately arrive as they start ‘The Boiling Boy’, always a highpoint whenever its’ played live. Sticking with ‘A Bell is A Cup’, they follow it with ‘Silk Skin Paws’, which is another song that’s slowly developed as it’s been played over the years. I think that’s the thing with Wire and their older material. If a song can be taken further, then they’re likely to keep it in the set. It’s only when there’s no further options that they lose interest in something. I’m sure the same will apply to the more recent material and it’ll be interesting to see which songs continue to develop over the next few years. Anyway, as you’d expect, the bulk of the set is drawn from the recent, self-tilted album, from the insistent pop of ‘In Manchester’ through to the hypnotic psychedelia of ‘Sleep-walking’. Various selections from their earlier albums appear but are seemingly chosen to compliment the newer material rather than just –playing the crowd favourites. ‘Blessed State’ fits in perfectly, whilst ‘Brazil’ is a shot of adrenalin to follow the almost overwhelming dirge of ‘Harpooned’. The encore ends with a new arrangement of ‘Used To’ that, as previously mentioned, takes the original song and turns it a different way to great effect. All too soon, it seems, the gig is over, although they’ve been playing for some 90 minutes. I can’t say this was one of the best Wire gigs in recent years for the simple fact that the sound was pretty poor, but that’s all too often the case at The Dome. The band themselves had played a great gig and, had it been somewhere more suitable, I’m sure this would’ve been one of their finest.
GIUDA / THEE JEZEBELS. The Lexington, 5/12/15. I’ve been wanting to see Giuda again for a while. The first time I saw them I hadn’t been too impressed, but I’d later been informed that gig had suffered from a bad PA sound. That being said, this was a busy week and I still wasn’t sure if I was going to be up for it until I found out that Thee Jezebels were supporting. Having seen and enjoyed their set at The Unicorn recently, I’d wanted to catch them again and this show, alongside Giuda, seemed an ideal opportunity. So, with some incredibly precise timing, I arrive at The Lexington with just enough time to get a drink before Thee Jezebels go onstage.
Thee Jezebels are great tonight, looking smart in matching outfits and sounding even better than the previous gig. Lots of their own songs, including the tracks from their recent single ‘Black Book’ and ‘Cried Over You’. If you could think of a cross between The Sonics and The Runaways, that’ll give you some sort of idea, although that doesn’t really cover it all. They end with cover versions of ‘Under My Wheels’ and ‘Someone’s Gonna Get Their Head Kicked In Tonite’, changing the arrangements a bit to make them their own but still rockin’ them out in the original spirit. They haven’t been together very long but they’re already starting to develop their own style and are certainly playing with just the right amount of swagger to pull it off. I’m hoping this is a band who are really going to make their mark over the next year or so.
The venue is absolutely rammed by the time Giuda take their place onstage and everyone seems intent on chanting the bands’ name between songs, stompin’ along to the anthems and generally having a sweaty good time. Which is great and Giuda, with their blatant mix of rock’n’roll, glam, pub rock and punk (think Slade meets Status Quo in a collision with the Hot Rods and early Buzzcocks) are certainly the band for the occasion. You can’t help but get drawn in to the event and it is a much better gig than when I saw them before, but I still remain unconvinced with their actual material. It’s very obvious where their influences are coming from and you can virtually pick them out from one song to the next. That’s not such a bad thing when they play it all so well, and it makes for a great party, but would I want to listen to it at home ? I certainly don’t dislike them but I’m just a bit bemused that so many people currently seem to be so in awe of them. What can I say ? Good luck to them. I had a great evening and even though I won’t be rushing home to sew a Giuda patch on my denim jacket, I’d still much rather they’re out there than the majority of dross that we’d be offered elsewhere.
Thee Jezebels are great tonight, looking smart in matching outfits and sounding even better than the previous gig. Lots of their own songs, including the tracks from their recent single ‘Black Book’ and ‘Cried Over You’. If you could think of a cross between The Sonics and The Runaways, that’ll give you some sort of idea, although that doesn’t really cover it all. They end with cover versions of ‘Under My Wheels’ and ‘Someone’s Gonna Get Their Head Kicked In Tonite’, changing the arrangements a bit to make them their own but still rockin’ them out in the original spirit. They haven’t been together very long but they’re already starting to develop their own style and are certainly playing with just the right amount of swagger to pull it off. I’m hoping this is a band who are really going to make their mark over the next year or so.
The venue is absolutely rammed by the time Giuda take their place onstage and everyone seems intent on chanting the bands’ name between songs, stompin’ along to the anthems and generally having a sweaty good time. Which is great and Giuda, with their blatant mix of rock’n’roll, glam, pub rock and punk (think Slade meets Status Quo in a collision with the Hot Rods and early Buzzcocks) are certainly the band for the occasion. You can’t help but get drawn in to the event and it is a much better gig than when I saw them before, but I still remain unconvinced with their actual material. It’s very obvious where their influences are coming from and you can virtually pick them out from one song to the next. That’s not such a bad thing when they play it all so well, and it makes for a great party, but would I want to listen to it at home ? I certainly don’t dislike them but I’m just a bit bemused that so many people currently seem to be so in awe of them. What can I say ? Good luck to them. I had a great evening and even though I won’t be rushing home to sew a Giuda patch on my denim jacket, I’d still much rather they’re out there than the majority of dross that we’d be offered elsewhere.
THEATRE OF HATE / SPIZZENERGI. The Garage, 6/12/15. I never originally saw Theatre of Hate and didn’t really get in to Spear of Destiny (although the one time I did see them live, they were rather good.) I loved the early TOH singles, but wasn’t particularly impressed with Kirk Brandon’s later projects and, as such, hadn’t been particularly keen to see either band in recent years. But TOH had been rather good when I saw them support The Damned a couple of years ago, so I started to become curious about seeing them on their own turf. This gig, with the added bonus of Spizzenergi, seemed like the ideal opportunity.
There’s a bunch of my friends going along, and we all meet at the White Swan (as has become traditional.) As we end-up chatting-away over a couple of beers, I almost forget that Spizzenergi are playing early, and have to rush over to the Garage to catch the set. Good thing too, as they’re sounding really good tonight. The current line-up is the best it’s been for years and play the songs with plenty of style and, errr, energy. Which gives Spizz just the right platform to carry on in his inimitable fashion. You can’t get away with his kind of offbeat approach if the band aren’t up to it. Anyway, they play a fine set of Spizz classics, including the new single, ‘City of Eyes’ and ending with their excellent version of ‘Virginia Plain’. Isn’t it about time for Spizz to attain ‘National Treasure’ status ?
Theatre of Hate take to the stage, but apart from Kirk, I’d be hard pushed to identify the other members. However, the sounds of Stan Stammers’ bass and John Lennards’ sax are instantly recognisable and as integral a part of the band as they always were. As I’d expected, they work much better in a smaller venue and quickly get in to the pace of the show, with older tracks like ‘Incinerator’ and ‘Rebel Without A Brain’ sounding just as compelling as they did when I first heard them. There’s a lot of material I’m not familiar with, but none of it disappoints and although it isn’t a particularly lively audience, it is very appreciative. Kirk Brandon may be the man at the front, but this performance is very much about the band as a whole and he steers clear of claiming the spotlight, as should be the case with a band like this. I’m impressed with their set, but just to put the icing on the cake, they keep the trio of ‘Original Sin’, ‘Legion’ and ‘Do You Believe In The Westworld’ for the end, bringing everything to a fitting finale. After this gig, I will certainly be paying more attention if and when they announce any further tours or releases.
There’s a bunch of my friends going along, and we all meet at the White Swan (as has become traditional.) As we end-up chatting-away over a couple of beers, I almost forget that Spizzenergi are playing early, and have to rush over to the Garage to catch the set. Good thing too, as they’re sounding really good tonight. The current line-up is the best it’s been for years and play the songs with plenty of style and, errr, energy. Which gives Spizz just the right platform to carry on in his inimitable fashion. You can’t get away with his kind of offbeat approach if the band aren’t up to it. Anyway, they play a fine set of Spizz classics, including the new single, ‘City of Eyes’ and ending with their excellent version of ‘Virginia Plain’. Isn’t it about time for Spizz to attain ‘National Treasure’ status ?
Theatre of Hate take to the stage, but apart from Kirk, I’d be hard pushed to identify the other members. However, the sounds of Stan Stammers’ bass and John Lennards’ sax are instantly recognisable and as integral a part of the band as they always were. As I’d expected, they work much better in a smaller venue and quickly get in to the pace of the show, with older tracks like ‘Incinerator’ and ‘Rebel Without A Brain’ sounding just as compelling as they did when I first heard them. There’s a lot of material I’m not familiar with, but none of it disappoints and although it isn’t a particularly lively audience, it is very appreciative. Kirk Brandon may be the man at the front, but this performance is very much about the band as a whole and he steers clear of claiming the spotlight, as should be the case with a band like this. I’m impressed with their set, but just to put the icing on the cake, they keep the trio of ‘Original Sin’, ‘Legion’ and ‘Do You Believe In The Westworld’ for the end, bringing everything to a fitting finale. After this gig, I will certainly be paying more attention if and when they announce any further tours or releases.
HO99O9 / NAH. 100 Club, 7/12/15. Following their gig at Electrowerkz earlier in the year, I was really looking forward to seeing HO99O9 again (their only other London show had been as part of a festival and I wasn’t going to buy a ticket for the whole thing when there was only one band I wanted to see !) I also tried to set-up an interview again, but their hectic tour schedule gave them very little spare time. It will happen eventually…
The 100 Club is pretty packed by the time I get there, and it’s strange to be in such a familiar venue with so many people, but no-one that I know. There’s also an unpleasant proliferation of beards, which is always an ugly and unnecessary occurrence. Kids, Just Say No to facial hair ! Even drugs are preferable !
The support band, Nah, is onstage when I arrive, so I take the opportunity to make may way around to the side of the stage to claim a good view. Nah is basically one guy from Philadelphia who primarily plays drums in a suitably maniacal fashion, whilst backed by tapes of appropriately distorted hip-hop beats and industrial noise. It’s in a perfect place alongside HO99O9 and also shares the same demented sense of fun. A good share of the audience are really getting in to this, so I hope Nah comes back to London again, soon.
By the time HO99O9 are due onstage, the place is absolutely rammed, so I starting to feel pleased with myself for getting a good vantage point early on. But as soon as the intro tape starts playing and the band members take their places on stage, it all goes wrong. Photographers suddenly jump up from every direction, many of them deciding that having a Nikon gives them the right to join the band onstage, and block out the view for much of the audience. At first, I think, it’ll only be for the first few minutes, but no, these wankers clearly think that they are much more important than people who paid to get in. One of them, just in front of me, kicks a full pint glass over and when the kid tried to remonstrate, just shrugged and stayed where he was. I’m aware that HO99O9 are a very visual band and are great to photograph (I took some snaps myself) but this was really out of order and I’m despondent that the audience just put up with it.
All that being said, HO99O9 were just as great as before, even if this gig didn’t have the slap-in-the-face effect of seeing them for the first time. Their energy and intent is still very much in evidence (even after a long European tour) and they really go-off in a way that just can’t be faked. They enjoy the music they make, they appreciate the audience and the reaction they generate, and they really put everything in to it. Somewhere like the 100 Club is an ideal place to see them, although it will be interesting to see how they cope with bigger venues as their popularity inevitably (and deservedly) grows. It’s also great to hear them paying respect to the heritage of the venue – these are obviously guys that know their culture and strive to take it forward. In the middle of their set, they play their blistering version of Bad Brains’ ‘Attitude’ (complete with Black Flag intro) and it’s a great example of what I’m trying to say. Bad Brains defied genres, which was what made them so great. HO99O9 respect that but are now doing it their way. They acknowledge their heritage but don’t just live in it. If you want to show respect to an artist, follow their example and don’t just copy them. HO99O9 have so much potential. I just hope that they can keep on top of it and not let the media make them out to be just another fad. By the evidence so far, my money will be on the bands’ side.
The 100 Club is pretty packed by the time I get there, and it’s strange to be in such a familiar venue with so many people, but no-one that I know. There’s also an unpleasant proliferation of beards, which is always an ugly and unnecessary occurrence. Kids, Just Say No to facial hair ! Even drugs are preferable !
The support band, Nah, is onstage when I arrive, so I take the opportunity to make may way around to the side of the stage to claim a good view. Nah is basically one guy from Philadelphia who primarily plays drums in a suitably maniacal fashion, whilst backed by tapes of appropriately distorted hip-hop beats and industrial noise. It’s in a perfect place alongside HO99O9 and also shares the same demented sense of fun. A good share of the audience are really getting in to this, so I hope Nah comes back to London again, soon.
By the time HO99O9 are due onstage, the place is absolutely rammed, so I starting to feel pleased with myself for getting a good vantage point early on. But as soon as the intro tape starts playing and the band members take their places on stage, it all goes wrong. Photographers suddenly jump up from every direction, many of them deciding that having a Nikon gives them the right to join the band onstage, and block out the view for much of the audience. At first, I think, it’ll only be for the first few minutes, but no, these wankers clearly think that they are much more important than people who paid to get in. One of them, just in front of me, kicks a full pint glass over and when the kid tried to remonstrate, just shrugged and stayed where he was. I’m aware that HO99O9 are a very visual band and are great to photograph (I took some snaps myself) but this was really out of order and I’m despondent that the audience just put up with it.
All that being said, HO99O9 were just as great as before, even if this gig didn’t have the slap-in-the-face effect of seeing them for the first time. Their energy and intent is still very much in evidence (even after a long European tour) and they really go-off in a way that just can’t be faked. They enjoy the music they make, they appreciate the audience and the reaction they generate, and they really put everything in to it. Somewhere like the 100 Club is an ideal place to see them, although it will be interesting to see how they cope with bigger venues as their popularity inevitably (and deservedly) grows. It’s also great to hear them paying respect to the heritage of the venue – these are obviously guys that know their culture and strive to take it forward. In the middle of their set, they play their blistering version of Bad Brains’ ‘Attitude’ (complete with Black Flag intro) and it’s a great example of what I’m trying to say. Bad Brains defied genres, which was what made them so great. HO99O9 respect that but are now doing it their way. They acknowledge their heritage but don’t just live in it. If you want to show respect to an artist, follow their example and don’t just copy them. HO99O9 have so much potential. I just hope that they can keep on top of it and not let the media make them out to be just another fad. By the evidence so far, my money will be on the bands’ side.
ROCKET FROM THE TOMBS. London Fields Brewhouse, 12/12/15. Even disregarding the decades they spent apart, it’s taken a long time since their reformation for Rocket From The Tombs to play in the UK. Unfortunately, during that time the band has lost original member Cheetah Chrome and Richard Lloyd (who had replaced the departed Peter Laughner at the time of the original reunion) leaving only David Thomas and bassist Craig Bell from the classic line-up. However, alongside Pere Ubu drummer Steve Mehlman and new guitarists Gary Siperko and Buddy Akita, the band have released a second album of new material (‘The Black Record’) in 2015 and genuinely sound as good, if not better, than ever. So I’m very excited to finally get to see them live.
Which is irritating because there’s actually a few gigs on the same night that I would normally have attended if nothing else had been going on. Most notably, The Phobics are playing at the latest ‘Rockaway Beach’ club night at the Hope & Anchor, supporting The Witchdoktors. Striking an appropriate compromise, I drop down to the Hope & Anchor for soundcheck time to grab a beer with friends before heading across to Hackney for the RFTT gig. I must admit, I was already starting to enjoy myself too much at the H&A, and really didn’t want to leave that gig before it even started, but sometimes you have to do these things.
The London Fields Brewery is just around the corner from the original Industrial Studios, which is strangely appropriate, but it’s a bit of an odd place to find if you don’t already know where it is. I arrive just as RFTT are starting their set. It’s a bit of an odd venue , but the sound is good. It’s also very packed and it takes me a while to work my way through the crowd to get a good viewpoint, but once there, it’s great. The band are very tight and powerful, whilst David Thomas performs most of the set seated (well, you wouldn’t expect to see him start stage-diving at this point in his career…) They play five or six songs from ‘The Black Record’, all of them sounding just as good as I’d expected, a few from the previous ‘Barfly’ album’, plus a half dozen from their original incarnation. ‘Muckraker’ fits really nicely alongside their more recent material, while classics like ’30 Seconds Over Tokyo’, ‘Sonic Reducer’ and ‘Final Solution’ are just so timeless that they are never out of place. That RFTT spawned two subsequent bands as great as Pere Ubu and the Dead Boys is just part of their legacy. The fact is, they were so far ahead of their time it’s still difficult to fully appreciate them. Even now, 40 years since they originally split-up, their original music still sounds vital. And the gap of those four decades makes it all the more remarkable that they are able to re-connect with their original compulsion, to create new material that compliments, rather than merely shadowing, their original body of work. It isn’t the exact same line-up and it isn’t just the same old songs, but RFTT have found a way to stay true to their roots whilst exploring what they can do next. It’s honest, real and natural. If you can’t appreciate RFTT now, then you probably wouldn’t have appreciated them in the first place. Hear their records, see them live. This is something truly unique.
Which is irritating because there’s actually a few gigs on the same night that I would normally have attended if nothing else had been going on. Most notably, The Phobics are playing at the latest ‘Rockaway Beach’ club night at the Hope & Anchor, supporting The Witchdoktors. Striking an appropriate compromise, I drop down to the Hope & Anchor for soundcheck time to grab a beer with friends before heading across to Hackney for the RFTT gig. I must admit, I was already starting to enjoy myself too much at the H&A, and really didn’t want to leave that gig before it even started, but sometimes you have to do these things.
The London Fields Brewery is just around the corner from the original Industrial Studios, which is strangely appropriate, but it’s a bit of an odd place to find if you don’t already know where it is. I arrive just as RFTT are starting their set. It’s a bit of an odd venue , but the sound is good. It’s also very packed and it takes me a while to work my way through the crowd to get a good viewpoint, but once there, it’s great. The band are very tight and powerful, whilst David Thomas performs most of the set seated (well, you wouldn’t expect to see him start stage-diving at this point in his career…) They play five or six songs from ‘The Black Record’, all of them sounding just as good as I’d expected, a few from the previous ‘Barfly’ album’, plus a half dozen from their original incarnation. ‘Muckraker’ fits really nicely alongside their more recent material, while classics like ’30 Seconds Over Tokyo’, ‘Sonic Reducer’ and ‘Final Solution’ are just so timeless that they are never out of place. That RFTT spawned two subsequent bands as great as Pere Ubu and the Dead Boys is just part of their legacy. The fact is, they were so far ahead of their time it’s still difficult to fully appreciate them. Even now, 40 years since they originally split-up, their original music still sounds vital. And the gap of those four decades makes it all the more remarkable that they are able to re-connect with their original compulsion, to create new material that compliments, rather than merely shadowing, their original body of work. It isn’t the exact same line-up and it isn’t just the same old songs, but RFTT have found a way to stay true to their roots whilst exploring what they can do next. It’s honest, real and natural. If you can’t appreciate RFTT now, then you probably wouldn’t have appreciated them in the first place. Hear their records, see them live. This is something truly unique.
FRANK SANAZI’s XMAS CRACKER SHOW. 100 Club, 16/12/15. He’s certainly not politically-correct and his humour is not going to be to everyone’s taste, but for me, Frank Sanazi is hilarious entertainment. After all, there’s a British comedy tradition in the act of ridiculing Hitler (anyone remember the Spike Milligan sketch of Adolf attempting a George Formby impersonation ?)
Anyway, this is a bit of a special show, following his previous ‘Das Vegas’ review, including a whole array of acts. But first, Ol’ Blue Eyes & Black Moustache begins the evening with appearances from members of his infamous Iraq Pack. A vodka-swilling Dean Stalin slurs his way through a couple of numbers, before his place is taken by Saddami Davis Jnr. He debuts his own interpretation of the Lionel Ritchie classic ‘Hallal ! Is It Me You’re Looking For ?’ before dueting with Frank to explain ‘That’s Why Saddami’s In A Camp’ (complete with disgraceful wardrobe malfunction…)
There’s also various other guests – Agent Lynch is a not-very-good comedy-burlesque routine, while Pun Man is great fun. A Scottish superhero dedicated to the cause of establishing the Pun as the supreme form of comedy (‘In Iran, everybody is afraid of spiders, but in Iraq-no-phobia !’) It’s all excruciating but you can’t help but enjoy it. Later on, we also get an appearance by Tina Turner Tea Lady, featuring the Soul legend re-imagined as a raunchy char-woman. Again, very funny, and an artist who has the voice to actually do justice to the songs. The final guest is none other than Jesus. It was lucky for us that he made it – he’s normally pretty busy at this time of year ! He’s now also decided to share his message of love, peace and understanding through the form of interpretive dance. Or, more specifically, a strip routine ! Who knew that the messiah could be so open-minded ? Fortunately for us, he only goes as far as his sparkling loin cloth, so we don’t have to see his Holy Grail, but the short act is irreverently hilarious.
But the night truly belonged to the Ubermeister of Lounge himself, and Frank entertains us with his unique croon through hits such as ‘Third Reich’, ‘Strangers On My Flight’ and ‘Gestapo’, before bringing the whole cast back for a finale. Uneasy Listening it may be, but just remember…. Tonight, the 100 Club… tomorrow – who knows ?
Anyway, this is a bit of a special show, following his previous ‘Das Vegas’ review, including a whole array of acts. But first, Ol’ Blue Eyes & Black Moustache begins the evening with appearances from members of his infamous Iraq Pack. A vodka-swilling Dean Stalin slurs his way through a couple of numbers, before his place is taken by Saddami Davis Jnr. He debuts his own interpretation of the Lionel Ritchie classic ‘Hallal ! Is It Me You’re Looking For ?’ before dueting with Frank to explain ‘That’s Why Saddami’s In A Camp’ (complete with disgraceful wardrobe malfunction…)
There’s also various other guests – Agent Lynch is a not-very-good comedy-burlesque routine, while Pun Man is great fun. A Scottish superhero dedicated to the cause of establishing the Pun as the supreme form of comedy (‘In Iran, everybody is afraid of spiders, but in Iraq-no-phobia !’) It’s all excruciating but you can’t help but enjoy it. Later on, we also get an appearance by Tina Turner Tea Lady, featuring the Soul legend re-imagined as a raunchy char-woman. Again, very funny, and an artist who has the voice to actually do justice to the songs. The final guest is none other than Jesus. It was lucky for us that he made it – he’s normally pretty busy at this time of year ! He’s now also decided to share his message of love, peace and understanding through the form of interpretive dance. Or, more specifically, a strip routine ! Who knew that the messiah could be so open-minded ? Fortunately for us, he only goes as far as his sparkling loin cloth, so we don’t have to see his Holy Grail, but the short act is irreverently hilarious.
But the night truly belonged to the Ubermeister of Lounge himself, and Frank entertains us with his unique croon through hits such as ‘Third Reich’, ‘Strangers On My Flight’ and ‘Gestapo’, before bringing the whole cast back for a finale. Uneasy Listening it may be, but just remember…. Tonight, the 100 Club… tomorrow – who knows ?
THE DAMNED / FEATHERZ. Islington Academy, 20/12/15. A short notice xmas gig at a relatively small venue for The Damned, which predictably sold-out very quickly. It’s great that they’re now able to regularly fill-up larger venues like The Roundhouse, but it’s always going to be more fun seeing them at smaller gigs like this.
Anyway, I’d arranged to meet up with Gaye and Sarah for some food at Indian Veg before the gig. It turns out that we’re joined by Charlie Harper and Yuko, and a little later, Captain Sensible drops by to collect a take-away, so comes over to say hello. Hmm, didn’t realise that I’d be on the VIP table (Very Important Punks…) We haven’t even reached the venue, but I already know this evening is going to be a good one.
Once we’re finished (you must always be careful not to over-eat before a gig) we take a stroll along to the Glass House pub to meet a few other people and grab a beer or two before heading in to the gig. Unfortunately, it turns out that we’ve missed The Featherz support set, having been told the wrong stage-times, but it turns out they’re also going to be playing an after-show gig, so we’ll still get a chance to see them.
The main area is packed so we all go upstairs, which is far-less crowded. It’s not the perfect view, as you’re pretty much looking straight down on the band, but the sound is great and the view is still better than I’d get downstairs. The Damned come onstage right on time and with no messing around launch into ‘Wait For The Blackout’. It still sounds as fresh as ever, and is quickly followed by ‘Fan Club’ and, perhaps unexpectedly this early in the set, ‘History Of The World’. The rest of the set features songs from their first ten years, which in some ways is a little disappointing as they’ve released some great songs on their last two albums and it would be good to hear new material. But that being said, at least they do play a good selection of the older material, including several songs that aren’t particularly expected. ‘13th Floor Vendetta’ sounds great and, like ‘History Of The World’, wasn’t played live at the time of its’ release, so it’s good to get the chance to hear it performed now. ‘Ignite’ was always a pure shot of adrenalin, while the later covers of ‘Eloise’ and ‘Alone Again Or’ were always appropriate choices for The Damned. Even ‘Grimly Fiendish’ sounds remarkably effective in a live setting, rather than its’ over-produced studio version. Of course, xmas is celebrated with the wonderful ‘Sanity Clause’ (complete with Vanian twirling around the stage in his Santa outfit) before the encore follows with an excellent version of ‘Under the Floor Again’ (perhaps one of the greatest moments of punk-psychedelia ever recorded.) Vanian gets down to the crowd to let a fan introduce ‘New Rose’, followed by ‘Nasty’, a B-side that really should have been an A-side, if ever I’ve heard one. Then there are a few guests on stage – Captains’ old mate Turkey is introduced for a rare live performance of ‘The Turkey Song’, while Charlie Harper and Gaye Advert dance around the stage with banners. Then it’s time for the inevitable ‘Smash It Up’ bringing everything to a rollicking conclusion. Unfortunately, no-one tells Captain and he lingers on stage to charm us with an impromptu a-cappella version of ‘Happy Talk’ (either that or he was trying to clear the hall…)
The Damned continue to divide opinion on so many matters, but as they head towards their 40th Anniversary, they’ve certainly defied expectations and maintain a devoted following. There are a few things that I’d like to see (more new material, reconciliations with former members etc) but when I see them play a gig that’s as much fun as this one, none of that is quite so important. The Damned are still a great live band and you’d have to be a real grouch not to enjoy them.
The gig has finished early so there’s still enough time to catch Featherz at the aftershow party, downstairs in the Academy Bar. It takes some sneaking around, but eventually a bunch of us get in to the bar and Featherz are already playing. Again, here’s another band that seem to divide opinion. Some people seem to love them, others don’t like them at all. On this occasion, I’d have to say I enjoyed their set. They play a good, stompin’ version of trashy Seventies Glam (Bowie meets Runaways) and although a lot of the references are pretty clear, it’s pretty entertaining. As it goes, I get to see around 20 or 30 minutes of this set before I have to leave to catch my last train, and that more than making up for missing them earlier on. I certainly wouldn’t be averse to seeing them again and, as my last gig of 2015, this has been a really good night. It’s gigs like this which remind me exactly why I’m still going out to see bands after all this time.
Anyway, I’d arranged to meet up with Gaye and Sarah for some food at Indian Veg before the gig. It turns out that we’re joined by Charlie Harper and Yuko, and a little later, Captain Sensible drops by to collect a take-away, so comes over to say hello. Hmm, didn’t realise that I’d be on the VIP table (Very Important Punks…) We haven’t even reached the venue, but I already know this evening is going to be a good one.
Once we’re finished (you must always be careful not to over-eat before a gig) we take a stroll along to the Glass House pub to meet a few other people and grab a beer or two before heading in to the gig. Unfortunately, it turns out that we’ve missed The Featherz support set, having been told the wrong stage-times, but it turns out they’re also going to be playing an after-show gig, so we’ll still get a chance to see them.
The main area is packed so we all go upstairs, which is far-less crowded. It’s not the perfect view, as you’re pretty much looking straight down on the band, but the sound is great and the view is still better than I’d get downstairs. The Damned come onstage right on time and with no messing around launch into ‘Wait For The Blackout’. It still sounds as fresh as ever, and is quickly followed by ‘Fan Club’ and, perhaps unexpectedly this early in the set, ‘History Of The World’. The rest of the set features songs from their first ten years, which in some ways is a little disappointing as they’ve released some great songs on their last two albums and it would be good to hear new material. But that being said, at least they do play a good selection of the older material, including several songs that aren’t particularly expected. ‘13th Floor Vendetta’ sounds great and, like ‘History Of The World’, wasn’t played live at the time of its’ release, so it’s good to get the chance to hear it performed now. ‘Ignite’ was always a pure shot of adrenalin, while the later covers of ‘Eloise’ and ‘Alone Again Or’ were always appropriate choices for The Damned. Even ‘Grimly Fiendish’ sounds remarkably effective in a live setting, rather than its’ over-produced studio version. Of course, xmas is celebrated with the wonderful ‘Sanity Clause’ (complete with Vanian twirling around the stage in his Santa outfit) before the encore follows with an excellent version of ‘Under the Floor Again’ (perhaps one of the greatest moments of punk-psychedelia ever recorded.) Vanian gets down to the crowd to let a fan introduce ‘New Rose’, followed by ‘Nasty’, a B-side that really should have been an A-side, if ever I’ve heard one. Then there are a few guests on stage – Captains’ old mate Turkey is introduced for a rare live performance of ‘The Turkey Song’, while Charlie Harper and Gaye Advert dance around the stage with banners. Then it’s time for the inevitable ‘Smash It Up’ bringing everything to a rollicking conclusion. Unfortunately, no-one tells Captain and he lingers on stage to charm us with an impromptu a-cappella version of ‘Happy Talk’ (either that or he was trying to clear the hall…)
The Damned continue to divide opinion on so many matters, but as they head towards their 40th Anniversary, they’ve certainly defied expectations and maintain a devoted following. There are a few things that I’d like to see (more new material, reconciliations with former members etc) but when I see them play a gig that’s as much fun as this one, none of that is quite so important. The Damned are still a great live band and you’d have to be a real grouch not to enjoy them.
The gig has finished early so there’s still enough time to catch Featherz at the aftershow party, downstairs in the Academy Bar. It takes some sneaking around, but eventually a bunch of us get in to the bar and Featherz are already playing. Again, here’s another band that seem to divide opinion. Some people seem to love them, others don’t like them at all. On this occasion, I’d have to say I enjoyed their set. They play a good, stompin’ version of trashy Seventies Glam (Bowie meets Runaways) and although a lot of the references are pretty clear, it’s pretty entertaining. As it goes, I get to see around 20 or 30 minutes of this set before I have to leave to catch my last train, and that more than making up for missing them earlier on. I certainly wouldn’t be averse to seeing them again and, as my last gig of 2015, this has been a really good night. It’s gigs like this which remind me exactly why I’m still going out to see bands after all this time.