HARDSKIN / PERTII KURIKAN NIMIPAIVAT / HAGAR THE WOMB. The Lexington, 5/10/13 This was always going to be an odd gig, but it also promised to be a good one. Firstly, it was a matinee gig and, secondly, the special guests were Pertii Kurikan Nimipaivat, the Finnish punk band made up of autistic musicians who featured in the recent documentary ‘The Punk Syndrome’. While I whole-heartedly supported the concept, I had no idea if the music was going to prove to be worthwhile, but with both Hardskin and Hagar on the bill, this was a gig that couldn’t be missed.
I arrived early, but the place is already packed. It’s good to see so many friends this early in the day and I’ve got just enough time to grab a beer before the Hags take to the stage in their usual, orderly fashion. It’s very early for them to be in front of the microphones, so Ruth apologises to her son for any swear-words he may hear, while Karen (sporting a very fetching ‘Shopping is for Cunts’ tote-bag) adds, quite correctly, that ‘swearing is big and it is clever !’ Anyway, the gig ensues and we get to enjoy the joyous chaos, never knowing what was going to happen next but loving every minute of it. The set list is roughly the same as their recent gigs, but it’s all about the performance, holding the songs together by the skin of their teeth. I don’t know, I can’t really explain it, but this is just wonderful to watch, a perfect way to start any afternoon.
PKN play next and it’s good to see that most of the audience stay in place to support them. It is a bit odd at first, not helped that most of the vocals are in Finnish and, I suspect, very few people knew what any of it was about, but once they started playing, you could just get into the feel of the thing. Some of the music was a bit plodding, but especially the more aggressive, hardcore stuff sounded pretty good and while I won’t say they were the greatest band I’ve ever seen, they certainly deserved their place on the bill.
Surprisingly, with everything that’s been happening so far, the schedule is running dead on time, and Hardskin take their place on stage just as expected. The lads are looking sexier than ever, but even they can appreciated some feminine charm and ask some birds up onstage to help with a few of the songs. Now, I know there are some of you geezers out there who like tradition and prefer the birds to stand at the back while the blokes go down the front for a ruck. But sometimes, the birds need to be able to say what it’s like on their streets. Hardskin, being modern geezers, appreciate this and aren’t afraid to share the stage. Of course, there are the inevitable shouts of ‘Get ‘em out fer the lads’, but I’m glad to say, Fat Bob did not oblige… the gig rocks out, the beers go down and kids have their say ! It may not have been the terraces of The Den, but these anthems rang true to all men, boys and birds present. A wise man once said, Tell Us The Truth… Hardskin, indeed, tell it as it is.
I arrived early, but the place is already packed. It’s good to see so many friends this early in the day and I’ve got just enough time to grab a beer before the Hags take to the stage in their usual, orderly fashion. It’s very early for them to be in front of the microphones, so Ruth apologises to her son for any swear-words he may hear, while Karen (sporting a very fetching ‘Shopping is for Cunts’ tote-bag) adds, quite correctly, that ‘swearing is big and it is clever !’ Anyway, the gig ensues and we get to enjoy the joyous chaos, never knowing what was going to happen next but loving every minute of it. The set list is roughly the same as their recent gigs, but it’s all about the performance, holding the songs together by the skin of their teeth. I don’t know, I can’t really explain it, but this is just wonderful to watch, a perfect way to start any afternoon.
PKN play next and it’s good to see that most of the audience stay in place to support them. It is a bit odd at first, not helped that most of the vocals are in Finnish and, I suspect, very few people knew what any of it was about, but once they started playing, you could just get into the feel of the thing. Some of the music was a bit plodding, but especially the more aggressive, hardcore stuff sounded pretty good and while I won’t say they were the greatest band I’ve ever seen, they certainly deserved their place on the bill.
Surprisingly, with everything that’s been happening so far, the schedule is running dead on time, and Hardskin take their place on stage just as expected. The lads are looking sexier than ever, but even they can appreciated some feminine charm and ask some birds up onstage to help with a few of the songs. Now, I know there are some of you geezers out there who like tradition and prefer the birds to stand at the back while the blokes go down the front for a ruck. But sometimes, the birds need to be able to say what it’s like on their streets. Hardskin, being modern geezers, appreciate this and aren’t afraid to share the stage. Of course, there are the inevitable shouts of ‘Get ‘em out fer the lads’, but I’m glad to say, Fat Bob did not oblige… the gig rocks out, the beers go down and kids have their say ! It may not have been the terraces of The Den, but these anthems rang true to all men, boys and birds present. A wise man once said, Tell Us The Truth… Hardskin, indeed, tell it as it is.
TV SMITH / THE COMMITED. Canterbury, The Three Tuns, 12/10/13 I took the long drive back to my ancestral home town, as two of my old friends are having a joint 50th birthday party / gig. Fifty ? How did that happen ? Well, I’ll be finding out for myself, soon enough…
Anyhow, it’s also a good excuse to catch up with my old friend Patrick, and I park-up at his house before we all drive over to Canterbury itself. It’s weird to see so many old faces, some of whom I haven’t seen for decades, and fortunately, most of whom I’m pleased to see again. The bonus is that there’s also music, provided by the illustrious TV Smith and recently-reformed North Kent band, The Committed. I saw them many years ago, but couldn’t really remember much about them. Seeing them again, I realise why. Not bad, but not really out of the ordinary either. TV Smith plays a fine, compelling solo set, and he goes down really well even though, by this time, most of the audience is considerably slurred and paying just as much attention to their umpteenth pint. It possibly wasn’t the best setting for his performance, but enough people support him to make it a success and the evening, overall, was a really good time. I had another long-drive to get home the next day, but I thought that was more than worthwhile.
Anyhow, it’s also a good excuse to catch up with my old friend Patrick, and I park-up at his house before we all drive over to Canterbury itself. It’s weird to see so many old faces, some of whom I haven’t seen for decades, and fortunately, most of whom I’m pleased to see again. The bonus is that there’s also music, provided by the illustrious TV Smith and recently-reformed North Kent band, The Committed. I saw them many years ago, but couldn’t really remember much about them. Seeing them again, I realise why. Not bad, but not really out of the ordinary either. TV Smith plays a fine, compelling solo set, and he goes down really well even though, by this time, most of the audience is considerably slurred and paying just as much attention to their umpteenth pint. It possibly wasn’t the best setting for his performance, but enough people support him to make it a success and the evening, overall, was a really good time. I had another long-drive to get home the next day, but I thought that was more than worthwhile.
WILKO JOHNSON BAND / RUTS DC. Koko, 14/10/13 With Wilko’s much-publicised illness, a resurgence of interest has developed around the man and his music which, whilst under the worst circumstances, is still totally deserved. This should have been happening a long time ago, but either way, it’s getting his music to the wider audience that it always should have had. Not that it seems to bother Wilko himself… he just gets on with playing, same as he’s always done. Tonight, the venue is full-up and the atmosphere is crackling. The addition of Ruts DC in support does nothing but increase the electricity. Playing old and new tracks, they mix it up from punk snarl to reggae beats, making it look effortless but blowing everyone away in the process. Any other time or place, they would have stolen the show, so it took something special to top it. Wilko did just that. Once he was on stage, it wasn’t going to belong to anyone else. He made his moves, he glared with intent and he played that guitar with a grit and determination somewhere in between Muddy Waters and Wayne Kramer. Nothing too flashy but everything exactly where it was supposed to go. Plenty of older Dr Feelgood numbers as well as many from his subsequent solo years, with Dylan Howe and Norman Watt-Roy keeping it all nailed down. Whatever time and energy he has left, Wilko is determined to make the most of it. Respect has rarely been so deserved.
THE MOB. T-Chances, 19/10/13 I was intending to go to this gig, anyway, but then found out it was just around the corner from where my friend Steve lives. He wanted to go to the gig as well, so I arranged to meet him and another old friend, Jake, up at his house. Unfortunately, this promptly led into an inevitable and rapid intake of beery-substances and, whilst the results weren’t too horrific, let’s just say that it made the evening quite a jolly one !
Anyway, none of us are particularly fussed about seeing the other bands on the bill, so we hang around in the bar until The Mob are onstage and then head into the ram-packed main hall. The stage looks great, with various projections lighting up the back wall as the band play, but it’s almost impossible to move through the shoulder-to-shoulder crowd. Fortunately, the sound is great and after a while, I do manage to get myself a reasonably good view, so I still enjoy the set even if there is hardly any breathing space. They play all the old favourites as well as several new songs that sound like a perfect continuation (especially the new single, ‘Rise Up !’) Maybe it wasn’t the most comfortable gig I’d ever been too, but The Mob more than made up for the discomfort.
Anyway, none of us are particularly fussed about seeing the other bands on the bill, so we hang around in the bar until The Mob are onstage and then head into the ram-packed main hall. The stage looks great, with various projections lighting up the back wall as the band play, but it’s almost impossible to move through the shoulder-to-shoulder crowd. Fortunately, the sound is great and after a while, I do manage to get myself a reasonably good view, so I still enjoy the set even if there is hardly any breathing space. They play all the old favourites as well as several new songs that sound like a perfect continuation (especially the new single, ‘Rise Up !’) Maybe it wasn’t the most comfortable gig I’d ever been too, but The Mob more than made up for the discomfort.
HELEN LOVE / TALLULAH GOSH / CYANIDE PILLS. 100 Club, 4/11/13 Big night for celebrations… 25 Years of Damaged Goods records and 50 years of Ian ! If we ever needed an excuse for a party, this was it. Good on yer, Ian, here’s to the next 50...
The place is full-up from early-on, a fitting attendance for the momentous event, and first up are Cyanide Pills, who nearly didn’t make it. Something about driving halfway across Europe against the clock, but here they are, hitting the stage with all the energy and snappy glam-punk tuneage that we’ve come to expect. In fact, I’m really chuffed with their set as last time I saw them, they seemed to be a little under par. Evidently a bit of tour-stress in their lives brings out the best in them. Somewhere between the Heartbreakers and The Briefs, they’re rapidly becoming one of the best young bands in the UK.
Next we have the ‘special surprise guests’, which had been the cause of many a whispered-speculation in the last few weeks. However, the fact that Ian was just about to release a Tallulah Gosh compilation probably pointed in the best direction. And so, without too much shock, three of the original members appear onstage for a short, stripped-down set that had fans drooling. I can’t say I was ever into them, but hearing this short set, I could appreciate the songs and see why they were loved. The giddy atmosphere certainly helped the proceedings along.
Final band are the Welsh indie-poppers Helen Love. Again, not a band that were ever high on my playlist (although the ‘Joey Ramoney’ single had considerable charm.) But again, I watch them and appreciate what they do. There’s elements of Sparks, glam, bubblegum and Ramones-style buzzsaw pop, so some of the tunes are bound to get your toes-tapping. The set possibly went on a bit too long, but the fans were digging it so who am I to say ? All I know is, I had a really fun night out. God Bless Damaged Goods and all who sail on him …
The place is full-up from early-on, a fitting attendance for the momentous event, and first up are Cyanide Pills, who nearly didn’t make it. Something about driving halfway across Europe against the clock, but here they are, hitting the stage with all the energy and snappy glam-punk tuneage that we’ve come to expect. In fact, I’m really chuffed with their set as last time I saw them, they seemed to be a little under par. Evidently a bit of tour-stress in their lives brings out the best in them. Somewhere between the Heartbreakers and The Briefs, they’re rapidly becoming one of the best young bands in the UK.
Next we have the ‘special surprise guests’, which had been the cause of many a whispered-speculation in the last few weeks. However, the fact that Ian was just about to release a Tallulah Gosh compilation probably pointed in the best direction. And so, without too much shock, three of the original members appear onstage for a short, stripped-down set that had fans drooling. I can’t say I was ever into them, but hearing this short set, I could appreciate the songs and see why they were loved. The giddy atmosphere certainly helped the proceedings along.
Final band are the Welsh indie-poppers Helen Love. Again, not a band that were ever high on my playlist (although the ‘Joey Ramoney’ single had considerable charm.) But again, I watch them and appreciate what they do. There’s elements of Sparks, glam, bubblegum and Ramones-style buzzsaw pop, so some of the tunes are bound to get your toes-tapping. The set possibly went on a bit too long, but the fans were digging it so who am I to say ? All I know is, I had a really fun night out. God Bless Damaged Goods and all who sail on him …
GENESIS P-ORRIDGE. Rough Trade East. 7/11/13 Opinions on the illustrious Mr P-Orridge vary even more wildly these days, but one thing that can be said about him is that he’s always a very interesting interview subject. You may not be so interested in his musical or artistic projects these days, but he will always have intriguing opinions and thoughts to put forward. This event, primarily to launch a new book of his artwork, found him in conversation with the writer Barry Miles. But instead of sticking to any kind of formal question and answers, it allowed plenty of space for his natural skill as a raconteur to shine through. From the profound to the humorous, he’s always going to provoke differing opinions and, in many ways, that’s what he’s always been best at. You may love him or loathe him, but he’s always going to get you to think, and that’s a valuable exercise. It’s certainly not without an entertaining element, but as something that can open you to new ideas, that’s got to be a good thing.
STEVE IGNORANT with PARANOID VISIONS / ZOUNDS / THE CRAVATS / CRAIG TEMPLE. The Dome, 9/11/13. From the outset, I have to say I was surprised that this gig wasn’t better attended. There were plenty of people moaning when Steve played the ‘Last Supper’ gigs, complaining that he was performing his old songs, but now, here he was playing all-new material from a great new album, and the whingers still didn’t show-up… it really was their loss.
Anyway, the evening starts with a solo, acoustic set from Craig Temple, who I don’t know much about. His songs sounded pretty interesting, but unfortunately, in the cavernous and, at this point, mostly empty venue, it just wasn’t the best way to hear him. May well be worth checking out again in the future.
In contrast, The Cravats create a huge sound to fill the place, powerful and booming yet with a perfect clarity. Noisy in all the right places, but still allowing space for the subtleties (yes, they do have some…) Svor’s sax wails over the erratic rhythms, while Shend directs proceedings with lyrical barbs and biting asides. There’s been a couple of line-up changes since the last time I saw them, but you’d have never guessed it from the tightness of this set. I’ll admit that I’d love to hear them play a few different tunes, but when they’re as good as this, you can’t have too many complaints. Miss them at your peril.
Zounds, in comparison, are pretty disappointing. The last few times I’ve seen them, they’ve been rather good, so this comparatively sloppy set is a real let-down, with only a riveting version of ‘Demystification’ holding its’ head above water. Maybe this was just a hiccup and they’ll be back on form for the next gig, but by recent standards, this one was a dud.
Paranoid Visions set-up onstage and, with Steve in their ranks, they easily fill the stage. With their three vocalists alongside Mr Ignorant, it emphasises that this is a genuine collaboration, rather than just one influence. Sure, you can pick elements from Steve’s past, and the music is always going to be Paranoid Visions, but the results are a very cohesive statement in their own right. Subjects may have been tackled before but stay in place as they remain valid, whilst other lyrics are entirely contemporary. Performing the ‘When ?’ album plus a couple of extra tracks, this was a great performance, bringing out the best from all of participants. Quite simply, it’s a great album and, performed live, it sounds even more vibrant. By all accounts, this was something of a one-off. With everyone busy in their own ways, it’s not likely that we’ll get a chance to see it again. So, full-marks for everyone that was there, and for those who chose to ignore it… you should’ve been paying more attention.
Anyway, the evening starts with a solo, acoustic set from Craig Temple, who I don’t know much about. His songs sounded pretty interesting, but unfortunately, in the cavernous and, at this point, mostly empty venue, it just wasn’t the best way to hear him. May well be worth checking out again in the future.
In contrast, The Cravats create a huge sound to fill the place, powerful and booming yet with a perfect clarity. Noisy in all the right places, but still allowing space for the subtleties (yes, they do have some…) Svor’s sax wails over the erratic rhythms, while Shend directs proceedings with lyrical barbs and biting asides. There’s been a couple of line-up changes since the last time I saw them, but you’d have never guessed it from the tightness of this set. I’ll admit that I’d love to hear them play a few different tunes, but when they’re as good as this, you can’t have too many complaints. Miss them at your peril.
Zounds, in comparison, are pretty disappointing. The last few times I’ve seen them, they’ve been rather good, so this comparatively sloppy set is a real let-down, with only a riveting version of ‘Demystification’ holding its’ head above water. Maybe this was just a hiccup and they’ll be back on form for the next gig, but by recent standards, this one was a dud.
Paranoid Visions set-up onstage and, with Steve in their ranks, they easily fill the stage. With their three vocalists alongside Mr Ignorant, it emphasises that this is a genuine collaboration, rather than just one influence. Sure, you can pick elements from Steve’s past, and the music is always going to be Paranoid Visions, but the results are a very cohesive statement in their own right. Subjects may have been tackled before but stay in place as they remain valid, whilst other lyrics are entirely contemporary. Performing the ‘When ?’ album plus a couple of extra tracks, this was a great performance, bringing out the best from all of participants. Quite simply, it’s a great album and, performed live, it sounds even more vibrant. By all accounts, this was something of a one-off. With everyone busy in their own ways, it’s not likely that we’ll get a chance to see it again. So, full-marks for everyone that was there, and for those who chose to ignore it… you should’ve been paying more attention.
UK DECAY / STEVE IGNORANT & SLICE OF LIFE. Islington Academy, 16/11/14 One week after his gig with Paranoid Visions, Steve Ignorant is back in London with another new project. Moving away from the noisier elements, this band delves into more reflective, atmospheric territory, allowing plenty of space for Steve’s spoken-word dialogues and observational lyrics. The set is mostly new material although a re-working of ‘The Way Things Are’ returns from the Schwartzeneggar days, and a surprising cover of the Bowie classic ‘Boys’ ends the set. Musically, it’s certainly quite a departure, but it quickly settles into a confident pace of its’ own and remains intriguing from start to finish. I certainly think that it has a lot of potential and, while it may need more gigs to really get into its’ stride, I’m looking forward to see how it develops.
But it’s the headliners, UK Decay, that really claim this night for themselves. The venue isn’t packed, but there’s a good-sized enthusiastic crowd and the atmosphere really carries it off. From the appropriate opening song, ‘Unwind’ through new tracks like ‘Shake ‘em Up’ and ‘Heavy Metal Jews’, the set is probably the best I’ve seen them play to date. Whilst older tracks like ‘Black Cat’ and ‘Unexpected Guest’ are always going to be favourites, songs from the new album are fitting in perfectly. ‘City is a Cage’ recreates the energy of their earlier releases, while ‘I Feel Good’ takes a side-step away from what you might expect, while still remaining very much a part of the whole. ‘Revolutionary Love Song’ is a classic in its’ own right, with the tension rising to match the poignancy of the lyrics. With time heading towards the curfew, the encore is brief but very much to the point, with ‘For My Country’ leading into a brash version of ‘Sexual’. For anyone who doubts that UK Decay are still a force to be reckoned with, this was the gig they should have seen. Not only are they back, but they’re better than ever.
But it’s the headliners, UK Decay, that really claim this night for themselves. The venue isn’t packed, but there’s a good-sized enthusiastic crowd and the atmosphere really carries it off. From the appropriate opening song, ‘Unwind’ through new tracks like ‘Shake ‘em Up’ and ‘Heavy Metal Jews’, the set is probably the best I’ve seen them play to date. Whilst older tracks like ‘Black Cat’ and ‘Unexpected Guest’ are always going to be favourites, songs from the new album are fitting in perfectly. ‘City is a Cage’ recreates the energy of their earlier releases, while ‘I Feel Good’ takes a side-step away from what you might expect, while still remaining very much a part of the whole. ‘Revolutionary Love Song’ is a classic in its’ own right, with the tension rising to match the poignancy of the lyrics. With time heading towards the curfew, the encore is brief but very much to the point, with ‘For My Country’ leading into a brash version of ‘Sexual’. For anyone who doubts that UK Decay are still a force to be reckoned with, this was the gig they should have seen. Not only are they back, but they’re better than ever.
BRIAN JAMES GANG / PRINZHORN DANCE SCHOOL. Fiddlers Elbow, 23/11/14. Things started going a bit askew a couple of days before this gig, when I got an email from old friend Carlton… Someone had been forced to drop out and they needed a trusty soul to man the door. As I’d be going to the gig anyway, I was more than happy to offer my services and so found myself heading along to the gig nice’n’early on Saturday afternoon. But once in London, a true horror awaited. The Northern Line was shut-down, with only a dreaded bus replacement service in it’s place. So my journey from Liverpool Street to Camden took the best part of two hours instead of the expected 20 minutes. Apart from being a pain in the arse for me, I’m sure it also had an undesirable affect on the ensuing attendance of the gig, as numbers were unreasonably low even despite good advertising for the event. Unfortunately, getting to the Fiddlers Elbow is pretty much reliant on the Northern Line…
Anyhow, the evening goes on and proved to be a fine onr for those of us who did make it there. Opening proceedings was a short acoustic set from Brian James and another guitarist. This sounds really good, actually, as the more bluesy approach is possibly more suited fro Brian’s voice. We only get a few songs but it’s quite an interesting teaser and certainly suggested that Brian ought to delve a bit further into this format.
Main support comes from the intriguingly-named Prinzhorn Dance School, who deliver a confident style of what nowadays is called ‘post-punk… think of Gang of Four, Au Pairs etc, heavy rhythms and slicing guitars. Aggressive yet insistent, this was certainly something you couldn’t ignore and I was pretty impressed.
Finally, it’s time for the Brian James Gang and they launch into their set with plenty of enthusiasm and energy. Unlike his recent gigs with Mr Scabies, this gig is much more about Brians’ solo material, which, for those of you who have paid attention, is well worth it’s own salt. Of course, we do get a couple of old favourites (he wrote them, after all !) but this was much more to do with his music as an ongoing entity rather than just the highlights. It was a treat to see him play, one of the truly great guitar players and one that has never received the credit that he obviously deserves.
Anyhow, the evening goes on and proved to be a fine onr for those of us who did make it there. Opening proceedings was a short acoustic set from Brian James and another guitarist. This sounds really good, actually, as the more bluesy approach is possibly more suited fro Brian’s voice. We only get a few songs but it’s quite an interesting teaser and certainly suggested that Brian ought to delve a bit further into this format.
Main support comes from the intriguingly-named Prinzhorn Dance School, who deliver a confident style of what nowadays is called ‘post-punk… think of Gang of Four, Au Pairs etc, heavy rhythms and slicing guitars. Aggressive yet insistent, this was certainly something you couldn’t ignore and I was pretty impressed.
Finally, it’s time for the Brian James Gang and they launch into their set with plenty of enthusiasm and energy. Unlike his recent gigs with Mr Scabies, this gig is much more about Brians’ solo material, which, for those of you who have paid attention, is well worth it’s own salt. Of course, we do get a couple of old favourites (he wrote them, after all !) but this was much more to do with his music as an ongoing entity rather than just the highlights. It was a treat to see him play, one of the truly great guitar players and one that has never received the credit that he obviously deserves.
SPARKS. Union Chapel, 24/11/13. Following the success of last years’ ‘Two Hands, One Mouth’ tour, Sparks return with the inevitable ‘part two’, featuring a different selection of songs played in the stripped-down format. The location was ideal, allowing Sparks to perform in an ornate surrounding that seemed to be a natural backdrop for their dramatic works. The set starts slowly, building up with ‘Your Call Is Very important To Us’, before heading into less obvious but no less cherished songs such as ‘Here in Heaven’, ‘Those Mysteries’ and ‘Good Morning’. In fact, the ‘hits’ are conspicuously missing from the main set, with only ‘This Town Ain’t Big Enough’ featuring this side of the encores (complete with guest guitar courtesy of Thurston Moore.) But once into the finale, we get ‘Suburban Homeboy’, ‘When Do I Get to Sing My Way’ and ‘Number One Song in Heaven’, before the closing ‘Revenge of Two hands, One Mouth’. Another totally excellent show, and while it was more than enough to keep me smirking all the way home, I can’t help but think, what are they going to do next ? After all these years, we know that we can still rely on Sparks to come up with something that will be different but just as great as ever.
WOLF EYES / PORN / FOLLAKZOID. Netil House, 25/11/13.
A week of gigs at this unlikely venue in Hackney. It may have been a cool idea for those ATP types, but it was hardly a desirable location, with poor facilities and overpriced bar. At least it was pretty easy to get to.
Anyhow, first music of the evening comes from the Chilean band, Follakzoid. I knew nothing about them, but they sound pretty good. A mixture of Krautrock, psychedelia and spacerock, they also maintained a good sense of rhythm, allowing the music to move and not just get caught in aimless experimentation. There was purpose to this, and it worked well.
The band I’m really here to see are Porn. I’d seen them once before, supporting Flipper & The Melvins, and had been suitably impressed. But this time, they were back with a different line-up, including Bill Gould and Thurston Moore, and it promised to be something special. I was not disappointed. The music mixed industrial noise with hard riffing guitars and incredibly precise drumming to create a glorious soundscape. As heavy as you could want it, yet not lacking either humour or musicality, this is what adventurous rock music ought to be. Not afraid to try something different, and not afraid to rock out. I wish I had a recording of this gig !
Headliners, Wolf Eyes, are very highly regarded in some places, so I was quite looking forward to hearing them. Unfortunately, it proved to be a big let-down. It all seemed like some sorta in-joke, which wasn’t very funny to begin with. I don’t know, there just didn’t seem to be any real intent. What more can I say, I wasn’t enjoying it so I decide to catch an early train home…
A week of gigs at this unlikely venue in Hackney. It may have been a cool idea for those ATP types, but it was hardly a desirable location, with poor facilities and overpriced bar. At least it was pretty easy to get to.
Anyhow, first music of the evening comes from the Chilean band, Follakzoid. I knew nothing about them, but they sound pretty good. A mixture of Krautrock, psychedelia and spacerock, they also maintained a good sense of rhythm, allowing the music to move and not just get caught in aimless experimentation. There was purpose to this, and it worked well.
The band I’m really here to see are Porn. I’d seen them once before, supporting Flipper & The Melvins, and had been suitably impressed. But this time, they were back with a different line-up, including Bill Gould and Thurston Moore, and it promised to be something special. I was not disappointed. The music mixed industrial noise with hard riffing guitars and incredibly precise drumming to create a glorious soundscape. As heavy as you could want it, yet not lacking either humour or musicality, this is what adventurous rock music ought to be. Not afraid to try something different, and not afraid to rock out. I wish I had a recording of this gig !
Headliners, Wolf Eyes, are very highly regarded in some places, so I was quite looking forward to hearing them. Unfortunately, it proved to be a big let-down. It all seemed like some sorta in-joke, which wasn’t very funny to begin with. I don’t know, there just didn’t seem to be any real intent. What more can I say, I wasn’t enjoying it so I decide to catch an early train home…
REGINALD D.HUNTER / PETE JOHANSSON. Southend Cliffs Pavilion, 28/11/14. We bought tickets for this one some time in advance and then, typically, it ended up clashing with several other gigs. But that’s bound to happen sometimes, and as it turned out, this was a great night anyway, so I don’t think we went too far wrong…
First onstage is a Canadian comedian called Pete Johansson. Never heard of him before, but he was really good, with an energetic delivery of observations veering from the obsessive to the surreal. Plenty of comments about bears… and how they could help-out the British police force… only a Canadian…
Reginald D.Hunter arrives onstage and immediately sets the record straight. Firstly, the beard… it’s just a thing he’s trying out. Secondly… if you expect him to be the same as he is on TV, think twice. Onstage, in his natural environment, he’s a much more forthright performer. Very little is to be considered taboo, and he speaks his mind as he sees fit. This does make it quite uncomfortable for at least some of the audience, but that won’t make him ease up. There’s a point to his comedy, exploring language and attitudes in much the same way that Lenny Bruce did, and whether you laughed or complained, it will also get you thinking. It’s also very funny and entertaining, after all, he is a comedian. But the true value of his performance is that, after you’ve gone home, you will remember the jokes just as much as you consider some of the topics he raised. We enjoyed this a lot, but just be careful who you recommend it to !
First onstage is a Canadian comedian called Pete Johansson. Never heard of him before, but he was really good, with an energetic delivery of observations veering from the obsessive to the surreal. Plenty of comments about bears… and how they could help-out the British police force… only a Canadian…
Reginald D.Hunter arrives onstage and immediately sets the record straight. Firstly, the beard… it’s just a thing he’s trying out. Secondly… if you expect him to be the same as he is on TV, think twice. Onstage, in his natural environment, he’s a much more forthright performer. Very little is to be considered taboo, and he speaks his mind as he sees fit. This does make it quite uncomfortable for at least some of the audience, but that won’t make him ease up. There’s a point to his comedy, exploring language and attitudes in much the same way that Lenny Bruce did, and whether you laughed or complained, it will also get you thinking. It’s also very funny and entertaining, after all, he is a comedian. But the true value of his performance is that, after you’ve gone home, you will remember the jokes just as much as you consider some of the topics he raised. We enjoyed this a lot, but just be careful who you recommend it to !
THE DAMNED / RUTS DC. Cambridge Corn Exchange, 5/12/14. Now that Cambridge is only a short drive away (rather than a really awkward train journey) it’s great to be able to take advantage of gigs like this one. Home from work, quick dinner and then straight up the M11… a few problems finding somewhere to park, but still in the venue on time to catch virtually all of Ruts DC. As usual, they start with a few reggae tracks before letting loose with some older tracks, stirring-up the crowd perfectly in the process. They mix the styles with just the right balance, keeping everyone’s toes tapping in the lighter moments before building the tension with tracks like ‘Staring at the Rude Boys’ or ‘Babylon’s Burning’. It can never be The Ruts again, but Ruts DC is more than valid in its’ own right, and with such a great back catalogue at their disposal, I can’t see many being disappointed.
The Damned are also on top form tonight, starting with an unexpected ‘Sanctum Sanctorum’ before resurrecting ‘Don’t Cry Wold’ for the first time in decades. And away from the dodgy production of ‘Music For Pleasure’, it sounds great ! The set continues in a pretty varied fashion, mostly featuring tracks from ‘The Black Album’ and ‘Strawberries’, before delving further back into ‘Machine Gun Etiquette’ and the first couple of Stiff singles. The encore begins with the pomp of ‘Curtain Call’ before Sensible delivers his raucous version of ‘Jet Boy Jet Girl’ and it all ends with the frantic duo of ‘Anti-Pope’ and ‘Smash It Up’. Sadly, none of the more recent songs, but with a set like this, I was certainly happy to be there. Against all odds, The Damned are heading towards their 40th anniversary and sounding just as good as ever.
The Damned are also on top form tonight, starting with an unexpected ‘Sanctum Sanctorum’ before resurrecting ‘Don’t Cry Wold’ for the first time in decades. And away from the dodgy production of ‘Music For Pleasure’, it sounds great ! The set continues in a pretty varied fashion, mostly featuring tracks from ‘The Black Album’ and ‘Strawberries’, before delving further back into ‘Machine Gun Etiquette’ and the first couple of Stiff singles. The encore begins with the pomp of ‘Curtain Call’ before Sensible delivers his raucous version of ‘Jet Boy Jet Girl’ and it all ends with the frantic duo of ‘Anti-Pope’ and ‘Smash It Up’. Sadly, none of the more recent songs, but with a set like this, I was certainly happy to be there. Against all odds, The Damned are heading towards their 40th anniversary and sounding just as good as ever.
ROCKET FROM THE CRYPT / THE COMPUTERS. Koko. 6/12/13. As the old saying goes, you can’t keep a good band down and, as if on cue, the mighty RFTC are back. With many weak pretenders trying to claim the throne in the meantime, it’s great to see a real rock’n’roll band back onstage. Unfortunately, it’s at Koko, a place that looks good and ought to be great, but it just isn’t very friendly. There’s something about that place, even though I’ve seen some great gigs down there. Anyway, first band, The Computers, are just what I was talking about. A band who want to play rock’n’roll but who just don’t have the heart. It’s not bad, but knowing what’s up next, they just don’t cut that mustard.
As the massed ranks of RFTC take the stage and kick into the first song, it’s as if they’ve never been away. Like the best rock’n’roll, from Elvis and Jerry Lee through to the MC5 and Stooges, there’s a big element of showmanship in what they do (and, yes, Speedo can get carried away at times) but when it matters, they deliver the songs with total conviction. It’s funny to think that such a band once threatened the Top Twenty, and while ‘Born in ‘69’ or ‘On A Rope’ probably wouldn’t even be allowed airtime now, there was a moment where it looked like a real break-though could have been made. Ah, well, all the suckers who didn’t get it back then still ain’t gonna feel it, and that’s a loss they deserve. ‘Sturdy Wrist’ is still one of those elusive perfect songs, in my book at least, and in a set that featured the best moments of their back catalogue, the only thing you really wanted to know, is when the next album is going to surface ? Fingers crossed, it won’t be too long, because there’ s plenty of times these days when this is just the remedy we all need.
As the massed ranks of RFTC take the stage and kick into the first song, it’s as if they’ve never been away. Like the best rock’n’roll, from Elvis and Jerry Lee through to the MC5 and Stooges, there’s a big element of showmanship in what they do (and, yes, Speedo can get carried away at times) but when it matters, they deliver the songs with total conviction. It’s funny to think that such a band once threatened the Top Twenty, and while ‘Born in ‘69’ or ‘On A Rope’ probably wouldn’t even be allowed airtime now, there was a moment where it looked like a real break-though could have been made. Ah, well, all the suckers who didn’t get it back then still ain’t gonna feel it, and that’s a loss they deserve. ‘Sturdy Wrist’ is still one of those elusive perfect songs, in my book at least, and in a set that featured the best moments of their back catalogue, the only thing you really wanted to know, is when the next album is going to surface ? Fingers crossed, it won’t be too long, because there’ s plenty of times these days when this is just the remedy we all need.
TV SMITH / EIGHT ROUNDS RAPID. Railway Tavern, Southend, 7/12/13. A relatively local and very promising gig. The redoubtable TV Smith supported by highly-rated local boys. We arrive early enough to have a beer and a chat with TV before the evenings’ entertainment begins, but when Eight Rounds Rapid take the stage, they soon grab everyone’s attention. They obviously owe a lot to Southends’ rock’n’roll / R’n’B heritage but are doing pretty damn well in dragging it all forward and stamping their own mark on the music. It’s raw, exciting and has plenty of its’ own ideas. The singer seems to lack stage presence at times, but it’s still early days and his vocals more than make up for it. This is definitely a band that I’ll want to see again.
After a performance like this, many a solo performer would be rather daunted to follow on, but TV Smith has no such problems. He knows his craft well and, while drawing the audience in with his direct dialogue, he’s also more than capable of letting rip with all the passion that his songs deserve. As usual, there’s a mix of old and new material, all of which grabs the attention of the audience. It’s the entire set as a whole that’s the important thing, and he doesn’t let-up the energy levels until the very last song. It’s a treat, as it always is.
After a performance like this, many a solo performer would be rather daunted to follow on, but TV Smith has no such problems. He knows his craft well and, while drawing the audience in with his direct dialogue, he’s also more than capable of letting rip with all the passion that his songs deserve. As usual, there’s a mix of old and new material, all of which grabs the attention of the audience. It’s the entire set as a whole that’s the important thing, and he doesn’t let-up the energy levels until the very last song. It’s a treat, as it always is.
BLACK SABBATH / UNCLE ACID & THE DEADBEATS. O2 Arena, 10/12/13. Although I’ve seen several Ozzy gigs over the years, I’d never seen Sabbath and this seemed like the ideal opportunity. Not only had they recently released their best album in years, ‘13’, but I also had to wonder if this might be the last chance I’d get… little did I know that a mere 7 months later, I’d be seeing them again, but that’s for later in the reviews. Anyway, although I’m quite averse to mega-venues like the O2, this gig was going to have a standing area downstairs and I figured that I could live with that.
On the day of the gig, I find it pretty easy to find a good spot really close to the stage. Support comes from the highly-rated Uncle Acid, who come onstage pretty much unheralded but steadily win the attention of the audience. It’s not hard to see why, as their roots obviously owe more than a passing nod to Sabbath themselves, but they also add some nice touches of psychedelia to the mix to make it more of their own. It would probably be better suited seeing them in a much smaller venue, but even in these cavernous surroundings, they came across really well.
Between bands, I’m not interested in wandering around looking for horribly over-priced drinks, so I stay near the stage and make sure I’ve got a good spot. This definitely works to my advantage. When the sirens scream out to announce the opening chords of ‘War Pigs’, I’ve got a great view and the sound is amazing ! If I didn’t turn around and look towards the terraced seating, it was almost as if I was in a regular-sized gig. The volume down here is very loud, just as you’d want it to be, and Sabbath are sounding great. Tony Iommi’s riffs are as incredible as ever, while Geezer’s bass holds it all down perfectly. Admittedly, Ozzy’s voice doesn’t quite hit the notes on a few occasions, but his charisma is enough to let a few things like that slip-by unnoticed. Almost all my favourites are played, from ‘Into The Void’ to ‘NIB’ and from ‘Iron Man’ to ‘Children of the Grave’. And tracks like ‘End of the Beginning’ and ‘God is Dead’ from the recent album stand up proudly aside the older songs. In fact, the only criticism that I’d level was when it came to the encore… Iommi started to crank out the opening riff to ‘Sabbath Bloody Sabbath’, but the band only got a few bars into it before sneakily crossing over into ‘Paranoid’. Much that it sounded great, but surely ‘SBS’ deserves a full performance ? Oh, that’s just a small gripe. The gig, a full two hours, was worth every penny I’d paid. There’s not many bands that I’d say you need to see, regardless of the cost or venue, but Black Sabbath are truly one of them.
On the day of the gig, I find it pretty easy to find a good spot really close to the stage. Support comes from the highly-rated Uncle Acid, who come onstage pretty much unheralded but steadily win the attention of the audience. It’s not hard to see why, as their roots obviously owe more than a passing nod to Sabbath themselves, but they also add some nice touches of psychedelia to the mix to make it more of their own. It would probably be better suited seeing them in a much smaller venue, but even in these cavernous surroundings, they came across really well.
Between bands, I’m not interested in wandering around looking for horribly over-priced drinks, so I stay near the stage and make sure I’ve got a good spot. This definitely works to my advantage. When the sirens scream out to announce the opening chords of ‘War Pigs’, I’ve got a great view and the sound is amazing ! If I didn’t turn around and look towards the terraced seating, it was almost as if I was in a regular-sized gig. The volume down here is very loud, just as you’d want it to be, and Sabbath are sounding great. Tony Iommi’s riffs are as incredible as ever, while Geezer’s bass holds it all down perfectly. Admittedly, Ozzy’s voice doesn’t quite hit the notes on a few occasions, but his charisma is enough to let a few things like that slip-by unnoticed. Almost all my favourites are played, from ‘Into The Void’ to ‘NIB’ and from ‘Iron Man’ to ‘Children of the Grave’. And tracks like ‘End of the Beginning’ and ‘God is Dead’ from the recent album stand up proudly aside the older songs. In fact, the only criticism that I’d level was when it came to the encore… Iommi started to crank out the opening riff to ‘Sabbath Bloody Sabbath’, but the band only got a few bars into it before sneakily crossing over into ‘Paranoid’. Much that it sounded great, but surely ‘SBS’ deserves a full performance ? Oh, that’s just a small gripe. The gig, a full two hours, was worth every penny I’d paid. There’s not many bands that I’d say you need to see, regardless of the cost or venue, but Black Sabbath are truly one of them.
THE CRUNCH / SLYDIGS. Nambucca, 12/12/13. My first chance to see The Crunch since the release of their ‘Busy Making Noise’ album and I’m looking forward to hearing the songs now that I’m a bit more familiar with them. It’s also my first visit to Nambucca, despite it being around for quite some time. It’s basically a pub with a back room, but nicely set-up, so despite the trendy-sounding name, actually quite a decent venue.
First-up are a band called The Sly Digs who, apparently, have been getting some pretty good press recently. I can’t say, on this showing, that I was too impressed. They have a decent mix of Sixties R’n’B and Seventies glam, but there didn’t seem to be anything out of the ordinary. Maybe it wasn’t a good night for them, but I didn’t hear anything particularly exciting.
The Crunch, on the other hand, have the style and swagger to pull it off. A mixture of Seventies glam-rock’n’roll with a raw punk edge (‘street flavour’ as they call it) they’ve got a load of great songs and just the right line-up to carry it off. Sulo is a fine singer and songwriter in his own right, but with a line up like Dave Tregunna, Mick Geggus and Terry Chimes alongside, this now becomes something pretty special. Their own songs, from ‘Down By The Border’ through to ‘Gangster Radio’ have a real style and urgency that draws you in. So much so that, even when they include songs by their former bands (Russian Roulette, Bad Man and Garageland) they just add to the set as a whole rather than upstaging the bands’ own material. They may not have the greatest name for a band, but the music is speaking for itself and really making a case. Now they’re playing live, I’m hoping the next batch of songs is going to come together in even greater style. This is a band you really ought to keep your ears on.
First-up are a band called The Sly Digs who, apparently, have been getting some pretty good press recently. I can’t say, on this showing, that I was too impressed. They have a decent mix of Sixties R’n’B and Seventies glam, but there didn’t seem to be anything out of the ordinary. Maybe it wasn’t a good night for them, but I didn’t hear anything particularly exciting.
The Crunch, on the other hand, have the style and swagger to pull it off. A mixture of Seventies glam-rock’n’roll with a raw punk edge (‘street flavour’ as they call it) they’ve got a load of great songs and just the right line-up to carry it off. Sulo is a fine singer and songwriter in his own right, but with a line up like Dave Tregunna, Mick Geggus and Terry Chimes alongside, this now becomes something pretty special. Their own songs, from ‘Down By The Border’ through to ‘Gangster Radio’ have a real style and urgency that draws you in. So much so that, even when they include songs by their former bands (Russian Roulette, Bad Man and Garageland) they just add to the set as a whole rather than upstaging the bands’ own material. They may not have the greatest name for a band, but the music is speaking for itself and really making a case. Now they’re playing live, I’m hoping the next batch of songs is going to come together in even greater style. This is a band you really ought to keep your ears on.
THE DAMNED / THEATRE OF HATE / RUTS DC. The Roundhouse, 13/12/13. I arrive early and find that the gig is already sold-out. Not that they don’t deserve it, but after the years The Damned spent in the wilderness, as it were, it’s still a bit of a surprise to see them doing this well again. Good for them !
Another surprise is that Ruts DC are first onstage, meaning that a lot of people only catch the last few songs or miss them altogether. It’s a real shame for, as the band are really sounding great tonight. Similar set to the Cambridge gig, and they fire through it as tight and sharp as ever. All things considered, you wouldn’t expect them to be this good, but the proof is in the PA, and it sounds amazing. They’re also, clearly, enjoying it themselves, so I think we can expect even more form in the near future.
Theatre of Hate are a band I’ve never really been overwhelmed by. The first few singles were great, but thereafter, a found a lot of their material to be fairly take it or leave it. That being said, I was curious to hear what they’d be like tonight. Unfortunately, they failed again to bowl me over. Not that I didn’t like them, but neither was I over-impressed. ‘Do You Believe in The West World’ sounded pretty majestic, but most of the set just didn’t keep my attention. Perhaps it would be better to see them in a smaller venue ? I’d be willing to give it a go.
Final surprise, as far as I can remember, is that despite an otherwise pretty-varied setlist, The Damned don’t play any tracks from the ‘Friday 13th’ EP. I mean, if there was ever a better opportunity ! But instead, they stick to the same setlist as Cambridge and it still knocks us over. Songs from every album between ‘Damned Damned Damned’ and ‘Phantasmagoria’, all sounder as fresh as ever and full of the energy they deserve. I may be repeating myself, but it’s a great gig and the band are really sounding the best they’ve been for years. My only gripe is the lack of new material. I hate to see a band rest on their laurels when you know they’ve still got the talent to deliver even more. Let’s hope their current success on the live front prompts them to return the studio again soon.
Another surprise is that Ruts DC are first onstage, meaning that a lot of people only catch the last few songs or miss them altogether. It’s a real shame for, as the band are really sounding great tonight. Similar set to the Cambridge gig, and they fire through it as tight and sharp as ever. All things considered, you wouldn’t expect them to be this good, but the proof is in the PA, and it sounds amazing. They’re also, clearly, enjoying it themselves, so I think we can expect even more form in the near future.
Theatre of Hate are a band I’ve never really been overwhelmed by. The first few singles were great, but thereafter, a found a lot of their material to be fairly take it or leave it. That being said, I was curious to hear what they’d be like tonight. Unfortunately, they failed again to bowl me over. Not that I didn’t like them, but neither was I over-impressed. ‘Do You Believe in The West World’ sounded pretty majestic, but most of the set just didn’t keep my attention. Perhaps it would be better to see them in a smaller venue ? I’d be willing to give it a go.
Final surprise, as far as I can remember, is that despite an otherwise pretty-varied setlist, The Damned don’t play any tracks from the ‘Friday 13th’ EP. I mean, if there was ever a better opportunity ! But instead, they stick to the same setlist as Cambridge and it still knocks us over. Songs from every album between ‘Damned Damned Damned’ and ‘Phantasmagoria’, all sounder as fresh as ever and full of the energy they deserve. I may be repeating myself, but it’s a great gig and the band are really sounding the best they’ve been for years. My only gripe is the lack of new material. I hate to see a band rest on their laurels when you know they’ve still got the talent to deliver even more. Let’s hope their current success on the live front prompts them to return the studio again soon.
JOHNNY MOPED – film screening and Q&A, The ICA, 17/12/13. What a lovely way to spend my birthday ! The excellent ‘Basically…’ documentary was getting a well-deserved screening at the ICA, with the added bonus of a live Q&A session with The Man Himself and filmmaker Fred Burns. Quite simply, not to be missed.
The film, as I’ve said before, is essential viewing. Away from the media spotlight, the Mopeds developed their own brand of Punk Rock that remains 100% genuine and totally valid. Like Croydons’ answer to Captain Beefheart, the Mopeds were a genuine eccentricity that could never have been faked. In turns, charming and amusing they were also more than capable of producing some of the real classic tunes of the era. ‘Basically…’ captures the true essence of Croydons’ Fab Four (or sometimes five…)
Once the film ends and the lights turn-up, a table and chairs appear onstage and Fred takes his place opposite the would-be interrogator. An awkward silence ensues until Fred speaks up to explain that Johnny went to the toilets and hasn’t come back ! Suddenly, a door opens at the back of the auditorium and Johnny reappears. He looks around for a moment or two and then… returns to his seat in the audience. Fred then has to call him up onstage and, finally, the Q&A commences.
As you can probably imagine, the results are both informative and at times hilarious. Johnny can be a bit of a raconteur when he feels like it, and there’s so many great stories to be told. Fred is also there to keep the details in check, and it proves to be a really great, fun event. Finally, when someone asks Johnny what he thinks of the current government, he muses for a few moments before replying, ‘I wish David Cameron and Nick Clegg would get around to killing each other !’ You can’t get much more astute than that ! Genius.
The film, as I’ve said before, is essential viewing. Away from the media spotlight, the Mopeds developed their own brand of Punk Rock that remains 100% genuine and totally valid. Like Croydons’ answer to Captain Beefheart, the Mopeds were a genuine eccentricity that could never have been faked. In turns, charming and amusing they were also more than capable of producing some of the real classic tunes of the era. ‘Basically…’ captures the true essence of Croydons’ Fab Four (or sometimes five…)
Once the film ends and the lights turn-up, a table and chairs appear onstage and Fred takes his place opposite the would-be interrogator. An awkward silence ensues until Fred speaks up to explain that Johnny went to the toilets and hasn’t come back ! Suddenly, a door opens at the back of the auditorium and Johnny reappears. He looks around for a moment or two and then… returns to his seat in the audience. Fred then has to call him up onstage and, finally, the Q&A commences.
As you can probably imagine, the results are both informative and at times hilarious. Johnny can be a bit of a raconteur when he feels like it, and there’s so many great stories to be told. Fred is also there to keep the details in check, and it proves to be a really great, fun event. Finally, when someone asks Johnny what he thinks of the current government, he muses for a few moments before replying, ‘I wish David Cameron and Nick Clegg would get around to killing each other !’ You can’t get much more astute than that ! Genius.
THEE SPIVS / THE MASONICS. The Lexington, 19/12/14. It’s a sad day for rock’n’roll… Thee Spivs are playing their farewell gig. After releasing some of the best records around during the past couple of years, they’ve decided to call it a day due to unforeseen circumstances. And so we come to drink some beer and pay our respects.
The Masonics are a great way to start proceedings, with their rough-edged brand of garage-punk straight outta the Medway Delta. You know what you’re gonna get, but you’re gonna love it all the same. Fine stuff.
Thee Spivs assemble onstage and Ben addresses the packed audience ; ‘If you like us, have a good time cos this is our last gig. If you hate us, enjoy it cos you won’t have to see us again !’ With that, they launch into ‘Radio’ and the gig is off to a flying start. There are songs from all three of their albums, sounding as fresh and full of energy as the first time we heard them. This certainly ain’t a band breaking-up because they’re past their prime, not when they’re still ripping the place apart ! ‘TV Screen’, ‘Flickin’ V’s’ and ‘Social Network’ are some of the best songs written by a young band in years, and it’s sad to see them go, but in the meantime, let’s enjoy it while we can. Former bassist Dan can hardly keep himself offstage, while their old friend, Dave Elvis’ (Caledonian Roads’ primo Presley tribute) joins them for suitable ramshackle versions of ‘Hound Dog’ and ‘Blue Christmas’. Finally, there’s a glorious, chaotic version of ‘She Said’ and their own ‘Fence Hop’ before it’s all over. As I said, it’s sad to see them go, but what a way to remember them !
The Masonics are a great way to start proceedings, with their rough-edged brand of garage-punk straight outta the Medway Delta. You know what you’re gonna get, but you’re gonna love it all the same. Fine stuff.
Thee Spivs assemble onstage and Ben addresses the packed audience ; ‘If you like us, have a good time cos this is our last gig. If you hate us, enjoy it cos you won’t have to see us again !’ With that, they launch into ‘Radio’ and the gig is off to a flying start. There are songs from all three of their albums, sounding as fresh and full of energy as the first time we heard them. This certainly ain’t a band breaking-up because they’re past their prime, not when they’re still ripping the place apart ! ‘TV Screen’, ‘Flickin’ V’s’ and ‘Social Network’ are some of the best songs written by a young band in years, and it’s sad to see them go, but in the meantime, let’s enjoy it while we can. Former bassist Dan can hardly keep himself offstage, while their old friend, Dave Elvis’ (Caledonian Roads’ primo Presley tribute) joins them for suitable ramshackle versions of ‘Hound Dog’ and ‘Blue Christmas’. Finally, there’s a glorious, chaotic version of ‘She Said’ and their own ‘Fence Hop’ before it’s all over. As I said, it’s sad to see them go, but what a way to remember them !
THEE NUNS / THE A-LINES. The Lexington, 29/12/14. There’s something about matinee gigs that appeals to me, especially when it’s a nice line-up like this. The A-Lines start the afternoon (well, for me… I arrived late and missed the first band) and delve into a nice bag of Sixties fuzz-pop goodies. Great songs, authenticity and plenty of fun.
Thee Nuns seem to get better and better each time I see them. Restricted as they are to The Monks repertoire, they still seem to have found a way to stamp their own personality on the songs. It’s still very much the songs that we all (ought to) know and love, but they add something fresh to the mix to make it slightly more than just a tribute band going through the motions. There’s an integrity to what they’re doing and the music bears it out. We’ll never get a chance to see The Monks again, but with Thee Nuns, the music still lives on. Catch them whenever you can.
Thee Nuns seem to get better and better each time I see them. Restricted as they are to The Monks repertoire, they still seem to have found a way to stamp their own personality on the songs. It’s still very much the songs that we all (ought to) know and love, but they add something fresh to the mix to make it slightly more than just a tribute band going through the motions. There’s an integrity to what they’re doing and the music bears it out. We’ll never get a chance to see The Monks again, but with Thee Nuns, the music still lives on. Catch them whenever you can.
HARDSKIN / THE PUKES / THE REVERENDS. The Pipeline, 31/12/13. I usually avoid going out on New Years Eve, but this was an exception. A ticket-only gig (avoiding idiots stumbling in and getting in the way) featuring the mighty Hardskin at a nice little venue just across the road from Liverpool Street. Perfect ! This was even enough to tempt Karen out (she dislikes NYE even more than I do !) All-in-all, it seemed like a good way to see-off 2013.
We arrive pretty early as there’s gonna be a lot of old friends in attendance, and promptly join John, Kate, Ian and Alison for several rounds of drinks. The Pipeline is a pretty nice bar, with the venue located down in the basement. It’s a decent-sized place and although there’s a good crowd, it doesn’t get too packed. In between beers, we venture up and down the stairs to check out The Reverends, who are playing a decent, rowdy style of street-punk, and The Pukes, who are their usual highly entertaining selves. Must admit, I probably don’t pay as much attention as I usually would, but sometimes the whole event takes over rather than just the music. Everyone’s having a great time and that’s what matters. Finally, Hardskin are onstage, much later than planned, but we’re only across the road from our final train so we can stay to the last minute. They’re the perfect antidote to the usual NYE naff-ness. No one’s gonna take it too seriously, no-one’s gonna get out or order, everyone’s gonna enjoy themselves. Cos, after all, everybody lives for New Years Eve, but it’s about time we lived for New Years Eve every night … or something like that. I was just surprised that they didn’t take the opportunity to cover ‘Oi Lang Syne’…
We arrive pretty early as there’s gonna be a lot of old friends in attendance, and promptly join John, Kate, Ian and Alison for several rounds of drinks. The Pipeline is a pretty nice bar, with the venue located down in the basement. It’s a decent-sized place and although there’s a good crowd, it doesn’t get too packed. In between beers, we venture up and down the stairs to check out The Reverends, who are playing a decent, rowdy style of street-punk, and The Pukes, who are their usual highly entertaining selves. Must admit, I probably don’t pay as much attention as I usually would, but sometimes the whole event takes over rather than just the music. Everyone’s having a great time and that’s what matters. Finally, Hardskin are onstage, much later than planned, but we’re only across the road from our final train so we can stay to the last minute. They’re the perfect antidote to the usual NYE naff-ness. No one’s gonna take it too seriously, no-one’s gonna get out or order, everyone’s gonna enjoy themselves. Cos, after all, everybody lives for New Years Eve, but it’s about time we lived for New Years Eve every night … or something like that. I was just surprised that they didn’t take the opportunity to cover ‘Oi Lang Syne’…
THE MEMBERS / ANTI-ESTABLISHMENT / STEVE DREWITT. Harlow Square, 8/2/14. It’s nice having Harlow Square only a short drive away. Not that they have as many gigs these days that I’d attend, but it’s pretty convenient when there is something that interests me. Anyway, after seeing them last year, I was impressed enough to see The Members again, and it turned out to be a good evening.
Support comes from some local punk names. First up is Steve Drewitt of the Newtown Neurotics, playing a solo set. I was never a big fan of his band, but he has some good songs and it turns out pretty enjoyable, ending with the Neurotics’ track ‘Living With Unemployment’, which of course was a take of the Members’ own ‘Solitary Confinement’. Very apt.
It may come as a surprise to some that Anti-Establishment have reformed after some 30 years, but good for them. Their three singles from back then showed a band that were progressing rather nicely, and although starting from fairly basic abilities, they were intent on creating something of their own. Live, they sound pretty solid and give the songs the energy they deserve. It’s not something that everyone’s gonna like, but if you enjoy that raw punk sound that’s post-Roxy Club but pre-Oi, they’re definitely worth checking out.
The Members have lost Rat Scabies from the drum stool since I last saw them, but re-gained original guitarist Nigel Bennett, alongside JC Carroll and Chris Payne. The extra guitar really helps to fill out the original songs as they ought to sound, and the band sound really good tonight. As before, there’s a lot of older songs plus a good selection of tracks from their recent album, ‘New English Blues’ being most notable. It all goes down well, but predictably it’s old favourites like ‘Soho-A-GoGo’, ‘Offshore Banking Business’ and ‘Sound of The Suburbs’ that get the best reaction. It would, of course, be great to see them with Nicky Tesco again, but in the meantime, JC Carroll still handles the vocals with plenty of his own style and as a whole band, they deliver with enough quality to make it valid. They’ve certainly got some great songs you can still enjoy.
Support comes from some local punk names. First up is Steve Drewitt of the Newtown Neurotics, playing a solo set. I was never a big fan of his band, but he has some good songs and it turns out pretty enjoyable, ending with the Neurotics’ track ‘Living With Unemployment’, which of course was a take of the Members’ own ‘Solitary Confinement’. Very apt.
It may come as a surprise to some that Anti-Establishment have reformed after some 30 years, but good for them. Their three singles from back then showed a band that were progressing rather nicely, and although starting from fairly basic abilities, they were intent on creating something of their own. Live, they sound pretty solid and give the songs the energy they deserve. It’s not something that everyone’s gonna like, but if you enjoy that raw punk sound that’s post-Roxy Club but pre-Oi, they’re definitely worth checking out.
The Members have lost Rat Scabies from the drum stool since I last saw them, but re-gained original guitarist Nigel Bennett, alongside JC Carroll and Chris Payne. The extra guitar really helps to fill out the original songs as they ought to sound, and the band sound really good tonight. As before, there’s a lot of older songs plus a good selection of tracks from their recent album, ‘New English Blues’ being most notable. It all goes down well, but predictably it’s old favourites like ‘Soho-A-GoGo’, ‘Offshore Banking Business’ and ‘Sound of The Suburbs’ that get the best reaction. It would, of course, be great to see them with Nicky Tesco again, but in the meantime, JC Carroll still handles the vocals with plenty of his own style and as a whole band, they deliver with enough quality to make it valid. They’ve certainly got some great songs you can still enjoy.
THE PHOBICS. The Vibe Bar, 15/2/14. Brick Lane has become quite a depressing zone these days. Loads of predictably-dressed tossers spending mummy and daddy’s money in over-priced bars and clubs whilst contributing nothing of any real value. It’s not a unique situation, it happens all over the world. An area is interesting for whatever artistic or cultural reasons, and those with money but no imagination move-in for their own selfish purposes, ruining it for anyone else.
That being said, you still have a great choice for Indian Food, so we make the most of that before heading to one of the aforementioned over-priced bars to see The Phobics. They’re actually playing in a room upstairs and, with access almost hidden from the general public, at least there’s no chance of the assembled trendies having to come face-to-face with some real rock’n’roll.
Former-Phobic Paul is standing-in on guitar tonight, and it’s nice to see him back onstage with the others. The band run through their set at their usual high-energy pace, blending great tunes with loud guitars. This is how it ought to be, but the band don’t look right so I doubt the trendies downstairs would give them more than a glance. I don’t know, the band sound great and for those 30 or 40 minutes, nothing else matters, but once they’re finished, I realise where I am again and I know I don’t fit in. There are three more bands on the bill, but the next one are so awful, it just makes me feel more out of place. I give them a few songs, but it doesn’t improve, so I make a hasty exit.
That being said, you still have a great choice for Indian Food, so we make the most of that before heading to one of the aforementioned over-priced bars to see The Phobics. They’re actually playing in a room upstairs and, with access almost hidden from the general public, at least there’s no chance of the assembled trendies having to come face-to-face with some real rock’n’roll.
Former-Phobic Paul is standing-in on guitar tonight, and it’s nice to see him back onstage with the others. The band run through their set at their usual high-energy pace, blending great tunes with loud guitars. This is how it ought to be, but the band don’t look right so I doubt the trendies downstairs would give them more than a glance. I don’t know, the band sound great and for those 30 or 40 minutes, nothing else matters, but once they’re finished, I realise where I am again and I know I don’t fit in. There are three more bands on the bill, but the next one are so awful, it just makes me feel more out of place. I give them a few songs, but it doesn’t improve, so I make a hasty exit.
EDDIE & THE HOTRODS / THE 45s. Canvey Island, The Oyster Fleet, 27/2/14. This was a one-off tribute gig for original Hot Rod, Dave Higgs, who recently lost his battle against cancer. As a fitting farewell, the remaining original band members, Barrie Masters, Steve Nicholls, Paul Gray and Graeme Douglas would be performing together for the first time in many years, an event made all the more poignant as it also marked Paul’s first live performance since his recent cancer-scare. Unsurprisingly, the event was packed with old fans and new.
Opening band The 45s are a young local group obviously indebted to their Southend / Canvey rock’n’roll roots. With a great blend of Sixties R’n’B and Mod sounds, they put them-selves across really well. Alongside Eight Rounds Rapid, maybe we’re looking at the start of a Canvey Revival ? They top their set with a guest appearance from Dr Feelgoods’ John Sparkes, and a very lively run-through of ‘Roxette’. I’ll be hoping to see this band again soon.
The Hot Rods gig is actually divided into two parts, the first featuring the current line-up while the second half will revert to the original members. That’s fair enough, the current guys have certainly played their part in the bands’ history. They play through a fine set of mostly recent material with a few older numbers thrown-in for good measure. It’s a great performance in its’ own right, but tonight, it’s only really the warm-up.
At last, the original band members assemble onstage, with current guitarist Richard ably filling-in for Mr Higgs. Barrie Masters introduces the band with a sly commendation for ‘the band before us !’ and then they’re straight into it. ‘Quit This Town’ and ‘Ignore Them’ sound as fresh as ever, while ‘The Power & The Glory’ remains one of their most criminally under-rated singles. ‘Do Anything You Wanna Do’ makes a surprisingly early appearance in the set, one of the true classics of the Punk era (even if Eddie & The Hot Rods weren’t a punk band in the general sense.) Some of their very early songs, like ‘Writing On The Wall’, still make their mark, and a guest appearance from Lew Lewis just adds to the celebration. As the set goes on, several of their old covers are pulled out of the hat, including ‘Wooly Bully’ and ’96 Tears’, but for me, the real treat is hearing the stunning version of ‘Beginning of The End’. Finally, the party ends with a driving version of ‘Gloria’ and the frantic burst of ‘Get Out Of Denver’. Alongside Dr Feelgood, Eddie & The Hot Rods played a major role in paving the way for Punk Rock. This gig showed why their credit is long overdue. But just as important was the fact that they gave Dave Higgs the send-off he deserved.
Opening band The 45s are a young local group obviously indebted to their Southend / Canvey rock’n’roll roots. With a great blend of Sixties R’n’B and Mod sounds, they put them-selves across really well. Alongside Eight Rounds Rapid, maybe we’re looking at the start of a Canvey Revival ? They top their set with a guest appearance from Dr Feelgoods’ John Sparkes, and a very lively run-through of ‘Roxette’. I’ll be hoping to see this band again soon.
The Hot Rods gig is actually divided into two parts, the first featuring the current line-up while the second half will revert to the original members. That’s fair enough, the current guys have certainly played their part in the bands’ history. They play through a fine set of mostly recent material with a few older numbers thrown-in for good measure. It’s a great performance in its’ own right, but tonight, it’s only really the warm-up.
At last, the original band members assemble onstage, with current guitarist Richard ably filling-in for Mr Higgs. Barrie Masters introduces the band with a sly commendation for ‘the band before us !’ and then they’re straight into it. ‘Quit This Town’ and ‘Ignore Them’ sound as fresh as ever, while ‘The Power & The Glory’ remains one of their most criminally under-rated singles. ‘Do Anything You Wanna Do’ makes a surprisingly early appearance in the set, one of the true classics of the Punk era (even if Eddie & The Hot Rods weren’t a punk band in the general sense.) Some of their very early songs, like ‘Writing On The Wall’, still make their mark, and a guest appearance from Lew Lewis just adds to the celebration. As the set goes on, several of their old covers are pulled out of the hat, including ‘Wooly Bully’ and ’96 Tears’, but for me, the real treat is hearing the stunning version of ‘Beginning of The End’. Finally, the party ends with a driving version of ‘Gloria’ and the frantic burst of ‘Get Out Of Denver’. Alongside Dr Feelgood, Eddie & The Hot Rods played a major role in paving the way for Punk Rock. This gig showed why their credit is long overdue. But just as important was the fact that they gave Dave Higgs the send-off he deserved.
THE STRANGLERS. Southend, 13/3/14 and Cambridge, 28/3/14. These two gigs, both relatively close to home, were reasonably alike, set-wise, so I’m going to review them together. The Cliffs Pavilion in Southend is a decent venue, not too large, although strangely the audience always seem a bit restrained. No problem though, I get myself a good spot pretty close to the stage and thoroughly enjoy the gig. A great set-list covering the bands entire history, starting with ‘London Lady’ and ‘No More Heroes’ before delving through choice selections from more recent years. Plenty of hits, but it’s also great to hear less obvious tracks like ‘Threatened’ and ‘Peasant in the Big Shitty’. It’s also good to hear how some of the songs from the later albums with Hugh, like ‘Midnight Summer Dream’ and ‘Always The Sun’ provide some of the highlights, a perfect counterpoint to faster, louder tracks like ‘Tank’ or ‘Genetix’. Jet Black makes an appearance for several songs in the middle of the set (his health prevents him playing the full set) and receives well-deserved applause. ‘Five Minutes’ still remains my favourite, perhaps the most brutal song ever to become a hit single, and the two hour set eventually comes to a close with ‘Hanging Around’. The encore is a short but straight to the point affair, with ‘Norfolk Coast’ and ‘Something Better Change’ leaving us still wanting more. Which is fine for me, as I already have a ticket for their Cambridge gig a couple of weeks later…
The Corn Exchange is a great venue. It has a friendly atmosphere, great sound, I just always enjoy gigs in there. As I said, the set doesn’t vary much, although it does get tweaked to include ‘Nuclear Device’ in the middle of the set. Baz makes a wry comment about his recent 50th birthday (‘I’m now too old to die young !’) but unfortunately, Jet Black doesn’t make an appearance this evening. Perhaps as compensation, though, we do get an additional encore, complete with JJ Burnel going shirtless (one for the ladies, I assume ?) Forty years on, The Stranglers are still one of the best live bands around and with the current line-up seeming intent on pushing it forward rather than just relying on past glories. I’m so glad they’re still this good !
The Corn Exchange is a great venue. It has a friendly atmosphere, great sound, I just always enjoy gigs in there. As I said, the set doesn’t vary much, although it does get tweaked to include ‘Nuclear Device’ in the middle of the set. Baz makes a wry comment about his recent 50th birthday (‘I’m now too old to die young !’) but unfortunately, Jet Black doesn’t make an appearance this evening. Perhaps as compensation, though, we do get an additional encore, complete with JJ Burnel going shirtless (one for the ladies, I assume ?) Forty years on, The Stranglers are still one of the best live bands around and with the current line-up seeming intent on pushing it forward rather than just relying on past glories. I’m so glad they’re still this good !
STATUS QUO / WILKO JOHNSON BAND. Hammersmith Apollo 31/3/14, Surprisingly, I didn’t get too much stick after I went to the ‘Frantic Four’ reunion gigs last year, and in fact, a few folk even admitted a fondness for the original Quo line-up. But regardless of the consequences, when another set of dates was announced, I quickly decided that I’d enjoyed the previous gig enough to warrant another one. As a bonus, soon after booking my ticket, Wilko Johnson is announced as the support act – result !
On the evening of the gig, I’m pleased to find the venue full but not quite as packed as last time. This date had been added after the first two had sold-out, so I’m guessing that had something to do with it. No problem for me, as I get right down close to the front for Wilko’s set. Few bands would expect such a positive response from an obviously partisan audience, but Wilko isn’t about to hold back. From the opening notes of ‘All Through The City’, he’s there to make the stage his own and the audience has no choice but to pay attention. It’s a good 45 minute set, but it seems to zip through in no time. Wilko seems to have more energy than ever at the moment, in total disregard to his medical condition, while Norman and Dylan hold down the rhythm tighter than a stranglehold. The set ends with the high power blasts of ‘Back In The Night’ and ‘She Does It Right’, leaving more than a few faces in the audience pondering, have they stolen the show ?
Well, Status Quo rise to the occasion, we needn’t have worried about that. The set remains true to their pre-1977 material (eg, the good stuff) and again sticks mainly to the set originally recorded for the ‘Live’ LP. If anything, that’s the only disappointment, as I really would’ve preferred a few different tracks this time, but when they’re rockin’ through classics like ‘Rain’, ‘Big Fat Mama’ or ‘Down Down’ (a John Peel favourite, no less) I doubt if anyone’s complaining. It’s great to see the original members back together again, especially when they’re sounding as good as this. The encore produces one change, with an incendiary version of ‘Caroline’ (missed out last time) which truly sounds better than ever, and then there’s time for a final run through of ‘Bye Bye Johnny’ before it’s all over. Well, this time they said it was definitely the last fling for this line-up… if so, I’m glad I saw them again, but if not, I won’t complain at all if I get a chance to see them again. Not that I’m expecting anyone to believe me…
On the evening of the gig, I’m pleased to find the venue full but not quite as packed as last time. This date had been added after the first two had sold-out, so I’m guessing that had something to do with it. No problem for me, as I get right down close to the front for Wilko’s set. Few bands would expect such a positive response from an obviously partisan audience, but Wilko isn’t about to hold back. From the opening notes of ‘All Through The City’, he’s there to make the stage his own and the audience has no choice but to pay attention. It’s a good 45 minute set, but it seems to zip through in no time. Wilko seems to have more energy than ever at the moment, in total disregard to his medical condition, while Norman and Dylan hold down the rhythm tighter than a stranglehold. The set ends with the high power blasts of ‘Back In The Night’ and ‘She Does It Right’, leaving more than a few faces in the audience pondering, have they stolen the show ?
Well, Status Quo rise to the occasion, we needn’t have worried about that. The set remains true to their pre-1977 material (eg, the good stuff) and again sticks mainly to the set originally recorded for the ‘Live’ LP. If anything, that’s the only disappointment, as I really would’ve preferred a few different tracks this time, but when they’re rockin’ through classics like ‘Rain’, ‘Big Fat Mama’ or ‘Down Down’ (a John Peel favourite, no less) I doubt if anyone’s complaining. It’s great to see the original members back together again, especially when they’re sounding as good as this. The encore produces one change, with an incendiary version of ‘Caroline’ (missed out last time) which truly sounds better than ever, and then there’s time for a final run through of ‘Bye Bye Johnny’ before it’s all over. Well, this time they said it was definitely the last fling for this line-up… if so, I’m glad I saw them again, but if not, I won’t complain at all if I get a chance to see them again. Not that I’m expecting anyone to believe me…
PENETRATION / THE MORGELLONS. The Garage, 11/4/14. I got to the gig pretty early to catch The Morgellons, who had been recommended by a reliable source. Proves to be a good tip, they’re a decent band with more than a few great tunes. Plenty of energy but keeping it at a steady pace, I definitely hope to see this lot again.
Penetration are as good as they always are. Slight line-up change, but you’d never guess it from the solid performance they give. The band still sound as tight and inventive as we’ve come to expect, while Pauline Murrays’ voice is as strong and evocative as ever. I just wish they’d get around to playing and releasing some more new material – the recent singles were great – but in the meantime, I’m still more than happy to enjoy the older songs. It’s not as if they play all that often, so there’s little chance of taken them for granted. But, yeah, let’s hope we haven’t got too long to wait for the long-promised new album…
Penetration are as good as they always are. Slight line-up change, but you’d never guess it from the solid performance they give. The band still sound as tight and inventive as we’ve come to expect, while Pauline Murrays’ voice is as strong and evocative as ever. I just wish they’d get around to playing and releasing some more new material – the recent singles were great – but in the meantime, I’m still more than happy to enjoy the older songs. It’s not as if they play all that often, so there’s little chance of taken them for granted. But, yeah, let’s hope we haven’t got too long to wait for the long-promised new album…
SNFU / ULTRA-BIDE / MENSHAVIK. Camden Underworld, 13/4/14. It’s always great to see SNFU back in London, especially as their visits seem less frequent these days. But if there’s one thing you can rely on, it’s that they will always deliver a great show.
Menshavik open proceedings with a set of tight, fast hardcore, taking influences from the likes of Negative Approach and (early) Poison Idea, but bringing it forward to a new extreme. Very powerful and probably best seen live.
Ultra Bide are a Japanese band, obviously punk rock based but intent on mixing it with their own brand of weirdness. It’s difficult to describe, you really have to see or hear it, but they create a mighty noise, with pounding rhythms, erratic vocals, distorted guitars and, somehow, some pretty insistent songs. I recommend that you check them out – you may find something you end up loving !
There’s a good turn-out for SNFU, even though it’s a Sunday evening, and the band play a great set. Admittedly, the Belkes are no longer part of the band, but Mr Chi Pig has selected a fine new line-up, including several members from earlier line-ups and a couple of new faces. The important thing is that they all seem to be totally into what they’re doing, giving a great performance of both old and new material. In fact, the latest album, ‘Never Trouble Trouble’, delivers some great new songs to add to the bands’ legacy and I genuinely wanted to hear the new stuff as much as the old. That being said, I’m never going to get tired of hearing songs like ‘I Forget’, ‘The Devils’ Voice’, ‘Big Thumbs’ or ‘Painful Reminder’. Chi Pig may not be as manic onstage these days, but he still puts on a unique display, and at one point even manages a plug for ‘Fear & Loathing’ (although he somehow manages to call me ‘Brandi’ in the process… how did he know ? I only use that name when I’m pole-dancing…) They even play an appropriate cover of ‘Hurt’ during the encore and Chi gives us an impromptu, acapella Erasure cover while the band tunes up ! What more could you ask for ? In a perfect world, SNFU would be playing much larger venues, but in the meantime (and in between time) it’s just great that they are still out there and intent on going forward.
Menshavik open proceedings with a set of tight, fast hardcore, taking influences from the likes of Negative Approach and (early) Poison Idea, but bringing it forward to a new extreme. Very powerful and probably best seen live.
Ultra Bide are a Japanese band, obviously punk rock based but intent on mixing it with their own brand of weirdness. It’s difficult to describe, you really have to see or hear it, but they create a mighty noise, with pounding rhythms, erratic vocals, distorted guitars and, somehow, some pretty insistent songs. I recommend that you check them out – you may find something you end up loving !
There’s a good turn-out for SNFU, even though it’s a Sunday evening, and the band play a great set. Admittedly, the Belkes are no longer part of the band, but Mr Chi Pig has selected a fine new line-up, including several members from earlier line-ups and a couple of new faces. The important thing is that they all seem to be totally into what they’re doing, giving a great performance of both old and new material. In fact, the latest album, ‘Never Trouble Trouble’, delivers some great new songs to add to the bands’ legacy and I genuinely wanted to hear the new stuff as much as the old. That being said, I’m never going to get tired of hearing songs like ‘I Forget’, ‘The Devils’ Voice’, ‘Big Thumbs’ or ‘Painful Reminder’. Chi Pig may not be as manic onstage these days, but he still puts on a unique display, and at one point even manages a plug for ‘Fear & Loathing’ (although he somehow manages to call me ‘Brandi’ in the process… how did he know ? I only use that name when I’m pole-dancing…) They even play an appropriate cover of ‘Hurt’ during the encore and Chi gives us an impromptu, acapella Erasure cover while the band tunes up ! What more could you ask for ? In a perfect world, SNFU would be playing much larger venues, but in the meantime (and in between time) it’s just great that they are still out there and intent on going forward.
ADAM ANT / SLEAFORD MODS / SLOW CLUB. Rough Trade Shop, ADAM ANT / SEPTEMBER GIRLS / RUTS DC. Berwick Street. ADAM ANT. Hammersmith Apollo, 19/4/19. As it turned out, this years’ Record Store Day should have been re-named Adam Ant Day, as the man-himself decided on presenting three different performances in various corners of London in the course of one day. This and a few other highlights tempted me out, having not been particularly enticed by the elbows of the previous RSD crowds. But as long as I avoided the inside of the shops, I knew it could be done.
So, firstly, down to Portobello Road and join the crowd outside Rough Trade in plenty of time. There’s not much space outside the shop (the road wasn’t closed, you see) so claiming a good vantage point early on was a bit of a priority. Fortunately, I meet up with my old friend Michael and a few other familiar faces. Unfortunately, it also means we have to endure the appallingly bad Slow Club, a duo so incredibly dull they’d probably think that late-Seventies Fleetwood Mac was ‘cool’ (it isn’t.) Listening to them, I wasn’t sure what the better option would be their sudden death or mine ? Both would’ve been preferable to hearing any more of their drivel.
Eventually, it’s over, but Mr Ant still hasn’t made an appearance. Doubts are beginning to be aired, but then a couple of figures quietly make their way through the crowd, and he’s here. Together with his guitarist Tom Edwards, they disappear into the shop for a few moments while staff try and rearrange the crowd safely, and then it’s time for the set to start. ‘Cartrouble’ works surprisingly well in an acoustic form, and further ‘Dirk’ material including ‘Cleopatra’ and ‘Never Trust a Man’ are just as enjoyable. The crowd is enthusiastic but also pretty considerate, even when a car squeezes along the road barely missing quite a few toes ! Adam’s also clearly enjoying it himself, telling tales between songs and sneaking a few covers into the set, including ‘Shakin’ All Over’, ‘Cast Iron Arm’ and ‘Get It On’. Finally, it all ends with a great version of ‘Physical’ and even though a few fans were a bit miffed that he didn’t hang around to sign autographs, I’m sure that no-one had been less than impressed by the performance.
Adam is next due to play in Berwick Street, but before I traipse across town, I have time to catch a few songs from Sleaford Mods, a band I’ve been wanting to see for some time. They live up to expectations, opening-up the first song by yelling ‘Jolly Fucker’ towards the horrified tourists limping down Portobello Road. You can’t fault that sentiment ! They have loads of energy, with an insistently minimal musical backing, and it’s surprisingly exciting. I wish I could stay for longer, but I already have places to go, people to meet… I will definitely make a point of seeing Sleaford Mods again soon.
Down to Berwick Street. The place is packed and I get the impression most of the people are here because they were told to go by twitter rather than having any real interest in music. The stage has also been moved back to the junction with D’Arblay Street but, if anything, this just makes the congestion even worse. I catch up with Michael again and we find a reasonable vantage point. Fortunately, there isn’t a long wait for Adam and soon enough, he’s up onstage. There’s been a costume change since Portobello and this time, Tom’s guitar is electric, but otherwise the set is pretty much the same. A few songs swapped around and no ‘Cast Iron Arm’ this time, but he still sounds good and for the fans, it’s another enjoyable set. The only downer is that large sections of the crowd seem more intent on drinking than enjoying the music, so there just isn’t the same connection there was at Rough Trade. That being said, his set still goes down well with much of the crowd and for those who were there for the music, it was great fun.
Next onstage are an all-girl Irish band called September Girls, who play sorta fuzzy indie pop stuff, not sounding too bad but by this point, I really need a beer, so a few songs into it, I sneak down to The Ship…
Final band this afternoon are Ruts DC, so that can’t be missed. There’s still quite a large crowd though it’s not as packed as it was earlier. The band are just playing as a three-piece this time, but they have more than enough presence to fill the stage. Starting, as usual, with a reggae track, they then delve into the Ruts / Ruts DC back catalogue, with versions of ‘It Was Cold’, ‘Backbiter’ and ‘Mirror Smashed’. Old and new material ensues, meshing together perfectly and having a good section of the audience dancing all through. But it’s the end of the set, the inevitable ‘Babylons Burning’ and ‘In A Rut’ that really steal the show. I doubt if anyone was left unmoved, even if they’d been there all afternoon, and I have no doubts that the band won themselves a whole new set of fans from this one.
Time to relocate once again, this time down to Hammersmith. I meet up with Michael and a few other friends again, in time for a quick beer in a local pub before heading into the venue. This gig was to be a celebration of the classic ‘Dirk Wears White Sox’ album, together with Adams’ first onstage reunion with original Ants’ Dave Barbe and Leigh Gorman for several decades. It was going to be a special event, and certainly one that many fans had waited a long time to see.
The first half of the set certainly lived-up to expectations. ‘Dirk’ was played in its’ entirety and both Adam and the band play great. The sound is a bit murky in places, but the material stands up really well and the performance is true to the original album. From ‘Cartrouble’ through to ‘The Idea’, it was a treat to hear the album all the way through. But once over, things started to get a little messy. ‘Whip in My Valise’ should have been fun but was dragged-out a bit while Adam did some sorta costume-change routine that was just unnecessary. Then the band go into some of the later hits. No problem with that, but suddenly the sound starts to get really messy and although there’s still some fine moments (‘Wonderful’ and ‘Red Scab’ in particular) I don’t think I was alone in thinking it may have been better if the set had been cut shorter rather than filling a full two hours. Additional musicians onstage just made the sound worse and, while I could see the point in trying to make this something spectacular, the second half of the set proved to be something of a let-down after the excellent first-half. Maybe Adam should have just stuck to ‘Dirk’ and related material, making the most of Dave and Leigh for this occasion ? I think most fans would have been happy with that, and happy to be left eager for the next gig.
So, firstly, down to Portobello Road and join the crowd outside Rough Trade in plenty of time. There’s not much space outside the shop (the road wasn’t closed, you see) so claiming a good vantage point early on was a bit of a priority. Fortunately, I meet up with my old friend Michael and a few other familiar faces. Unfortunately, it also means we have to endure the appallingly bad Slow Club, a duo so incredibly dull they’d probably think that late-Seventies Fleetwood Mac was ‘cool’ (it isn’t.) Listening to them, I wasn’t sure what the better option would be their sudden death or mine ? Both would’ve been preferable to hearing any more of their drivel.
Eventually, it’s over, but Mr Ant still hasn’t made an appearance. Doubts are beginning to be aired, but then a couple of figures quietly make their way through the crowd, and he’s here. Together with his guitarist Tom Edwards, they disappear into the shop for a few moments while staff try and rearrange the crowd safely, and then it’s time for the set to start. ‘Cartrouble’ works surprisingly well in an acoustic form, and further ‘Dirk’ material including ‘Cleopatra’ and ‘Never Trust a Man’ are just as enjoyable. The crowd is enthusiastic but also pretty considerate, even when a car squeezes along the road barely missing quite a few toes ! Adam’s also clearly enjoying it himself, telling tales between songs and sneaking a few covers into the set, including ‘Shakin’ All Over’, ‘Cast Iron Arm’ and ‘Get It On’. Finally, it all ends with a great version of ‘Physical’ and even though a few fans were a bit miffed that he didn’t hang around to sign autographs, I’m sure that no-one had been less than impressed by the performance.
Adam is next due to play in Berwick Street, but before I traipse across town, I have time to catch a few songs from Sleaford Mods, a band I’ve been wanting to see for some time. They live up to expectations, opening-up the first song by yelling ‘Jolly Fucker’ towards the horrified tourists limping down Portobello Road. You can’t fault that sentiment ! They have loads of energy, with an insistently minimal musical backing, and it’s surprisingly exciting. I wish I could stay for longer, but I already have places to go, people to meet… I will definitely make a point of seeing Sleaford Mods again soon.
Down to Berwick Street. The place is packed and I get the impression most of the people are here because they were told to go by twitter rather than having any real interest in music. The stage has also been moved back to the junction with D’Arblay Street but, if anything, this just makes the congestion even worse. I catch up with Michael again and we find a reasonable vantage point. Fortunately, there isn’t a long wait for Adam and soon enough, he’s up onstage. There’s been a costume change since Portobello and this time, Tom’s guitar is electric, but otherwise the set is pretty much the same. A few songs swapped around and no ‘Cast Iron Arm’ this time, but he still sounds good and for the fans, it’s another enjoyable set. The only downer is that large sections of the crowd seem more intent on drinking than enjoying the music, so there just isn’t the same connection there was at Rough Trade. That being said, his set still goes down well with much of the crowd and for those who were there for the music, it was great fun.
Next onstage are an all-girl Irish band called September Girls, who play sorta fuzzy indie pop stuff, not sounding too bad but by this point, I really need a beer, so a few songs into it, I sneak down to The Ship…
Final band this afternoon are Ruts DC, so that can’t be missed. There’s still quite a large crowd though it’s not as packed as it was earlier. The band are just playing as a three-piece this time, but they have more than enough presence to fill the stage. Starting, as usual, with a reggae track, they then delve into the Ruts / Ruts DC back catalogue, with versions of ‘It Was Cold’, ‘Backbiter’ and ‘Mirror Smashed’. Old and new material ensues, meshing together perfectly and having a good section of the audience dancing all through. But it’s the end of the set, the inevitable ‘Babylons Burning’ and ‘In A Rut’ that really steal the show. I doubt if anyone was left unmoved, even if they’d been there all afternoon, and I have no doubts that the band won themselves a whole new set of fans from this one.
Time to relocate once again, this time down to Hammersmith. I meet up with Michael and a few other friends again, in time for a quick beer in a local pub before heading into the venue. This gig was to be a celebration of the classic ‘Dirk Wears White Sox’ album, together with Adams’ first onstage reunion with original Ants’ Dave Barbe and Leigh Gorman for several decades. It was going to be a special event, and certainly one that many fans had waited a long time to see.
The first half of the set certainly lived-up to expectations. ‘Dirk’ was played in its’ entirety and both Adam and the band play great. The sound is a bit murky in places, but the material stands up really well and the performance is true to the original album. From ‘Cartrouble’ through to ‘The Idea’, it was a treat to hear the album all the way through. But once over, things started to get a little messy. ‘Whip in My Valise’ should have been fun but was dragged-out a bit while Adam did some sorta costume-change routine that was just unnecessary. Then the band go into some of the later hits. No problem with that, but suddenly the sound starts to get really messy and although there’s still some fine moments (‘Wonderful’ and ‘Red Scab’ in particular) I don’t think I was alone in thinking it may have been better if the set had been cut shorter rather than filling a full two hours. Additional musicians onstage just made the sound worse and, while I could see the point in trying to make this something spectacular, the second half of the set proved to be something of a let-down after the excellent first-half. Maybe Adam should have just stuck to ‘Dirk’ and related material, making the most of Dave and Leigh for this occasion ? I think most fans would have been happy with that, and happy to be left eager for the next gig.
THE DAMNED / RUTS DC / JOHNNY MOPED / TV SMITH / EDDIE TENPOLE. The Forum, 24/4/14. Would you believe it, Captain Sensible reaches his 60th Birthday ! How the Hell did that happen ? Who knows, but in a real sense of occasion, The Damned announce a special gig at The Forum, with ticket prices at a very generous £1.70 (same price as the legendary ‘Captains Birthday party’ back in 1977.) Not surprisingly, it sells out almost immediately, and on the night it seems like everyone is turning up early to catch the whole event. As soon as we’re inside, the atmosphere is really buzzing. It’s got a real celebratory feel, and so it should.
Proceedings start with a set from TV Smith, this time ably backed by the drumming monkey himself, Vom Ritchie. Just guitar, drums and vocals, but they make a bigger sound than most full bands can create. Of course, the quality of the songs is also a major factor, and both the old and new material goes down really well. A perfect start to the evening !
Next up, it’s the Mopeds, with Johnny on his usual, enigmatic form and the band sounding tighter than ever. Admittedly, you either ‘get’ the Mopeds or you don’t, but for those of us who have succumbed to their charms, there really isn’t much that can better it. No pretences, they’re just a great rock’n’roll band with plenty of attitude and a genuinely eccentric quality. With a good, responsive audience, they’re really in their element tonight, and play a truly great set. We even get treated to a brace of new songs – perhaps the long-rumoured new record really is on the way ? Regardless, I’m already looking forward to their next gig!
Eddie Tenpole plays a short acoustic set next. Again, a genuinely eccentric character, I always enjoy his performances, either solo or with a band. The Forum probably wasn’t the best place to see him, as he tends to thrive on more direct contact with the audience, but it’s still a lot of fun. He’s a unique peformer with an obvious passion for his music.
As the gig was set to run all the way through to midnight, The Damned elected to play next, ensuring that anyone needing to leave early wouldn’t miss the main act. Initially, the sound isn’t so great (probably a result of the quick change around between bands) but gradually settles down and, anyway, this gig isn’t about perfection, it’s a party ! I’m not sure if it was coincidental, but the set featured material from 1976 through to 1983, before Captains’ original departure from the band, even including versions of ‘Happy Talk’ (not unexpected) and ‘Glad It’s All Over’ (a surprise bonus !) The band are at their best, sounding professional but still with an edge, as if it could still descend into chaos at any moment. After all this time, they’re still a great live band, exciting and entertaining. After a fine version of ‘Neat Neat Neat’, they leave the stage, before Eddie Tenpole appears to lead the audience in a rousing ‘Happy Birthday Captain’ before the birthday boy returns with the rest of his band-mates. A final, rowdy version of ‘Smash It Up’ was probably the only way for this gig to end – Good on yer, Captain ! Here’s to many more Birthday Parties !
Ruts DC are the final band to play this evening. Unfortunately, a lot of people had to leave after The Damned, so the atmosphere is kinda diminished, but they still play a good set. Again, it probably wasn’t the best time and place to see them, but I enjoyed their set. I mean, songs like ‘Staring At The Rude Boys’ or ‘West One’… how could you not be impressed ? As I’ve said before, this is a band you’ve really got to see.
Proceedings start with a set from TV Smith, this time ably backed by the drumming monkey himself, Vom Ritchie. Just guitar, drums and vocals, but they make a bigger sound than most full bands can create. Of course, the quality of the songs is also a major factor, and both the old and new material goes down really well. A perfect start to the evening !
Next up, it’s the Mopeds, with Johnny on his usual, enigmatic form and the band sounding tighter than ever. Admittedly, you either ‘get’ the Mopeds or you don’t, but for those of us who have succumbed to their charms, there really isn’t much that can better it. No pretences, they’re just a great rock’n’roll band with plenty of attitude and a genuinely eccentric quality. With a good, responsive audience, they’re really in their element tonight, and play a truly great set. We even get treated to a brace of new songs – perhaps the long-rumoured new record really is on the way ? Regardless, I’m already looking forward to their next gig!
Eddie Tenpole plays a short acoustic set next. Again, a genuinely eccentric character, I always enjoy his performances, either solo or with a band. The Forum probably wasn’t the best place to see him, as he tends to thrive on more direct contact with the audience, but it’s still a lot of fun. He’s a unique peformer with an obvious passion for his music.
As the gig was set to run all the way through to midnight, The Damned elected to play next, ensuring that anyone needing to leave early wouldn’t miss the main act. Initially, the sound isn’t so great (probably a result of the quick change around between bands) but gradually settles down and, anyway, this gig isn’t about perfection, it’s a party ! I’m not sure if it was coincidental, but the set featured material from 1976 through to 1983, before Captains’ original departure from the band, even including versions of ‘Happy Talk’ (not unexpected) and ‘Glad It’s All Over’ (a surprise bonus !) The band are at their best, sounding professional but still with an edge, as if it could still descend into chaos at any moment. After all this time, they’re still a great live band, exciting and entertaining. After a fine version of ‘Neat Neat Neat’, they leave the stage, before Eddie Tenpole appears to lead the audience in a rousing ‘Happy Birthday Captain’ before the birthday boy returns with the rest of his band-mates. A final, rowdy version of ‘Smash It Up’ was probably the only way for this gig to end – Good on yer, Captain ! Here’s to many more Birthday Parties !
Ruts DC are the final band to play this evening. Unfortunately, a lot of people had to leave after The Damned, so the atmosphere is kinda diminished, but they still play a good set. Again, it probably wasn’t the best time and place to see them, but I enjoyed their set. I mean, songs like ‘Staring At The Rude Boys’ or ‘West One’… how could you not be impressed ? As I’ve said before, this is a band you’ve really got to see.
ALL / SNUFF / MENSHAVIK. Islington Academy, 28/4/14. This is the first time ALL have played in London for quite some time, and there’s a lot of interest, as there should be. The venue isn’t sold-out, but comfortably full-up, even despite very minimal advertising. Anyway, I turn up early to catch up with the guys, but the Academy staff are their usual unfriendly selves and it takes me some time to find anyone. Eventually I bump into Chad but, as he’s changed his appearance quite considerably since the last time I saw him (he’s gone from clean-shaven to Grizzly Adams…) I don’t recognise him at first… How embarrassing ! After much grovelling, we chat for a while and then Karl joins us. The gig is due to start, so we head inside and meet up with the others.
Menshavik are the opening band, playing some raging hardcore in short, powerful bursts. Maybe not the most original sound, but played with enough power and intent to pull it off. I’m hoping that as they develop they create something that’s got more of their own character. It could become something pretty special.
I haven’t seen Snuff for a while, but watching them tonight makes me realise what I’ve been missing. The current line-up play the songs, old and new, with loads of energy and style. They’ve always had great songs and, while it’ll never be the same as the original line-up, they still stand head and shoulders above those that have followed in their footsteps. Quite simply, Snuff are one of the best bands the UK has ever produced and it’s good that they’re still around.
ALL are on top form tonight, but that being said, when have they ever played a bad show ? Stephen, Karl and Bill are tighter than any band out there, while Chad has made the entire back catalogue his own. They play no Descendents material tonight – with that band still active in their own right, ALL can make their own case, with songs like ‘She’s My Ex’, ‘Fool’ or ‘Million Bucks’ proving themselves as classics in their own rights. Chad gives a lively performance, jumping offstage on several occasions to join the crowd, and the set seems to fly-by in no time. In a perfect world, and all that, ALL should be huge, but fact of the matter is, they’ve worked hard, perfected their craft, and ensured that they have a solid following wherever they go. Others may have had short-term, big success, but ALL have endured the harder road and emerged a truly iconic band. It’s always great to see them, and they always sound great. Let’s hope it won’t be too long before there’s another new album.
Menshavik are the opening band, playing some raging hardcore in short, powerful bursts. Maybe not the most original sound, but played with enough power and intent to pull it off. I’m hoping that as they develop they create something that’s got more of their own character. It could become something pretty special.
I haven’t seen Snuff for a while, but watching them tonight makes me realise what I’ve been missing. The current line-up play the songs, old and new, with loads of energy and style. They’ve always had great songs and, while it’ll never be the same as the original line-up, they still stand head and shoulders above those that have followed in their footsteps. Quite simply, Snuff are one of the best bands the UK has ever produced and it’s good that they’re still around.
ALL are on top form tonight, but that being said, when have they ever played a bad show ? Stephen, Karl and Bill are tighter than any band out there, while Chad has made the entire back catalogue his own. They play no Descendents material tonight – with that band still active in their own right, ALL can make their own case, with songs like ‘She’s My Ex’, ‘Fool’ or ‘Million Bucks’ proving themselves as classics in their own rights. Chad gives a lively performance, jumping offstage on several occasions to join the crowd, and the set seems to fly-by in no time. In a perfect world, and all that, ALL should be huge, but fact of the matter is, they’ve worked hard, perfected their craft, and ensured that they have a solid following wherever they go. Others may have had short-term, big success, but ALL have endured the harder road and emerged a truly iconic band. It’s always great to see them, and they always sound great. Let’s hope it won’t be too long before there’s another new album.
BERMONDSEY JOYRIDERS / THE PHOBICS. 100 Club, 9/5/14. First time I’ve caught the ‘Joyriders since the release of their latest album, so I’m looking forward to hearing the new material live. Plus there’s the bonus of The Phobics in support, so it’s gonna be a good night.
The Phobics blast through their set with plenty of gusto. I did hear, afterwards, that some of them hadn’t been too happy with their performance, but out in front of the stage, they sounded good. Lots of energy and loads of catchy songs, this is the way rock’n’roll ought to be – down to earth, accessible and totally raw. Deptford should be proud of this lot !
But it’s the Bermondsey Joyriders’ night and they soon claim it as their own. John Sinclair is in attendance for a guest spot, adding a nice continuity from ‘Noise & Revolution’, but this set is mostly about the new material and you can hear how ‘Flamboyant Thugs’ is another jump forward. Chris Musto has really made his mark behind the drums, while Gary and Martin have honed their guitar and bass sounds into a formidable strike-force. New songs like ‘Sonic Underground’ and ‘Here Come The People’ are easily amongst their best, while slightly older ones like ‘Johnny Thunders’ are a good reminder of how many great songs they’ve already written. They reference plenty of great rock’n’roll bands, but the results are very much their own. Catch them soon and often !
The Phobics blast through their set with plenty of gusto. I did hear, afterwards, that some of them hadn’t been too happy with their performance, but out in front of the stage, they sounded good. Lots of energy and loads of catchy songs, this is the way rock’n’roll ought to be – down to earth, accessible and totally raw. Deptford should be proud of this lot !
But it’s the Bermondsey Joyriders’ night and they soon claim it as their own. John Sinclair is in attendance for a guest spot, adding a nice continuity from ‘Noise & Revolution’, but this set is mostly about the new material and you can hear how ‘Flamboyant Thugs’ is another jump forward. Chris Musto has really made his mark behind the drums, while Gary and Martin have honed their guitar and bass sounds into a formidable strike-force. New songs like ‘Sonic Underground’ and ‘Here Come The People’ are easily amongst their best, while slightly older ones like ‘Johnny Thunders’ are a good reminder of how many great songs they’ve already written. They reference plenty of great rock’n’roll bands, but the results are very much their own. Catch them soon and often !
VASELINE UP TO THEE ELBOW. The Oliver Conquest, 10/5/14. A rather exclusive gig at Whitechapels’ legendary Palace of Gin (over 5000 different varieties available, or something like that…) This was actually a follow-up to the previous years' party that was held to honour or sadly-missed friend, Pete Upton. Also serving as a gathering of old friends, this evening featured a rare live appearance by the equally legendary Vaseline Up To Thee Elbow, a band of near-mythical proportions from the annals of Herne Bays’ punk rock past. They only ever played one gig, some thirty years ago, but that was enough to seal their reputation and, indeed, many are still trying to recover ! Having decided all those years ago that there was no need for original material, they opt for a set of choice covers, nothing too obvious, ranging from UK Subs to The Models, and from Killing Joke to The Ants. They play with the right spirit and attitude rather than professionalism. Who needs note-perfect when you’re having fun ? They even cover Clock DVA’s classic ‘4 Hours’, complete with punk rock recorder ! Genius ! It may have taken them three decades to get around to playing again, but it was worth the wait. If there’s going to be a punk rock covers band, this is the way to do it. I’m sure Peter would have approved (begrudgingly…)
UK DECAY. The Boston Arms, 25/5/14. A few years ago, I would have avoided an event named ‘Scumfest’ like the plague, but these days I’m not so disinclined. For one thing, the organisers seem a lot more broad-minded (enough to include UK Decay in this event) and for another, I’d much rather support something that sets itself apart from the apathy and mediocrity of the mainstream. We may not like all the same things, but I’m sure there’s a lot more that we mutually dislike !
I arrive quite early but meet up with various people in a nearby pub, soon joined by Abbo and Ray themselves. Time for a few pints and plenty of chat before crossing the road in for the gig. We’ve timed it perfectly to catch UK Decay, and soon enough, they’re onstage. I’m really not sure how they’re going to go down with this audience, but in the event, it goes really well. Even starting the set with four songs from the recent album, they quickly grab the attention of the crowd, and when they do go into older, more familiar tracks like ‘Sexual’ or ‘For My Country’, the place really gets moving. ‘Revolutionary Love Song’ creates a tension, which is then taken further with ‘Unexpected Guest’. UK Decay took a risk in playing just as many new songs as old, but they all go down really well, proving my earlier point about these audiences being more broad-minded these days. It just goes to show that the band are still just as valid and that the new material has really taken-up the mantle of the old. Afterwards, I went home impressed with both the band and the audience.
I arrive quite early but meet up with various people in a nearby pub, soon joined by Abbo and Ray themselves. Time for a few pints and plenty of chat before crossing the road in for the gig. We’ve timed it perfectly to catch UK Decay, and soon enough, they’re onstage. I’m really not sure how they’re going to go down with this audience, but in the event, it goes really well. Even starting the set with four songs from the recent album, they quickly grab the attention of the crowd, and when they do go into older, more familiar tracks like ‘Sexual’ or ‘For My Country’, the place really gets moving. ‘Revolutionary Love Song’ creates a tension, which is then taken further with ‘Unexpected Guest’. UK Decay took a risk in playing just as many new songs as old, but they all go down really well, proving my earlier point about these audiences being more broad-minded these days. It just goes to show that the band are still just as valid and that the new material has really taken-up the mantle of the old. Afterwards, I went home impressed with both the band and the audience.
KID CONGO & THE PINK MONKEY BIRDS. The Rhythm Factory, 29/5/14. I’ve only been to the Rhythm Factory once before, but if my memory serves me correctly (which it probably doesn’t) it’s changed quite a lot. The bar at the front of the place is awkwardly-located, but once in the venue at the back of the building, it’s fine, even though it’s pretty packed for this gig. Of course, with a musical-pedigree like his, Kid Congo should be playing much larger venues, but whilst the music media continues to work on ethics that have no time for real talent or respect, Kid Congo is happy to continue playing to the faithful. Hot on the heels of his recent album ‘Haunted Head’ (probably his best solo offering so far) this gig shows just how good this band are. Kid Congo is an understated yet charismatic frontman, while the Pink Monkey Birds have developed into a tight, entertaining combo. They play plenty of new material along with a few choice moments from the Cramps and Gun Club back catalogue, while their cover of ‘I Found a Peanut’ remains one of the highlights of the set. Kid Congo can certainly still hit the mark, and if you miss out, you’re only gonna regret it.
VIOLENT FEMMES. The Troxy, 18/6/14. I’d already been thinking of going to Violent Femmes as, although I’m not over familiar with their music, I’ve always enjoyed what I’ve heard. This gig was going to include a full performance of their first LP which is the only one I know pretty well, so this seemed like an ideal opportunity to catch up with them. But while I was still grimacing about the rather high ticket prices, help arrives in the form of FNL associate, Steve Mackay, who, it turns out, will be playing sax with the band once again and generously offers to include me on his guestlist ! Result. I get to see a gig I wanted to go to anyway, plus I’ll get to see Steve…
The Troxy is a bit out of the way for most people, but relatively close to where I work, so I go straight down there and meet up with Tom and Willy (editor of the elusive Stone Age fanzine) at a nice little pub just along the road. Please note, bar prices are rather steep in The Troxy, best to check out the local hostelries before a gig. Anyway, a couple of beers down, and we head over to the venue, nicely timed to catch the main band.
First observation ; Violent Femmes attract a large amount of young ladies. This isn’t something I am used to seeing, not at the horrible gigs I normally go to. And Tom is clearly wondering where The Phobics have gone wrong. Forget Riot Grrl bands, if you want to find a gig where the audience is predominantly female, Violent Femmes are the ones to see.
The venue is pretty full, though far from packed. I’ve never seen it packed, actually, although apparently it sells out quite often. That said, it’s comfortably full and there’s plenty of atmosphere. The band arrive onstage and open with ‘Blister In The Sun’, probably their best known track, and set themselves with something of a challenge for the rest of the gig. But the tracks from the first LP are more than equal to the task, and everyone seems to be bopping along. Seeing them live, it’s easy to see how much debt is owed to them by so many other American bands (hello, Pixies !) but I doubt if they mind. As the set progresses, the music becomes more involved and extra musicians, Steve Mackay included, help to expand the sound. They play material that I’ve never heard before, but it’s still easy to enjoy, and they’re also quite an enjoyable band to watch. The set is pretty long, but I never find my concentration straying which is certainly a compliment. Finally, at the end of the encores, they sneakily play ‘Blister In The Sun’ one more time, albeit a very different arrangement with all the extra musicians. Yeah, this was a good gig and left me intent on checking out more of their back catalogue. I’m really glad I got the chance to see them – thanks, Steve !
The Troxy is a bit out of the way for most people, but relatively close to where I work, so I go straight down there and meet up with Tom and Willy (editor of the elusive Stone Age fanzine) at a nice little pub just along the road. Please note, bar prices are rather steep in The Troxy, best to check out the local hostelries before a gig. Anyway, a couple of beers down, and we head over to the venue, nicely timed to catch the main band.
First observation ; Violent Femmes attract a large amount of young ladies. This isn’t something I am used to seeing, not at the horrible gigs I normally go to. And Tom is clearly wondering where The Phobics have gone wrong. Forget Riot Grrl bands, if you want to find a gig where the audience is predominantly female, Violent Femmes are the ones to see.
The venue is pretty full, though far from packed. I’ve never seen it packed, actually, although apparently it sells out quite often. That said, it’s comfortably full and there’s plenty of atmosphere. The band arrive onstage and open with ‘Blister In The Sun’, probably their best known track, and set themselves with something of a challenge for the rest of the gig. But the tracks from the first LP are more than equal to the task, and everyone seems to be bopping along. Seeing them live, it’s easy to see how much debt is owed to them by so many other American bands (hello, Pixies !) but I doubt if they mind. As the set progresses, the music becomes more involved and extra musicians, Steve Mackay included, help to expand the sound. They play material that I’ve never heard before, but it’s still easy to enjoy, and they’re also quite an enjoyable band to watch. The set is pretty long, but I never find my concentration straying which is certainly a compliment. Finally, at the end of the encores, they sneakily play ‘Blister In The Sun’ one more time, albeit a very different arrangement with all the extra musicians. Yeah, this was a good gig and left me intent on checking out more of their back catalogue. I’m really glad I got the chance to see them – thanks, Steve !