LIVE REVIEWS, JANUARY-JUNE 2023.
DISCHARGE, 100 Club, 9/1/2023. I arrived a bit late for this gig, as I wasn’t particularly keen to see the support bands, but made sure that I was there in time for Discharge. I’d been very impressed when I’d seen the current line-up at New Cross Inn and certainly didn’t want to miss them here. Vocalist Jeff Janiak has really helped to re-vitalise the band and now, with Bones, Tezz and Rainy from the bands original heyday back in the fold, they really do sound more powerful and abrasive than ever. The ‘metalisms’ that marred their progress during the late Eighties are now kept to a minimum and they are back to doing what Discharge do best; short, brutal punk rock assaults that are both cathartic and exhilarating. Songs like ‘Fight Back’, ‘Ain’t No Feeble Bastards’ and ‘Never Again’ have stood the test of time and are rightly considered to be punk classics. And, while the threat of nuclear war and international conflict may not be as prominent now as it was during the Thatcher / Reagan era, it’s never far away, ensuring that the lyrics have lost none of their poignancy. Of course, not everyone is going to enjoy the sound that Discharge create, but if you ever did appreciate what they do, then you really need to see this line-up.
UK SUBS / THE MISTAKES. 100 Club, 12/1/23. Although several people have told me that The Mistakes were well-worth seeing, I wasn’t too impressed with this occasion. They played a rather generic mix of hardcore and street-punk that just didn’t stand-out to my mind. I’ve been wrong about these things before and I hope I’ll be impressed in the future, but this wasn’t a gig that made me want to hear more. The UK Subs, on the other hand, were at their best once again, playing so many great songs picked from across their entire five decade career. The current line-up has now gelled into a truly great live band while Charlie Harper looks and sounds just as vital and enthusiastic as when I first saw and heard the band. They rip through all the old favourites, from ‘CID’ through to ‘Teenage’, but plenty of their less obvious tracks and more recent songs receive just as great a response from the audience. Rumours keep circulating that the Subs are planning to slow-down their schedule in the near future but with the band firing on all cylinders as well as this, you have to wonder if that’s what they really want to do? Regardless, catch them while you can!
DOGSHITE / RITES OF HADDA. The Birds Nest, 14/1/23. Rites of Hadda are intriguing. Their music isn’t something that’s instantly accessible but as I hear more of them the more non/sense it begins to make. Musically, they do at times remind me of Hawkwind (Nik Turner era) rather than a regular punk band (although when was punk ever supposed to be ‘regular’?) If it’s attitude you want, then this band and, in particular, their singer Wasp have plenty of it. Definitely a group that deserve further investigation. In contrast and despite their off-putting name, Dogshite have an incredibly catchy set of songs and quickly win the attention of everyone in the venue. With a mixture of 70’s Punk, a few nods towards Anarcho and several hints of Ska and Two-tone, Dogshite have created a set that’s accessible whilst also remaining sharp and challenging. They also have a great sense of humour, never forgetting that music is supposed to be fun! If you haven’t already done so, you really need to see this band live or, if that’s not possible, at least give their mini-album ‘Mass Deception’ a good listen… you’ll be in for a treat!
WINGMEN. Islington Academy, 21/1/23. After their ‘secret’ appearance in Deptford, I was really looking forward to this. As part of their first UK tour, the Wingmen were playing their official London debut and I’m glad to say, it lived up to expectations. With a line-up featuring former/current members of The Stranglers, The Damned, Johnny Moped and Ruts DC, a good-sized audience had turned up to check-out the band and their curiosity was rewarded with a really great evening . Of course, the band are keen to establish their own identity and the set mostly features the songs from their debut album, which I’m sure won’t disappoint any fans of the afore-mentioned bands. That said, this is a band that’s very much its’ own beast, with songs that deal with recent and contemporary issues (including Brexit and the Covid lockdowns) but they’re also unafraid to include a few appropriate covers to bolster the setlist, including The Stranglers ‘Long Black Veil’ and the Kraftwerk classic, ‘The Model’. But it’s when they reach the encore that they decide to have some fun, with covers of ‘Do Anything You Wanna Do’, ‘Solid Gold Easy Action’ and the Supergrass hit ‘Pumping on Your Stereo’ (no doubt as a nod towards their keyboard player, Rob Coombes.) The Wingmen have proved themselves to be a great band and I can only hope that they find time between their other bands to carry on playing together, as this is a project that really deserves time to take things further.
THE PHOBICS. The Prince Albert, Brighton, 29/1/23. Last time the Phobics played a matinee gig at the Prince Albert, I had to miss it due to a dental emergency (so much pain!) but this time I was determined not to miss the event (made all the more enticing as the Wingmen are also playing in Brighton later that evening.) I had to make the most of the synchronicity… Anyway, gigs in Brighton tend to be social occasions, as it gives me a chance to catch up with various friends that I wish I could see more often (no names mentioned to avoid embarrassment.) So I miss the other bands on the bill, but make sure that I see The Phobics, who play a fine, full-throttle set and receive an appropriate response from the audience. It’s a bit early in the day for them, really, as their dirty, punky rock’n’roll really needs the cover of night to achieve full effect but clearly just enough booze has been partaken to reach their usual standards. It’s a great gig and, to my mind, they should’ve been headlining rather than middle-of-the-bill, but regardless, they ruled the roost and I’m pretty sure most of the audience agreed with that.
WINGMEN, Brighton Concorde, 29/1/23. And so, after perhaps a few further drinks, several of us stroll down to the Concorde to catch The Wingmen one mo’ time. The set remains pretty-much the same as their show in London a week before, but as this is the final date of the tour they also add a few more surprises, including a cover of Bowies’ ‘Hang on to Yourself’ early in the gig. They nail it, of course, but then top it at the end of the set with a blistering version of The Stooges’ ‘I Got a Right’, proving that they can play as hard as anyone. As the time is edging towards last-train departure, we have to leave to get home and I think we may have missed some of the encore, but Wingmen had been even better tonight than they had been in London and have obviously developed their chemistry during the course of their tour. Trust me, this is a band you need to check out, and I really hope they’re able to continue alongside their other bands.
THE RESIDENTS. Union Chapel, 31/1/23. Having been delayed due to the heinous lockdowns, the Residents finally make it to London to celebrate (depending on what you were reading) the ‘Duck Stab’ reissue and the ‘Dyin’ Dog’ project (slightly late) or their 50th anniversary (slightly early.) In Resident-world, it all made perfect sense, so no need to worry. I’m not sure if the Union Chapel was the best venue for this show and, with the initial problems the band encountered as they appeared onstage (no sound from the guitar) it seemed that I was right, but once this problem was resolved, things actually went rather well. The band-format for this show was probably the most ‘orthodox’ that I’ve seen for The Resiidents (vocalist, guitar, drums, keyboards) but this is still The Residents and consequently unlike anyone else. The setlist features a lot of older material, starting with the Hank Williams’ cover ‘Jambalaya’ before tackling the classics ‘Hello Skinny’, ‘Laughing Song’ and ‘Bach is Dead’. But as you’d expect (you really should!) they also delve into more recent material like ‘Boxes of Armaeddon’, ‘Hungrry Hound’ and ‘Die! Die! Die!’. The Residents have always been about moving forward and seeing what they do with their old material just as much as the new. As such, we also get to hear new interpretations of ‘Smelly Tongues’, ‘Constantinople’ and’ Blue Rosebuds’, perfectly satisfyng the Eyeball-obsessives just as much as the merely-curious. ‘Diskomo’ provides a suitably upbeat tone for the start of the encore, before ‘Nobody Laughs When They Leave’ ends the evening in an appropriately sombre atmosphere. After all, even The Residents can’t last forever… or will they?
BRUNO AND THE OUTRAGEOUS METHODS OF PRESENTATION. The Lexington, 5/2/23. This was a matinee gig to celebrate the 59th Birthday of gig-going legend Chris Plummer and there were loads of bands playing over the course of the afternoon. I’m particularly keen to check out Bruno and TOMOP again. They play a really great set this afternoon and I’m sure they didn’t lose the attention of anyone in the venue throughout the gig. As I’ve said before, Bruno’s songs remind me of the early Modern Lovers material, not necessarily sounding like them, but taking a similarly naïve-yet-authentic approach that encompasses both 60’s garage punk and snotty 70’s attitude. Bruno is an outsider in real terms, but given the time and space to develop I think he could create something really special. I hope it all comes together before the usual music-biz interference gets a chance to mess it up. Catch this band now while it’s raw and unpredictable.
OFF! Rough Trade East, 9/2/23. I’ve been a fan of Off! since their first EP was released, but having followed their subsequent records and seeing them play live on several occasions, I was still unprepared for their latest album, ‘Free LSD’. Their brutal assault of stripped-down hardcore is even more insistent than before, whilst the tracks are interspersed with noisy, free-jazz-like bursts of energy that perfectly counter-balance the punk rock attitude. Unfortunately, I’d been unable to get a ticket for their gig at the Moth Club but I was quick-off-the-mattress for this one. I was feeling pleased with myself and that continued until the evening of the gig, which was supposed to start at 7.00pm. I left home in plenty of time , but only got as far as Abbey Wood before I found myself stuck on a train that wasn’t going anywhere! At first I wasn’t too concerned as I’d allowed plenty of time to get to the gig, but as the watch-hands started to approach 7.00, I started to panic with pointless but strangely appropriate words like ‘FUCK, FUCK, FUCK!’ I kept trying to read a newspaper to calm myself down, but it wasn’t working. Finally, at 7.15, the train started moving and I reached Liverpool Street at about 7.30. then there’s a ten minute rush through Spitalfields to get to RTE where I find that… Off! aren’t playing until 8.00pm. I don’t know whether to feel pleased that I haven’t missed their set or feel pissed-off that that I’ve been so stressed-out about nothing. Fortunately, a quick beer helps me to settle-down. Off! eventually appear onstage and proceed to deliver a full set, made-up mostly of the songs from ‘Free LSD’ before blasting through various tracks from their earlier releases. It’s an intense and uncompromising performance that really slaps you in the face and despite the line-up changes, this band are taking things even further forward. Keith Morris may be in his late-sixties, but with this band he’s found a truly natural output for his creative urges. Do you want to be blown away? Go and see this band and it’ll answer your prayers.
JESSE MALIN. The Garage, 17/2/23. There was a slight disappointment to this gig, as Tommy Stimson (Replacements etc) had been billed as support but had been forced to cancel due to some medical issue. That was a big shame but as it turned out, Jesse’s set more than made up for the loss. Playing a great set of songs from right across his career, it’s a great mix of tones, tempos and varying atmospheres, including a well-chosen selection of covers, with songs by The Pogues, The Replacements and even Lords of the New Church (an impressive version of ‘Russian Roulette’.) Jesse himself makes use of the entire venue, as much in the audience as he spends time onstage and at one point even performing songs on top of the bar itself! Although musically he may have moved on from the traditional New York Punk Rock roots s of the Dolls and Ramones, but his attitude remains true and his music rocks like no other. He produces songs that have no problem with appealing to a more mainstream audience but never sacrifice his integrity. Miss him at your peril.
DAMIDGE / CHERRY REDS / DINOSAUR SKULL. Pelton Arms, 18/2/23. Another great line-up at The Pelton. Three bands that sound completely different, style-wise, but still manage to compliment each-other in terms of approach and attitude. Dinosaur Skull are Cil and Mike (formerly of the Werecats) but this new band are a much-more pop-orientated project (of the indie-kind.) They play a great set that perfectly sets-up the evening with plenty of catchy, entertaining songs and worthy lyrics. The Cherry Reds were (I believe, but might be wrong) playing their first gig for some time and as a result there’s quite a few people to see them. Their mix of late Seventies Punk’n’Mod goes down really well and certainly makes me want to see them again… even if the name has been used by far too many bands. Finally, it’s time for Damidge and, with their current line-up, featuring John Overdrive on drums and Moyni Phobic on bass, they manage to deliver a surprisingly tight, powerful set despite the fact that singer Al has been sick with the lurgi all week and has to spend much of their set sitting on a stool! (Kids… this is proper rock’n’roll attitude rather than cancelling a gig at the merest hint of a broken fingernail…) This current Damidge line-up is sounding great, they’re a bunch of really nice people (don’t tell them I said that) and I really hope they get some recordings done soon, as they keep promising.
WE ARE NOT DEVO. New Cross Inn, 3/3/23. As you may already know, I’m not a big fan of ‘tribute bands’. I don’t mind these things as one-off events or something just done as a bit of fun, but it now seems to be taken far too seriously, with full-time bands touring on a professional basis and even trying to mimic the original band members. However, there are some exceptions and ‘We Are Not Devo’ are one of them. For a start, a Devo tribute band is only ever going to have a limited appeal so you can’t really accuse them of just trying to make some quick cash and the whole ethos of Devo sort of lends itself to the concept. Most importantly, the music allows enough space for the new band to add some of their own character, most notably the fact that the lead singer is female, which adds a nice twist to the proceedings. The vocals remain close enough to Mark Mothersbaughs’ style to please the fans, but there’s a different edge to it. In an hour-long set, We Are Not Devo play all the ‘hits’ that you’d want to hear, plus a few less obvious songs that will appeal to the more die-hard fans. They perform with plenty of energy and imagery and maintain that sly sense of humour that always helped to keep Devo set apart from any others. I have no problem recommending this band and if you do get to see them, I’m sure you’ll enjoy it too.
KILLING JOKE. 100 Club, 9/3/23. Killing Joke had announced a one-off gig at the Royal Albert Hall, which I wasn’t too keen on seeing. Having to watch KJ from a seat, rather than being able to get down to the front, just isn’t right, so I was much happier when they announced several low-key warm-up dates at small venues around the country. Despite the usual hassles in securing tickets, I eventually found someone with a spare (cheers, Kevin!) and ended-up going along to see them at the 100 Club. Result! There was no support band for these dates, so at 9.00, Killing Joke took to the stage without any delays. These dates are a special celebration of their first two albums, the self-titled debut and ‘What’s This For’, playing them both in correct order. As such, the first sound we hear from the stage is the sinister intro for ‘Requiem’, a sequence that still sends tingles down my spine. Geordies’s awesome guitar opens up and sets the perfect tone before the rest of the band join in. It’s one of those songs that just can’t be bettered. There’s not many gaps between songs as they proceed through the album, with ‘Wardance’, Tomorrow’s World’, ‘The Wait’, ‘Complications’ just as vital now as they were in 1980. When they complete the songs from the first album, there’s no formal break before they delve into the tracks from ‘What’s This For’. ‘ The Fall of Because’ has always been a key-moment in Killing Joke’s ongoing legacy and, yet again, it never disappoints. Other fan-favourites like ‘Tension’, ‘Unspeakable’ and ‘Follow the Leaders’ prove to be further highlights of the set, before it comes to an end, but there are still plenty of songs from the same era and, as an encore, we get stunning renditions of ‘Change’, ‘Are You Receiving?’, Turn to Red’ and, of course, ‘Pssyche’. Killing Joke have always been an incredibly powerful live band, whether they’re playing large or small venues, but there’s always something special about seeing them so close-up. By all accounts, their gig at the Royal Albert Hall a few days later was pretty impressive as well, but this set at the 100 Club was more than enough for me.
HAGAR THE WOMB / DOGSHITE / RABIES BABIES. The Royal Sovereign, 11/3/23. I’d never been to this pub-venue before and as a result it took me ages to get there. Now that I know where it is, it won’t be a problem again, but trying to figure out where you’re going whilst sitting on a bus full of noisy, drunk people is never going to go smoothly. That said, once I get there it turns out to be a nice little venue, even if it is a bit too packed for comfort. This weekend marks International Women’s Day and Carmels’ birthday (Dogshite vocalist, in case you don’t already know) so there’s a great atmosphere. Rabies Babies play first, delivering there brand of raw, noisy punk rock before Dogshite take to the stage (no doubt playing early to allow time for excessive drinking.) The audience is so packed in front of the ‘stage’ area that I can hardly see the tops of their heads, but they sound as good as ever and everyone is jostling around in high spirits. Finally, it’s time for Hagar the Womb and the merriment continues. I do miss Steph (the sensible one on guitar) but her replacement Laura (a Rabid Baby) has proved to be an excellent choice and fits-in perfectly with the rest of the rabble, err, I mean, band… Amongst all the usual Hag-classics, we even get a new song tonight, the entirely truthful ‘The Night We Stole The Mekons Beer’ (or something like that.) Was this a great evening or a magnificent evening? Answers on a postcard please…
HEAVY METAL KIDS / THE PHOBICS. New Cross Inn, 17/3/23. Here’s two bands who were a great match! Having played with the Heavy Metal Kids on previous occasions, and confirmed fans to boot, The Phobics took to the stage to warm-up proceedings and did a great job. They seem to be quickly building things up again after the enforced hiatus of the lockdowns and the songs from their most recent album, ‘Burnt Rubber’, are still sounding relatively fresh. They go down really well, not just because New Cross Inn is practically their home-turf, but also because the fans of the Heavy Metal Kids (and, indeed, several members of the band themselves) are quickly caught-up in The Phobics raw brand of punk rock’n’roll. By the time they finish, the atmosphere feels great and everyone’s ready for the headliners. It’s already been said so many times that the Heavy Metal Kids were one of the true precursors to the Punk scene in the UK, even though they never seem to get the credit they deserve. They were authentic, not a bunch of chancers pretending to have attitude, and they had great songs that were delivered by a band who could certainly play well, but didn’t waste their time trying to be too clever. Sadly, their original frontman, Gary Holton, died during the Eighties but the remainuing band members reformed in 2003 and have since been recording and playing live, albeit with several different line-ups, ever since. Tonight turns-out to be the first time I’ve seen them with their current singer, Simon Gordon, and I’ve got to say he does a really good job. In fact, this proves to be one of the best times I’ve seen them, with the band sounding great and the audience responding enthusiastically. Lots of old favourites, like ‘Chelsea Kids’, ‘She’s No Angel’ and ‘Delirious’ alongside more recent tracks like ‘Blow it all Away’ and ‘Hit the Right Button’, although for me the highpoint is a superb version of ‘Squalliday Inn’, always one of my favourites. There was a good turn-out for this gig but it wasn’t as full as it should have been. Regardless, the band played a truly great set and all I can say is, if you haven’t already seen them, make sure you do so soon.
DISORDER / BUTCHER BABY. Helgi’s, 18/3/23. This is my first visit to Helgi’s. a small bar / venue in Hackney with a mostly punk’n’metal crowd. It’s quite easy to get to, but once there, the place is absolutely packed. It’s hard enough just getting through the main bar area but when I get to the small room at the back that acts as the venue, I’m barely able to get through the door! The main support band, Butcher Baby, start their set just after I arrive and despite the claustrophobic situation, the PA sound isn’t too bad. Butcher Baby are a London based band going for an early Eighties UK Hardcore sound (Discharge, GBH etc) with hints along the way of American bands like Poison Idea and Negative Approach. Not the most original of styles, but in such a small and packed venue they sound pretty powerful. As soon as they end their set, most of the audience head outside for some fresh air, while Disorder quickly set-up their gear. As soon as they’re ready, they launch into their set and the place quickly fills-up again. The current line-up of Disorder are a three-piece featuring only bass-player / singer Taf from the original band, but it makes little difference to the bands legendary, abrasive sound. Disorder broke punk rock down to its’ basics (fast, short songs drenched in distortion) and, alongside fellow Bristol band Chaos UK, became an unlikely international influence on bands as far afield as Scandinavia, Japan and Mexico! I haven’t seen them live since the Eighties, so I was curious to see what they would be like now. As it turns out, their set is actually pretty good although they do seem to have various PA problems. But they blast through their set regardless and songs like ‘Complete Disorder’ and ‘Rampton Song’ stand-out, while a slow, menacing version of the Chaos UK track ‘Victimised’ fitted perfectly amongst their own songs. So I enjoyed the gig. Disorder and Butcher Baby played good sets and Helgi’s was a reasonably cheap venue with a good atmosphere. Not a bad night-out at all.
THE OUTCASTS / OMEGA TRIBE / DISSENT. New Cross Inn, 23/3/23. This was a rather decent line-up, three bands worth seeing even though they have pretty different styles. Dissent (not to be mixed-up with all the other bands with the same name) are based in Deptford and play a mix of late-Seventies /early Eighties punk rock. They are a band I appreciate more now that I’ve seen them a few times and their recent CD, ‘Knee Deep in Scheisse’, includes some great tracks. They proved to be a great opening band for this evening. Omega Tribe are a pretty well-known band in their own right, although these days they mostly play new material and very few of their original songs from the Eighties. It’s taken me a while to get used to this, but as it turns out the new material is rather good in its’ own right and that’s fine by me. Tonight is a shorter set than usual, but if anything, it sounds more focused than usual. Omega Tribe are a band that you need to treat almost like a completely new group, although in some ways you can still hear the links with their past. I won’t say that everyone who liked this band in the past is going to enjoy what they’re doing now, but you should try to hear them because you might be quite impressed. Finally, it’s time for The Outcasts, one of the best bands from the original Belfast punk scene and a consistently fine live band since they reformed. There’s been a few line-up changes since then (brothers Greg and Martin Cowan remain in place, while original drummer Raymond Falls left the band a few years ago and more recently, guitarist Petesy Burns departed and has since been replaced by Buck of The Defects) but the quality of their gigs hasn’t suffered at all. Tonight, they start the set with a fine cover of The Stooges’ classic ‘1969’, before turning to their own songs. For the next hour or so, they play tracks like ‘Magnum Force’, ‘Self Conscious Over You’, ‘Gangland Warfare’ and ‘You’re a Disease’ and also include an excellent version of ‘The Pressure’s On’ by Rudi, another of the great bands from the original Belfast punk scene. There’s just a short encore tonight, their seldom played cover of ‘Ruby’, but it proves to be a fine end to the set. The Outcasts prove themselves once again and, even if they don’t seem desperate to write new songs, the old ones still stand up very well. Get to see them while you can.
EATER / JAMIE PERRETT. 100 Club, 30/3/23. Since they originally split-up in 1979, Eater have resurfaced on several occasions which have tended to be rather good. Different original members have been involved along the way with only singer Andy Blade remaining constant ,but this would be the first time that Andy had recruited an entirely new band (featuring members of a group called JoJo and the Teeth) making it interesting to see how well they would tackle the Eater set. The 100 Club is pretty full when I arrive, just as Jamie Perrett and his band take to the stage. Although inevitably compared to his father, Jamie is nonetheless a musician with his own right and talent. He has plenty of his own songs and concentrates entirely on them, winning over the audience with an accomplished set. I can’t provide more details, but I’ll certainly be checking out his music again. Eater eventually take to the stage and there’s a lot of anticipation in the air. Andy looks really well and his vocals sound great throughout the gig, but it soon becomes apparent that the rest of the band are not a good choice as replacements. They look awful, pseudo-glam wannabes, and really have no connection to the songs. They have two guitarists, one of whom tries to ‘solo’ through all of the songs… The thing I always liked about Eater was the way they stripped-down their songs to the basics, allowing the melodies to stand out even in the middle of all the raw noise. Adding extra guitar-wanking is so completely unnecessary and unwanted, it quickly becomes very irritating. Towards the end of the set, original guitarist Brian Chevette joins the band onstage, begging the question, why isn’t he involved in this reunion rather this other lot? I know a few people who absolutely hated this gig, but I wouldn’t go that far. Andy did sound great and I do love those songs, but I also know that it should have sounded a lot better. Let’s hope the necessary changes are made before they play again.
ANARCHISTWOOD. All Ages Records, 1/4/23. I get to Camden a bit early this year, not trying to be efficient or to meet-up with friends, but to witness what has become an important part of Anarchistwoods’ annual visits to All Ages… the ritual of Mitch having to set-up the PA and equipment all on his own! It’s heart-warming to see how much he enjoys himself! Anyway, for those of you who don’t already know, these free mid-afternoon gigs take place on the pavement outside in front of the shop and as usual there’s a good-natured crowd of punks, curious passer-bys and local residents in attendance. Admittedly, not everyone is going to enjoy the music but they’re always drawn-in by the spectacle and performance of the band. Inevitably the crowd spill-out onto the road, but everyone takes care to ensure that traffic can still get through safely and the nosey constabulary (lurking around, as is their nature) never have any real problems to complain about. Even when a small bunch of teenage punkers start slamming around on a small patch of pavement, it’s all fun and friendly. I love events like this. It supports independent shops like All Ages and shows that not everything a band does has to be done for profit or other selfish reasons. It takes just a little consideration from the audience to make sure no hassles ensue and at the end of it, we’ve all had a great afternoon. What’s not to like?
STEVE IGNORANT BAND / GIMPFIST. Islington Academy, 1/4/23. I was also going to see the Steve Ignorant Band later that evening, so it ended up as a busy day. My only gripe was the venue itself. Any establishments that are prefixed with the letter O and the numeral 2 tend to be a pain in the arse, with unnecessary ‘security’ restrictions, sneaky ticket-prices and expensive bars. They’re not the only ones but their focus on profit is so overwhelming. That said, I still wanted to see the bands . I had heard recommendations about Gimpfist but they were a bit of a let down. Perhaps I was expecting too much, but their mix of Oi!/Streetpunk and 77-style Clash seemed a bit predictable and samey. But they’ve been around for a while, they’ve released plenty of records and go down rather well tonight, so they must be doing something right. They didn’t appeal to me but you might love ‘em.. Anyway, everything’s running on an early schedule tonight (so the venue can re-open as a disco after the bands finish… profits again) so there’s not a long wait for Steve Ignorant. His band may not be original Crass members but their commitment to the songs is passionate and undeniable. Basically, they wouldn’t be able to play so effectively unless they believed in them. Steve still receives criticism for playing Crass songs again, but there are far more reasons that make it viable. Firstly, he wrote and sang many of these songs, so it’s up to him if he wants to sing them again. Secondly, so many people (myself included) never got a chance to see Crass ( Most of their gigs weren’t advertised in the music press and there was no internet at the time, so finding out if they were playing was pretty haphazard.) Also, much of what they sang about is still relevant (and in some cases, even more so.) The ‘system’ (or whatever you want to call it) is now more ruthless and calculating than ever before. Intelligent, dissenting voices need to be heard and the songs that Crass presented are still highly valid. Finally … Crass also wrote some great songs, so why wouldn’t you want to hear them again? Well, tonight we get a set that covers much of their best material, from ‘Do They Owe Us a Living’ through to ‘Our Wedding’. Steve’s voice and intent are spot-on, capturing both the passion and emotion of the original songs. Additionally, Carol Hodges captures the female vocals and their perspective, with songs like ‘Bata Motel’ and ‘Shaved Women’ standing-up as obvious highlights in the set. This is a set of songs that remain viable and deliver a valid message. Perhaps you don’t want them to be played again, or want them to adhere to your agenda? Fair enough…if that is the case, should exercise your own authority and just stay at home.
THE ONLY ONES Q&A, Rough Trade West, 6/4/23. Not a gig as such, but a gathering to launch Simon Wright’s book ‘It’s the Truth’, which details The Only Ones’ classic debut album. It had originally been intended to feature all three remaining band members but for various car-related reasons Peter Perrett and John Perry were unable to get there on time, leaving bassist Alan Mair to field the questions both from Simon and, later on, members of the audience. He does a very good job, with a variety of anecdotes and recollections concerning how the material came together for the album and how the recording process worked-out. It’s an interesting event and not without humour. The book itself is a fascinating insight into both the band and the album and I’m certainly happy to recommend it. But as soon as the talk is over, a bunch of us squeeze into a taxi to take us down the road to…
LORDS OF THE NEW CHURCH / NEVILLE STAPLES / COCKNEY REJECTS. Shepherds Bush Empire, 6/4/23. It’s the largest Vive Le Rock event to date and well-attended, with one of the best selections of bands to date providing the entertainment. We arrive just in time to see Norman Watt-Roy presented with a well-deserved award for his ‘Services to Music’. Then it’s time for an appearance from the Cockney Rejects, playing an unfortunately short set. It’s just three songs, so the audience are expecting the old favourites but the band choose to play two of their more recent hard-rock style songs, ‘Paper Tiger’ and ‘Unforgiven’, before ending with a blistering version of ‘Bad Man’ which finally gets a lively and enthusiastic response from the audience. There’s a short break before the Neville Staples band arrive onstage and immediately dive into their high energy set of songs dating back to his time in The Specials. Hits like ‘Gangsters’ and ‘’Ghost Town’ rub shoulders with album tracks and b-sides, like ‘Concrete Jungle’ and ‘Longshot Kick Da Bucket’ making this an all-singing, all-dancing party, reminding us all of what was so special about The Specials in the first place, And then, to end the evening with a real one-off performance, it’s time for Lords of the New Church. Original members Brian James and Dave Tregunna, always a formidable partnership, take to the stage. Sadly, their old comrade and vocalist Stiv Bators passed away many years ago, but they had called-in the services of one of their old comrades, Michael Monroe, to cover vocal duties. To top it all off, the drum stool is filled by former Clash drummer, Terry Chimes. No mere stand-ins for this band! Soon enough, the intro for ‘New Church’ chimes out and they launch into a great set that shows exactly why they remain so respected by old fans, whilst also appealing to younger generations who appreciate their unique, high energy brand of punk-rock’n’roll. Michael Monroe does a really good job as frontman, covering the vocals (and even some saxophone) with his own style but always ensuring that the event is about the band and their legacy. Songs like ‘Livin’ on Livin’, ‘Dance With Me’, the ever awesome ‘Russian Roulette’ and ‘Method to Our Madness’ follow in quick succession, before Brian James’ old partner-in-crime, Rat Scabies, appears onstage to present Brian with the ‘VLR Music Pioneer Award’ and quite rightly so. Whilst The Clash and the Sex Pistols continue to be lauded for their part in the UK Punk Rock explosion, Brian and The Damned have never received the credit that they so obviously deserve, and on that point, Rat takes his place behind the drums as the band blast through a blistering version of ‘New Rose’. There’s not much of a break before the band are ready for an encore and they end the evening with a wonderful, brash version of ‘Pills’ (the Bo Diddley song via the New York Dolls.) It was over all too soon and, as it would come to pass, proved to be the very last LOTNC gig. But let’s just hope that enough ears were paying attention and people will continue to seek out and listen to this great band for a very long time to come. What a great band they were!
FAUST. Jazz Café, 11/4/23. Faust have never done things in an orthodox style. They were originally together from 1971-75 but then virtually disappeared until 1990 when three of the original members reunited to play a limited series of concerts. As interest in the group began to grow again, they released new material and continued to play occasional gigs, although the performances were often very different and featured varying line-ups. In 2005, it was decided that Faust would continue with two different line-ups, one fronted by Jean-Herve Peron and Zappi Diermaier and another led by Hans Joachim Irmler. Both released new albums and performed live, although Irmler’s band came to an end in 2020. Since then, different line-ups have continued to release further recordings and play live, although this seems to be on a much less regular basis. Which brings us to this concert, their first in London for some time and featuring Peron’s current line-up. Despite very little advertising, the event is sold-out and the venue is packed by the time the band arrive onstage. Fortunately the sound is both loud and clear, allowing us to hear everything as it is played. You would have to be a total fanatic to recognise every track they played (especially as many of them are improvised and developed as they are being played) but there are moments that are familiar and others that are less so. That said, the performance all comes together as a solid entity, allowing the tones and atmosphere to take the music where it needs to go, rather than just imitating the original recordings. Jean-Herve Peron is an enigmatic front-man, eccentric and determined, adding a sense of humour to the proceedings but also keeping everything on track. Faust will always be a difficult band to review because they’re very subjective. Listeners will either get what they’re doing and enjoy it, or they won’t. But to some extent, that’s the point. If Faust had wanted to appeal to everyone, then they wouldn’t have become Faust. But by the end of this evening, both band and audience have thoroughly enjoyed themselves, proving that although Faust may not be ‘rock’n’roll’, they still know how to rock!
HAGAR THE WOMB / SWARAJ CHRONOS. Overdrive Studios, 15/4/23. I think this may have been the first time that the Hags had played at Overdrive, which is odd as they fit-in so well with the chaotic party atmosphere that these events seem to thrive in. Overdrive is a decent, well-equipped rehearsal studios and bands will get a proper deal down there, but when it comes to their occasional gigs, it has a real, inclusive DIY approach that guarantees a good evening. Anyway… back to the gig, Hagar the Womb play early, rather than waiting for the headline slot due to certain members worrying about catching their train home. That said, their set remained just as wonderfully boisterous as ever, with plenty of shouting, jostling and even great songs! It’s good to see Nu-Hag Lorna fitting-in perfectly (although we’ll always miss Steph, aww…) All too soon, their set is over, but it’s been such a treat that I can’t complain. The bonus is an ensuing set from Swaraj Cronos, a relatively new band who have already started making their mark with an interesting blend of hard-edged ‘post-punk’ styles. It’s difficult to describe their sound and it may take a few listens to really appreciate it, but once you get to grips with them, there’s plenty to enjoy. The singer was wearing a Sisters of Mercy t-shirt while the bassist wore one with a Voivod design. They didn’t sound like either of those bands, but that’s still a good indication of what (not?) to expect. You really need to hear them for yourself and the sooner the better…
THE DAMNED. Brighton Dome, 17/4/23. In many ways, I prefer to see The Damned outside of London and fortunately, there are usually several options when they tour this green and festering land. London has always had a loyal following for the band and whilst that’s deserved, it can make things a bit too easy for them. But outside of the capital, they have to work a bit harder to prove their value and when they do, the response can be something really special. So I catch the train south to see these old reprobates on the coast instead of the avoid-at-all-costs London gig at Alexandra Palace…. Meeting up with old friends John and Kate beforehand resulted in preparatory drinks (no complaints there, even if we did miss the support bands) but soon enough we’re in the venue and the band are onstage. The return of Paul Gray to the line-up has made such a positive change to The Damned and from the very first song, the set sounds totally invigorating. Captain and Paul really bounce off each other, adding even more energy to the songs, be they old or new. The opening ‘Street of Dreams’ assumes new heights, even though it was a track from a period that didn’t feature Captain or Paul. Dave Vanian reacts to this, pushing his performance ever forward, while in the background Monty provides the perfect keyboards and Will Taylor provided the beats with his own style. The band were on fire this night, playing plenty of tracks from the recent and rather excellent ‘Darkadelic’ album along with a choice selection of songs from across their lengthy career, representing most of their studio albums. They missed a few of my favourites, but I’m sure that just means I’ll have to catch them next time and I’ll be grinning from ear to ear when I do. It’s strange when a band continues for such a long time, but at the same time if they’re still capable of delivering exhilarating sets, as The Damned did tonight, then you’d be foolish to miss them. There may well be an element of nostalgia involved when I see them now, but at the same time there’s still plenty of enthusiasm for their new album, proving that it’s not just a band going through the motions. Listen to ‘Darkadelic’, see if you enjoy it and if you do, be sure to join the crowd at the front of the next gig…
ANARCHISTWOOD / AGENTS OF THE LEXICON. New River Studios, 21/4/23. Anarchistwoods’ second London show in as many weeks drew an eager crowd for another dose of their anarchic theatrical punk. First-up were Agents of the Lexicon, a band that I had heard good things about, but I have to say that tonight was a bit underwhelming. In fairness, the PA sound was rather awful and I couldn’t properly hear the vocals or music clearly, so perhaps this wasn’t a good night to check them out. Their performance was fun (great costumes and interaction with the audience) but I didn’t really get a good indication of their music. I hope I get a better chance to check them out soon. Anarchistwood, however, cope pretty well with the PA limitations, with vocalist Frank making full use of the space on and offstage, projecting the energy of the gig even if the audio-technology wasn’t doing a great job. With their flamboyant costumes and unpredictable stage antics, they transformed the venue into a carnival of sound and surreal spectacle. The audience responded with enthusiasm, with dancing and laughter echoing through the room as the band tore through a setlist. It’s clear this group thrives in intimate, alternative spaces, feeding off the energy of those who come for the music and chaos. Despite the sound-problems, I still enjoyed the gig. New River Studios is a cool venue, just a short walk from Manor Road station and hopefully it will develop into something special.
MASTERPEACE / OLDBOY. Rough Trade West, 22/4/23. It’s Record Store Day and, as usual, Rough Trade in Talbot Road have organised some bands to play on the pavement in front of the shop (possibly to distract the punters from how unnecessarily expensive the RSD releases actually are…) Anyway, the list of bands playing isn’t too exciting this year but I do get to see ‘rising star’ Masterpeace, who turns out to be a singer trying to mix rap with indie-rock. It all seems rather calculated to me, mixing just the right elements to appeal to an audience that doesn’t want to think about things too much. Perhaps I’ll be proved wrong, but just on the evidence of this performance, I was not impressed at all. Fortunately, the only other band I wanted to see, Oldboy, made a much healthier noise which was all the more exciting following the earlier acts. I won’t say they were outstanding but, with a raucous sound that recalled the best bands found on the Amphetamine Reptile label back in the 80’s/90’s. Clearly a band that are more interested in just playing what they enjoy rather than bending-over for a record deal, this is something I can appreciate and recommend.
ZOMBIE MEETS GIRL. The Birds Nest, 22/4/23. With my afternoon activities all over before tea-time, I was able to go back home, have something to eat and then head down to Deptford to see a co-headline with The Phobics and Zombie Met Girl. They were celebrating the birthdays of band members Nick and Moyni and I thought I would be there on time but it turns out that The Phobics decided to go on first (before Moyni drank too much!) and everything was running rather early. I arrived just as ZMG are starting their set. I’ve heard good things about this band and they don’t disappoint. Lots of energy and a fast but not thrashy sound that recalls bands like Dead Kennedys and the Misfits. It was irritating that I missed The Phobics, but ZMG more than made up for it. Definitely a band to watch out for.
JOHNNY MOPED / SPIZZENERGI. Brighton Patterns, 5/5/23. Nothing better than an afternoon and evening in Brighton when the weather’s as pleasant as this. Catching up with the usual suspects after a bit of shopping, we head down to the venue and, after a first round of drinks, try to figure out whether this ‘new’ venue may have been the same building that housed the old Escape Club… It was certainly in the same vicinity. Anyway, the Mopeds are playing first this evening but as most of them are having a drink with the rest of us outside, there’s not much chance of missing the start of their set. After a while, they all drink-up and we follow them back into the venue. The room is a decent size and pretty full-by the time they appear onstage and start their set. The sound is loud and clear and the band are on good form, blasting through a great mix of old and new songs. That’s something I particularly like about the Moped gigs that I’ve seen in recent years, that the audiences seem to have a genuine interest in the new material and, while the band continue to write songs like ‘Real Cool Baby’, ‘Rock’n’Roll Rookie’, ‘Catatonic’ and ‘Lockdown Boy’, that interest is well-deserved. Even the lengthy, biographical ‘Black Witch Climax Blues Band’ has become an unlikely live-favourite (I wasn’t very sure about it when I first heard the song, but since they’ve been playing it live it’s taken-on a life of its’ own.) All too soon, their set ends to much applause and there’s time for a few more drinks before Spizzenergi take their place onstage. It’s a pretty good line-up actually, as the bands don’t really sound similar but both have their own share of great songs and a distinct sense of fun / humour. Spizz has the best band he’s had for some time and they play the set with plenty of energi (ahem) and intent. Spizz has always been a fine front-man but he needs a good band to really put the songs across. This line-up do it with style, ensuring that songs like ‘Red and Black’ ‘Soldier Soldier’ and ‘Where’s Captain Kirk’ sound as great as ever. The gig ends early, allowing me to catch a train back to London at a reasonable time, but even if that hadn’t been the case, this gig had been well-worth the effort.
DOROTHY MAX PRIOR / DAVE BARBEROSSA. Rough Trade West, 10/5/23. Not a gig, as such, but a Reading / Q&A featuring Dave (ex-Adam & the Ants / Bowwowwow) and Dorothy (ex-Rema Rema and Psychic TV.) Although their respective books are quite different (Dorothy’s is a memoir of her early days, whilst Dave has written a novel based on at least some of his own experiences…) they knew each other back at the time and their stories cover much of the same ground. They take turns reading excerpts and then answering questions, although quite often they both answer the same enquiries as their books cover similar ground. I’ve since read both books and thoroughly enjoyed them. As I’m sure I’ve said before, reading books about people who made their mark but didn’t necessarily become household names is often far more interesting than reading about those who did become ‘stars’, because you can relate to these books much more closely.
FALLEN LEAVES. The Dublin Castle, 13/5/23. For various reasons I haven’t seen the Fallen Leaves for a while, in which time the line-up seems to have changed yet again. That said, there’s certainly been no loss of quality and the band are still sounding as tight and powerful as we’ve come to expect. Rob Green handles the vocals in his own enigmatic way, proving that you don’t have to leap around like a maniac to be the focus of attention, while Rob Symmons plays guitar in his almost nonchalant manner whilst creating the perfect balance of loud and quiet that propels their songs along. I think there may have been a couple of new songs tonight (or, at least, a couple that I wasn’t familiar with) so maybe there’s a new record on its’ way? I certainly hope so.
TELEKINETIC DOG. Spice of Life, 17/5/23. As I’m planning an interview with Dave Barbarossa, I wanted to catch his latest band live to get an idea of what he’s currently playing. Fortunately, this mid-week gig was the perfect opportunity, giving me a chance to hear this as-yet unrecorded duo of Dave on drums and Pascal Glanville on guitar. Both are accomplished musicians and, although they may come from different backgrounds, are more than capable of creating great instrumental music which will intrigue and entertain the audience even without a ‘front-man’. They’re still in their formative stages at present and may extend the line-up along the way, but at present their music is highly enjoyable in its’ own right, with Pascal creating an almost soundtrack-like atmosphere and Dave demonstrating his percussive abilities. I don’t think everyone is going to like what they’re doing, but it certainly is something unique and different so you ought to give them a listen at the very least.
MENSTRUAL CRAMPS / CAUTION ELDERLY PEOPLE. Birds Nest, 19/5/22. I haven’t had much luck seeing the Menstrual Cramps prior to this. The first attempt was cancelled when one of them caught Covid and the second time I arrived at the gig only to catch their last two songs as they’d played earlier than expected. I turned up early for this gig to avoid similar problems but the evening still turned-out to be very crowded and chaotic. I’m not even sure if all the groups who were supposed to play actually made it, but the first band I saw was the oddly named Caution Elderly People. They look really young and several of them are dressed rather strangely (not that it’s a bad thing) but their music goes straight for the jugular in a thrashy, early riot grrl style. The set is pretty disordelly, with songs starting/stopping erratically and instruments/vocals being swapped between the various members, but I enjoy their raucous energy and determined approach. It’ll be worth keeping a watch on this lot. Finally, the Menstrual Cramps are onstage and I’m going to see a full set! Well, first thing, I’m pretty sure this is a new line-up, although having only glimpsed them briefly before now, I may be wrong. Regardless, they play a suitably brash set of punky riot grrl songs that are full of energy and intent, both entertaining and thought-provoking. It may have taken me some time to finally see a full-set from this band, but it was certainly worth the wait.
COYOTE MEN / THE PHOBICS / CHINESE JUNK. Birds Nest, 26/5/23. The Coyote Men can always be relied-upon to present a great gig, but some are even better than others and reach the highest levels of their Garage-Punk insanity. This proved to be one of those occasions, but before then we had a couple of other fine bands to see. Chinese Junk have been getting better and better since the very first time I saw them and tonight’s set of trashy, hi-energy rock’n’roll provided the perfect opening to the evening. Next up, local heroes The Phobics, playing their slightly more sedate but equally lawless brand of 1977-style punk rock’n’roll. Together, these bands have perfectly set the tone and pace for the gig. Just how are those crazy Coyotes going to take it from here? Well, at the agreed time, each of the band members makes their entrance via different doorways, stompin’ through the audience in their individual Lucha Libre wrestling outfits and raising the excitement levels. Once onstage, they lose no time launching into their set and from that point onwards, there’s hardly a moment to catch your breath until the end of the show. Great song after great song batters our ears and since the stage is too small to contain them, the band members spend just as much time prowling through the audience, brandishing their guitars like primeval weapons to ward off any potential foe (as if anyone would be foolish enough to stand against them?) By the end of their set, having laid waste to this now-barren patch of old London, they vanished yet again… Be sure that you’re prepared for the next time they decide to ravage these Southern lands…
YE NUNS. The Lexington, 27/5/23. As the Worlds first and so far only all-female Monks tribute band, Ye Nuns have created a niche just for themselves. They’re way above the usual tribute bands, firstly because they play songs by a band that most people have never heard and secondly because they deliver the songs with the kind of authenticity and dedication that only true fans can muster. The Monks were undoubtedly way ahead of their time and it took decades before they started to attain the appreciation they still deserve, but sadly, with the loss of three original members, the band ceased playing some time ago. However, we do at least have Ye Nuns to provide a good a good idea of what they were like. Whether you’re familiar with the The Monks or not, you really should see Ye Nuns because their set stands as a great show in its’ own right as well as providing a fitting tribute to a great band. Whenever you get a chance to see Ye Nuns, you need to do so.
RUTS DC. The Water Rats, 28/5/23. To celebrate the release of their latest album, ‘Counterculture’, Ruts DC announced a gig at Water Rats. It sold-out so quickly that they decided to add a second date which, even on a Sunday night, was also full-up. As expected, much of their set featured songs from the new album which sounded great even though many in the audience (myself included) were hearing them for the first time. A similar helping of older tracks from both The Ruts and Ruts DC, including favourites like ‘West One’, ‘Staring at the Rude Boys’ and ‘Babylon’s Burning’ maintained the high energy levels, while for me the real highlight came during an extended version of ‘In a Rut’ when the band included appropriate tributes to recently lost musicians, from Tina Turner through to Wilko Johnson. It was heartfelt and much appreciated, coming from a band who have had more than their fair share of lost comrades. That said, this was a gig that was about their new music as much as the old and a great introduction to their new LP. Be sure to hear it and catch the band live as soon as you can.
SPARKS. Royal Albert Hall, 30/5/23. Since their return to London in 1994, Sparks have maintained a large and very loyal following, even though remaining outside of the mainstream. This doesn’t seem to have bothered them at all and instead they’ve concentrated on their music, producing some of their very best records in recent times. However, the documentary ‘The Sparks Brothers’, directed by Edgar Wright, provided a huge boost to their profile and resulted in prestigious gigs at venues such as the Hollywood Bowl, Sydney Opera House and now, two nights at the Royal Albert Hall. Not bad for a band who have been releasing albums since 1972! With their latest album, ‘The Girl is Crying in her Latte, only just released, many in the audience were hearing the new songs for the first time, but they still go down well, particularly the title track and the excellent ‘We Go Dancing’. Otherwise, the set is a superb selection of old and new, their best known hits and some obscurities for the die-hard fans as well. ‘Beaver O’Lindy’ dates back to their second album in 1972, while Ron Mael provided vocals for ‘Shopping Mall of Love’ from the 1986 album ‘Music You Can Dance To’. But of course it’s the hits that everyone really wants to hear, from the inevitable ‘This Town Ain’t Big Enough for the Both Of Us’, through to ‘Number One Song in Heaven’ and ‘When Do I Get to Sing My Way’, with fave album tracks like ‘Balls’, ‘Angst in My Pants’ and ‘My Baby’s Taking Me Home’ liberally scattered along the way. It may have taken them a long time, but Sparks seem to have finally achieved the status they deserve. Long may they continue to do what Sparks Brothers do best!
THE BEAT / BOWWOWWOW / LONDON CALLING. The Roundhouse, 16/6/23. This was a bit of a strange line-up, but it certainly attracted a large audience. The Roundhouse was packed, if not actually sold-out, so there’s a buzzing atmosphere all evening. The opening band, London Calling, are a Clash tribute band and do the job pretty well, although I don’t really see the point of it. They added no quirk or character of their own to the music, so we might as well have had a DJ playing The Clash Greatest Hits over the PA. But I’m sure a lot of people enjoyed it. It’s not until Bowwowwow arrive onstage that I start to pay attention. This is the band I’m most interested in seeing tonight, even though only Annabella remains from the original band. First time I saw them, there were three original members and they were great. Next time, there were only two original members but they still sounded great… So what would they be like now? Well, I have to say, Annabella put on a really good show, dancing around the stage and providing a frenetic focal point for the audience. Her voice sounded good and she really seemed to be enjoying herself, while the band performed the songs almost perfectly. ‘C30, C60, C90, GO!’ was played second-song in the set and it really grabbed the audience’s attention, ensuring that everyone was either dancing or listening. As they weren’t playing a full-length set, they were able to pepper their hits and best-known songs throughout the set, which kept the fans very happy. ‘Louis Quatorze’ and ‘W.O.R.K’ sounded great and went down well, but the biggest cheer went out for ‘Go Wild in the Country’ halfway through the set, although a Bob Marley cover was a bit of an odd choice. Inevitably, ‘I Want Candy’ is their finale and gets a great response, although personally I didn’t think it was the best moment of the set. But Bowwowwow had returned and once again played an impressive set. Evidently they went down well on the whole tour, so perhaps we’ll get to see them play some of their own dates soon. Fingers-crossed, eh?
By the time The Beat are due onstage, the venue is really crammed and the audience is eager to see the band. The Beat originally enjoyed success between 1978-83, combining a punky version of ska along with reggae, soul and pop. Post-split, former members of the band enjoyed further success with their new groups, General Public and Fine Young Cannibals. However, in more recent times there have been two versions of the band, The English Beat, fronted by Dave Wakeling in America, and The Beat, fronted by Ranking Roger in the UK. Both remained popular, especially on the live circuit, but since the untimely loss of Ranking Roger in 2019, there has just been Dave Wakeling’s version of the band and, even though he is now the only original member, their popularity seems to go from strength to strength. This is the first time I’ve ever seen any version of the band and I was pretty impressed, firstly by how good the band, and particularly Dave Wakeling, sounded and secondly, just how many songs I recognised. I suppose as it’s so long since their original heyday, it becomes easy to forget just how many hit records they had, but hearing them altogether again, it really makes for an excellent party. ‘Twist & Crawl’, ‘Hands Off…She’s Mine’, ‘Too Nice to Talk To’, ‘Ranking Full Stop’, ‘Mirror in the Bathroom’… Undeniably, The Beat wrote and recorded some truly great music and the songs will still have you wanting to get up and dance. They still sound remarkably vital and fresh, just as pop music should. Inevitably, they finished the evening with their version of ‘Tears of a Clown’ and it was the perfect finale. It may have taken me more than three decades to see them, but I’ll certainly do my best to catch them again.