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SUBMIT – ‘Self Titled’ (Avenue Recordz)

SUBMIT – ‘Self Titled’ (Avenue Recordz)

Just when I was starting to think that things had gone a little bit quiet release wise on the Spunk Volcano front, up pops this ten-track debut release from SUBMIT.

SUBMIT are an all-new power trio featuring the masked marvel on vocals and guitar alongside his brother Maff Fazzo on drums, and this time around they are joined by long term Dirt Box and Eruptions producer John Kettle (who himself was once in the Tansads and right now Merry Hell) on just about everything else.

Straight from the off with opening track (and video) ‘Haunted by The Ghost of Myself’, it’s obvious that SUMBIT is a sonic split from the glam punk anthems of Dirtbox Disco or the punk metal thrash of Spunk Volcano & The Eruptions. There’s an almost gothic undertone to this mid-paced rocker, and is that a slight whiff of grunge I detect too, especially in the vocal coda that precedes the song’s guitar solo. Whatever it is, this is not really what you might have expected from Spunk Volcano as a songwriter, and it doesn’t stop there either.

‘Wankers At The Weekend’ might come wrapped up in a Volcano approved song title and subject matter but once the jaunty riff kicks in you have to forgive me if I get the immediate feel that this is what Blur might have sounded like around their ‘Parklife’ era if Spunk had been penning their tunes, and the lyric about “if it ain’t punk metal then I can’t be arsed” makes me smile every time I hear it,  largely because this record is about as far away from punk metal as he could ever get.

In saying this though there’s always been signs of what SUBMIT might sound like, especially if you were to put all the album curveballs the Eruptions have thrown at us over the years together as one compilation. The subtler more understated sounds of ‘Used By Date’, ‘Somehow It Feels’ or ‘I Can’t Swim’ have always been there hidden just under the surface, and in ‘The Bits I Lost’ SUBMIT sound not unlike The Barstool Preachers at their most contemplative.

It’s the previously untapped inner goth within the masked man that I love though as ‘Let The Razor Slide’ turns self-harm into a potentially chart bothering subject matter via an almost Dave Gahan like vocal and ‘Soil And Blood’ manages to meld the metallic overtones of mid 90s Paradise Lost with Volcano’s pop sensibilities.  I hope we can look out for some kohl eyes under that mask if we ever get to see SUBMIT perform these songs live.

If I were to draw a parallel with any other UK songwriter out there right now then SUBMIT’s debut has the same kind of multiplicity you would expect from a solo Ginger Wildheart album, thankfully minus the prog rock overtones, and ‘Motherfucker Days’ perhaps sums this up best, as whilst it’s obvious that it’s Spunk singing it’s a song that sits way outside any genre stereotypes. Oh, and those backing vocals at the end are just pure pop genius.

Which just leaves us with album closer ‘The Devil’s Game’, a ballad that could easily fit on any of  Metallica’s multi-platinum selling records.

‘Submit’ is a brave release in that whilst it stands shoulder to shoulder with Mr Volcano’s prolific back catalogue it is also clearly defining a different, some might say, more refined side to his songwriting and whilst it’s no ‘Legends’ or ‘Shit Generation’ it’s most certainly still 100% Spunk rock.

‘Submit is released on the 1st of June 2025 on CD, digital download, and all the usual streaming platforms. You can order the CD from the band via their webstore link below.

X – https://x.com/SUBMIT_band

Facebook – https://www.facebook.com/profile.php?id=61571749070502

Instagram – https://www.instagram.com/submit_band/

SHOP – https://avenuerecordz.bigcartel.com/

Author: Johnny Hayward

Wyldlife – ‘Sorted’ (Wicked Cool Records)

Wyldlife – ‘Sorted’ (Wicked Cool Records)

2025 was shaping up to be a pretty damn cool year for new records getting released and then a short few months ago it go raised a notch or two with news that Wyldlife had their brand new album in the can and being melted onto wax with immediate effect and then the promo landed on the virtual doormat of RPM HQ and the party started. Holy Moly, this band were always rockin’ and the first on the invite to any out of control house party, but with ‘Sorted’ I believe they’ve just raised the bar a little further and 2025 just got even better.

Ten tracks bristling with energy and the Joie de vivre needed to sort the wood from the chaff. proceedings kick off with the bone rattling ‘Bystander’ harnessing their cheeky chappies persona with an open bottle cigarette in the corner of the mouth and collar turned up on the leather jacket, these cats are bringing the edge to the party and kicking over the amps, this party just got out of hand. What a banger to open your record with. Fist punching, head shaking, like a cat on the proverbial hot tin roof this is the shit right here!

Now, not wanting to blow your stack early doors, ‘Fast Dreams’, the first glimpse into what was on this record, was released, and a ball of energy and super cool swagger it is too. Snotty, cocksure, punked up Power Pop is the bubble gum blowing name of the game, and Wyldlife have the whole shooting match sewn up.

Imagine the danger of The Libertines mixed with the cool of early Strokes, teamed up with The best of The Hives, and you’re not a million miles away from what’s going on here. The Bass guitar holds the beat steady as the drums shuffle in on ‘Little Headcase’ with its big chorus dripping in harmony, it’s one hell of an opening few tracks, and this one has a teeth-rattling guitar break for good measure.

To be fair, it’s ten tracks of perfect single length, no padding or deviating from their MO it’s Rock n Roll baby, and they’ve not got long to deliver their sermon, so it’s get on with it. The songwriting is spot on, with every track sounding like it could be their finest moment, and they know it.

OH hang on, side one closes with ‘Dizzy’ reaching a staggering five minutes, but it ebbs and flows like a dream. Slower in tempo but could and should be a hit on the radio from one continent to the other.

If it’s boundless energy you want, flip it over ‘Generate 2 Terminate’ is off like a racing snake with its arse on fire. This record is right up there with their first two albums, the self-titled and ‘The Time Has Come To Rock and Roll’, maybe given time, this will be their finest hour. Hang o,n ‘Goes Without Saying’ opens with a picked acoustic guitar. Have Wyldlife crashed and burned? pfew, its a false start and the chords are big strummed fuckers offering a different texture like rolling through town at dusk with the top down looking for the party.

When I reached the end of ‘Terminal Blue’ I felt a bit sad that there was only ‘Shotgun’ left but what a way to sign off. A stunning album. Whilst the world is heading to Hell in a handcart with no breaks we need records that offer hope and sunshine, and Wyldlife have got that ‘Sorted’. This one might well take some beating for the coolest and most upbeat album of the year and we’re not even halfway through. Now, Can someone bring these guys to Shit Island UK on a package tour with Poison Boys and Ravagers pretty Please. Sorted, go get a copy and thank me later.

Buy Here

PETER DOHERTY – Pot Of Gold video

PETER DOHERTY – Pot Of Gold video

“Hush my darling, no don’t you cry,

Daddy’s trying to write you a lullaby so sweet..

And if that lullaby is a hit,

Dad can buy you loads of cool shit”

On Wednesday May 14th Peter Doherty will release a new song Pot Of Gold, taken from his new album Felt Better Alive released two days later on Friday May 16th.  

Pot Of Gold is the forth song, along with FELT BETTER ALIVE , CALVADOS and THE DAY THE BARON DIED , to be lifted from Peter’s extraordinary new album, Felt Better Alive, which isavailable to preorder here: https://peterdoherty.orcd.co/feltbetteralive

The video for Pot Of Gold hilariously debunks Cyril Connolly’s line about the pram in the hallway being the enemy of good art. Featuring his young family and a cast of puppets, it was filmed at Peter’s home in Etretat (Normandy) and was directed by Thad & Numa.

Peter says of Pot Of Gold: “After Billie-May was old enough to move about, it became difficult to get five minutes alone at home with the guitar. So, the only way to do it is to engage her. I’d sing her lullabies, about things she likes, a teddy, and in the end she’d join in and dance along. Rather than, ‘shurrup, I’m trying to write’ or run away to a different room. Get her involved!”  

Peter Doherty has just completed a highly successful tour of Europe and will be playing live festival and headline dates, along with In-Store appearances in the coming months. Peter’s band features Mike Joyce – drums (The Smiths), Mike Moore (Liam Gallagher) Mark Neary – bass/Pedal Steel guitar(Baxter Dury) and Jack Jones (Trampolene) – guitar – play the shows marked *.

The full list of shows is: 

MAY

14th WED Brighton The Great Escape (Strap Originals showcase) *

16th FRI Leeds  Crash (Brudenell Social Club)OUT-STORE SOLD OUT

17th SAT Liverpool  6:00pm Jacaranda IN-STORE SOLD OUT

Liverpool 8:45pm Jacaranda IN-STORE NEW SHOW

19th MON Nantwich  Applestump (Nantwich Civic Hall)OUT-STORE 

20th TUE Kingston  Banquet (Pryzm) OUT-STORE SOLD OUT

21st WED London  4:00pm Rough Trade East IN-STORE SOLD OUT

London  7:00pm Rough Trade East IN-STORE SOLD OUT

22nd THU Paris 7:00pm Chatelet FNAC 

23rd  FRI Brighton East Brighton Park (with OCS) *

24th SAT Port Talbot  In It Together Festival *

JUNE

2nd MON Barcelona PRIMAVERA Nitsa Club

13th FRI Hamburg Molotov Club

14th SAT Bruges Cactus Muziekcentrum SOLD OUT

15th SUN Terni   Batavia Theatre

JULY

18th FRI Hitchin Priory (with OCS) *

20th SUN 1948 Fionnay  Palp Festival 

24th THU Bolesworth  Together Again Festival *

26th SAT Southend  Lazydays Festival *

27th SUN Etaples Dur Mer Rock en Stock

AUGUST

12th TUE Edinburgh La Belle Angele – Edinburgh Fringe Fest

13th WED Edinburgh La Belle Angele – Edinburgh Fringe Fest

16th SAT HAMBURG MS Dockville

Peter Doherty topped the charts with The Libertines fourth studio album ‘All Quiet On The Eastern Esplanade’ in 2024. A buoyant spirit permeates Peter Doherty’s fifth solo album, Felt Better Alive, a gorgeous collection of poetic vignettes, both acoustic and orchestral, indie-folk and country. 

Peter Doherty has released eleven albums – Four with The Libertines Up The Bracket (2002), The Libertines (2004), Anthems For Doomed Youth (2015)& All Quiet On The Eastern Esplanade (2024); three with Babyshambles: Down In Albion (2005), Shotters Nation (2007) & Sequel To The Prequel (2013); two solo albums: Grace/Wastelands (2009) & Hamburg Demonstrations (2016); one as Peter Doherty & The Puta Madres (2019) and a collaboration with Frederic Lo The Fantasy Life of Poetry & Crime (2022).

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The Thingz – ‘From A To Z’ (Chaputa! Records)

The Thingz – ‘From A To Z’ (Chaputa! Records)

When someone messages me, asking if I’d review their album, it’s touch and go whether I’ll enjoy it. I only review stuff I really like; that’s why I started writing. If I don’t like it, it’s not necessarily bad, so I pass it on to someone who might appreciate it. That said, my first listen to ‘From A To Z’ by The Thingz was a relief. The Long Beach band tick a lot of boxes: melodic garage rock, left-field pop, psychedelia.

My first impression was early B-52s, retaining an edge to their songs to avoid simply being “quirky” for the sake of it. ‘Dressed In Rags’ is really up my street, garage rock that you can dance to, not unlike The Fleshtones. And if you have a song called ‘Crab Monster’, it may as well sound like the B-52s. But opener ‘Art Crime’ shows that their palette is broader than some might expect. If anything, the tune reminds me of Scott Yoder.

‘Miss Baker’s Dream’ isn’t far removed from The Velvet Underground’s more mellow moments; they certainly have a knack with catchy melodies. Then ‘One Way Ticket’ picks up speed before ‘Sick Sense’ brings the fuzz and organ that echoes The Fuzztones. High praise, I’d say.

You want an ode to a lonely Stingray? You got it! You want a grimy, sinister instrumental? ‘Thanosphere’ will provide it, complete with theremin. And where else to end but with ‘Zombie Rats’? A nod to psychobilly, with their own twist on it. Head over to Bandcamp, have a listen. It might be just what you need.

Buy Here

Author: Martin Chamarette

The Drowns – ‘View From The Bottom’ (Pirates Press Records)

The Drowns – ‘View From The Bottom’ (Pirates Press Records)

Seattle rockers The Drowns’ debut album ‘View From the Bottom’ gets the proper reissue it deeply deserves. In case you missed this first time round, Pirates Press have done the decent thing and given it a new lease of life and energy, and hopefully taken it further round this spinning rock than previously.

There is a gritty attitude in these songs that’s bursting with energy coming across like a youthful Handsome Dick meets Mike Ness on the vocals with a working class rock n roll feel bursting out of your speakers. The album sounds better than ever, thanks to the expert re-mastering job courtesy of legendary Seattle producer Jack Endino (Nirvana, Soundgarden, Murder City Devils…just to name a few)!

The Drowns have spent the last 7 years doing it their way, with a sound that’s part Rancid in places with the same kinda energy that they have with a dream in your heart and determination in your feet to carry you around the globe and back hoping that something resonates with an audience and within these tracks there is easily enough great songs bursting with passion and honesty Like ‘Time Slips’ which has that x factor in its melody that collides with those rough distorted guitars and they all marry with a gang vocal chorus that is made to endure.

This new version features all new art, with a minimalist, black on black spot-matte jacket with a metallic red foil-stamped pitchfork paying homage to the original album cover photo, this looks a little classier if I’m honest. Following the original album closer “Darkness” is an encore of a bonus track: a cover of ‘Satyagraha’ by 7Seconds. always good to mix up these re-releases and a new lick of paint and bonus tracks, it’s for everyone, old and new. Oh, and I hope Bobby’s doing ok after going back on the gear. I got on board with their excellent ‘Lunatics’, so this is great to see with a new makeover for 2025. Get on punk rockers, you won’t regret it.

View From the Bottom by The Drowns is available for pre-order via the Pirates Press Records

Author: Dom Daley

Fantazmaz release new video for ‘Distortion’

Fantazmaz release new video for ‘Distortion’

And you can pre-order the album: Here

Last month, Fantazmaz announced their debut self-titled album, due for release on July 4th via their own Ghetto Bitch Records, with a thirty-second blast of fury called ‘Dead On The Way Home’. This month, they follow it up with a track that doubles the run time to just over a minute, for the rampant and unbridled power of the new single ‘Distortion’. 

Originally written right after the pandemic lockdowns as a primal scream of anger, the title reflects the distortion of the reality we’re living in, it’s musical power cut with an explosive, dark waltz rhythm. *1, 2, 3* – *1, 2, 3* 

Formed in 2019 by Thami and guitarist Raf Oliver, Fantazmaz found their raw, unrelenting sound with the addition of bassist Chokito and former U.K. Subs drummer Jamie Oliver. Blending blistering punk energy with a fearless stage presence, they’ve quickly built a reputation for their no-holds-barred performances.

Now based in the U.K., Fantazmaz are gearing up for a wild summer, hitting Rebellion Festival and a string of European shows before heading back to their homeland of Brazil for a run of explosive gigs. With their debut album on the horizon and a relentless tour schedule ahead, Fantazmaz are poised to make their mark in a very big way.

“The album is angry and frustrated, pretty much because we don’t see a future,” explains Thami. “Chances are slim that we’re getting out of this global mess, and honestly, we don’t care much about explaining why. It’s right there for everyone to see. That’s the sentiment — listen to the album.

“We recorded the whole thing in two days at Monolith Studio. It was straightforward and honest — first day for drums, second day for guitars, bass, and vocals. The songs had been written for a while, and we just thought, why the hell not drop a full album? So, we went in and laid it down, raw and real. This is our first full album, and we’re bloody excited for it to finally come out.”

A short, sharp shock to the system, the album is crammed full of anger and energy, ranging from the 80s hardcore attack of ‘Scars Of Downtown’ (“about the loneliness of living in a metropolis like London, seen from a darker perspective,”) to the Dead Kennedys/Jello Biafra inspired ‘Corporate Behave’ (“dedicated to everyone sticking it to the capitalist rulebook,”). But Fantazmaz are no one-trick punk rock pony, the album is brimming with unique and fresh ideas. Album closer ‘Just Before Hell Comes Around’ bristles with dark hip hop beats, whilst ‘Are You Enjoying The Peaceful Skies?’ is fuelled by a decadent/bastard bossa nova, inspired by Chico Buarque’s epic song ‘Construção’. 

And best of all, this is just the beginning. 2025 is going to be a very busy year for Fantazmaz. Hold on tight.  

Catch Fantazmaz live at the following dates:

  • 01/06/2025 London, Underworld w/ Ratos de porão 
  • 13/06/2025 London, Signature brewery w/ Mullet monster mafia 
  • 04/07/2025 London, Helgi’s album launch 
  • 01/08/2025 Hamburg, Molotov after party WTJT w/Zeke 
  • 02/08/2025 Munster, TBA
  • 03/08/2025 Nuneaton
  • 09/08/2025 Rebellion festival 
  • 15/08/2025 London, Hope & Anchor (headline show) 
  • 19/09/25 Netherlands, Punk rock ruined my life festival

Find Fantazmaz online at:

Bandcamp

Instagram

Facebook

EPK

Spotify

Conflict release new video for ‘Cut The Crap’

Conflict release new video for ‘Cut The Crap’

CONFLICT RELEASE FIRST NEW ALBUM IN OVER TWO DECADES – ORDER THE ALBUM ON CD, VINYL AND LIMITED EDITION BOXSET HERE:

WATCH THE VIDEO FOR NEW SINGLE ‘CUT THE CRAP’ FEATURING THE LATE GREAT BENJAMIN ZEPHANIAH

Returning with their first new album in over two decades, notorious anarcho punk legends Conflict are back and firing on all cylinders with their highly anticipated new album ‘This Much Remains’, released this Friday via Mortarhate/Cadiz Music.

Featuring sixteen brand new Conflict creations, the album sees the band keeping one eye on their eventful past, and the other firmly on moving forward, both musically and politically. Animal Liberation are still at the forefront of Conflict’s collective minds, giving a voice to the voiceless on songs such as ‘A Mother’s Milk’ and ‘Shut The Fuck Up’, whilst their anger at world governments will never dissipate. “It’s the same old system and the same old song, forty years later and they’ve still got it wrong,” bellows Colin, still with complete conviction on ‘The Collusion Exclusion’. This anger, alongside themes of personal loss, environmental issues and those ‘profit over people’ billionaires like Bezos, Musk and Trump, find Conflict at their most inspired and invigorated.

‘This Much Remains’ also features an appearance by the late Benjamin Zephaniah on new single ‘Cut The Crap’. Benjamin’s relationship with Conflict goes right back to the infamous Brixton Academy gig in 1987 where he performed with the band and it’s right that his voice is found here, with additional lyrics by recent addition to the band line-up, dual vocalist Fiona Friel (formally of Coventry punks Dragster).

“Benjamin is a legend, and I really felt a weight of responsibility when writing the adjoining lyrics to this song,” admits Fiona. “I had some of his books, so I went to peruse through them and started with ‘Windrush Child’ as I felt the subject matter would tie in well.  Immediately I saw the line “I am history” and that’s all I needed. I put the book straight down and wrote and wrote and wrote. So much so, once in the studio I had to cut over half of what I had written. I hope I’ve done him proud.”

You can watch the ‘Cut The Crap’ video featuring Benjamin Zephaniah HERE:

‘This Much Remains’ is the sound of a band that continues to surprise and progress, decades after it first begun.

“Musically we wanted it to evolve from the last records but still have elements of that classic Conflict angry sound that thousands of people fell in love with,” summarises guitarist Gav King. “This album will not disappoint the diehard supporters and should garner a new wave of activists.”

“Conflict are stronger than ever,” adds Colin Jerwood. “and more relevant than ever.”

This much remains. We are one. To be continued?  You better believe it.

See Conflict live at the following dates in 2025:

03/05 THE UNDERGROUND, BRADFORD UK

16/05 LOST LANE, DUBLIN IE

17/05 THE DEER’S HEAD, BELFAST NI

05/06 BUMS, BARROW-IN-FURNESS UK

06/06 AUDIO, GLASGOW UK

07/06 LA BELLE ANGELE, EDINBURGH UK

08/06 STAR & GARTER, MANCHESTER UK

17-19/07 POD PAROU FESTIVAL CZ

25/07 DLB FESTIVAL, FERRARA IT

26/07 REFUSE FESTIVAL, PEINE DE

09/08 REBELLION, BLACKPOOL UK

29/08 ENCORE, SUNDBYBERG SE

30/08 DALFESTIVALEN, DALSJÖFORS, SE

31/08 LOPPEN, COPENHAGEN DK

09/10 THE ANVIL, BOURNEMOUTH UK

10/10 THE CASTLE & FALCON, BIRMINGHAM UK

11/10 THE FACEBAR, READING UK

Find Conflict online here: CONFLICT

Supergrass – Tunes On The Bay – Swansea Bay – 03.05.25

Supergrass – Tunes On The Bay – Swansea Bay – 03.05.25

Imagine a balmy bank holiday weekend on the sand in one of Europe’s most beautiful beaches sweeping out into the Atlantic and waiting for Supergrass to emerge as the sun sets behind the stage for only the second show on the band’s triumphant homage return to live action, celebrating the Britpop bohemoth that is ‘I Should Coco’ and true to their word the band amble on stage to kick things off with a loose run through said album as ‘I’d Like To Know’ sets the tempo and the large crowd gathered are well up for some rambunctious rock n roll.

The years are peeled away and I’m taken back to shows from their glorious beginnings and nights kicking out the jams in Newport Centre and universities leaping round like a salmon as ‘Caught By The Fuzz’ unfolds coincidentally as a group of his majesty finest amble through the crowd as the air is filled with wafts of super skunk bloody poetry in motion right there and a scene not lost on Gaz I should’t imagine.

The crowd sing along as expected to ‘Alright’, but it’s over as quickly as it began, but after the final restraints of ‘Late In The Day’ it’s a quick dust down of some of their other hits from susaquent records ‘Sun Hits The Sky’, followed by ‘Moving’ before we get all sweaty with ‘Richard iii’ and they leave us with a sing-a-long of ‘Pumping Up Your Stereo’ and they’re out of here. That was a fantastic reminder to just how good a band Supergrass are, they have some mighty fine songs and a clutch of great albums in their arsenal if you should be inclined to catch a show on their jaunt around the UK later this month then on this performance alone, I suggest you make the effort. Tunes on the Bay was a fantastic example of how to do a small festival well, and I look forward to next year’s showing. Will I be there? I should bloody well coco.

Author: Dom Daley

Moons Of Saturn- ‘Self Titled’ (Beluga Records, Stryckhnine Recordz, Ghost Highway Recordings,)

Moons Of Saturn- ‘Self Titled’ (Beluga Records, Stryckhnine Recordz, Ghost Highway Recordings,)

Now and again, YouTube brings a new band to your attention that is actually to your taste and has some excellent tunes. And that’s how I first heard Moons Of Saturn. A Swedish 3-piece of a certain age (like myself and Uncle Dom), yes, they are old enough to know better, but thankfully, they decided that rock n roll keeps you young.

Their debut album is chock full of classic riffs, from the opening crunch of ‘Never Get Invited’ onwards. ‘Biding My Time’ is garage rock with a touch of early Alice Cooper Band, soaked in wah-wah, that I keep coming back to. ‘She Doesn’t Call Me’ wouldn’t shame The Damned, and throughout there are some Brian James style licks; the solos are never overdone, sharp and stylish. The riff is what counts. ‘I Don’t Mind’ is another belter under 3 minutes long. “In, out, put the kettle on”, as Monkfish used to say.

‘Money And Submission’ is like a lost Godfathers song, if it doesn’t get you moving, consult your local pharmacist. Steeped in fine influences, Moons Of Saturn make it sound fresh thanks to their enthusiasm and way with a hook-line. ‘Give Me Some More’ is like the best Hellacopters riff, while I prefer Hakan’s voice; it has more of a garage rock edge to it.

‘Black Velvet Roses’ was the first song of theirs that I heard, and it still sounds great. Simple, effective and wildly catchy. ‘Donny And Marie’ is poppier, in a Ramones way, and ‘One By One’ hits you over the head before ‘Can You Believe It’ comes flying out, another hip shaker. ‘I Got No Time’ has another stabbing riff, reminiscent of Kris Dollimore, and we end with ‘The Road’, a perfectly distorted guitar tone, with added organ. You are unlikely to hear a better garage rock album this year, so check out their Facebook page for details and treat your ears to some righteous vinyl.

Buy Here

Author: Martin Chamarette

Jesse Malin & Band – Islington Assembley Hall – 02.05.25

Jesse Malin & Band – Islington Assembley Hall – 02.05.25

Nearly 2 years to the day since suffering a spinal stroke that paralysed him from the waist down, NY singer/songwriter Jesse Malin returns to the stage in London for 2 benefit shows at Islington Assembly Hall to help raise funds for his recovery and medical care. A Jesse Malin live show is something fans and friends hoped and prayed would happen again, and with the help of his band and a handful of special guests, the dream of returning to live music has become a reality.

Last night’s sold-out show was by all accounts a blast, and tonight we expect more of the same, albeit a different set list and special guests.

Great cheers ring out across the packed expanse of this beautiful, old school music hall as the curtains draw back to reveal the full band, seated ‘MTV Unplugged’ style. They break straight into a 1-2-3 from the oft-forgotten ‘New York Before The War’ opus. ‘I Would Do It For You’ may be a slow burner of an opener, but the following upbeat earworms of ‘Oh Sheena’ and ‘Addicted’ quickly show us this is not to be a laid-back, acoustic show by any means.

Sat centre stage, our man Jesse looks cool as ever, dressed all in black, shades covering his eyes, his trademark cloth cap perched sideways over his mop of curly locks. Although this is a full band electric show, it is clearly a different dynamic to any Malin show any of us have seen before. Jesse Malin is a very animated and energetic performer, yet the fact that he is confined to a chair does not take away anything from the performance tonight. His band are tight, the sound is crystal clear, and the vocals are spot on.

We head back in time with ‘Downliner’ before a rousing rendition of The Pogues ‘If I Should Fall From Grace’ rocks the house. The one thing I’ve always loved about Jesse Malin shows and the thing that keeps bringing me back is his storytelling and his engagement with his audience, and tonight is no different. We get tales of past loves, his first teenage attempts at paying for sex, stories of growing up in the streets of New York, his musical travels and recording experiences. Also, the ongoing journey of his recovery. One such tale about recording With Lucinda Williams leads into the emotive ‘Room 13’ which is just as joyous as the recorded version, then and a killer ‘Turn Up The Mains’ has the power and cool delivery of the recent ‘Silver Patron Saints’ version.

At this point in the show, a full-size microphone stand is placed in front of our man, and with both hands clutching it for support and with every effort in his body, he stands for the first time of the evening to a rapturous applause. This is what it’s all about: a goosebumps moment we all share. The band then break into ‘The Way We Used To Roll, and with growing confidence, Jesse performs standing for the next few songs before needing a breather.

What follows is a set that covers his whole career as a solo artist. Highlights are plentiful and memorable. ‘State Of The Art’ and ‘Black Haired Girl’ do it for me, then there’s oldies but goodies like ‘Brooklyn’ and the killer ‘All The Way From Moscow’. Jesse cuts a dramatic figure standing, draped over a mic stand that gives an ethereal Layne Staley vibe, but there is no heartache or mournfulness in tonight’s show, only hope and positivity. An extended and jammed out ‘Meet Me At The End Of The World’ transports us to 70’s New York, it is a set closer of sorts before the special guest slots. Billy Bragg joins the stage for the mellow but hard-hitting protest song ‘Ameri’ka’, before a rousing cover of The Clash hit ‘Rudy Can’t Fail’ that gets the whole room singing.

Then, just like the poster says, we are treated to Peter & Jamie Perrett of The Only Ones for a rocking rendition of their classic ‘Another Girl, Another Planet’. Now, that is a treat to behold; no one does it better. The band closes the night with the upbeat and countrified goodness that is ‘You Know It’s Dark When Atheists Start To Prey’. And as Jesse leaves the stage with the aid of a walker, I get the feeling it won’t be as long until he returns to these shores.

Jesse Malin has preached PMA (positive mental attitude) his whole career, and we will never quite understand how much he has needed that for himself these past 2 years. But tonight’s show was a true example of triumph over adversity, an artist who has given his all every night of his career, fighting for all he is worth to reclaim his life again. And judging by the response tonight and the fact that both shows were sold out, I think Jesse can be proud of his accomplishment and take comfort in the support he has from his fanbase.

We may only be 5 months into the year, but I can safely say that was hands down the best, and the most emotional show I’ll see this year. It’s a pleasure to have him back.

Author: Ben Hughes