Heavens to Murgatroyd! Not content with one album, Friday the 13th of November sees three connected releases on Damaged Goods. It’s back to the Medway delta, and the first for review is the new platter by Thee Headcoats; ‘Children Of The Sect’.
So, dust off your deerstalker and prepare to immerse yourself in 14 tunes from “the undisputed kings of garage rock”. You may scoff, but their two gigs at the Electric Ballroom in March are already sold out. There is humour here, but the riffs are taken seriously, whether the Link Wray inspired ‘Hacksaw’ and ‘Yellow Nosed Bastards’ or album opener ‘The Medway Queen’, which should get you bopping with its feral solo. Billy Childish and the gang are back, after 2023’s ‘Irregularis’, and it’s like they’ve never been away.
‘Blind, Blonde Hair’ is a dark, autobiographical tale; keep away from the weirdos in the bushes, kids. ‘Bo Diddley’s A Serial Killer’ speaks for itself, complete with tribal rhythm, while ‘Bring It To Jerome’ adds razor blade harmonica to the primitive riff. It’s down to the bone, and better for it. The title track will have you swinging your pants with joy, rattling along between The Sonics and The Cramps.
The garage rock nuggets keep on coming. ‘The Reason We Didn’t Sound Like The Smiths’…”is because we wanted to sound like this!”. ‘One Horse Town’ is a raucous riot, and Billy revisits ‘Failure, Not Success’ from the 2023 album of the same name. Such is his wont, but I can’t complain when there’s a total of 14 songs here.
As ever, Thee Headcoats please themselves, which is why it works so well. With so many projects on the go, there’s no sign of Billy slowing down. Each one is an acquired taste, and I’m firmly in the Headcoats camp. Garage rock gents of the highest order.
‘Harmacy’ (30th Anniversary Expanded Edition) finally makes Sebadoh’s seminal 1996 indie-rock album available again, and adds 16 bonus tracks, including alternate versions, rare B-sides, BBC sessions, and live material from the Harmacy era. Indie rock is now theres a genre that has passed me by and is not something I hear too often.
Sebadoh was formed in 1986 in Northampton, Massachusetts, by Eric Gaffney and Lou Barlow (Dinosaur Jr., The Folk Implosion), with multi-instrumentalist Jason Loewenstein completing the line-up in 1989, and Bob Fay taking Gaffney’s spot in 1994. By 1994, the band had released five albums. Taking the home demo style to the max, Sebadoh were the perfect companion band for the likes of the Lemonheads in as much as they could do the noise thing or the soft thing perfectly well next to one another, and it all made sense.
In 1996, ‘Harmacy’, album number six, arrived; slow burners Sebodoh saw Harmacy become the band’s first charting album in the U.S., and scored a hit single ‘Ocean.’ Critically acclaimed as it was, and deservedly so, the album is expanded in 2026 into a double album bursting at the seams with bonus material. Not to gloss over the fantastic record, but the bonus material is where fans will gravitate to first (I did), including 16 bonus tracks, alternate versions, rare B-sides, BBC sessions, and live material a real treasure trove of goodies from the masterful trio.
Sebadoh were the band that bridged the gap between Lemonheads and Pavement for me, I loved them all in equal amounts with collections that were equally sprawling its great to get one on such a deluxe slab of wax and it would be fine and dandy if this was the start of something and not just a one off. My advice is go pick it up its a classic from a bygone era when music was breaking barriers. Buy it!
The Levellers breakthrough second album ‘Levelling The Land’ holds a special place in my heart. After growing up on rock music through the 80s, they were the first proper alternative band I got into in the 90s, opening my mind to a whole host of bands and genres that would soundtrack my formative years.
You may have forgotten how big The Levellers were back in the mid-90s. With little commercial success or radio play (‘One Way’ didn’t even reach Top 40), they were taken under the wing by the traveller and indie communities and enjoyed sold-out tours which culminated in headlining the Pyramid stage at Glastonbury in 1994 to a record-breaking 300,000 people.
‘Levelling The Land’ was originally recorded with certain production constraints leaving it sounding thin compared to modern production values. So, for the 35th anniversary, the band called on original producer Al Scott to remix the album, and what he’s done is quite remarkable. While there is not a duff tune anywhere on this album, it now sounds fresh and reinvigorated. The songs jump out and punch with a new sense of vigour. It’s like they’ve been transported from 1991 to the modern world in 4K. From classic opener ‘One Way’ to anthemic live favourites such as ‘The Game’, ‘Liberty Song’ and ‘The Road ’, everything sounds fresh and as vital as it was in 1991. There are instruments and parts I have never heard before; the strings are crisp, the rhythms pound deeper. Mark Chadwick’s vocals sound as fresh as the day he recorded them, and the bass rumble that opens ‘Sell Out’ is thunderous and full of extra intent. It’s like they’ve stepped the album up a gear, notched up the RPMs a touch.
The band’s political message has not changed, and the lyrics remain as vital and current as they were in 1991. The Levellers gave a voice to communities that were harassed by the authorities, the travellers, squatters and those who wanted a different, free way of life. This music brought them all together, whether it was at free festivals, dirty squats or dark, patchouli-filled bedrooms country-wide.
It’s crazy to think that a song as good and vital-sounding as ‘Fifteen Years’ wasn’t even on initial pressings of the album and was only added as track 3 after its success as a single. It’s true The Levellers were on a roll creatively, and the wealth of bonus material on this release is testament to that.
The expanded 3 CD version adds a disc of album-era B-sides and outtakes and another disc of recently unearthed demos that show the beginnings of greatness and the development of these songs. While any Levellers fans worth their salt already has the likes of ‘Dance Before The Storm’, ‘Last Days Of Winter’ and their raucous cover of The Charlie Daniels Band’s ‘The Devil Went Down To Georgia’, the demos are well worth exploring.
From folk rock battle cries to melancholic acoustic balladeering, The Levellers have given a voice to the alternative masses who chose their way of life over the norm. And 35 years down the road, ‘Levelling The Land’ remains a defining document of defiance and uprising in 1990’s Britain. A timeless classic that has been revamped to sound the way the artists originally intended it to sound. The album is essential listening; the bonus discs are for the die-hards.
Maybe it’s genetic. Maybe it’s the music. It certainly can’t be 50 years of kipping on floors around the world. Whatever it is, the secret of Charlie Harper’s longevity and career is something to celebrate. No sooner had the UK Subs announced their final live dates when news came through about his current project. And, frankly, it’s amazing. 14 new songs, and from ‘Divide’ onwards, the band mean business. This would sit well on the final ‘Reverse Engineering’ album, it’s fresh, dark and angry.
Joined by Del Greening on guitar, Vicky (Ramonas) on bass, and grandson Marley on drums, it’s the perfect combination of the experience of age and the rush of youth. And it’s clear that Charlie and Del haven’t lost their hunger; ‘Lost’ is equally fierce. Understandably, the overall sound is similar to the Subs, but as their albums were extremely varied over the decades, this isn’t an issue. Upfront bass and walls of guitar. And, with so few musicians standing up for what they believe in, the likes of ‘New Palestine’ and ‘L.G.B.T’ are more important and relevant than ever, unfortunately. True, you’d expect nothing less from Charlie, but it’s heartwarming all the same.
Crucially, this is the sound of a band. ‘Deadlines’ and ‘Parasite’ are itching to be played live. The band were apparently conceived because “Charlie and Del will be unable to fly soon…”, so will be looking at playing in the UK. On the strength of these songs, keep your eyes peeled for dates, because this promises to be special. Most songs come in at under three minutes, they even have their theme song: ‘The Disasters’. ‘The Takeover’ has a great, tribal drum beat that flies by, and ‘Squirrel’ is like a slice of slinky, garage rock.
‘Scars’ has echoes of Buzzcocks, and who else would end their debut with a jazzy instrumental called ‘Strait Of Hormuz’?
So, yes, let’s celebrate the continued life and career of Charlie Harper. But let’s also celebrate this gem of an album by the band Derik And The Disasters.
FROM THE ALBUM “GOD BLESS AMERICA – BEST OF THIRSTY” (OUT NOW)
Thirsty Quireboys unveil “10, 7 and possibly 6”, the second single from the critically acclaimed album “God Bless America – Best of Thirsty”, a striking and emotionally charged release honouring the late Guy Bailey, co-founder of The Quireboys and the architect of Thirsty’s distinctive sound. The single is out now – coinciding with The Quireboys forthcoming UK Tour dates.
It will be available to stream and also as a special limited edition 7 “vinyl which fans purchase at the gigs or via theCadiz Merch Store.
Originally conceived as a one-off tribute track, “10, 7 and possibly 6” became the spark that transformed the entire God Bless America album project. When Spike stepped into the studio to record the song, his first take stunned everyone present – Guy’s guitar and Spike’s voice locked together with the force of old chemistry reignited, prompting bass/keyboard player Chris Johnstone (Quireboys/Thirsty) and producer Chris Kimsey (Rolling Stones) to encourage further recordings. What began as a single track evolved into a full, posthumous collaboration between two lifelong musical partners.
“Our opening song both live and on record. A killer guitar riff with a great lead vocal. Mesmerising drum fills and a helter skelter guitar solo. Its two and a Half Minutes of Rock n Roll mayhem. Guy would have absolutely loved it!”- Chris Johnstone
“10, 7 and possibly 6” opens the album and stands as the emotional gateway into Bailey’s world – a vivid, tightly crafted three minute cinematic vignette shaped by Bailey’s instinctive guitar work and the storytelling partnership he developed with poet and lyricist Irina D. Their collaboration, which began in 2014, fused Bailey’s melodic genius with Irina’s literary imagination, producing miniature worlds inspired by novels, poems and real histories. The track also features long time Thirsty collaborator Lynne Jackaman, whose appearance adds further depth and resonance to Spike’s performance. The title may sound cryptic, but anyone with a working knowledge of the Ten Commandments might want to start counting how many can be broken after just one look…
The video for “10, 7 and possibly 6” follows Spike alone on an underground train, filmed in a warm, desaturated vintage palette. As the carriage moves through tunnels and dimly lit stations, the camera stays close, capturing him in a reflective, almost documentary style. The motion of the train – the flicker of tunnel lights, the rumble beneath him – gives the performance a sense of journey, solitude and emotional weight, perfectly matching the smoky colour palette and tone of the track.
Texas-based modern metallers Fervence have given us their most ambitious record to date with their latest album – Constructs. This is their debut for the legendary Metal Blade Records, and the band have delivered something that highlights the spectrum of sounds and emotions that 2026 Fervence are ready to give to the world.
Vocalist Stevie B. gives her all on the album. Her super impressive range of vocal dynamics hits us with full-on guttural screams one minute and haunting ethereal melodies the next. After seeing some of the band’s videos and live footage, she’s a force to be reckoned with on stage too. The rest of the band are no slouches either, the musicianship on display here is superb.
The track Zenith is a perfect example of the power of the band, and the lyrical content around the range of emotions that come with health issues and feeling like a prisoner in your own body really hits hard. Other highlights include the crushing Miasma, which still manages to have a chorus to die for, the huge riffs and thunderous drums elevate the track to monstrous levels.
The title track is another superb song, the band know how to craft a tune perfectly while ramping up the energy to fever pitch. Guitarist Austin Bentley describes the track as a “concluding thought to a note that I wrote to myself that began when we did the Ghost LP, we all take different paths that shape who we are and who we eventually become. But those paths are just constructs of thought stored in memory,” he says. “Some good, some terrible, but all of them contribute to the people we are now. Though these things can feel monumental or cosmically important while we’re living through them, they always collapse in the end. We still die. We still disappear. We live, we learn, we die.”
Constructs is a very well-written and produced album by a band that has definitely hit their stride. The sequencing of the album is perfect, and it’s a very cohesive listen. If you’re a fan of Sleep Token, Trivium, Bullet For My Valentine, etc., you really need to check out what Fervence is offering. You won’t be disappointed.
I’ll leave it to guitarist Trent Odneal to sum up Fervence’s objectives: “Our main goal has always been and will continue to be to create art and share human perspective,” he says, concluding, “if we can add value to other people’s existence, then we are accomplishing that goal.”
Ten tracks, forty minutes of pure dirty rock n roll. Sure, they wear the uniform of the outlaw and keep the music down n dirty, but hell, The Lords of Altamont are a powerhouse rock n roll band that takes no prisoners and always delivers the good through the medium of lowdown dirty garage rock n roll from the overdriven amps and howling keys, all supported by the solid rhythm. There’s nothing not to like; these cats are the real deal and have proven it time after time.
From the head rush of the opening ‘Got A Hold On Me’ through the hypnotic lo-fi of ‘What’s Your Bag’, the Lords are on the money yet again. They sure as shit channel the howling fuzz of the Ashton Brothers and add the keys to take it down a darker road in their own inimitable style. Sure, there are flakes of original Zodiac Mindwarp via some early Greebo in there as well, but it’s impossible to ignore the melodies and haunting keys on the tracks like ‘Rusty Guns’ and once the album gets under your skin, it’s the twisted melodies mixing the likes of Primal Scream and JAMC for good measure on ‘Procession For A Groundhog’ before the filth of ‘Get Out Of My Head’ drifts in, then cuts loose, taking the record up a notch or two.
The album was released earlier this year, but it’s taken until now for the vinyl to hit the UK, bizarrely, but the wait has been well worth it as I test my speakers’ durability with some wicked garage rock n roll.
‘Got You On The Run’ is off like a steam train and tipping the hat to the wild and crazy side of classic Motörhead. ‘Disconnection’ is sleazy as fuck, from the crisp riff to the explosions going off in my speakers as the backbeat holds the song together and charges to the excellent gang vocal chorus.
It feels like the album builds all the way to an epic finale as the six-plus-minute ‘Twisted Black’ meanders and works its way into your brain and bores down with its wall of sound fizzing and howling, putting you in some sort of trance before ending in howls of feedback and looping sounds, leaving you exhausted, knowing you’ve just been party to a wonderful experience and smug in the knowledge that Rock n Roll has just left another mark on your black heart. Get involved with the lords of altamont, and they’ll repay you over and over again, and ‘Forever Loaded’ is another down payment on your rock n roll soul; take it.
Remixed and expanded album release coming out on October 16th 2026. ‘Fifteen Years (Outtake)’ is out now – listen to it and pre-order the 35th Anniversary Edition album formats by clicking HERE.
Brighton folk-rockers Levellers have been one of Britain’s most enduring and best-loved bands for nearly 40 years. And part of that incredible success has been built on the timeless anthems that comprised their platinum-selling, second album Levelling The Land, which celebrates its 35th anniversary in 2026.
Recorded at Ridge Farm studios in Surrey over the summer of 1991, it was produced by Al Scott, who was charged with translating the band’s incendiary live performances into something more refined within the recording environment. Featuring the huge hit singles ‘One Way’, ‘15 Years’ and ‘Far From Home’, Levelling The Land redefined the UK’s musical landscape providing the soundtrack for a society fed up with the twin evils of Thatcherite politics, and the post-80’s pre-grunge musical wasteland.
Released just a couple of months later, the album also included fan favourites that have grown in stature over the years such as ‘The Game’, ‘Liberty Song’, ‘The Riverflow’, ‘Boatman’ and the incendiary ‘Battle Of The Beanfield’. Its enormous commercial success is testament to both the strength of the band’s songwriting and performance, and Al Scott’s superb production skills. However, both parties knew that the album didn’t truly capture the power of Levellers live.
As founding member and fiddle player Jon Sevink reveals, “We had 24 tracks of analogue tape to work with and we used them all. But music in the early 1990s was bound by technology. We were told by the record company that too much bass would overload people’s tiny TV and car speakers, making them fart and rattle. Subsequently low frequencies were removed from the EQ which we felt left a slightly disappointing listening experience, particularly when compared to modern recording.
“The advances in music mixing technology have now given us a ‘wider’ stereo image to listen to, allowing for more space in the music between instruments and voices. So I called Al Scott with the idea to remix the album from the original multi-tracks so it sounds current, but – really importantly – without losing sight of the album that everyone knows and loves. He was immediately up for it and in my opinion has done the perfect job.”
The new remixed version of the album will be released on a single vinyl edition, reflecting the tracklisting of the original album. The specially expanded CD version of the album comes as a 3CD package, featuring an array of bonus tracks including B-sides, out-takes and demos. Many of these have been lost for decades and were re-discovered in the process of remixing the album.
Jon Sevink continues, “The digital transfers of the 2” reels of tape also contained unfinished versions of songs and some unheard music. So I put a call out to the rest of the band to search through cupboards and drawers for any cassette tapes or other material that might relate to the early 90s. Soon after, I received a small package in the post from Charlie
(Heather, drummer) containing a few old cassettes, mostly uninspiring but one labelled ‘Demos of the LP’. The track listing on the box revealed it was indeed demo versions of ‘Levelling The Land’. This tape had been in Charlie’s possession, unheard for nearly 30 years and now we had material for this expanded release.
“So forget the anniversary, it’s just a number after all. Far more important is that this definitive collection of material is finally seeing the light of day. Songs as relevant today as they were in 1991. Sounding great!”
Levelling The Land features one of the most striking pieces of album art of the last forty years, an image which has also adorned hundreds of thousands of t-shirts around the world. Designed and created by bassist Jeremy Cunningham, it followed on from the artwork he created for debut album A Weapon Called The Word.
Jeremy says, “I thought for our second album I could expand the Levellers artistic world a bit. So I kept the same two figures from ‘Weapon’ but instead of them confronting each other, on ‘Levelling The Land’ they’re dancing together. But they’re dancing through a broken world. To the left is kinda idyllic countryside with sunshine and a viaduct but the river running out of it disappears into a mass of cooling towers, high rise and low rise housing projects and a benefits office. The other river running out of both backgrounds is a road – and it’s that our figures have chosen to dance out of the wasteland on.
“The artwork is the same as the music on the album – it juxtaposes all these ideas … and the bottom line is weighty lyrics but played over pop music. Both the artwork and the music came from the same place. Expanding the Levellers ‘world’.”
The latest slab of pure good time rock n roll from the mind n soul of Alan Clayton is with us, and this timeless sound of honest-to-goodness is a burst of sunshine on a rainy day, a kind gesture from an old friend, and, believe it or not, album number seven. Let’s be honest, we know what we’re in for, and that’s exactly why we’re here: it’s honest rock n roll from the heart, no pretence, no bullshit, no new sounds because that’s progress; it’s just the roots of rock n roll poured out of the instruments and into your ears through your speakers. Alan knows the power of rock n roll, and he’s not afraid to use it. In the right hands, it’s the best thing in the whole fuckin’ world, and right from the first song, the class is there to hear, and the good times rinse through the speakers. ‘Learning To Be Legal’ has Alan leading the band through the mid-tempo rocker with a ton of beautiful keys wheezing into the trading of licks before Alan’s slur caresses our ears with the charm of the best bar band in ole London town, dishing up the best night out you could hope for. The production is loose and loud, but the balance is spot on (I don’t know why it’s taken mr Stranger so long to get control of the desk and pull those faders.
‘Turn Of The Tide’ is a rocker borrowed from the best and just oozes class as Guy Griffin duels with John Rollason, ably supported by some wonderful honky tonk courtesy of Micky Gallagher, but hold onto your horses ‘If You Won’t Leave Me I’ll Find Someone Who Will’ is an acoustic tale of love and life with some electric guitar twisted through those big cowboy chords, with Marnie Rollason assisting Alan with some finely placed haunting vocals.
‘Pirates Don’t Get Pensions’ is the cheeky chappie adding some fiddle to his rock n roll elbow. Sure there are obvious Stones n Faces comparisons to be found round plenty of corners throughout the Dirty Strangers’ decades of service, but if you are going to lean on any band you might as well look to the top table and go main line some of the good stuff.
If it’s some dirty slide n roll you’re after, then turn the speakers up for ‘Shtum ‘, where the band is stripped back and cut loose. The ebb and flow of this album is prominent, and after the storm of ‘Shtum’, ‘Diamonds’ is something of a tough guy’s ballad or a gentler-paced cut. I didn’t see Ronnie Lane featured on the album, but ‘Weekend Treat’ is exactly that, with Lane’s scratch guitar leading the way. ‘Get Wild’ has Griffin back for some more riff-a-rama before the band really does cut loose on ‘Nothing Doing’, sounding like the bastard child of ‘Last Time’, and I love the sound of that rhythm guitar hacking away through an overdriven amp, wonderful stuff.
As we head into the final third, it’s that ebb and flow that really works, breaking up the album and changing gears is a beautiful thing. Remember early doors, I mentioned the acoustic ‘If You Won’t Leave Me’ Well, it’s back for the full band treatment, sounding like chucking out time in the best bar on the planet, and I have to mention the lyrics and how bloody charming they are. It’s time to pull up a bar stool, pour yourself another and let Alan tell you a story.
‘Turkey Bone’ is the penultimate offering, setting the tone for Crimbo before the album says adios with the wonderful tone of Brian James, Alan’s great friend, who we sadly lost not that long ago, as they romp through ‘Sheperds Bush City Limits’, adding texture and a fair amount of rock n roll dirt to proceedings and signing off another awesome record from The Dirty Strangers up the R’s n all that, and God bless The Dirty Strangers and all who’ve sailed on board delivering the noise, the beautiful noise over the last 45 years but who cares time is nothing but a number and Brian and Scott Mulvey playing on the closing number is fitting as delving back through those years picking out tunes to strip back and rework has been an absolute triumph and as they say the proof is in the pudding and here is your serving.
Of course, I’m going to tell you to buy this record it’ll make your collecting 100% cooler and better sounding, and this self-produced rework is a banger. Buy It!
Here at RPM, there are many underground artists we admire and regard as legends, Warrior Soul mouthpiece Kory Clarke is one such dude. Kory has been keeping the Warrior Soul name alive for well over 3 decades. The politically charged band burst onto the scene back in 1990 with their debut album ‘Last Decade, Dead Century’, and their unique brand of outspoken, anarchic art rock saw a collection of great albums in the early 90s.
While the line-up has changed, the stiff middle finger of Kory Clarke is still raised in defiance as his band continue to release quality albums and tour extensively.
They celebrate the 35th anniversary of sophomore album ‘Drugs, God & The New Republic’ with a European tour playing the album in full. With a handful of UK dates booked, it would be crazy for me to miss the night when New York meets Olde York.
First up we have Gypsy Pistoleros who’ve undergone quite a transformation in recent years. The self-proclaimed ‘greatest flamenco glam punk band ever’ have now rebranded themselves as ‘the world’s only glam punk goth n’ roll outlaws’. Fair play, whatever the branding, Wolverhampton wonderer Gypsy Lee Pistolero is still at it, delivering sleazy rock n’ roll like all the (mostly) forgotten cool cats did back in the day. It’s clear he grew up on the same music as you and I.
They may look like a Temu Kiss (the bassist sports actual fairy wings), but the sound and delivery are dark, sleazy and the most fun you can have with leather clothes on. The onstage humour is as tongue-in-cheek as the stage costumes. “We don’t dress like this every day”, states Lee in one of many between-song monologues, before ripping the piss out of Adam Ant with his moves.
‘Dark Faerie Tales’ sounds like Faster Pussycat when Taime first went all goth and industrial on us, ‘The Ballad Of Thomas Shelby’ is a glitter-drenched stomper with more “woah-whoa’s” than an 80’s Bon Jovi single, and their cover of Dexy’s ‘Come On Eileen’ is the glam punk/pop crossover you didn’t realise you needed.
A full-on, high-energy rock n’ roll show with crowd participation, riffs and hooks aplenty- what’s not to like?
Warrior Soul take to the stage and jam out a killer intro piece. Kory Clarke swaggers through the crowd to the front of the stage, a bottle of red wine in his hand, and just watches his band rock out for a moment or two with his back to the audience.
He then grabs a mic, takes stage centre, a defiant fist in the air and shouts in that unmistakable raspy voice, “We are the government, and we rock n’ roll!”. They kick into ‘Interzone ’, and it’s clear from the off that this band mean business.
The diminutive frontman is a flash of blonde hair, gold shades and leather bellbottoms. He weaves rock n’ roll shapes and delivers that enigmatic, frontman thing like all good rock stars should. Next up ‘Drugs, God & The New Republic’ takes things down a notch before ‘The Answer’ takes it back up again. It seems we are getting the album in sequential order, nice!
Joining Kory are fellow New Yorker Adam Dubin, Italian guitarist Parker Barrow and Lowdrive guitarist John Hodgson. Longtime bassist Christian and drummer Ivan Tambac make up the ranks. The band are tight, and the staying power of these songs shines, reminding me what a great fucking album it is, all killer, no filler. Lyrically ahead of its time, musically powerful and still as relevant as it was in the last century.
Highlights are plenty: ‘Real Thing’ sounds great, those dynamics work well live, ‘Hero’ is as emotive as you like, and ‘The Wasteland’ is a surefire blast of 90’s punk metal.
All eyes are trained on the main man, making the most of the claustrophobic stage space he has. He eyes the audience as he spits and snarls his way through a killer set, gesticulating and articulating wildly and with as much passion as when he wrote those words.
Once the full album is done, we get more. ‘The Drug’ is a high-energy blast of acid punk, jammed out and extended, giving Kory time to drop to his knees, swig some wine and pass it to his bassist. ‘Punk & Belligerent’ is exactly what it says on the tin, and probably the best song of the night. ‘Losers’ is the all-encompassing anthem we all raise our hands and sing to, and set closer ‘Love Destruction’ is a sublime way to end a 1-hour 40-minute set, no encores needed.
Both bands had to work for it tonight. And at times both frontmen seemed a bit bemused about it. I’m sometimes left wondering if this is just a Northern thing or a national issue at gigs. Have we forgotten how to loosen up and have fun these days?
But in an age when people think nothing of paying £200 to see a nostalgia act on a big screen in an enormodome, I’m happy to say I saw a rock n’ roll legend give his all in a sweaty pub in my town for less than £20, and personally it was one of the gigs of the year.
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