The sun is still blazing in the sky over a hot and sweaty Barcelona evening as a line of people zigzags up a metal staircase to Club Razzmatazz where a packed out room is bathed in dry ice as the PA creaks to ‘Tadeusz (1912-1988)’ and the already sweaty audience breaks out into a heaving mass of football sing-a-long excitement before the band walks on for one last hurrah around Europe on the Deja Vu tour.
The few times I caught The Mission last year they were on fine form breaking in the new drummer just ahead of the UK tour post covid lockdowns and they were (pardon the pun) on a Mission and full of energy. Barca expects and as the band winds up ‘Beyond The Pail’ the club is jumping and with hardly any room to breath its a heaving mass of swathing bodies singing along and I’m imediately taken back to the early days where packed clubs like Bristol Studio or New Ocean Club in Cardiff would see you carried along in a sea of bodies well this was like that. ‘Tomorrow Never Knows’ was played early doors before the band lashed out ‘Serpent’s Kiss’ and an enthusiastic ‘Over The Hills’ this was warming up to be something special.
The sound was good and the band sounded well rehearsed and full of energy. With a great mix of songs from way back to more recent offerings, it was ‘Within The Deepest Darkness (fearful)’ when we could take a breather and take in just how bloody good a band the Mission are. The show was taking shape in manageable chunks as the audience sang back every word from the epic ‘Kingdom Come’ and ‘Stay With Me’ it was ‘Butterfly On A Wheel’ where Wayne let the audience sing back to him and I think he was impressed how loud and in tune it was. the main set was brought to an end with an energetic ‘Wasteland’ before ‘Deliverance’ saw the band leave the stage for the first time. A dozen songs had just flown by and I’d found myself in a pocket of air towards the front as the band returned for a trio of songs culminating in an exhilarating ‘Crystal Ocean’ that was the highlight of the set for me. How or why I don’t know but tonight I was moved by this song even though I’d heard it live dozens and dozens of times the whole experience was uplifting and life affirming and I love that Rock and Roll can do that even in a sea of top tunes one will stand tall.
The band left the stage for a second time before Wayne returned alone to announce that one of the band needed a toilet break but would say who so it was left for a welcome return of ‘Love Me To Death’ which only left an epic rendition of ‘Tower Of Strength’ before it was done leaving only Wayne and Simon to twist out a feedback soaked ‘You’ll Never Walk Alone’ and then it was done. Off to Madrid for one last time as we filed out into the warm night air happy I’d once again seen The Mission deliver the goods and cement their place as one of the best live bands still treading the boards.
I know they’ve alluded to this possibly being their last foray into Europe but I’d ask they reconsider that and maybe do it one last time next year or the year after and I’ll be there and by the looks of it so will a lot of others. Another night of Deja Vu with the awesome Mission. Gracias amigos.
There’s nothing better than the feeling of the sticky floor of your favourite local live music venue on a rainy Sunday evening, but just like the time just under a year ago when I first encountered tonight’s headliners live, I regret to say that once again the Covid social media warriors who swore they’d be at every gig if a venue would be brave enough to open during lockdown. appear conspicuous by their absence, I bet they’re probably all at home too busy posting about the national alert signal they didn’t want to go off on their mobile just a few hours earlier.
Ho hum, still those of us who are in da house, and I see quite a few new faces amongst those parting with their £8 (yup you can still do gigs for under a tenner folks) at the door, are in for a right rollicking night of live music make no mistake, and I can think of no netter way than starting things off than 30 odd minutes in the company of Chepstow based punk rockers Bottlekids.
Having not seen the trio live in quite a while it’s interesting to see (and hear) they’ve not only added a feisty cover of 3 Colours Red’s ‘Mental Blocks’ to their set, but also (to my ears at least) moved ever so slightly away from the more pop/punk edge or their earlier sound into a harder more aggressive direction. There’s still plenty of hooks and “woah ohs” to enjoy, but the band themselves appear have really grown as songwriters via their 2022 ‘Zilch!’ EP pushing the needles well and truly into the red and live they really are one hell of crack unit. Bottlekids really have been beavering away on the live front recently, playing gigs right across the country, and with plenty more shows on the itinerary for the rest of 2023, make sure you get out and support them, because as we all know, it’s always nice to discover a great new band you’ve never seen before (or in this case, not in a good while).
Which is exactly how I discovered tonight’s headliners, Californian R&B surf stompers The Atom Age. Sauntering in off the street eleven months earlier half realising a band I’d heard via a YouTube video a friend had sent me were playing Le Pub and then immediately being blown away, tonight, is going to be my first proper encounter with the 12 legged rock ‘n’ roll monster, as this time around I come prepared with a knowledge of the band’s back catalogue, but will it prove to be just as impressive as that initial encounter?
Well, it takes just a few seconds of opener ‘Honeybees’ to answer that question. Shake, rattle and rolling the always impressive Le Pub sound system The Atom Age launch themselves into action like an MC5 shaped musical torpedo and they aren’t about to miss the target. We, the audience. It’s fascinating to watch six musicians so seemingly different (visually at least) gel into such a formidable live force. From the Wilko Johnson meets Howlin’ Pelle Almqvist antics of singer/guitarist Peter Niven, to the Pål Pot Pamparius of the farfisa Fred Brott, there is an explosive edge to the band that is only balanced out by the uber cool saxophone licks of Brendan Frye and (and I’m still chuckling at the one) the young Jack Jarvis charms of anchor-man MC guitarist/singer Ryan Perras. Add to this the substantial bottom end powerhouse drummer Fat Tim and bassist Kevin Mohn and you have a band able to level audiences and venues in equal measure.
Set list wise the band are (perhaps understandably) still out on the road promoting their Covid impacted 2019 album ‘Cry ‘Til You Die’ (available tonight for just £10 on vinyl and £5 on CD folks…are you listening The Bronx?) as though it is a new record, and there are some actual newer tunes like ‘Til We’re Shakin’, a track custom made for any upcoming Tarantino soundtrack, plus the frantic BRMC-like set closer ‘I Was A Rock ‘N’ Roll Narcissist’ that indicate the future does indeed sound great for The Atom Age.
Of the older Atom Age tunes aired tonight it’s still ‘I Hypnotize’ that flicks all the switches for yours truly, the tune sounding not unlike an unreleased cut from ‘RFTC’ era Rock From The Crypt, and who couldn’t love that?
Elsewhere the aforementioned ‘Cry ‘Til You Die’ album gets represented by its soulful and sassy opener ‘Love Is A Numbers Game’, the strutting ‘Walk Through Walls’ and perhaps that record’s best cut, the glorious beetle crusher stomp of ‘Never Looking’ with its divine “woo-oo” vocal breakdown, all delivered to absolute perfection.
And if its something from the Blag Dahlia co-produced ‘Hot Shame’ album (also available for just £10 on vinyl and £5 on CD folks) you are looking for, then there’s the Hives on steroids blitz that is ‘It’s A Mess’ plus the album’s equally excellent title track for you to shake your Sunday night tail feather to.
The only downer for me tonight was it was all over way too soon. The Atom Age really are a very special band indeed, flying just under the punk rock cool radar (which at the moment seems to be distracted by any band coming out of Australia) but just the same delivering total annihilation wherever they play.
Catch The Atom Age wherever you can… they are incredible!
Ah ‘The Decca Years’, It’s the first time on vinyl (other than the picture disc version), Finally Sparrers Decca years gets it’s dues.
Thanks to Cherry Red Records you can now add this fantastic record to your collection. Fourteen tracks pressed on black vinyl for the first time it features everything seminal Oi! band Cock Sparrer recorded during their time with Decca Records in the late 70s. Bosh!
Of course, it’s therefore crammed with classic live favourites, ‘Runnin’ Riot’ and ‘We Love You’ plus ‘Sunday Stripper’. It’s in great company here rather than just buried on the legendary ‘Oi! The Album back in the day. still revered as the go-to scene compilation and is often fondly talked about in punk rock circles because of the inclusion of songs as good as ‘Sunday Stripper’.
As with many Sparrer records this one is limited, so if you snooze you will lose. To draw you in, this version comes in a splendid gatefold sleeve complete with an inner picture collage and stacks of memorabilia from the era. Current guitarist Daryl Smith has overseen the artwork layout and therefore it has the authenticity it deserves from inside team Cock Sparrer. It adds to the release and you’ll love it when pouring over the pictures as the album blasts out of your speakers.
It’s hard to believe it was the bands 50th Anniversary recently and many of the tracks featured on this compilation are still the staples of their current live set and stand tall alongside more recent tunes.
‘Running Riot’ is a great opener and the aggressive punch of ‘Chip On My Shoulder’ sounds exactly as the title suggests. If you are new to Cock Sparrer then this is the perfect place to start your journey down that rabbit hole From the snarl in McFaulls vocals to the rawness of the riff, culminating in the solo that hacks and slashes, it’s such a great song. There is no chink in the armour of Decca era Cock Sparrer, not for a single seccond does the energy drop, nor does the quality of songwriting, Mixing punk rock with hard rock wasn’t easy back in the 70s but Cock Sparrer used their influences when songwriting from the hard rock of ‘Platinum Blonde’ and the twin guitar duelling to the amped up charge of ‘Teenage Heart’ these songs are simply brilliant and to say that after 50 years is not to be sniffed at. There aren’t many artists who can claim to have written songs that still sound fresh after four decades.
Had Slade or Thin Lizzy boogie Woogie like ‘I Need A Witness’ people would have championed it for many years no doubt about it. That’s not even going near the classics like ‘Sunday Stripper’ that had someone like Steve Marriott penned it would be huge, I kid you not but these influences are all in these songs even the snottier punk songs.
When you get to ‘What’s It Like To Be Old’ you can smile back and say it’s alright to be fair, even if I’ve waited this long to get these on one LP in their original state this old lark has such a great soundtrack. The Decca Years is an essential purchase for anyone who loves guitar-based Rock n’ Roll exactly how it should sound. But take my word for it you’ll have to be quick because these will be snapped up sharpish. Lace-up those Doc Martins and get a sprint on – this will sell out. Buy It!
Longserving Australian psych-rockers THE CHURCH have signed with UK label Easy Action Records.
The new partnership will see a UK and European release for the band’s brand new full-length The Hypnogogue. Recorded just prior to the Covid pandemic, the album is the band’s first new studio album in six years and the first to feature the newest line-up of founder, bassist and vocalist Steve Kilbey, drummer Tim Powles, guitarists Ian Haug and Ashley Naylor, and multi-instrumentalist Jeffrey Cain.
Easy Action are also going to give their back catalogue a physical release as wel as some digital only releases which will excite fans.
‘The Hypnogogue’ is the twenty-seventh release which in itself is an incredable achievement in itself from any band and shows how prolific writers they are.
Often seen as the originals of Australian psych which has spread all across the globe influencing Tame Impala and King Gizzard And The Lizard Wizard, The Church have gone on to maintain a loyal and fanbase and thats set to go further as they evolving their sound in 2023.
This albums opens with a dreamy ‘Ascendance’ that builds and changes shape almost like a camelelion with a haunting ebow ebbing and flowing. ‘C’est La Vie’ is a dark pop song with ringing guitars. The record swirls and glides in places with lovely toned guitars and keys making way for poingient vocals.
Spread over thirteen songs its a very confident sounding record where the band seem in a great place and its th esound of a band enjoying their work. The darker Bowie like ‘Flickering Lights’ is sparse and brooding almost five minutes stroll.
The title track is a momoth six minutes of cinemascope psych rock very understated and atmospheric. Its a long record and one that will please existing fans and new ones looking for something just outside the box but mature in design but full of good songwriting and the performance is as youd expect, excellent.
After the debacle of his last long player, we worried that he would hang up his studded codpiece and mask and say fuck it and head off into the desert and look for other life forms on planets far far away but alas he’s back in the saddle and shooting from his hip with his usual caustic, amusing controvercial punk rock songs that are instantly loveable and instantly burrowing into your ear heading straight for your brain and the part that likes nice things.
Still banned from venues all over this spinning rock and Interpol reportedly has an ongoing warrant out for his immediate arrest on undisclosed charges. He rarely appears in public and very few have seen him without a mask. There have been numerous reports of Hewho impersonators spotted all over the world, especially when The Dwarves play live shows. It has even been suggested that He Who Cannot Be Named does not really and is merely a rock legend. Perhaps Hewho himself is an imposter. We will probably never know for sure. but this latest album is working off the real deal, not an Imposter these songs couldn’t possibly have been written by someone else and neither would anyone attempt to perform instead of him. Imagine the life lived inside that mask FFS only one man could be depraved enough to put it on and do what he does night after night and its also a fact he records wearing nothing more than the mask and his unwashed codpiece its what drives him on to write and perform such classics as those that appear on this here album.
I think it fair to say early doors that this is easily my favourite HeWho solo album every song is classic HeWho with some just shading it for one reason or another like the suitable un PC ‘Proud Girl’ Hot for Hitler ffs, HeWho is gonna be cancelled. Anyway, Let’s wind back to the top and the opening one or two of ‘Funny Farm’ then straight into hypertension that is ‘Panic Attack’ pure Hewho and I love it.
C’mon you know how this is gonna unfurl from those Beach Boys meets the Dwarves melodies like ‘Happy Unhappy’ backed by multi layered gang vocals and some fuzzed up guitar over a skippy back beat – Joyous!
This one is fourteen tracks that fly by in double quick time – if you don’t like it then I feel sorry for you the lyrics are cheeky and often funny but after a bit of digging really clever. ‘The Thing’ has the Motorhead break down over a Ramones verse chorus verse chorus solo chorus end -genius. If you’re after a howling good time listening to punk rock with melodies and hooks galore with pop sensible choruses all wrapped up with a sense of humour then this album is right up your strasse baby get on it without delay – Beluga – ghost Highway and Spaghetty Town will do you a dirty deal and get this bad boy out to you with love and care because they also know how fuckin good this record is.
For some years now Diverse Vinyl in Newport have been putting together a day of free live music within the city centred around Record Store Day. This year though, seemingly sick of working through the whirlwind that is the retail event of the year for many a record shop and then running an 8 hour live event, the promotor (take a bow Matt Jarrett) and venues involved (take a bow Le Pub and McCann’s) have moved this live music element forward by a week, so everyone can enjoy the show without being totally exhausted.
In saying this though, between us, me and my RPM gig going amigo Nev Brooks still can’t quite muster up the superhero power known as “standing up for the full show”, so instead, we descend on Le Pub about halfway through the event, just in time to catch Pigeon Wigs, who were also coincidentally the first band I saw post the UK coming out of Covid lockdowns.
Back in 2021 I predicted that the Cardiff based band showed all the signs of following in the footsteps of Buzzard Buzzard Buzzard and possibly ink themselves a major deal due to them playing a mesmerising mix of powerpop and fuzzy guitar driven rock ‘n’ roll. Instead (for now at least), they have signed with Clwb Music and are just about to launch their new single ‘Hold Up’ (which gets played four songs in tonight) into the multiverse, and to be honest not a lot else has changed, other than they appear to be a keyboard player short tonight. Pigeon Wigs still have this immediate likeable swagger about them and songs like ‘Paper Tiger’ really are custom built for venues much larger than Le Pub, catch them in one such sized venue while you still can.
I’ll say exactly the same thing too for Hastings based trio HotWax, who are up next in The Pit at McCann’s, simply because this is one amazing band in the making if ever there was one. Fusing Polly Jean Harvey’s skills within the musical dark arts with the overdriven thrust of Kat Bjelland’s Katastrophy Wife (thank you for that reference point, Mr Brooks) HotWax duck and dive around their short and not so sweet set like battle hardened grunge prize-fighters, yet they still retain the nativity of a band just out of school, a quality that immediately drags you in. Upcoming single ‘A Thousand Times’ is a classic example of how to bend and twist the song writing formula the HotWax way, whilst in ‘Barbie’ HotWax possibly have their very own scent of teen spirit ready and waiting to be bottled up for the masses. Don’t believe me, then just ask Legendary TJ’s promotor Simon Phillips who I spotted out of the corner of my eye whooping and slapping one of the basement walls mid-set as a show of support. Who was it again he promoted back in the day? Yeah, pretty much everyone.
It’s outside we go next to sample the fresh Newport night air along with about a hundred other hardy souls as Fashion Weak take to the makeshift stage situated between Le Pub and McCann’s to deliver, what turns out to be, a masterclass in avantgarde electro pop. Dubbing themselves the new wave of synth wave, what Fashion Weak actually are is yet another glorious musical left turn within a genre than seems to be throwing out great bands at an alarming rate right now. In frontman John MOuse you not only have someone brave enough to play part of tonight’s outdoor gig topless, but also dance around like an off his nut Dave Gahan, whilst delivering acerbic vocal lines (like the absolute classic ‘Eighteen Percent Of Swansea’…haven’t worked in the DVLA) over what can only be described as a Spagna goes Krautrock soundtrack. All making for one unique live experience indeed. Go see them on their ongoing UK tour and I dare you not to be dancing by the end of the first song.
We descend back into the white-hot underbelly of McCann’s just in time to see Shlug’s frontman rip off his vintage 1990s Cardiff City top and prepare to take us on a musical trip heavily influenced by the tail end of that exact same decade, and especially (I would say) by fellow Cardiff formed band Mclusky. Shlug are what some would term post-hardcore and as a result they have a tendency to be as noisy as hell (The Pit’s system crackling with the low end of their primal sound) and this proves all too much for one gig goer near me who shouts “fuck this” just a minute or so into their first song, and duly stomps their back up the stairs to the safe space of the bar, and that right there pretty much sums up Shlug’s musical appeal. They’re the type of band you’ll hate to love, just like Cardiff City I suppose. (What’s the chances RPM’s editor in chief will add some witty remark here eh?) *(Ed; I though of one at the double but decided against it)*
And so we come to tonight’s headliner Lee Bains III & The Glory Fires, who just like Pigeon Wigs before them now appear in a slightly more streamlined format, as a trio, but what a musical tour de force this trio is.
Kicking this off in manic feedback drenched style with a 1-2-3-4 attack of ‘Sweet Disorder’ the pumped-up opener leaves anyone thinking that Lee is all about country music with an immediate bloody nose. No brothers and sisters this is all about the heart and soul of rock and roll music and if anything given the frontman’s proclivity to engage in lengthy politically charged spoken word introductions to most of his songs, if anything, it’s probably more punk rock than most punk rock bands these days.
I’ll admit that I’d struggled to get into with The Glory Fires slightly more relaxed 2022 album ‘Old Time Folks’ but here in the live setting tracks like ‘Lizard People’, ‘Outlaws’ and the superb ‘(In Remembrance Of The) 40 Hour Week’ all crackle with a truly soulful undertone largely due to Lee’s huge vocal performance (he justifiably sounds slightly croaky when I get a chance for a quick chat post gig) and he looks like he’s loving every second of finally getting the chance to play these songs live post pandemic.
Of the older tunes aired ‘The Company Man’ from 2014’s ‘Dereconstructed’ album has never sounded more relevant whilst set closer ‘Good Old Boy’ from 2017’s ‘Youth Detention’ not only brings the set back around full circle but also sees Lee joining his adoring fans to share the vocal refrain as his guitar strings get shred in the ensuing frenzy, and just like that it’s all over.
What makes Lee Bains III & The Glory Fires live shows so essential is the fact that they not only hit the mark musically but also on a personal level, and one such moment tonight evolves during Lee’s between song diatribe regarding how the UK made film Pride had been synonymous in galvanising the spirit of striking Alabaman miners during their two year struggle, which is enough to move even the toughest of us.
A truly magical performance then, topping off a great (and very eclectic) line up of bands. So, let’s hope that it really isn’t (as rumoured) the last of these events, as tonight Newport’s rich musical legacy once again burned very brightly indeed. Long may it continue….
Dead Beat Records is proud to announce the release of Killer Kin’s self-titled debut album on 04-28-23. The New Haven, CT five-piece has been causing a stir with their unapologetic sound that delivers a fierce and powerful “Metallic KO”.
This high-octane explosion of blistering riffs, pounding drums, and bark-snarling vocals capture the menace of high-energy rock n roll in its rawest form. With tracks like “Mr. Dynamite,” “On The Chain,” and “Motorbanger,” listeners are sure to get that dangerous rock n roll feeling in all the right places.
Lead singer Matt says, “If you haven’t seen a hound from hell, now you’ve heard one!” Our debut LP features ten chain-banging, soul-stripping and razor-sharp rock ‘n’ roll sluggers that are sure to have you stoned on raw powerage.”
Killer Kin promises to unchain an untamed beast inside the listener with their contagious energy and primal intensity that is sure to leave them begging for more.
When you want to release your latest solo album and rope in a few pals to give it a little lift, have a browse through your Rolodex and call some randoms. Jeff Beck (RIP) longtime pal Joe Elliott tick, Johnny Depp, why not. Billy Gibbons, Slash and Duff from Guns n Roses and Taylor Hawkins (RIP) thats some friends right there to be getting on with and the list goes on and on to be fair. Hell get Waddy Wachtel on the blower as well. Now before I’ve even heard a note of this album I’m excited. To Be fair Ian Hunter ozzes Rock n Roll anyway so I’m not really worried about how good these songs are gonna be I just hoped it wasn’t overwhelming. Hunter explained it as a fluke yeah right c’mon man you’ve got Ringo on your first single as well as Tom Petty’s six-string slinger.
Anyway, I digress they say people of Hunters age shouldn’t be making records into the twilight of his years and once the needle drops and you hear him make sweet sweet music with a metallica bass player and Slash winding in some cool grooves. You realise the title is a metaphotical finger poking you on the forehead say hey, have it! It’s classic Hunter and his voice sounds fantastic full of coolness and a knowledge that if this was a fluke he’s got the hand of God turning the dials because this is class.
The first single sounds like its been carved from granite of timeless cool laid back Rock n Roll. I love its late evening glass of wine vibe – we’re gonna wind things up gently and before you know it the bottle is empty and you’re on the table – arms aloft singing the chorus.
It’s not an album like ‘Dirty Laundry’ where the band sound like they’ve been partying for seven days but it is a classy slow burner in places like the ‘No Hard Feelings’ with Depp and Beck laying their DNA over the song in a haunting slide heavy slice of balladeering. If you want some boogie woogie you can head straight for ‘Pavlovs Dog’ or ‘I Hate Hate’ featuring Jeff Tweedy. On reflection this album would make a fantastic bed fellow companion to Keith Richards ‘Talk Is Cheap’ album. It has a classy vibe and I guess having so many unique players it has variety with every slice making it a very listenable and varied record.
The classic Hunter big Ballads are here and on songs like ‘Angel,’ he’s turning back the clock to classic Hoople. It’s pretty much what I was hoping for, and I’m delighted to hear how good these songs are. Either dipping in on a mix tape or going for the full playlist this works on every level form is temporary class is permanent and let’s face it Hunter is class and this Defiant little gem is an absolute Banger, the kids should be quaking because this old dog is still learning new tricks and wagging his tail like a puppy who got the cream. Buy it! Fuck RSD get this.
Hot on the heels of sharing the news of their upcoming album “Electric Sounds” last week, Danko Jones has now announced European & UK headlining tour dates for November and December 2023.
No band has ever sounded more ready to hit the road than the pumped-up threesome showcased on the hell-for-leather ragers featured on their forthcoming album. Armed with this collection of brand new bangers, Danko Jones launch themselves into 2023 on a renewed mission to rock the living shit-lights out of anyone and everyone that wants to join the party.
Frontman Danko declares: “We love touring in the UK and thankfully we are coming back! What’s not to love when you play in front of crowds that know their rock and know how to rock out?! Every day is just one more day we have to patiently get through until the tour starts. I think you can tell I’m already very ready to do this. Give me a guitar and get me to the stage NOW”!
Special guests for the dates will be US punk squad Radkey.
European & UK Tour Dates 2023: 11/14/23 Helsinki (FI) – Tavastia* 11/16/23 Zwolle (NL) – Hedon 11/17/23 Luxembourg (LU) – Den Altier 11/18/23 Leuven (BE) – Het Depot 11/21/23 Copenhagen (DK) – Pumpehuset 11/22/23 Oslo (NO) – Rockefeller 11/24/23 Stockholm (SE) – Debaser 11/25/23 Malmö (SE) – KB 11/27/23 Arnhem (NL) – Luxor Live 11/28/23 Cologne (DE) – Essigfabrik 11/29/23 Berlin (DE) – Festsaal Kreuzberg 12/01/23 Aschaffenburg (DE) – Colos-Saal 12/02/23 Leipzig (DE) – Täubchenthal 12/03/23 Porthcawl, Trecco Bay (UK) – Planet Rockstock 12/05/23 Lindau (DE) – lub Vaudeville 12/06/23 Zurich (NL) – Dynamo 12/07/23 Milano (IT) – Legend Club 12/09/23 Paris (FR) – Backstage by The Mill 12/10/23 Bergen op Zoom (NL) – Gebouw T 12/12/23 Bristol (UK) – Thekla 12/13/23 Glasgow (UK) – King Tuts 12/14/23 Nottingham (UK) – Rescure Rooms 12/15/23 Manchester (UK) – Rebellion 12/16/23 London (UK) – Garage * (no Radkey)
Set your alarm! Pre-sales for tickets begin at 10am BST, Wednesday 19th April. Tickets go on general sale starting at 10am BST on Friday 21st April. For all ticketing links and more information, click here.
In addition, Danko Jones are confirmed as main support on Sunday 3rd December at the rifftastic extravaganza that is Planet Rockstock, taking place in Trecco Bay, South Wales and marking its10th anniversary this year. Tickets for that event are on sale now.
Toronto’s archbishops of amplification prove that even a global pandemic couldn’t stop Danko Jones. As first album single “Guess Who’s Back” clearly displays, it just made them even more unstoppable. “‘Guess Who’s Back’ is not only the lead-off track to our new album, ‘Electric Sounds’, it’s also the imperative sentence everyone is begging to answer – Danko Jones”, quips charismatic frontman Danko.
“Electric Sounds” promises to have the instant sound and feel of a classic. With no need to reinvent the wheel, the group have further honed and refined their craft – always at full volume – although Electric Sounds is a deceptively diverse affair. “Electric Sounds” was produced by Eric Ratz, and features guest spots from Tyler Stewart (Barenaked Ladies), Damian Abraham (Fucked Up) and guitarist Daniel Dekay (from Canadian thrash legends Exciter).
“Electric Sounds” was produced by Eric Ratz, and features guest spots from Tyler Stewart (Barenaked Ladies), Damian Abraham (Fucked Up) and guitarist Daniel Dekay (from Canadian thrash legends Exciter). Slated for a release on September 15th, 2023, through AFM Records, the album pre-sale has just started here.
It’s been a few years since Tyla has graced us with his presence here at The Fulford Arms, what with lockdowns, ill health and all that jazz. Still, here we are celebrating 40 years of The Dogs D’amour with a few low-key shows at independent venues across the country. The first weekender is a couple of ‘spiritual home’ gigs for the band, and following last night’s tour opener at Bannerman’s in Edinburgh, Tyla and the gang roll into York for a sold-out show that will probably be tinged with sadness following the announcement of Quireboys original guitarist Guy Bailey’s passing just the day before.
Up first we have local troubadour Daniel Lucas aka Boss Caine. The last time I saw him live was probably supporting The Dogs here actually. Covid times don’t seem to have changed the man too much, the hair is shorter and the cowboy hat has been replaced by a flat cap, but the song remains the same.
Opening with ‘Ghosts And Drunks’ sets the scene nicely with mournful chords and sandpaper vocals that sit somewhere on the nicer side of Tom Waits. His storytelling and observations of life, whether his or those around him are captivating, and he has a way of drawing you in and paying attention. Just a man and his acoustic guitar with a bunch of tales of love, loss and addiction seems quite a fitting match for the main attraction and the growing crowd seem to think so too by the response.
I’m sure most live reviews of The Dogs D’amour could start with the sentence “Tyla looks like he has a had a few bevvies already as he takes to the stage”, and tonight is one of those nights. Dressed in an oversized suit, sporting a big, shaggy beard and his dyed black hair longer than I can ever remember him wearing it, the Wolverhampton Wanderer looks like Lemmy meets Fagin and he is in good spirits tonight, or should I say is full of good spirits tonight!
You cannot dislike the gloriously ramshackle sound that The Dogs D’amour create in any guise, and they are always entertaining live. Tyla has written many songs that soundtrack my youth, from those very early days up until the early 2000’s anyway. And as the band are celebrating 40 years of The Dogs D’amour, they are doing things a bit differently tonight. Not only is it a set of just classic songs, but it is also played chronologically, with stories and anecdotes in-between each song from the main man and songwriter himself. Whether half of these stories are true, only one man knows, but its comedy gold all the same.
As Tyla picks the opening notes to ‘Heroine’ those who are witnessing things for the first time may wonder whether he’ll make it through the first song without fucking it up, of course he does! Between songs Tyla explains the origin of each song he is about to play, usually with the words “anyway, and so the next day…” or something similar. And what transpires is possibly a dream set list for any fan of classic Dogs material. None are actually introduced by name, but he doesn’t need to do that, we know them all anyway. From early obscurities like ‘The State I’m In’ and ‘How Do You Fall In Love Again’ to chart bothering singles (“we were on Top Of The Pops you know!”) such as ‘How Come It Never Rains’ and ‘Satellite Kid’, to personal favourites such as ‘Last Bandit’ (dedicated to Guy), ‘Firework Girl’ and ‘Billy Two Rivers’ it is all delivered with passion.
Backed as ever by guitarist Gaz Pennick and fellow Balladmongrel Matty James Cassidy on bass, the band are suitably ramshackle, yet never on the verge of falling apart. Props to drummer Dave Cumming who stood in for the much-missed Simon Hanson for these shows.
Tyla sips from a pint of Guinness between songs and performs several songs sat on a chair. His banter is comedy gold and the stories are informative. Who ever knew that ‘Angel’ was inspired by a guy in a bowler hat who narrowly missed getting squashed by a falling fridge freezer, but Tyla changed it to a piano as it sounded cooler? Did Bukowski have such inspiration to draw from I wonder?
When Gaz informs Tyla they only have time for 3 more songs, he calls Matty over to take lead vocals for the latest Balladmongrels single ‘How The Beautiful Fall’ before ending the set with a killer singalong of ‘Drunk Like Me’.
Armed with the most sentimental of melodies and the most poetic lyrics, The Dogs D’amour came to celebrate 40 years of debauchery and York came with their loudest voices to sing every chorus back to them. A good time, no a great time.
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