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.
The Last Internationale were formed in NYC by singer Delila Paz and guitarist Edgey Pires back in 2008. Their socially conscious protest songs garnered the attention of Rage Against The Machine guitarist Tom Morello, who subsequently introduced them to drummer Brad Wilk. Their debut album ‘We Will Reign’ was released on Epic in 2004, it was produced by Brendan O’Brien and Brendan Benson and featured Wilk on drums.
The album led to tours with the likes of Robert Plant and The Who, the band gained a cult following and a reputation for energetic, crowd-pleasing live shows. Currently on the road supporting the release of their brand new, independently released third album ‘Running For A Dream’, The Last Internationale return to the UK as part of their extensive European tour, and to the Brudenell Social Club in Leeds for the first time.
York rockers The Black Skies are riding high on the release of their newest single, a cover of Nina Simone’s ‘Feeling Good’ and playing The Brudenell for the first time, less than 12 months since they became a 5-piece band.
The room is filling up as they take to the stage and their soulful, metallic-tinged rock sounds mighty in my favourite venue. Dressed all in black, shades and a cowboy hat ever present, singer James Handley sticks to the mic stand like it’s his best friend. I get menacing, rooted-to-the-spot Layne Stayley vibes in his delivery and those powerful, soulful vocals are as spot on as the recorded versions.
Flanked by animated guitarists Luke Falkingham and Benny Sheldon, and with bassist Michael and powerhouse drummer Tom holding down the backbeat, the band sound massive and way tighter than they should do at this stage of their career. And they also have the songs. From the contemporary and commercial first single ‘Unchained’ onto the bluesy earworm ‘Save My Soul’ and last single ‘Come And Get Me’, they show maturity and diversity in their songwriting and a knack for a catchy chorus or two.
They are pretty good at making covers their own as well. They take Hellbound Glory’s swampy ‘Sun Valley Blues’ and give it some 70’s riff rock treatment that Aerosmith or even Zep would be proud of. And ending with latest single ‘Feeling Good’ leaves those who are unacquainted with the band a taste of something familiar but given the Black Skies treatment.
A local band that are growing in confidence with every gig and have that certain something that makes them stand out from the competition. If they keep going the way they are, who knows where it will take them.
Who the hell are Taipei Houston, you may well ask. Well, I certainly did before this gig. A bit of internet digging later, and it turns out the 2-piece bass and drum combo are brothers named Ulrich, yes that Ulrich. But they don’t make a big deal about their heritage, and no, they sound nothing like Metallica.
That said, drummer Myles is a demon behind the kit. With his brother Layne handling vocals and fuzzy bass duties, the duo make a remarkable and pretty unique noise. Part Royal Blood, part White Stripes, their schizophrenic music is like Rush on crack with breakbeats all over the shop.
I don’t know any of their songs but there are more time signatures and stop/start moments than The Mars Volta in their prime, I mean, its verging on jazz…maybe its jazz metal? To be honest, I can’t take my eyes off that drummer and what he’s actually doing, is he playing it straight or improvising? Is he making it up as he goes along? Whatever’s going on, it’s certainly original, the only drawback is that it all ends up sounding the same.
I don’t know if I could handle a full album of that stuff, no disrespect to Layne, but I feel they are lacking a singer and could be a killer power trio with the right guy. That said, their instrumental version of The Beatles ‘Eleanor Rigby’ was insane! A cracking live band that are well worth checking out if they come your way.
Gil Scott-Heron’s ‘The Revolution Will Be Not Be Televised’ plays through the PA, signaling the arrival of The Last Internationale on to the stage at The Brudenell. Guitarist Edgey is immediately at the front bashing his fists on his Les Paul, goading the crowd, while singer Delila, looking very rock n’ roll in a silver one-piece cat suit, takes straight to the mic as the band kick in with ‘Killing Fields’.
There’s an immediacy to the performance from the off and a crackling energy that fills the room. With the addition of a bassist, the band are now a 4 piece, giving Delila the freedom to devote full attention to performance, and my how that girl can work a crowd. The rhythm section are tight as you like, and the focus is on the singer and guitarist as they work that certain magic that only seasoned touring musicians can. With its chanting refrain ‘Life, Liberty and The Pursuit of Indian Blood’ is the ideal fodder to get the crowd worked up and the duo know it. Edgey punches his fist into the air with passion to incite crowd response and you believe every word that comes from Delila’s mouth. 2 songs in and if you aren’t completely sold by this band already, then you maybe should’ve stayed at home. There’s a reason why that first gig I witnessed 8 years ago still sticks in my mind, and why I still follow The Last Internationale’s every move.
The high energy newer material such as ‘Hero’ and ‘1984’ fit well with the older tunes and it’s not until they wheel out the keyboard for the emotive ‘Soul On Fire’ that the crowd and band get a chance to rest. The jammed-out version is extended as Delila sits down and takes her piano-led soul music to new heights. Mid-song she moves away from the piano and sings acapella about Nina Simone, seemingly going off on a tangent and singing free form, shouting “Nina Simone!” at the crowd and stamping her feet in unison to hit home the passion, the soul and the message. She has the whole room in the palm of her hand and I’m sure you could hear a pin drop during that performance.
The band delivers like any classic 70s rock band you have ever seen footage of. Delila coming on like Juliette Lewis meets Patti Smith, spinning and turning, having the time of her life as Edgey pulls all the cool rock poses behind her, bashing 7 shades of shit out of his guitar.
Towards the end of the set, Delila straps on the bass for early career single ‘Wanted Man’. Edgey motions to the crowd to clap as she plays that pumping bass groove, getting more crowd interaction with the “whoo-hoo’s”. Another defining moment of the set.
Extended set closer ‘1968’ sees Delilah jumping into the crowd and getting everybody to crouch down on the floor as she takes the song right down. I saw her do a similar thing at the main stage of Ramblin Man Fair a few years back, festival crowds or 300 capacity clubs, it makes no difference, the same delivery and the same reaction. I like it when an artist makes the audience part of the show, and The Last Internationale have become masters of the craft over the years. It ends with a stage invasion as the singer invites all those who want to come up and dance to do it.
The Last Internationale are a world-class act that deserves more recognition. As a live band they are up there with the best, pretty untouchable in my opinion. Like their heroes Woody Guthrie and Bob Dylan, they have something to say and the fact that they are now doing this independently is a testament to their passion and the message they are preaching to all who will listen as they take it around the globe.
In an age of extortionate stadium gig prices for over-the-hill bands, tonight was all about 3 excellent bands for £15, one who already have festival crowds in the palm of their hands and two who represent the grassroots bands of the future, all are the artists we need to be supporting before live music becomes a thing of the past.
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!
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….
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.
Legendary punk band Subhumans announced a United States with support from Cop/Out and Upchuck on select dates!
This tour comes after a reissue of Subhumans’ first 6 LPs which were all remastered from the original tapes. These records were pressed on several different versions with fans from around the globe quickly snatching up copies. Additionally, a limited edition box set featuring all six records plus an exclusive 10”, slipmat, and 52 page book was released and sold out in a matter of hours.
Subhumans have more surprises and plans throughout the rest of 2023 and beyond so fans will be waiting with anticipation for subsequent announces from Dick Lucas and the rest of the band.
Somethigns happenign in the underground and all across south Wales there seems to be new exciting bands kicking up a shitstorm. From the East to the West its happening and the good people of South Wales need to get on board and maybe it will catch fire. Last weekend I went to the wonderful venue that is the Elyseum on the salubrious High Street to catch the impressive Baby Schillaci who have impressed me with their first two singles. So, it seemed only fair that I should go catch them live and see if this fire needs fanning and to be fair it didn’t dissapoint.
We arrived to see a healthy crowd in early for the performance of noisy alt punks Hong Kong Handover who seemed to be enjoying their time making a noise and thrashing about. Maybe a sweaty dark pub would be more suited and not having heard anything by them before it kinda washed over me but I did like their energy. As for HWDU i’ve seen them before in a squalid local pub where they were harvesting the wuhan bats for any future pandemic better known to locals as The Duke in nearby Neath. The first thing I noticed was singer/guitar player was sporting a Dead Moon shirt which isn’t somethign I was expecting on this Saturday night in Swansea and the band have some strong songs in the mix of their grungy post punk noise and along with their enthusiasm this evening eas shaping up rather nicely.
By the time the headliners took to the floor, there was a decent expectant audience in attendance as the band ripped open their set with some strong material in their brief but to-the-point set. Having two guitars and two vocalists is a good move for their post-punk offerings and a set that blended well through the darker more alternative style songs in the set (mixing up some of the darker britpop with the punk grunge of ‘Bleach’ through the pre ‘Bla Bla Bla’ era that Iggy had going on.
I was impressed with the quality of the songs and the style, but the ones that worked best were the all-out noise they brought to the room and it was with great energy. I want to hear more and see them play again an impressive performance from these boys on first impressions and no doubt they could be onto something with songs like ‘Radical’ and ‘Dead Wrestler’. As the songs will be more familiar and with each performance I’ve no doubt they will get better and better. They did save the best til last and finished off their short but sweet set with the new single ‘So Bad’, it was perfect as the pit was whipped up and we were left wanting more. Excellent night out and it was Free entry, bonkers!
Remember the name and if they hit your town get out there and get involved ‘Baby Schillaci’, Yeah! total Schillaci. Impressive first impressions.
Celebrating the release of a 10th anniversary edition of their debut album, Nottingham based Celtic punks Ferocious Dog announced a special one-off gig at The Barbican in York following their appearance at the Scarborough Punk Festival. This unique event would see the band play a 2-hour show including a performance of the whole of the debut album with a full orchestra.
Being veterans of the festival circuit and with a formidable, energetic live reputation, it would seem to be a no brainer to witness this event.
Not only are Ferocious Dog influenced by the Levellers, but they can also call them friends. Both bands have toured together extensively and shared festival stages over the years, so it seems fitting that Levellers frontman Mark Chadwick has offered his services to warm up an already slightly inebriated and rowdy crowd.
Armed with just an acoustic guitar and with a full house watching his every move, he proceeds to have the whole place in the palm of his hands as he plays a 40-minute set of Levellers hits and deep cuts. You could literally hear a pin drop during the opening ‘Liberty Song’, and what follows is not just mini greatest hits set, but also a masterclass in how to work a crowd with ease, not only proving what a charismatic frontman Mark is, but what a great discography the Levellers have.
Having captured the band’s recent acoustic tour I know these songs work well in an acoustic setting, but what I didn’t realise is, stripped of a band and laid bare, how good Mark Chadwick is.
The fluttery folk of ‘The Boatman’ is perfect, ‘Julie’ is as beautiful as the studio version and even the usually upbeat and powerful ‘15 Years’ sounds magnificent given the stripped-back acoustic arrangement.
“Is anyone drunk yet?” Mark hollers to great cheers, he has the crowd where he wants them and they sing every chorus back to him. Classic singles like ‘Just The One’, ‘Beautiful Day’ and ‘One Way’ were always going to go down well tonight, but it was the rousing and emotive ‘Carry Me’ that sent shivers down my spine and got possibly the biggest reaction from a crowd that were on his side before he even played a note. Mesmerising stuff indeed.
With the orchestra in their seats, Ferocious Dog take to the stage to massive cheers, and frontman Ken Bonsall, looking all Peaky Blinders in his white shirt, waistcoat and flat cap, takes to the mic to sing the poetic ‘Verse For Lee’ before blasting into album opener ‘The Glass’. A sense of euphoria is evident from the off, as the whole crowd sings as one. Ferocious Dog class their fans as family and the Hell Hounds, as they are affectionately known, are in fine voice tonight, as the band deliver a high energy set that never falters. The album is played through in sequence and while the orchestra adds an expanse to the sound, this ain’t no laid-back affair. But then you can’t really give the mellow treatment to a song as dancey and upbeat as the instrumental ‘Lee’s Song’, can you?
The band seem to be loving it as much as their fans, bassist Nick Wragg is all over the stage mouthing the words, as is recently reinstated guitarist Kyle Peters, who shares lead vocals on a few songs tonight. Shout out to multi-instrumentalist Sam Wood who shines on banjo and mandolin all night and all so brings a comedy element to the show.
Recently re-recorded single ‘Too Late’ is a live anthem for sure and gets the rowdy down the front dancing. There is no let up in the energy levels from start to finish, except maybe the dub reggae vibes of ‘Freeborn John, and even that erupts into a dancefloor skank. It’s all killer no filler for an hour.
After a short break the band return to the stage, minus the orchestra, to play another hour set of their standards. Like Chadwick before him, Ken is no stranger to working a crowd and getting audience participation. The likes of ‘Spin’, ‘Broken Soldier’ and closer ‘Slow Motion Suicide’ are crowd favourites that the audience devour like old friends.
Both artists bought the festival vibes to the Barbican tonight with a special event that will probably never be repeated. The drinks did flow, the songs were sung and there will be a few sore heads and throats in the morning. But you what? It was all worth it.
For fans of live music, it’s the same the world over; venues are closing down every month. Here in Angoulême, our small local venue, Le Point Carré, which holds about 120 people, closed down in February. Mercifully, and thanks to France still giving grants to support the arts, La Nef is celebrating its 30th anniversary. It’s a lovely venue which holds up to 800 people, so, while not ideal for upcoming bands, has seen many great artists perform.
Today, 1st April, is an all-day, free event, kicked off by yours truly (as part of our choir). ‘Les Petits Chanteurs À La Gueule De Bois’, or ‘The Hungover Choir’, sing mainly in English. Imagine acapella versions of Muse, Beatles, Nirvana, and even ‘Holiday In Cambodia’. As Harry Hill said, you get the idea.
There were many local bands, but unfortunately due to time restrictions and commitments, I couldn’t watch them all. However, I was able to catch the two, main events. Reverend Beat Man, of garage rock legends The Monsters, entertained and disturbed the capacity crowd in equal measure. Part minimalist garage rock/blues, part warped voodoo priest, he is certainly unique. It was lovely to see some small children right down the front, with ear protectors, who were mesmerised rather than terrified. It’s safe to say people will be talking about his set for years to come.
What can you say about Jim Jones that hasn’t already been said? From The Swamps onwards, he hasn’t put a foot wrong in providing rock n roll with 100% commitment. I left the UK in October 2019, happy that my band had played their final gig supporting The Righteous Mind. I didn’t think I’d get the chance to see the All Stars without travelling to the UK, but here they are, on my doorstep.
The two sax players provide some added swing to the tunes, the joint is jumping, even if I’m the only one who knows the words. Rock n roll is a universal language, from the groin, and the band know exactly what to do. We get some Revue tunes, with Elliott Mortimer pummelling the keyboards, some Righteous Mind classics, ‘Satan’s Got A Hard On For You’ being a particular highlight, ‘Your Voodoo Talkin’, and some choice covers including the Velvets’ ‘Run, Run, Run’.
It’s very pleasing to see the audience reaction, Jim has played Angoulême a few times and this is his biggest crowd so far. He remembers to dedicate a song to the late founder of La Nef, which is the perfect way to end the celebrations. Yes, a righteous time was had, I danced and returned home sweaty and grateful for the healing power of rock n roll. We need it more than ever. If the All Stars are playing anywhere near you, you’d be mad to miss them. Testify!
Author: Brother Martin Chamarette
Catch Jim Jones Allstars somewhere in the coming months you simply have to its the law!
Being a member of the biggest touring rock band on the planet is a great job if you can get it, but I’m sure it drags at times and maybe certain band members yearn for small sweaty clubs, actually making eye contact up close with an audience and maybe even having to fight for that applause each night.
Chris Shiflett has played guitar in the Foo Fighters for over 20 years now, but he has other things on the go too. Not only has he banged out a bunch of records with Me First & The Gimme Gimmes, but he also has a couple of bad-ass solo albums exploring his country/americana roots.
Riding on stonking new single ‘Black Top White Lines’ from his upcoming 3rd long player, Chris and his band head out on a six date UK tour of intimate venues, stopping off at my favourite venue the Brudenell Social Club in Leeds.
There is nothing better than discovering a great new band live when you are least expecting it, and I rarely research support bands before a gig for that very reason. Dea Matrona are a 3-piece band from Northern Ireland led by Mollie McGinn and Orlaith Forsythe and they have the biggest smiles on their faces tonight.
I guess you could categorise their sound as classic rock with pop leanings. The pair both play guitar and bass, switching instruments between songs, their vocal harmonies are spot on, and the energetic duo pull all the cool rock poses they learnt in their bedrooms watching Zep and Fleetwood Mac videos.
The songs are good too, ‘Stamp On It’ is very commercial, instant with a pumping bass groove, the sultry vocals delivered with voices that sound way beyond their years. The acoustic led ‘Glory Glory (I Am Free)’ is simply stunning. A definite Fleetwood Mac/The Pierces feel that gets everyone’s attention in the room, and I swear you could hear a pin drop for the entirety.
There’s a cheeky Irish charm to the duo, years of hard graft busking the streets of Dublin have paid off and of course playing to a sold-out crowd surely helps, but Dea Matrona were very impressive tonight. Touring the UK through May they are surely ones to watch in 2023.
It’s a sold-out show tonight and there are a lot of Foo Fighters shirts and tattoos on display, but anyone who has come expecting a Foo Fighters song or two will be disappointed. This band isn’t about Chris Shiflett’s day job, this is honky-tonk, low-down countrified americana, best played in bars and clubs and its perfect, utterly perfect.
“I had a feeling this was gonna be a good one” remarks Chris as he tunes up after delivering a salvo of high energy, countrified rock n’ roll. Yes, there is something about this venue that brings out the best in any artist, and tonight is a great example.
Chris, bassist Fox Fagan and drummer Robert Jolly are tight as a duck’s ass and the songs are short, sharp and bloody good. Opening one-two ‘Sticks & Stones’ and ‘Liar’s Word’ sound awesome. The sound is magnificent, the telecaster tone to die for and the crackling energy is classic of the Brudenell.
The 90-minute set covers Chris’ two solo albums ‘Hard Lessons’ and ‘West Coast Town’, new tracks from his unreleased 3rd album and a couple of choice covers thrown in for good measure.
Free of the confines of the Foo’s stadium juggernaut, Chris is chatty, funny and engaging between songs. He tells us of his newfound love of Greggs chicken bakes and his hunt today in Leeds for football shorts while winding up Leeds fans (he is an avid Arsenal fan). It all adds to the feeling of camaraderie the band exudes, but tonight is really all about the songs.
Set highlights for me go to recent singles ‘Black Top White Lines’ and the emphatic ‘Long Long Year’, the yearning country vibes of ‘Blow Out The Candles’ and ‘Room 102’ both sounding like they are lifted straight from the Smokey & The Bandit soundtrack.
There are a few newbies I don’t recall the titles of, but the reggae-tinged ‘Damage Control’ was a standout for sure, Chris even encouraging the audience to film and upload it to socials so they could steal footage to make a video for the next single.
A 3-song encore includeded Mearl Haggard’s ‘Working Man Blues’ and a mighty fine cover of Hank Williams Jnr’s ‘Family Tradition’ with added audience participation, glorious set closer ‘West Coast Town’ wraps things up nicely.
The fact that this highly enjoyable 21 song set was over in what seemed like a flash is testament to the songs and the delivery of the band tonight. High energy, countrified rock n’ roll has never felt so good.
If this band travels your way, do not miss em! Chris Shiflett and his band just set the marker for gig of the year, who has the minerals to take up the challenge?
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