So, an old friend of mine (who has been working with, managing and writing about cool bands for the best part of three decades) said to me a few weeks back. “Come and see Crows in Cardiff, you’ll love them”.

“Nah – they’re too Indie for me” I quickly replied.

He even asked me again on the day of the gig, and yet again I replied in the negative.

Then, as I woke the morning after said gig, I found another friend had tagged me in a live video from the gig on social media, only for me to click on it and think.  “Hang on this is actually really really good.”

And, a few quick spins of ‘Beware Believers’ (the London band’s recently released second album) later, and boy oh boy am I regretting my decision.

Why all the fuss you might wonder? Well, this week whilst the world and its dog are all seemingly losing their shit over Wet leg’s new album, Crows have crept out of leftfield with next to no media fanfare and have released one of the albums of 2022.

Having witnessed the very good The Imbeciles supporting Killing Joke just a week or so earlier I cannot help but think the self-styled Lords of Chaos missed a trick not getting Crows out with them too, because whilst Killing Joke’s flame still burns very brightly indeed Crows are (to my ears at least) the voice of a whole new generation of disaffected UK music fans.

Take ‘Garden of England’ for example, this tune bristles with the spirit of post punk circa 1978-79 and even adds a soupcon of Mr Lydon (In the “England” phrasing) towards the end of the track – yet with its subject matter of a diseased country falling to rack and ruin it is very much 2022.

Elsewhere, the gargantuan ‘Only Time’, the Mark E Smith fronts IDLES drone of ‘Room 156’, the Division Of Laura Lee-like ‘Moderation’ and the truly sublime ‘The Servant’ are all standouts in an album jam packed full of them, and it’s only when the pace (and indeed intensity) drops for album closer ‘Sad Lad’ that I actually get a chance to reflect on the greatness on offer throughout all of the record’s eleven songs.

‘Beware Believers’ is an album I could easily write 10,000 words about, but the litmus test will be you going out and listening to it and loving it too. This is all killer no filler post-punk, and in a rock world seemingly crammed full of lip synching manufactured beige bollocks it’s bands like this that really keep old farts like me interested and excited about the UK scene.

Oh, and Andy, you were right all along… I do love them.

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Author: Johnny Hayward

The line-up history of Chicago Power Pop legends Enuff Z’Nuff is a complicated thing to follow. In a nutshell; After 15 years and 10 albums singer leaves band – guitarist (not original guitarist) becomes singer. Guitarist quits band – singer rejoins. Singer quits again – guitarist becomes singer again and subsequently quits…bassist and founding member becomes singer. In-between all this, add the usual band antics including drug addiction/stints in rehab, lawsuits, being shafted by record label/band members, and the tragic deaths of 2 band members. Are you still following?

Fair play, Chip Z’Nuff  is still holding the Enuff Z’Nuff flag flying high in 2022 and if he looks a bit disheveled in his trippy, hippy attire then, he has good reason to be. Not only is his third studio album as lead singer of Enuff Z’Nuff to be released later this year, he precedes that with this, his second solo album entitled ‘Perfectly Imperfect’.

You could be forgiven for being skeptical when Chip took over lead vocal duties from the estranged Donnie Vie. Yeah, the harmony vocals of Chip & Donnie were sublime, but could the bassist possibly pull it off without his longtime songwriting partner? Well, with 3 EZN albums under his diamond studded belt as lead singer and his second solo album on the shelves, it seems the rose-tinted bespectacled Chip is doing just fine on his own.

Of course, the ghost of his former singer is never far from any EZN related release and this album is no different. The first single ‘Heaven In A Bottle’ is an old Chip & Donnie tune that harks back to the early years of the band and has been doing the rounds in demo form for eons. It’s a typical, mid-paced ode to Cheap Trick, the sort of tune they could knock out in their sleep back in the day. Chip’s trippy, laid-back tones are more subdued compared to Donnie’s Lennon-like rasp, and that feel sets the pace for the whole album.

It’s impossible to review this album and not make comparisons to his past songwriting partner. And Chip doesn’t really help matters on ‘Doctor’ by pilfering the main hook from Donnie’s ‘Light Shine On’ from his 2014 release ‘The White Album’. But that said, the duo co-wrote so many tunes the original idea could be from either of them, I guess.

His reworking of ‘My Heroin’ (cunningly re-titled as ‘Heroin’ here) from EZN’s 1995 album ‘Tweaked’ is quite frankly the highlight of the album. I was skeptical on first listen, as its one of my favourite EZN tunes, but fair play, he somehow improves on it. The original was a bare bones recording, a masterpiece of the acoustic slide, harmonica and gut-wrenching sadness, an ode to the pitfalls of addiction. I didn’t think a full band version would improve it, but somehow, with just the addition of bass and drum tracks, it does.

Of the originals on offer, album opener ‘Welcome To The Party’ brings to mind ‘We’re Alright’ (again from ‘Tweaked’) and is a fine listen. It chugs along on the cool hook, again coming on like a long-lost Cheap Trick poptastic dittie that would not sound out of place on ‘Live at Budokan’. ‘I Still Hail Ya’ has a quirky vibe, it’s full of dreamy pop melodies and euphoric vocalisin’. And I’m still not sure if ‘3 Way’ is a driving song or a euphemism for kinky sex, but it’s one of the more upbeat Power Pop ditties on offer and I like it.

Still dressing like a late 60’s Carnaby Street reject at 53 years old, Chip Z’Nuff is flying high again with a selection of old melodies, reimaginings and new ideas.  But listening to ‘Perfectly Imperfect’, I’m left wondering why this album is released under the ‘solo’ moniker? It is no real departure from the signature Chip sound, but it is a departure from the Enuff Z’Nuff signature sound, as are the last 3 albums without his songwriting partner.

If you are an Enuff Z’Nuff fan you will love it I’m sure, but at just 9 songs, it speaks volumes to me that the strongest offerings are the last two on the album; the aforementioned ‘Heroin’, a song Chip wrote a lifetime ago, and a 48-year-old Mott The Hoople song called ‘Honaloochie Boogie’. Maybe it’s just a stop gap to keep the fanbase happy, or one of those ‘contractual obligation’ albums, but as the title suggests, this solo album feels a bit cobbled together, out of time and out of place. But you know what, I do quite like it.

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Author: Ben Hughes

Records from the beginning of popular music or modern popular music way back in time called the 1950s.  Pre Beatles and Stones, pre-Britpop, pre-grunge.  There was always a subculture going on and music was no different and it wouldn’t surprise me for one second that Lux and Ivy would have owned a fabulous and largely unknown record collection.  They were hardly easy listening themselves and they drew their songs out of the fringes of music be it Jazz, Blues or pop.  You just know it’ll be an interesting and informative ride.

This double CD also comes with a lavish booklet full of poptastic nuggets courtesy of MOJO magazines Davie Henderson.

There are fifty tracks on offer and everyone has the potential to blow minds it’s that far out and lyrically messed up for these modern times(I can picture Lux smirking down on us all).  The fact there are two tracks with Tarzan in the title tells you something but as we swing from Jazzy RnR to big ensembles of bloated balladeering to weird Rock n Roll this is something to get the party started for sure.

A lot of music for your hard earned and a CD that will certainly have the guests impressed at your vast taste either that or they’ll be running to the hills and worrying about your eclectic collection.

The early years rama lama Rock n Roll is heavily represented here like the Charms.  If you’re familiar with the bop n roll of Chris Cerf then I bow down to your knowledge. Imagine a song called ‘Too Big For Her Bikini’ coming out today.  The insta tictokkers would have a lynching squad firing up the torches. To be fair Slim Marbles isn’t just a great name and how didn’t ‘The Switch’ catch on?

Anyway, fill yer boots and your speakers with a hefty slab of good time Rock n Roll. It’ll make you smile and fill your ears with top tunes in a world that gets madder by the day this will cleanse your soul.

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Author: Dom Daley


The much-anticipated trip over the bridge to watch The Chats at the Bristol O2 had finally come, after being postponed a number of times due to COVID the place was finally packed full of mullets and Aussie brilliance.

The First support band Dennis Cometti (named after a retired sports commentator) started the carnage as a people crowd surfed their way to the front to ‘on the sauce’ (which is still on repeat in my head) A perfect setup for the evening to come.

After a stop at the bar, Londoners ‘Chubby & The Gang’ send the O2 mental with their souped-up UK HC. It seemed to go by in a flash of strobe lighting, dry ice and dimly lit red lights. With a mix of songs from both albums, Chubby led his band through a pulverising set that fitted in rather well with tonights up for it crowd. Chubby seemed really pumped and up for it feeding off the pit and onto the O2’s large stage, rather than some grubby little club where this style usually lives and thrives. Tonight Chubby & The Gang brought it on to Bristol and went down a treat.

Before placing ourselves out of the bear pit that is the front stalls and go for the safer option and prime spot on the balcony the lights dimmed and out they flew. In an absolute blur of limbs, The Chats hit the stage hard and the only thing moving faster than the songs was the lighting – strobing like crazy sending the pit wilder than a dozen boxing kangaroos. Everything was played at double, nah triple, nah quadruple speed, It seemed like a Chats classics masterclass. Favourites ‘nambored’, ‘temperature’ and ‘mum stole my darts’ sent the Kungfu kicking kids at the front absolutely mental.

With barely time to take a breathe Mr. Sandwith took a trip on some of the multiple liquids flung towards the stage and lay in the pool of beer that had gathered, in excitement he returned to his feet and smashed out a breakneck ‘smoko’ and their newest song, ‘struck by lightning’ and then it seemed to come to a crashing halt. Equipment was broken and chaos was all around which seems like the best way for a Chats show to go.

What felt like a prime frat house punk rock party Australian style – the set length was perfect it was all over and leaving the salivating mob with ‘Pub feed’ was about right. The crowd was duly told to fuck off and the band legged it. Soaked in beers and a cheerio-o their work tonight was done, Bristol was left to come down from The Chats tornado that just tore the O2 a new one. Until next time from a very, very sweaty O2 g’day and goodnight you bonza bunch of noisy swines.

As we move further into the new normal and as restrictions drop away and we begin the learning process of living in a “post pandemic world” as things move towards becoming endemic, live music has a huge part to play in the healing process, and re-invigorate our thoughts, attitudes and ability to function in a Tory led new world order. Thinking about new world order takes my thought straight to killing joke a band that have constantly pushed against the barriers of genre, attitude and predictability.

 I mean as scribes we constantly bounce our thoughts around look for influences get hooks to our writing and try and introduce the reader to band’s they might like based on their current listening, now ask yourself two questions

  1. Who are the influences that have helped build the Killing Joke sound?
  2. Who do Killing Joke sound like?

The answer to the first is there aren’t any, Killing Joke are constantly shifting the boundaries of music, they draw their power and intensity from fantastic musicians exploring the scope of their instruments with a frontman looking both inwards and  outwards from an almost visionary perspective pulling the threads together.

The answer to the second? No-One !! Killing Joke stand out on their own an enigma pulled together by an enigmatic frontman, present post punk/post modernist future reaching music, moving ever outwards and dictating where music can go rather than following the masses.

Pulling things back there is a support tonight Brooklyn based anglo-American ‘The Imbeciles’

The Imbeciles are: Butch Dante (guitar and backing vocals), Ben Rice (guitars, lap steel, backing vocals), John Kent (lead vocals, bass guitar, backing vocals, drums, percussion), Joshua Lattanzi (guitars and backing vocals), Charlie Culbert (drums).

Youth played bass guitar and co-write the songs on their new album ‘Imbelica’.

Now I have to hold my hands up I didn’t dive in and research them prior through choice, sometimes its worth making your mind up raw without prior influence in the live setting and myself alongside the crowd  really took to the band again not really a band you could pin down to a specific genre, at times hinting at REM, at times drawing on the grunge attitude Nirvana in particular, but staying in the Seattle sound with the Meat puppets and Soundgarden again coming through and all underpinned with almost a classic rock sound. The new LP will be well worth exploring and I would urge people to check them out live.

In all the times I’ve seen Killing Joke alongside the H Bomb’s experiences who provided tonight’s photos well into double figures between us ‘Love like Blood’ has only been  experienced once and never by yours truly and they only opened with it tonight!!! Fair play and then to follow it with ‘Wardance‘ and ‘The Fall Of Because’ I was a happy man, in fact the whole gig was both intense and relentless, presided over by a frontman on top form, engaging and driven, the intensity just continued to ramp up as the band locked in and by the time we’d gone through ‘Money is Not Our God’ and ‘This World Hell’ we were on fire and then ‘Bloodsport’ just tore the roof off. There were so many highlights until we got to the end of the main set with ‘The Wait’ and ‘Pssyche’.

Time to take a breath and we’re back with Requiem dedicated to Taylor Hawkins, ‘I am the Virus’ and ‘Pandemonium’.

So returning to my initial thoughts Killing Joke are still bang on point as relevant today as they were in the beginning moving and dictating what music should sound like tearing their own path Brutal, intense, challenging and forward thinking as all music should be standing alone an Enigma but one that needs to be experienced by one and all.  

Author: Nev Brooks pics Johnny Hayward

2 years on from their covers opus ‘Cocaine And Other Good Stuff’, Warrior Soul return with a brand new album, the title inspired by their enigmatic singer’s past stint in the slammer.

The fact that Kory Clarke has been in trouble with the law may come as no surprise. The mouthpiece of Warrior Soul has been spitting bile for well over 30 years. A band well ahead of their time, Warrior Soul shoulda took the world by storm back in the early 90’s with their politically-charged diatribes and apocalyptical forewarnings, but sadly the world wasn’t ready for Kory’s metallic-tinged rage.

Band members have come and gone; some have sadly shifted off this mortal coil (RIP bassist Pete McClanahan) but the warrior remains…punk and belligerent to the end.

‘Out On Bail’ is a collection of 8 songs that has a running time of around 30 minutes. It has been self-produced by Kory and features a host of players in the ever-changing Warrior Soul lineup that currently includes Dennis Post on guitar and Christian Kimmett on bass. No less than 3 guitar players and a matching number of drummers (Kory even plays drums on one track) lend their talents to an album that was recorded during various lockdowns.

An atmospheric intro piece sets the cinematic vibe, before blasting into topical opener ‘We’re Alive’, a song that builds on urgent beats and that unmistakable 40-a-day gritty vocal that has certainly weathered over the years. The no-frills production suits the raw, punked-up vibe and this opener is a statement of intent for one of New York’s most outspoken sons.

‘One More For The Road’ recalls the Warrior Soul of old in both style and delivery. Road stories and past glories are all wrapped up in dirty riffage and crashing drums. It’s a hypnotic cacophony of new age noise, and we wouldn’t want it any other way, would we?

3 tracks in and ‘Hip Hip Hurray’ again takes us back to the early 90’s alt-metal sounds. A politically-themed diatribe set to crashing primal beats, sonically seductive guitars, and a trademark, anthemic Kory chorus that will remind you just how satisfying it can be to fist-punch the air along to a song! Somewhat ironically, the title track is an 80’s rock throwback. Featuring a familiar-sounding riff straight from the sunset strip, and an instantly addictive hook, it’s a song you can’t help but like. It has a ‘live in the studio’ feel and an AC/DC style finale that sits well.

Closer ‘The New Paradigm’ is Kory at his finest doing something a little bit leftfield. It builds on a stark yet hypnotic bass riff, Kory’s poetic lyric, and a guitar riff reminiscent of prime Jane’s Addiction. An atmospheric, alt-rock feel permeates throughout as the instrumentation ebbs and flows nicely, Kory’s sandpaper vocals leading us into the new world.

So, it’s pretty much business as usual for Warrior Soul in 2022. ‘Out On Bail’ is a solid, no-frills punk n’ roll album, just as you would expect it to be. A short, sharp shock to the system that is as raw, messy, and undiluted as its frontman. And while there is nothing here as exciting as my personal favourite ‘Space Age Playboys’ era of the band, it’s a satisfying listen from an artist who has weathered the storm, come out the other end fighting, and still has something to say.

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Author: Ben Hughes

Politically charged upstarts and agitators Asian Dub Foundation first showed up on my radar in the late 90s when I saw one of their videos and whilst not a huge fan of any of the genres they touched upon the whole package intrigued me and collectively it struck a chord – lyrics, the hard rock, the ragga rhymes and that trip-hop all mixed with an Indian flavour was certainly something I’d never heard before or since. although Fun Da Mental and ‘Dog Tribe’ was a genre highlight and possible pinacle but thats for another review.

‘Enemy Of The Enemy’ is an album that crosses the path of Rage Against The Machine, Apollo 440 with a bit of Massive Attack The openers, ‘Fortress Europe’ and ‘Rise To The Challenge’ bring the energy and fist-pumping rage ADF seem to have going on. Whilst ‘La Haine’ that trip-hop Massive Attack vibe. it also had fellow rager and politically charged Sinead O’Connor on ‘1000 Mirrors’

This new version features a trio of bonus cuts including one non-album cut of ‘Illegal Minds’ feat Mark Stewart.

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Fresh from collaborating on an opera about Colonel Gadaffi (they did) alongside the English National Opera, The Asian Dub Foundation followed up ‘Enemy Of My Enemy’ with 2005s ‘Tank’ another altogether darker more menacing opus (if that’s even possible).

Asian Dub Foundation‘s certainly turned up the darkness on this album easy listening it isn’t, uncomfortable listening (if you happened to be a fan of George W Bush) – sure. Right from the off the opening riff of ‘Flyover’, a real crossover of ragga vocals and wild drums, it’s got more than a whiff of Killing Joke going on for good measure. in as much as its political – interesting and innovative.

ADF makes no apologies for their musical stance and being one of the most political music acts around they certainly did challenge the listener and the establishment. ‘Tank’ is their fifth album and by now had really found themselves and where they fitted in or where they didn’t fit in more like. Probably culminating in their most confident record thus far. Even if you didn’t want to engage on a political level the energy they create is intense and powerful something you can’t help but be impressed with. Hell, these are the guys who’ve collaborated with the one and only Chuck D what’s not to like?

They target Home Secretaries, on ‘Round Up’ Presidents on ‘Oil’ they collaborate with Mad Mike on ‘Powerlines’ and also include a collaboration with Perry Farrell on ‘Easy Man’ It’s an intense album named after the American soldier’s vehicle of choice as they blasted Metal through speakers as they drove through Iraq. The dub bass is infectious and the arrangements captivating.

In a world that just keeps on giving these albums are as relevant now as they were almost twenty years ago when they first came out. Have we learned anything? If anything politicians are the people who just keep giving and serving themselves up on a silver platter for bands as articulate as ADF. Not an album I want to listen to every day that would make me sad but an album I’m glad I have in my collection and can dip into every now and then when I want to rage against the machine.

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It’s been a while since The Hellacopters put out a new album and in some quarters the anticipation has reached fever pitch. Sure they’re not the band that got down to business all those years ago with the sonic headfuck of ‘Super Shitty To The Max’ Christ that was ’96 they’re a lot older and as for wiser? Fuck knows I do know a lot of water has gone under the bridge since then and not all of it has been good. ISE had their moments but the sound had evolved for sure like a lot of bands where the lineup has changed and careers moved left and right nobody would want them to stand still so trying to avoid the hype train and the fanboys can be an impossible task in the 21st century but here we are. April 2022 and it has arrived.

I find giving the records of Nicke Andersson time to breathe is best for me and dipping in or having them in a mix tends to grab me and the same has to be said about modern Hellacopters. I like that there are ten tracks and each one is almost perfect single in length and it didn’t become something of a ‘Chinese Democracy’ and whilst I wasn’t expecting ‘Action Now’ to rip out of my speakers I was pleasantly surprised with the howls of feedback ringing out of my speakers as the band kick out the jams with a strong opener. Big dirty riffs thumping low end and the Stooges piano tonking away in the background.

Andersson has a very distinctive vocal style and layers of vocals ring out on ‘Can It Wait’ and so many guitars scream out of the speakers in all directions courtesy of Dregen and Anders Lindstrom as well as Andersson Platow. It conjures up an image in my mind of a pirate galleon with Nicke in the crow’s nest moving through choppy waters with his pirate crew blasting out below him as they own the seas. It’s confident and punchy so far.

I was worried that this record was going to be Sweden’s answer to 38 Special but so far I’m delighted with what I’m hearing. The final dramatic refrain of the bluesy Ballad that is ‘So Sorry I Could Die’ which has an excellent performance from the frontman.

The title track is what I would say is comfortable Hellacopters territory and a track that brings up the bands arena Rock side. It’s a little like ‘Sonic Temple’ era Cult – One I’m hoping is a grower. I do however love the old school sleeve and with 180gm vinyl being the choice of the day the card sleeve must be at least 180gms as well which is nice.

Now ‘Plow And A Doctor’ is something I connected with right away. Reminds me of the modern Alice Cooper garage rock rather than the Stooges Garage that can be so alluring. the Piano is great and the overall production from Chips Kiesbye is spot on and just enough Kiss-like polish but a decent dose of rough assed distorted guitars n grit which really suits these songs none more so than this one.

‘Tin Foil Soldier’ veers into a bit of glam stomping territory and some Sweet (Pun intended) Slade like stomping. The breakdown is showaddy waddy on steroids and no filter cigarettes – I like it. ‘Beguiled’ is another 70s inspired rocker with hints of Lizzy in the lick and that’s always a winner.

As we race into the home straight I’m happy with what I’ve heard thus far and not having had a great deal of time to familiarise myself with these songs I’m impressed, and the acoustic rocker that is ‘The PRessures On’ is certainly not a ballad but more a late balmy night rolling through deserted streets in a big fat Cadillac with the top down and the stereo on loving life, it’s been that sort of journey. Leaving just ‘Try Me Tonight’ to take this bad boy home. With a cool lick the song stutters and jerks to life and hits that chorus in the sweet spot and we all join in on the chorus. Great song to close this off. I’m heading back to the beginning and going in again I think this might just be a grower. Get on it now and fill yer ears with ‘Eyes Of Oblivion’ it’s a bit tasty!

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Author: Dom Daley

oh, what a night. This one had been on the to-do list for quite some time some months. Fingers and toes were crossed that this would actually happen as the country opened up.

Tonight Le Pub was bouncing with anticipation for what was promising to be an explosion of energy and rock and roll that had been pent up for oh so long. Deathtraps are south Wales finest exponents of noisy Rock and fucking Roll, Nottinghams finest The Motherfucking Hip Priests and Supersuckers the self professed Greatest Rock and Roll band in the world. This motherfucker is trippin’ on what’s to come.

Deathtraps were first up and we saw Fraser sporting a rather fetching piece of headgear to rival Eddie’s cowboy hat and the band was on a mission to cram in as much music as possible in their tight thirty-minute set. The band went for it from the off delivering a thuggish set with some new tunes that showed they weren’t sitting idle during the past few years’ hibernation and got to write some more decent songs. ‘She Said’ was particularly striking and the set was wound up with a tribute to the departed Hank Von Hell with a frantic cover of ‘Denim Demon’ which went down very well to finish off a most pleasing set.

The Hip Priests have been on the whole tour around plague island with Supersuckers and hit that sweet spot where everything sounded tight and they were in their groove right from the off. Opening with ‘Black Denim Blitz’ ‘Survival OF The Shittest’ a fitting tune that signaled the avalanche of venom from the twin guitar attack of Austin and Ben as they bookend the sonic explosions that is Von Cruz, a man who can’t stand still for a split second whilst Brother Lee Love holds the bottom end that holds these tunes together along with Des the rhythmic pair sound like a carpet bombing of hard rockin punk attitude.

Supporting in a venue they often headline at saw the slimmed-down set bolstered with the sound of no less than four new songs that sounded exciting and if they’re anything to go by the new album is gonna burn. They’re about to finish off what will be a career-high and see this ten-legged groove machine burn a path to glory. By the time they hit ‘Zero Fucks Given’ they were on fire and exploding a stick of dynamite that Eddie and the boys have to try and follow.

Taking the Newport stage to the strains of EVH mr spaghetti is Looking well in his trademark cowboy hat and shades. Eddie Spaghetti was about to get down to business and shake the shit out of one of the best music venues around and show the good people present that Rock and fucking Roll was alive and kicking and in rude health. Taking in songs from all quarters of the band’s catalogue and shaking up the set from previous nights and therefore keeping it fresh my only complaint to the management would be this, With so many great songs of their own why three covers in a tight – compact set? Sure I love me some Michael Monroe and Thin Lizzys ‘Cowboy Song’ is a banger as is their tribute to ZZ Top but I think I’d have loved to hear a bunch of other classic Supersuckers tunes, just saying.

Whinge aside tonight the band was loud and proud and didn’t substitute any subtleties from the melodies with volume and Eddie was in great spirits with his banter. The Supersuckers love a cliche and why not? Rock and Roll is a celebration and not something everyone can do and do this well. They have songs with Rock and Roll in the title (and more besides) they love to let people know they are in the company of the Best band in the world and Metal Marty Chandler has the tone ringing through his les paul that would surely meet the approval of Jonesy whilst Christopher Von Streicher holds a tight ship in the engine room making it sound so effortless sure does make for a great band who sounded in fine form road worn and battle-ready. Tonight the Supersuckers have the Evil Powers of Rock and Roll well and truly harnessed and delivered the good.

It has been probably ten years since the last time I saw them live bar Eddie acoustic and whilst I regret not seeing the Evil Powers album in the full set this was a pretty damn perfect cross-section. Whilst there can and will be debating what is the perfect set there can be no debatin that when Supersuckers are on it they burn a hellbound trail and I’m always on board with that. Until next time hombres it was indeed a pleasure and not a second of a chore – three bands for less than £20 is an absolute bargain especially when they’ve been this damn good.

Author: Dom Daley