Archive for the ‘Liveage’ Category

My first time at the Redrum in Stafford, and what a wonderful venue it is. The semi-grimy, semi-charming upstairs room of a bar, with walls adorned with posters of upcoming punk gigs and punk stickers; I’ve heard of this place for a while, so it was nice to finally visit. I would love a place like this in Cov. It was very quiet early doors, but as soon as opener Death of Rats started to play, it began to fill out. I hadn’t previously heard of Death of Rats, an acoustic punk project from local guy Alex James. I believe he sometimes plays (and has recorded) full band, but this was a solo set and it was pretty great to be fair. Super heart-on-sleeve, romantic and mid-tempo acoustic pop-punk. On his bandcamp, Alex refers to his sound as ‘if Billy Bragg really liked Alkaline Trio’ and that’s pretty accurate. There is a lot of Billy Bragg’s storytelling and heart in Death of Rats’ sound, but the lyrics are more emo/confessional. I am also reminded of the vocal melodies of Leeds-based Andrew Cream. Would listen again, top stuff, etc, etc.

Next up was Fraser Murderburger doing his solo stuff, which is a mix of new stuff, covers and acoustic versions of ‘Burgers tracks. His first collection Serious Musician was put out earlier this year and it’s pretty great to hear some Murderburgers material stripped back; some of them, such as “Christine, I Forgive You” or “Another Way out of Here” sound more powerful than ever. I have been to a few Murderburgers gigs previously, but this was my first time seeing Fraser doing his one man band thing and I was pretty captivated from beginning to end. Even more than a full-band set, a Fraser solo set feels like a therapy session. Highlights included covers of Freddy Fudd Pucker (“Funeral Food”, which, as Fraser rightly says is one of the best songs ever) and The Putrid Flowers (“Young for the Last Time”), “Bohemian Rhapsody Part 2”, a great unreleased Murderburgers track (although I think it has now come out on the Punk Rock Raduno Compilation) and what I think is the highlight of Serious Musician, an original acoustic track, “The Day Everything Died”. The Murderburgers have since announced an indefinite hiatus, so this was one of the last chances to catch ‘Burger material live.

And onto the headliners, the wonderful Ogikubo Station. Due to tinnitus, they toured without Mike Park. So playing as Ogikubo Station were Maura Weaver (Mixtapes/Boys) and Megan Schroer (Boys) who played a set of pure hits. I’m a little late onto the Ogikubo Station train I guess, with the latest EP (‘Okinawan Love Songs’) drawing me in, but I’m now fully on-board. The vocal melodies from the duo were wonderful, the lyrics touching and the atmosphere perfect for this kind of acoustic gig; it was very cosy indeed and felt like a bunch of like-minded people tapping their toes to some quality indie-folk. I think everything was great but the super-posi “Take a Piece of All That’s Good” and the ear-worm-y and melancholic “Drowning at the Watering Hole” (despite a funny stop-start opening!) particularly stood out. Covers of “Dr. Worm” (Guided by Voices, from their recent 7”), including some kazoo action from Maura, and “If I could Talk, I’d Tell You” (Lemonheads) were great, too. It was a short but sweet set that left you wanting more!



mom jeans mama

It has been a good while since I did a proper gig review, so, well, here is one. The plan is for this to become more of a regular feature. More basement reviewing, less bedroom reviewing, maybe. This recent one at Mama Roux’s in Birmingham was decent and although I guess it broadly could be classed as an ‘emo’ night, it presented a diverse selection of artists that touch on or have been influenced by ‘emo’. First up was Delaire the Liar, a two-piece emo/rock band from London that I was not previously aware of. They immediately made you pay attention, with the intensity, electric energy and impassioned nature of the music. Apparently, the name is a reference to Lemony Snicket’s A Series of Unfortunate Events, if you were wondering. They play a kind of alternative rock and emo hybrid which sounds as influenced by Biffy Clyro as, say, Sunny Day Real Estate. The drumming is super-fast and intense and the vocals immediately recall those of Cedric from At the Drive In/Mars Volta in the way that they soar and sound like they are from another dimension. Although not totally in my ballpark, Delaire, the Liar’s sound feels from the heart and organic. What I like is that while it comes off in some parts as cerebral and majestic stadium angst-rock, like, say, Muse, the band’s performance also retains the vulnerability and earnestness of ‘90s emo like, say, Mineral. I guess you can put them in the same bracket as contemporaries like Touche Amoré or Basement, but you get the sense that Delaire, the Liar are crafting a sound of their own here.

Up next were Californians Just Friends, an entourage that describe themselves as ‘rap-emo-ska’. I will say straight away that I just did not get this at all. I hadn’t heard of Just Friends before the gig and so had no preconceptions, but, my God, it was kind of a horrible mess. Sucks to say, as they all seem like cool people. There is all sorts going on here- ska, funk, rap, emo and rock- and I enjoy some genre-bending stuff, but instead of coalescing or becoming bigger than the sum of its parts, Just Friends produced something that is messy and wacky, in a kind of bad way. The closest comparisons I can come up with are Zebrahead or MC Lars. In the chanting choruses, I can hear some Beastie Boys, too. It definitely has a ‘party rock’ thing going on, albeit with earnest, ‘emo’ lyrics from the early ‘00s. There are lines like “I’m sorry I couldn’t be a stronger guy” sung as part of a super-upbeat funky chorus that has the potential to be interesting I guess, but just ultimately comes across as boring and played out. Some sensitive lyrics were undercut by some ‘ironic’ (I assume) chants of ‘McDonalds! McDonalds!” at one point, weirdly. The whole set felt like a joke I wasn’t in on. The crowd was generally super into the band though and I can see Just Friends having some kind of mainstream breakthrough, if only for a moment.

So, onto the headliners, Mom Jeans, a band that are building up quite the following. The band play a kind of intricate, ultra-sentimental emo-rock. There are mathy riffs, super earnest and poignant lyrics, and dynamic guitar leads. There is a clear influence from ‘90s emo luminaries, like American Football, Texas is the Reason or The Promise Ring, but Mom Jeans also evoke the feeling of early-00s mainstream, ‘American Pie’-era pop-punk, without fully expressing that. In varying ways, each of these bands sound like they are from that era of music actually. At the same time, Mom Jeans evidently fit neatly into the ‘modern emo revival’, alongside bands such as Tiny Moving Parts and the Hotelier. They are in the same ball park as Tigers Jaw, but perhaps less upbeat and broodier. The band also recall the freeform flow of Algernon Cadwallader. There is a shit ton of teen angst in this set and although at times, it is a little overly whiny, self-deprecating and self-aware (amidst tons of millennial references), Mom Jeans feel like one of the few ‘revival’ bands which are taking the sound in new, interesting directions. Not totally sold, but a super impassioned, heart-on-sleeve and organic set from the band.


taco hell sfl

A gig review, we haven’t done one of those in a while! This was a bloody good one as well, albeit bittersweet: Taco Hell’s penultimate show as a band. The indie sad-punx were on their final tour after just releasing their debut LP, the brilliant, gritty and earworm-y Bad at Being Average. This gig was taking place at one of my favourite venues in the UK: the Sunflower Lounge in Birmingham, a basement that was made for shows like these. Ok, so let’s rewind to the beginning of the night…

So, first up was Exeter’s Phaedra’s Love, the project of Jordan White, formerly of Splitsville. I believe that Phaedra’s Love only really started last year, with a debut EP (‘Let Me Think This Way’ on Circle House records) released at the tail end of 2017. This was my first time listening to them. Jordan’s recorded stuff is solo, but he played here with a full band and it gave a very different feeling to the much more intimate and raw material on the EP. I wasn’t mind-blown by the set (and admittedly missed half of it), but I was certainly intrigued to go and listen to more after the gig (which I actually did- yay, go me!). Jordan plays heartfelt and raw, indie, emo-tinged punk, I guess; I often ask two things about a band I listen to: (1) does it make me tap my feet? and (2) does it come from the heart? Phaedra’s Love certainly ticks both of these boxes. Worth checking out.

Coffee Breath was up next, a local, Birmingham-based indie-emo band, who, according to their band profile, have “a mutual love of coffee”. Their set was certainly energetic, I’ll give them that. I knew them already from their ‘Lose Interest in This’ EP. While enjoyable, I feel that it’s live where Coffee Breath really shine. They played a kind of twinkly and math-y American Football-esque indie-emo that is at once intense and spacious. They have that quiet-loud thing going on that so many bands did in the late ‘90s/early ‘00s. As well as this, the guitars kind of swirl around, developing a kind of daydream state among the gig-goers. I think you either ‘get’ this sound or you feel it is contrived and silly; I am definitely in the former camp.

Next up on the bill was Leicester’s Kermes. Another band I wasn’t familiar with at all prior to the gig, but they are a great ball of fun. I’m not too sure how to describe them: indie punk, screampop? There is certainly an abundance of melodies going on, as well as an aggressive punk attitude, but it’s not really pop-punk either. They have the bombast, fierce spirit and groove of bands like Pixies, Yeah Yeah Yeahs and The Julie Ruin. Whatever it is, it’s pretty cool: Kermes are theatrical and wouldn’t look out of place in an arena, but at the same time, are grounded in everyday gender politics.

So, up last, Nottingham’s Taco Hell with their second-to-last ever show. Argh! It’s the first time I had seen them live and, boy, do I regret that now. They were alright. No, wait, they were fucking great! With intensity and a gritty DIY punk feel throughout, but with a ton of melodies and boy-girl dual vocals thrown in, I was pretty captivated. Taco Hell played their latest record Bad at Being Average from front-to-back at break-neck speed, with album highlights “Same City” and “Twin Peaks References & Depression” sing-a-long, crunchy and hook-filled. A few oldies come in at the end, notably ending on the self-deprecating, fan favourite “Hold the Door”. Bittersweet? Ended too soon? Yep and yep, but at least it was sweet and at least it began.


Image result for live bodega nottingham Kevin Devine

So, this was a night of wonderful acoustic strumming and indie rock head-bobbing at the locally renowned Bodega in Nottingham. I liked all of the artists from this night and loved some of them. It was great that everyone put passion and soul into what they do, and put their own spin on the folk genre. So, there was variety on show here, but perhaps a shared vision and spirit.

First up was local folk/indie kid, George Gadd. I’ll admit two things: firstly, I had never heard of George before, despite this being my hometown, and secondly, I only saw about half of his set. However, what I saw was pretty good indeed. I realise that on his demo, he has recorded with a band, but here, it was just George and a guitar. It worked, what he did. There was a beautiful simplicity to it, highlighting his clear adeptness for songwriting. He reminds me, in parts, of early, raw Frank Turner, without the anger and lust for anarchy that Frank had in those days. The crowd were clearly getting pretty into it and the venue was ¾ packed, despite the early time. I would certainly be up for hearing more from Mr. Gadd!

Next up was another acoustic guy, who calls himself The Lion and The Wolf. He plays high intensity, but low tempo folk-country musings on subjects clearly close to his heart (such as his father being taken to hospital). I generally prefer my acoustic tales to have more energy to them, but it’s hard not to like The Lion and The Wolf when the songwriting is this good. I would put him sonically in the same ball-park as people like John Allen, Sam Russo or Ducking Punches. The brooding atmospherics of Sam Russo particularly come to mind, trading the gravelly vocals for more high-pitched, optimistic ones. The Lion and The Wolf talked about how he had quit his job a couple of years ago for a life strumming his guitar on the road, and that is always fucking cool to hear!

The penultimate act of the night was the wonderful Laura Stevenson. A Don Giovanni favourite, Laura plays folk with such wonderful emotional outpourings that it is difficult not to get completely invested in her songs. I’ve been a fan for a good few years, but go in and out of phases of listening to her records, but this gig certainly instigated a new listening period. I have seen her live once before a few years ago, with her band ‘the cans’, somewhat bizarrely in a theatre in Grenoble, France, supporting an Australian singer-songwriter (of which I forget the name). The Bodega was much more Laura’s forte and crowd. Without The Cans, Laura stuck to her slower, more intense tracks, avoiding the poppy energy of stuff like “Jellyfish”, which worked well in the environment. A good proportion of her set seemed to be from “The Wheel” album, the one I am least familiar with, but that I have now purchased. “The Move”, particularly stood out with its emotional honesty:  “You’re finally finding out that I’m not supposed to get better, but I said I won’t be quite like this forever, coz I’m a liar and a thief”. I’m also super glad that Laura played an oldie in “Nervous Rex” (one of the best croons ever on record: “And I haven’t left the house in about a hundred years”) as well as ending with what she describes herself as the “only happy song” she has ever written, “Barnacles”. Few folk artists have the vocal range and songwriting intensity as Laura, and seeing her live again reinforced this to me!

So, onto the main act of the night: Kevin Devine and his Goddamn band! This was the first artist of the night that played with a band, turning up the volume a few hundred notches, with their crunchy, but melodic take on indie rock. How to describe Kevin Devine? To simplify things, they remind me of a rougher, punkier version of Nada Surf, with intensely personal lyrics to boot. To be honest, I wasn’t too well-acquainted with Kevin’s work and was astounded to hear that he has just released his 9th album. How is this guy not totally huge? The hooks are massive, the live sound is tight as a gnat’s arse and the songwriting is up there with the best. Kevin book-ended the indie rock crunch with passionate, acoustic jamming, when the band went to take a rest in the back. As much as I like the full-band stuff, I think Kevin was at his best, when he was pouring his heart out with only a guitar and raw vocals. This included the fantastic “Ballgame”, “Brother’s Blood” and closer “I Was Alive Back Then”. A simply great set, and one which has properly brought me into Mr. Devine’s world. I’ve got a fair bit of back catalogue to get through…


Image result for dead kennedys recent pic

So, there I was at the O2 Academy in Islington. The same venue I saw Lagwagon in 2012. A rock music venue at a shopping mall. I had just eaten a Burrito at the fast food joint down the street that sold Mexican food. I guess I had mixed feelings about this concert. When I was 14, I used to think the Dead Kennedys were the ultimate poser band, the band it was cool to like if you wanted to be punk, but that actually wasn’t that good. Now later, I’ve learned to love a lot of their discography, especially their debut Fresh Fruit for Rotting Vegetables. Jello Biafra’s sarcastic voice and lyrics grew on me as I got older and I also started to get more into the guitar sound as well. Still I’m not a big fan of the band. I also know that they have a new singer now. For a while, Jeff Penalty, writer of the NOFX book The Hepatitis Bathtub, took Biafra’s job. However, now the singer in the band is Ron “Skip” Greer, I was kind of worried the band would be like custard, somewhat good on its own, but pointless without Jello.

It’s safe to say I was pleasantly surprised. They played all the classics and every song you’d expect them to play, and most of the set existed of Fresh Fruit songs. During the last song, “Holiday in Cambodia” you could hear the entire crowd yell “Pol Pot!” as loud as they could. It’s one of the rare occasions you can do that without it being a bit scary. They also played probably my favorite DK song; “Moon over Marin” and they played it good: the New Wave moment of the show, if you like. Skip was a surprisingly great front man and he kept on egging on the audience, calling American football the real “football” and Soccer a game you would go to after ballet lessons, he also mentioned Brexit and several other somewhat controversial subjects and his egging definitely worked.  There was a great dynamic between him and the audience. It became an almost Americans vs the British battle and I was the Norwegian in the middle enjoying the fuck out of it, but thinking, “ouch, what’s gonna happen now?” at the same time. Another highlight of the show was the re-write of “MTV Get off the Air” called “MP3 Get off the Web”- hey, these guys are also modern!

The band functioned well as a whole, the bass and drums worked well together and East Bay Ray and his checkered belt (it looked a lot like mine!) and signature surfy sound brought the licks! Drummer D.H Peligro had a great speech about the Brixton riots and equality. Let’s also not forget that they played a Taylor Swift cover! (“Shake It Off”). And that was the night I learned that it’s pronounced “Ease-lington” instead of “Isle-Ington”. I thought it was an awesome show!



So, this was the ‘fireball’ tour. It was sponsored by fireball, which is apparently a kind of American whisky. I must say I had never heard of it before the gig. Although it was a sponsored tour, the fireball advertising wasn’t overkill, despite some ‘m ock marketing’ by Less Than Jake during their set (but that was mainly just an excuse to get some fans up on stage and dance). That 5 bands played for just £10 was pretty great, anyway. However, I must start this review by confessing that I actually missed the first band (blame British trains; this wouldn’t happen anywhere else in Europe), but apparently they were a Welsh pop-punk/pop-rock band called AMFX, who got onto part of the tour as competition winners. I have listened to the songs on their bandcamp a little bit (ok, once). They sound like an over-produced Motion City Soundtrack. End of review. Ok, time to move onto the bands I saw…

Right, so onto the second band of the night- Japanese ska-punk legends Kemuri…who I had never heard of before. Apparently, they formed in California in like 1995, but since re-forming, are now based in Tokyo. They are known for their Bad Brains-inspired PMA (positive mental attitude). Their set was pretty good. Fast-paced, energetic and catchy ska-punk; in the same ball-park as LTJ, but they have their own thing going on, too. Some songs are in Japanese and then some are in English. I’m just surprised that despite going a little bit of a ska-punk phase a few years back that I haven’t heard Kemuri before, especially since Roger from LTJ claimed that they were “bigger than Bieber in Japan”. Will be checking out their recorded stuff now!

The Skints were next up. The Skints are a ska-reggae band from London, who integrate soul elements into their sound. I like that they take influence from a number of different genres. There is no explicit ‘punk’ element to their sound, but they are more punk and  DIY in spirit. They definitely hark back to the 2 tone era and The Specials influence is clear. So much so, that I keep thinking that they are actually from Birmingham or Coventry, but then I hear them speak! They played the well-known stuff, like “This Town” and “Rat-a-tat”, and the crowd was definitely into it. Some real dancing contests going on. Their sound does become a little repetitive though and I certainly drifted off towards the end of the set. The lack of obvious hooks or melody is an issue, but overall, I still enjoyed it.

Band number four: Mariachi El Bronx. If you don’t know, this is the mariachi side project of punk band The Bronx. It is all the same band members as The Bronx; it is essentially The Bronx’s Mexican-inspired alter-ego. I have seen them live once before, when they supported, um, The Bronx. A few years back, the band did a tour where they played a mariachi set as Mariachi El Bronx, before going off stage, getting changed and then coming back on and playing a ferocious, intense punk set as The Bronx. It was pretty cool. I saw that in a small side room of a club, so this set by Mariachi El Bronx didn’t have the same intense, personal feeling as before, but it was still a ton of fun. The mariachi thing is a kind of ‘schtick’ I guess, but it’s fun, catchy and brings a smile to your face, so whatever. If you’re in need of cheering up, I would definitely recommending seeing this lot live.


So, onto the main event: the imperious Less Than Jake. I was super excited to see them. One of my all-time favourite bands. A little like Ramones or NOFX, I don’t actually listen to them so much these days, but they remain what I consider to be one of my ‘classic’ bands. So, yes, I was pretty pumped for this and Less Than Jake met or even exceeded my already high expectations. It was an absolute classic set, filled with all the ‘hits’: “Johnny Quest Thinks We’re Sellouts”, “All My Best Friends…”, “Look What Happened”, “The History of a Boring Town”. I don’t think they missed out a song I really wanted to hear live. 90% of the set was basically comprised of Losing Streak and Hello Rockview, which was incredible. That is where their best stuff is to be found, something Roger from LTJ acknowledged on stage. He basically admitted that their best material was their early stuff and that because of this, they form their set around tracks from that era. Unlike some bands, they don’t feel pressure to focus on their more recent material. LTJ used Green Day as an example of a band who have distanced themselves from their earlier songs!

LTJ were super-energetic, fun and didn’t mess about too much between songs. The sound was amazing for their set; I haven’t really noticed that before about this venue, but the guitars were crunchy and the vocals clear. They started their encore with just the singer acoustically playing “Rest of my Life”, before the full band came on during the second verse, which was pretty perfect. I’m not even a huge fan of the song, but done this way, it was fantastic. This was followed by: “All my best friends…” and “Look What Happened”. A perfect end to a perfect set.



Folk gigs can often be a tad overlong and wearisome, but this one was compact, varied and involved three great acts in Chuck Ragan, Skinny Lister and Tim Vantol. Dutch folk singer Tim Vantol was up first, playing to a fairly sizable crowd at the Institute, despite it being only 7.30pm. Vantol made the most of it, initiating sing-a-longs and encouraging the crowd to get involved. I have only relatively recently begun listening to him and while I’ve enjoyed him fine on record, he kind of blew me away live. Tim plays sometimes with a full band (and he said that he will be coming back to the UK with full-band shows, indeed), but here he played solo, yet that did not lessen the power of his show. He plays with an earnestness and heart-on-sleeve attitude not dissimilar to Chuck Ragan himself or Frank Turner in his earlier days. His voice is arguably as strong as Chuck’s, too, though nowhere near as gravelly or gruff. Tim largely focused on playing songs from his new record “If We Go Down, We’ll Go Together” (which will be reviewed on this site in the coming weeks), and the personal highlights of that included the title track and “Apologies, I Have Some”. Certainly an artist worth seeing live!

And then the party started! I had never previously heard of Skinny Lister before, but safe to say I was impressed with their party folk-punk shanty sing-alongs. Skinny Lister are a six piece, London-based traditional folk band, including an accordion player and a female lead singer, who has a perfect voice for this kind of music. This is campfire punk rock done well, with a tune and a party atmosphere; as Skinny Lister pass around their flagon of rum, you may not be able to resist jigging along to their little folk ditties. I like that they have diversity in their songs so it doesn’t get boring. There are slow-paced, vocal-centric, almost showtunes, as well as the fast-paced traditional folk sing-alongs. Highly enjoyable!

And then came on who most had been waiting for: the one and only Chuck Ragan, in support of his latest album “Till Midnight”. The last time I saw him live (supporting Frank Turner), he was great, but didn’t have too long to play for, so it was satisfying to see him (along with the Camaraderie) as the main act and play a proper set. Chuck played plenty of songs from his new album, but there was time for 2 or 3 songs from the classic Feast or Famine album back from 2007, which are a bit grittier in comparison to the newer material. I was pretty happy when he played “The Boat” from that album as the penultimate song, as I regard that as probably his best tune. Chuck’s voice is as strong as ever; I don’t know how he can carry that intensity and power throughout an hour long gig. All in all, this was a hell of an evening, managing to see Chuck for the first time in years, and discovering two relatively new folk artists.


Hey, look, it’s another Amp Session live! Three different bands to last time, but the quality was still as good. Kicking off the evening were Staring Out The Sun, a relatively new rock band from London, whose debut EP came out last month. It is difficult to say exactly, but I think Staring Out The Sun probably stole the show. Their brand of emphatic, energetic rock, complete with cool breakdowns, chugging guitars and powerful vocals, works so well in the live setting. The lead singer, in particular, really interacted well with the audience (an already packed venue by this point). It reminded me at points of mid-00s alt rock like Fightstar or Thrice! Next up were Affairs, an altogether different proposition, synth-y, ethereal indie rock, in the vein of Interpol, Bloc Party or a dancier Smiths. The memorable part of their performance was perhaps not the music itself, but the theatrical performance of the lead singer, as he swayed/danced about on stage. Along with his vocals, he is reminiscent of Ian Curtis or Morrisey. Of their set, their latest single “Blood Science” stood out as the most powerful song. Van Susans were the final band on of the night, showcasing their poppy, folk-y rock, with keyboard and violin sounds to boot. They have built a decent sized fan base already and you can see why. The five-piece band are very tight and are clearly very comfortable playing together. You can totally see their stuff being played regularly on Radio 2! All in all, another successful Amp Session night then, helped by the sheer variety of bands on display.

Check out The Amp Session here:


I will open this review by admitting that this is only a partial review of the pop-punk all-dayer in Manchester, as, thanks to train delays and sleeping too much, I missed the first four bands. So, if you want a comprehensive review of this gig, look away now, but I’m sure that Munters, Junior Vice President, Werecats and Get Human were all awesome. The good thing is that at such a packed gig, I still had SIX bands left to see, so all was not too bad in the world.

Anyway, back to what I actually saw, and band number five came on the stage: Andrew Cream, backed by a full band. I knew very few songs by Mr. Cream before this gig, but I’ve listened to pretty much everything since. They were really excellent. He has been gigging on the DIY punk circuit for a while, but only recently has he been backed by a full band. I’m not sure if this is going to be a permanent thing or not, but it really worked to bring out his sound better. The sound, if you were wondering, is passionate, yet melodic, personal folk-punk ditties. Andrew joked that he was the odd-one out in a pop-punk all-dayer, but when it works this well, who gives a shit? Next up were local pop-punkers and crowd favourites Don Blake, who play fast and melodically. All of their songs are short, sharp segments of poppy fun. The vocal melodies remind me quite a bit of Mike TV. They apparently rattled through 17 songs in their set, and I felt quite worn out by the end just watching them.

Surf’s up with The Lemonaids! This is Glasgow’s best (and only) surf-punk band. They have described themselves as Beach Boys meets The Ramones and that is not far off wrong. They play super-happy, super-melodic, highly-energetic pop-punk, all clad in Hawaiian shirts with a focus on all things surf. Yes, it is pretty generic Ramonescore, and admittedly, I found listening to the album a bit much when I first heard it, but The Lemonaids rule live. They are full of the energy perhaps lacking in their recorded material (which I find with much Ramonescore). So much fun. Most of the hits played here are from their most recent album Back to the Beach. Next up were The Kimberely Steaks, and more pop-punk from Glasgow (and indeed include at least one member of The Lemonaids in their line-up). But rather than surfing and beach babes, The ‘Steaks deal with isolation, boredom, alcohol dependency and Streets of Rage. Much more suited to Glasgow. To Live and Die in West Central Scotland is one of my favourite punk releases of 2014 and they did not disappoint live. All of the best songs off that were played, including “On My Mind” and “My Quarter Life Crisis”. Live, they do not mess about and shred through their set-list at super-speed. It may be the Billie-Joe like vocals, but they remind me of, even more so live, early Green Day at twice the tempo. Like if your Kerplunk cassette had got caught and started playing at the wrong speed. But yes, this was ace and when I felt like the All-Dayer really started to get MENTAL.

And then the Zatopeks came on. This was the band I was probably most excited about seeing. I had seen them before live, but when I wasn’t totally aware of just how awesome they are. Plus, I realised how much of a rarity this live show would be these days, with a high percentage of Zatopeks members now residing outside of the UK. Anyway, this was great. The set was full of energy and passion, with singer Will de Niro spending most of the time off the stage. And the hits were played, oh yes they were. I like that there was a decent variety of stuff played, spanning over all three of their albums, including “City Lights”, “Turkish Bread Chronicle” and the ‘political section’, which comprised of “The Daily Mail” and “Politics”. I hope it’s not too long before they are back. And finally to the headliners Lipstick Homicide on their first ever European tour. It took me a long time to get properly into this band, and I realised during watching them here that I now definitely was pretty fucking into them. LipHo killed it. Energy, passion and precision: it was all there. There was not an ounce of fat on their set. Most of the songs played were from their latest LP Out Utero, with the main exception being a cover of “Today the World, Tomorrow the Girl”, during their spontaneous encore. This is one of the few times when I have felt that an encore has been deserved. An awesome end to an awesome day. I think pop-punk is still doing alright, y’know.



I have already written about the awesomeness of The Amp Session on these very virtual pages, so I will say little more about the internet radio station, except that this was their first organised gig. The bands involved in the debut Amp Session Live! were diverse and stimulating. First up were The Landed, which I missed the majority of, thanks to London Midland and ‘unforeseen delays’. However, that song and a half I heard were pretty great, and what I’ve heard since on Soundcloud proved that it wasn’t the beer distorting my hearing. The Landed play traditional blues-y rock, but are clearly influenced by ‘70s and ‘80s power-pop, with melodic choruses a-plenty. It’s energetic, toe-tapping stuff, and I would like to actually hear a full set next time. Next up were Surray’s Rival Empires, a female-fronted, anthemic rock band full of vigour and passion. They look like a band already made for a big stage at a festival, and that is partly down to the stage presence and ‘cool’ factor of lead singer Lucy Albury. I usually try to avoid lazy comparisons, but Paramore definitely came to mind when watching Rival Empires: big rock choruses, soaring vocals and sing-a-long parts, it’s all there. And then the main band came on, in the form of something completely original and alternative: pirate music. That’s right. Completely clad from head to toe in pirate gear, the aptly named Peerless Pirates tore up the stage with their folk-based ditties about their pirate lives. Things kicked up a gear dance floor wise at this point, as their swashbuckling groupies got merry and danced the night away. Yes, it’s a gimmick, but it’s a damn fun one and Peerless Pirates fit in perfectly in a pub environment. And that marked the end of an awesome, but musically and stylistically diverse night of music. Arr, mateys, cheers to that!