Category: Live Reviews

Belgium
17th -18th April

Crossfire headed across the sea the other weekend to experience what we’d come to conclude is one of the most fun festivals ever. Groezrock is pretty miniscule compared to most UK fests (Download, Reading and Leeds etc) but what it lacks in size, it makes up for in sheer quality of bands. And the cherry beer works in its favour too! In itself, the fact that it’s slightly more on the ‘quaint’ side, makes the long days a lot more manageable and less exhausting than many other more epicly proportioned outdoor music events.

The Friday started off rather slowly with an ungodly early start to the journey in London town which ultimately led us to the Belgian countryside via a slightly un-nerving ‘town’ which consisted of one pub, a train station and a roadside trailer cafe. We stopped off for a few drinks in the pub and, joy of joys, discovered that smoking is still legal in such establishments! Downside – apparently vinegar doesn’t exist in Belgium. Chips without vinegar? What are they thinking?? On arriving at the festival site (after almost being killed by what would affectionately become known as the ‘grebo-bus’) we were faced with a jam-packed queue for camping wristbands. Not fun. That was pretty much the only grievance of the weekend though…

The sounds of YOU ME AT SIX on the main stage were filtering through as we erected our tent and we legged it to the arena just in time for the astounding UNITED NATIONS.

The first band of the weekend for our crew was, for the majority of us, the best band of the weekend. Or one of them at least – it was kind of hard to choose! Fronted by a frenetic Geoff Rickly (of Thursday fame), the assembled band also consisted of members from Glassjaw and Converge. Daryl Palumbo may have been missing but I’m at a loss to seeing how Glassjaw’s frontman could have made this any more of a thrilling, visceral performance. Driven by Rickly’s quite impressively agressive vocal stylings, the band pounded through their (too short) set which, for want of a more sophisticated description, came across as a heavier and more frenzied version of a Thursday set. What made it unique was its ferocity, speed and melding of at least three incredible, perhaps even seminal, bands’ aesthetics.

A short skip over to the second stage to catch most of INNERPARTYSYSTEM‘s set didn’t disappoint. Newbies on mainland Europe, the band brought their A-game as usual with their electro and beats-fuelled rock clearly impressing the significant crowd gathered. We saw a little bit of Senses Fail but were in need of a bit of respite before the hectic night ahead so headed to the bar for the first of many drinks-ticket-bought beverages.

The next act we wanted to take a look at happened to be the UK’s very own BRING ME THE HORIZON. This turned out to be a not-so-pleasant experience as we almost got crushed to death. However, before the stampede reached its height and running away was necessary, we experienced ‘The Comedown‘ which sounded brutal as ever and seemed to act as a magnet drawing every single person in the vicinity of the stage (if not everyone in attendance at the festival) into the tent they were playing. Very cool but a little bit scary if you’re not really up for a circle-pit. UNDEROATH incite a similar manic response over in the main tent with their unbelievably tight mix of melody and aggression whipping the crowd into a frenzy.

A perfectly measured set of crowd-pleasing tunes from a band that never seem to put a foot wrong in the live arena. And so to TAKING BACK SUNDAY… It was definitely a singalong-fest and they sure do know how to play the hits. I just can’t help feeling that there was something ever so slightly lacklustre about the performance when you got passed the immediate brilliance of it all. Don’t get me wrong, they were great. But it wasn’t their best day. It may be to be expected but they are clearly quite over playing ‘Cute Without The E‘. We’re not over hearing it though! Also, the new songs didn’t really hit home the way the classics did so let’s hope they’re growers!

THURSDAY were another highlight (this festival was pretty much highlight after highlight, mind). I think I was a bit awe-struck by the near-perfection of their set. ‘Understanding In A Car Crash‘ and ‘Cross Out The Eyes‘ rolled out over the crowd amassed with ease yet still with a vibrancy that so many other bands lack or fail to quite capture. The most recent tracks such as ‘Resuscitation of A Dead Man‘ and ‘Friends In The Armed Forces‘ crashed forth with a cathartic energy that consumed anyone with half a brain. The closer was the utterly emotional ‘War All The Time‘ which sounded poignant as ever, if slightly ruined by the crowd clapping along to start with (yeah, they didn’t keep in time. And it’s not a song for clap-alongs anyway. But I guess that’s just my opinion.) The evening couldn’t get any better for me but it did continue in the same vein with much animated enthusing about the day that had been and the day that was to unfold tomorrow.

Day two and we were all suffering slightly from the effects of tent-dwelling. The ground underneath my back was particularly lumpy. We didn’t know it yet but Sharpie-graffiti was to be the order of the day. Yes, we may as well be twelve years old with our ‘Meerhout ’09’ and ‘LOLZ,ROFL’ knuckle tattoos. There’s no lie-in here since the bands start at 10am. We take a little time getting into proceedings however and the first band of the day for us is the incredible THE GHOST OF A THOUSAND who absolutely slay the crowd in a slot which was originally H20’s. Relatively new to mainland Europe, the band show the Belgians what they’re made of and exactly why they’re so deserving of a coveted slot on Epitaph Records’ roster.

THE ACADEMY IS… provide the poppy relief on a day filled to the brim with stellar metal and hardcore. Frontman William Beckett leads his troupe in a set of oldies and new gems whilst an intent (if not packed out) crowd bob heads and sing along.

Back to the meaty stuff and DARKEST HOUR are next on our hitlist. The shredders are on good form and totally command the people there to see them with riffy goodness and excited stage antics. Following a short nap, we head over to join one of the biggest crowds of the weekend in the second tent for COMEBACK KID. After squeezing our way in, the band start up reeling off rousing hits from ‘Turn It Around’ to ‘Broadcasting...’ and proving to be the perfect soundtrack to many festival-goers’ weekends. A band that never fails to impress.

A swift move to THE GET UP KIDS‘ performance is in order now and it’s a sprint for many as tearing yourself away from a CBK set before the end is never easy.

The Get Up Kids pull out a set which is perfectly executed. Exactly what you’d expect but brilliant nonetheless. Their flawless collection of old and new material is rounded off by a trio of awesomeness – ‘Don’t Hate Me’, ‘Ten Minutes‘ and ‘Walking On A Wire‘.

Some celebratory cherry beer followed the day’s events and, excepting a slightly hellish journey home, we realised that this festival is one that’s definitely worth returning to.

Words by Sarah Maynard
Photos by Amandine Eap

Camden Underworld,
London 18/04/2009

Gigs start ridiculously early at The Underworld. We made our way down at 7.30pm and a band had already played apparently. It’s very deserted. At least there are a few more punters in the building when Section 13 (from Leamington Spa) get going and belt out 20minutes of fast ‘n tuneful hardcore that recalls elements of Dag Nasty, and a decent cover of Minor Threat’s “In My Eyes” kinda rams home the point… do ya fuckin’ get it??!! Point of interest; Section 13’s singer Ian Murphy fronted ’80’s UK Hardcore acts The Depraved and Visions of Change, and at 44 is still a commanding energetic frontman.

Next up, Love and a 45, who I have seen in the support capacity previously… and with minimal personal impact. Their (ever-so) punk-lite really does not hit my spot. To their credit, the singer commands the stage like Beki Bondage, hollers like Courtney Love, and they work hard at what they do…

It’s been a good 10 years since I last saw Agent Orange. I was planning on seeing them last autumn but the tour was pulled at the last minute. Then, a few days ago, their gig in (my hometown) Brighton was cancelled when striking French fishermen blocking channel ports saw the band stranded in Calais. So, tonight is definitely a case of third times the charm.

At some ludicrously hour (9.15pm) the headliners plug in, greet the by-now strong crowd, and break in to a powerful rendition of The Chantay’s ’63 instrumental “Pipeline”… perfect. Although never gaining the larger cult status of their Orange Country contemporary’s (Social Distortion, Adolescents, TSOL) Agent Orange’s influence has in fact been huge. They put the skate in to punk, and were paying homage to, and exposing, their Southern Californian surf music roots a zillion years before the likes of Quentin Tarantino brought these sounds to the attention of the mainstream in film scores.

Their hour long set packs in pretty much all their best known songs, stretching right back to their earliest recorded track (from ’79) the frantic proto-hardcore “El Dorado“, and all of their epic 1981 debut LP “Living in Darkness” whose 8 songs are some of my favourites, ever. The delivery of these classic numbers was exemplary, and I sang my heart out to the likes of “Everything Turns Grey“, “No Such Thing” and “A Cry for Help in A World Gone Mad” where frontman, guitarist and AO founder Mike Palm’s vision of sharp precise punk anthems fused with a dark surf undertow still sounds incredibly fresh a quarter of a century later.

“Too Young to Die” is dedicated to “the creepiest guy” Mike ever met, Lux Interior of The Cramps, whose rocking bones departed this earth a couple of months ago. The punk momentum is broken up momentarily with more instrumentals; The Bel-Airs “Mr Moto“, and a belting version of “Miserlou” where they are joined on second guitar by their merch guy, the very dapper Laramie Dean… this is easily one of the highlights of the set. I must also mention drummer Dusty Watson who pounded the skins to a pulp, the power coming from his kit was thunderous.

Their best known song (and debut single) “Bloodstains” was reprised late on, and instantly sent the crowd in to a slamming frenzy. This is surely one of the greatest punk songs ever… we rightly lost our minds. To close… what else but “The Last Goodbye“. And then that was it. A killer set over. The jackbooted Underworld security forced us out pronto to clear the decks for Saturday night clubbers. We walked tall in to the chill Camden air mighty satisfied by the memorable music Agent Orange had filled our ears… “everybody’s asking me what it’s like down there, the concrete floor is cold, the walls are bare“…

Pete Craven

Live @ The o2, London
16/04/09

Ok. Check this out. I’m in the company of some of my best friends, I have a seriously hot chick as my gig buddy and I’m standing with an ice-cold beer in my hand waiting for AC/DC to arrive on stage. I ask you readers; who is your god?!

Tonight, MY God was rock ‘n’ roll. My church, the o2 and my five apostles were four blokes from the land down under and one from Tyneside. AC/DC have returned UK in what has to be one of the most anticipated live rock ‘n’ roll shows since, well,……Zeppelin maybe? Compared to their outdoor stadium shows announced for later this year, this show has the energy of an ‘intimate gig’. Well, as intimate as you can be at an eighteen thousand capacity arena.

By the time the band make it out on stage; the o2 almost collapses under the roar of the crowd. To a back drop of a train wreck and pyrotechnics they kicked off with ‘Rock ‘n’ Roll Train‘, ‘Hell Ain’t A Bad Place To Be‘ then followed by the classic ‘Back In Black‘ sending the o2 into what can only be described as a frenzy.

Brian, Angus and the boys pull hit after hit out of the bag. ‘Thunderstruck’, ‘Shoot To Thrill’, ‘Dirty Deeds‘ all get an outing tonight leaving everybody in the o2 gob smacked. The lads may be the wrong side of fifty but they don’t miss step. Brian Johnson’s voice can still hold its own, Angus Young shows no signs of slowing down and Malcolm Young and the band’s sound is as loud as it ever was. Even their most recent material gets a welcome response tonight as ‘War Machine‘ is receives a huge ovation.

A massive AC/DC bell is lowered from the stage ready for Brian Johnson to run down the walkway, jump and swing from it providing an interlude into yet another classic, ‘Hells Bells‘. After a necessary breather for the coffin dodgers, Johnson introduces us “to an old girlfriend”; A massive inflatable woman now straddles the train AC/DC rode in on. No question that ‘Whole Lotta Rosie’ was up next and my god did it bring the house down.

‘Let The Be Rock‘ has been added to the set for one sole purpose and that is to showcase Angus Young and what he does best; play guitar and command the stage. The legendary showman marches to the end of the walk way that divides the front of the crowd only to be raised halfway to the roof on a platform to solo to the people in the nosebleeds. When Young returns to the stage he goads the audience to cheer for more fret magic before scaling a platform on top of the stage delivering more blistering solos, smirking and sweating.

The band close their astonishing set with an encore of ‘Highway To Hell‘ and ‘For Those About To Rock‘ accompanied by cannon fire from the stage. A fitting way to end what can only be described as a jaw dropping set, played to perfection by the iconic AC fuckin’ DC!!!

Tonight’s show was nothing short of a master class in how to take care of business. AC/DC are old as fuck and the idea of a 50+ year old sweaty man in a school uniform is ridiculous but these dudes are the epitome of rock excellence. Hand on heart I can say that this was one of the best gigs I have ever been to. You will not see a better live act this year.

Tonight, AC/DC, we salute you!

Tom Lindsey

The Borderline, London
15/04/09

It was way back in 2003 that I first discovered William Elliot Whitmore.

He was playing a show at the LA2 supporting hardcore outfit Converge. A weird choice of support act at the time but after seeing him play, all the other bands that played that night paled in comparison to the one man and his banjo.

He had been back to British soil multiple times since ’03 but had always flown under my radar. Tonight I finally caught him at the Borderline and along with the capacity crowd, I couldn’t wait.

“Friendship and sharing” declares William as he throws away the cap on a bottle of Jack Daniels and passes it around the crowd encouraging them to drink after opening with ‘Mutiny‘ and an up-tempo ‘Lift My Jug‘.

The beautiful thing about William’s performance is his interaction with the crowd. There is no “I hope he plays this song”. If you want something played he’s more than willing to oblige and constantly takes requests. The only thing he refused to play was ‘Freebird’ as he understandably didn’t stray from his own material. The amazing ‘Take it On The Chin‘ and the clanging banjo of the haunting ‘One Man’s Shame‘ are all rounded by Whitmore’s voice. It sounds like the man has been breast fed on Marlboro’s and Moonshine.

Tonight we are treated to songs from Whitmore’s new album ‘Animals In The Dark‘. ‘Old Devils‘ is the man’s own brand of morbid folk where Whitmore’s story telling builds and builds in pace to the point of boiling. A song about “the filth” followed with Whitmore’s ode the police, ‘Johnny Law‘, goes down a storm with the Borderline as a second bottle of sour mash is passed around.

It’s amazing that one man can hold the audience by the scruff of their necks and spit his songs at you and then a song later, transfix a crowd with a heartfelt tale of loss. Whitmore’s intensity and passion for his music and what it represents is something to be admired. The songs Whitmore plays are so engrossing and so powerful you tend to forget that it’s just one man and his guitars.

It’s the classic formula of a working man’s grief, sorrow and hope all blended together and washed down with plenty of whiskey that makes Whitmore’s songs and live show so compelling. Tonight, as he did in 2003, William Elliot Whitmore did not disappoint.

Tom Lindsey

Photo from Myspace

London ULU
11/4/09

Rock n’ roll – is it a sound, or an attitude? The music itself may have evolved since its 1950s origins, but evolution has never been much of an issue for either of tonight’s headliners, both of whom seem eager to join the likes of the Ramones, Motorhead and AC/DC in the ‘great bands who essentially write the same record over and over again’ stakes. Still, at the same time, it seems wrong to intellectualise a genre that has always been about gut feeling, and neither the Supersuckers nor Nashville Pussy are pretending to be anything that they aren’t.

“Dang, I’m a lucky man.” That’s what the look in Nashville Pussy frontman Blaine Cartwright’s eyes says as his wife/guitarist Ruyter Suys kneels at his feet, soloing away, her face the picture of ecstasy. The band’s Southern-fried odes to sex, drugs, drinking and fighting (and not much else) have led many to dismiss them as a cliché, but in the live setting, these guys and girls deliver in spades. Quite simply, there is no let-up in energy, with just about every song blasting past in a blaze of squalling riffs, powerhouse drumming Cartwright’s signature whisky-soaked rasp. They’re the Deep South bar band that outgrew their town, and as they rip through a cover of Ike & Tina Turner’s ‘Nutbush City Limits’, you can’t help but admire their chutzpah.

Supersuckers frontman Eddie Spaghetti has long referred to his band as “the greatest rock n’ roll band in the world”, and whilst that’s debatable, they’ve certainly made a case for being one of the greatest in their 20-year existence. Like their former tour buddies Social Distortion, the Supersuckers understand that rock n’ roll mixes well with country, and hence it’s a welcome surprise when Eddie breaks out his acoustic guitar for a few numbers. Elsewhere, the band’s usual high-octane treats still manage to whip the crowd into a pogoing, howling mass, with the ULU’s excellent sound and the lack of a stage barrier adding to the sense of intimacy.

“You guys are too good for an encore!” declares Eddie, before the closing brace of “I Want The Drugs” and ‘Pretty Fucked Up” reassure us that when the Supersuckers are in town, there are few more enjoyable ways to spend a Saturday evening.

Alex Gosman

w/ Diagonal
The Borderline Club,
London 29/03/09

It was at 9 O’Clock in the morning that I got a text from my friend, Awesome Jason. He had a spare ticket to a band called The Sword that he was going to send my way. I knew that these guys have been on tour with Metallica for quite some time but they had flown way below my radar. I went into this gig totally blind. I had no idea who these guys were, what they sounded like or even what they played. I knew absolutely nothing about them. By the end of the evening I knew exactly what this band was all about.

Diagonal were tonight’s support band and I couldn’t be happier to hear these guys were on the bill. I had seen these dudes before at the Rise Above records 20th anniversary show last year and they really shone. A band that not only produce some of today’s finest cosmic jams but also look like they could hold their own on University challenge. Diagonal’s live set is a no frills approach to their trippy music. No banter with the crowd just straight in and down to business. They try and cram all the sax, synth and solos into their allotted time and do a brilliant job grabbing the attention of the audiences ‘third eye’. I’d expect nothing less from these psychedelic dweebs. I mean that in the nicest possible way.

“You will not be disappointed“. Those were the words of one very excited Zac Leeks ahead of The Sword’s performance at the Borderline. The silver fox wasn’t wrong… Unfamiliar with their back catalogue, I couldn’t possibly tell you what The Sword played tonight other than one of the heaviest shows I have seen in a long time. The relentless, galloping riffs were just so heavy it would give any Saint Vitus fan hard-on. The band is so damn tight it’s unreal. They have the ability to shift from brutal shredding into some of the most classic sounding solos with the greatest of ease and covered a bunch of songs from their first EP such as the raging . Their time on the road on these goliath tours with seasoned bands has clearly rubbed off on this young, stoner metal quartet. The only down side of tonight’s gig was the vocals that were simply dwarfed by the band’s sound and power. The Sword finish their set and leave the stage only to return for an encore. The only band I have seen in months worthy of one and a band that look like they genuinely enjoy playing for the sake of playing… and playing hard! It wouldn’t have made a blind bit of difference if they were playing an eighteen thousand capacity arena or a club that holds two hundred. The Swords sound can hold its own.

When a band can project such a colossal sound and such energy you know you are on to a winner. I came away for the show thinking that this was the best band I had seen in a long time. No Shit. If I were Metallica I’d be quaking in my fuckin’ boots because one day, these young whipper-snappers are going to destroy you just like they destroyed the Borderline.

Tom Lindsey

Water Rats,
London
26/03/2009

With some old bands that come back around I have to deliberate whether I want to take that particular trip back down memory lane. In the case of Canada’s SNFU I don’t think I actually reached the deliberation point; their music is so hard coded in to my central music system that making this trip up to London was never in doubt.

SNFU in 2009 just has one original member, but that is their crazed skinny ass singer Mr Chi Pig, a truly unique frontman, and although he is less athletic these days, he’s still got the madness, moves, a sack full of props, and plenty of bark in the vocals. With his all black attire and long bleached hair he resembles a wizened old Chinese sage. The assembled players he has put together are seriously road tested and although their stage presence is notably more static than the SNFU of yore, musically they are bang-on. Enthusiasts of North American Hardcore roots will note that guitarist Ken Flemming was in Winnipeg’s The Unwanted who put out an album on BYO in ’84 and had a stint on bass in SNFU in the early Nineties.

The word is that having missed their ferry to Dover, and then being held up by immigration, the band are running very late, but they arrive about 9:30pm, and straight after a short but solid set by The Restarts, set up… and are all ready to go just after 10pm… launching into “I Forget” from their second LP “If You Swear You’ll Catch no Fish” (BYO), the crowd gets right in to it and we are definitely up and running! The set is a well oiled run thru their lengthy back catalogue, pulling out choice cuts from their first 2 LP’s from the mid-Eighties, the 3 Epitaph LP’s from the Nineties, and a few tracks from their most recent (2004) “In The Meantime and In Between Time” album… but nothing from ’89’s “Better Than a Stick in The Eye“.

The momentum rarely lets up, bodies and beer go flying, Chi Pig sports a pig’s head, baits the crowd, wise cracks lurid jokes, and when things start to wind down he thanks us profusely for showing up and still having an interest in his band. Jeez, why wouldn’t we??!! It’s been a blast, and although the 11pm curfew has clearly been breached there is no way in hell that anyone is letting the band leave with out an encore… so they rapidly plug back in, and belt out a trio of classics from their debut “And No One Else Wanted To Play” album – namely “Seein’ life thru the bottle of a bottle“, “She’s not on the menu” (original version!) and close out with “Cannibal Café“… fantastic!1.. 2.. SNFU!!!

Pete Craven

Islington Bar Academy,
13th March 2009

There’s a quiet confidence radiating from London five piece Lights Action as they take to the stage on the penultimate date of their UK tour. With their debut album ‘Welcome to the New Cold World‘ enjoying hugely positive reviews and more tours in the pipeline the band seems to have really come into its own and with Bar Academy almost filled to capacity, the guys seem totally at home (so much so they even have an old lamp as part of their stage set up, giving a homely feel to the proceedings).

They kick off the proceedings with the drama fuelled ‘Moscow‘, with front man Patrick Currier’s distinctive american-lilt paving the way for chest thumping drums from Steve Durham. It’s the perfect way to get the crowd to shut up and take notice, and take notice they most certainly do. Tonight Currier’s vocals are spot on, a few weeks on tour has tuned his voice to near perfection, but still maintains an endearing catch that reveals glimpses of vulnerability. ‘Signals to Radar‘ is sublime, with strings layered behind melody saturated guitars. The performance is edgy without becoming pretentious, with rich hooks and unexpected turns spinning and spiralling throughout the performance. ‘Travelling Man‘ has a broad epic sound, which fills the Academy – the intriguing sleazy tapestry of bass and guitars weaving a track that has quite a punch to it. A cover of Sam Sparro’s ‘Black Gold‘ is an unexpected treat, and given the guitar treatment goes down very well with the dancing crowd, whilst ‘Satellites‘ (one of the few older songs given an airing tonight) is given a new lease of life with a semi acoustic, toned down performance that’s enough to give you goosebumps.

It’s clear that Lights Action are destined for bigger and better things, and have enough explosive energy and stage presence to impress on a larger scale. They’ve matured visibly and aurally in the last year, and are fast becoming making a name for themselves. They end the show with the electric ‘Young Scarlett Young’, a flamboyant, dramatic finale to a compact, tight set that leaves the crowd hungry for more. If they keep going in this direction they’re going to become a force to be reckoned with…

Dee Massey

Photos by Ian Collins

I have seen You Me At Six play the Astoria, the Water Rats, Kings College Students Union as well as Wembley yet while playing the Roundhouse they seem more at home than ever before. This sold out performance saw the lads wrapping up their 777 tour; seven dates at seven venues in seven cities.Lead singer Josh Franceschi stated he was glad they ended the tour closer to home, and so am I. This performance saw You Me At Six like I had never seen them before.

Their entrance was dramatic, hidden behind a screen, gradually a silhouette of each band member appeared before the curtain dropped and the hypnotic set began. The flashing lights also made a real impact, proving the lads can play in big leagues and keep fans entertained, ecstatic, eager and motivated to move.

They performed all our favourites from the album including the title track ‘Take off Your Colours’, ‘If I Were In Your Shoes’, ‘If You Run’ and ‘Gossip‘ to name but a few. The fan favourites seemed to be ‘You’ve Made Your Bed‘ and ‘Save It For The Bedroom‘ as well as the closing number ‘Rumours‘. The guys also presented us with ‘Sweet Feet,’ the b-side to their recent single called and their own rendition of ‘Sugar Were Going Down’, which went out to the crowd with excitement and energy and received in the same manner.

When Josh and his sister took to the stage to sing ‘Always Attract‘ the fans stopped going mental, dancing and pushing each other around, and turned their attention to the stage. The venue was at a standstill and listened, taking in every detail of the performance, giving their undivided attention and respect for this amazing number. With its acoustic start and gradual explosion the song was well received and grabbed the attention of the crowd; it was one of the best performances of the night.

The Roundhouse was their most extraordinarily extravagant set to date. Going all out with their entrance and lights was new for them, but perfectly enabled them to add a little class and a lot more screams to their response. Overall it seems as though You Me At Six have well and truly broken away from just MySpace hot shots and found their ways into the hearts and souls of thousands around the UK. It is highly recommended you catch the lads when they headline the Slam Dunk tour this May.

Michelle Moore

Kings College
10th March 2009

They say absence makes the heart grown fonder, and the queue of hundreds of people lined up through the streets by Kings College is testament to the fact that Andrew McMahon has been sorely missed. The Jacks Mannequin/Something Corporate front man has kept us waiting for almost six years for his return to London, and JM’s first ever UK show sold out in a matter of hours.

It’s been a rocky road for 26 year old McMahon; having enjoyed steady success on both sides of the Atlantic with Something Corporate, he developed side project Jack’s Mannequin, but months before the release of their debut album ‘Everything in Transit‘ he was diagnosed with acute lymphatic leukaemia, and music was put on hold whilst he underwent treatment including a bone marrow transplant.

Sophomore album ‘The Glass Passenger‘ deals with McMahon’s illness, his hopes and fears translated into an emotional journey filled with stunning melodies and some heart wrenching lyrics. Tonight’s crowds are witness to the fact that despite his long absence from our shores, his fan base are still at faithful as ever.

Without a support band Jacks Mannequin take to the stage to deafening cheers, McMahon grins from ear to ear and throws himself headlong into ‘Crashing‘. Picking and choosing from both albums he whips the crowd up into a frenzy, crouched over his keyboards, thundering away on the keys. ‘Swim’ is an ‘I will survive’ moment with the lines “I swim to brighter days, despite the absence on sun, choking on salt water. I’m not giving in. I swim…” a stark reminder of his recent fight. ‘American Love’ is a pop treat, with ‘big hearts, big hearts…were made to be broken’ getting the crowds dancing, whilst the ‘Holiday From Real‘, with its tales of buying pot from the lesbians on Venice Beach, dazzles with enough California sunshine that you can almost feel the rays.

McMahon, flanked by Bobby Anderson on guitar (who is victim time and time again to an over zealous smoke machine operator) and Jonathan Sullivan on bass, is lapping up the attention. The crowd hang on his every word, look, smile – song upon song is sung back word perfect, especially old favourites like ‘Dark Blue’, ‘Kill The Messenger‘ and the sublime ‘Bruised‘. McMahon exerts himself with a high pitched section of ‘Hammers and Strings‘ in reply to a gig goer at their previous show in Hamburg who pointed out to him that he missed out the falsetto. “So put that on YouTube for her!” he laughs, giving the cameras the finger.

‘Caves‘ brings us back down to reality with the lines “Beat my body like a rag doll, you stuck the needle in my hip. Said ‘We’re not going to lie…Son you might just die, Get you on that morphine drip” padded by upbeat guitars and piano. It feels like McMahon is sharing his most painful memories and it must be tough reliving it night after night. But for the most part the dark and painful subjects are encompassed in stunning melodies, and often the upbeat tunes take the edge off the wonderfully jagged lyrics. ‘Made For Each Other‘ winds its magic around the crowd, and as McMahon returns for the encore there’s a grin plastered on his face, joking that even if everyone had left before the encore they’d have played to an empty room anyway.

The Something Corporate fans get a treat with a stunning rendition of ‘Cavanaugh Park‘. We can but dream that McMahon will some day give SoCo another go. They end the set with the electric ‘La La Lie” – an anthem for friends that has people linking arms and bouncing along with Andrew, who having promised to return in the end of summer throws himself into the crowds for the dying chords.

Tonight is a magical return for Andrew McMahon. He can return to sunny California safe in the knowledge that his UK fans haven’t forgotten him…and if Manchester and London’s sold out shows are anything to go by, they’ll need to book a few more dates on the next show…

Dee Massey