Category: Live Reviews

Brixton Academy
16.02.08

Playing to a tenth-full Brixton Academy can be a pretty dispiriting task, but The Briggs don’t seem fazed. Their blue-collar punk rock bluster goes down well with the early birds, but the Academy’s acoustics don’t do them any favours. A shame, as tunes like ‘Back To Higher Ground‘ would probably sound genuinely anthemic in a small club.

The Mad Caddies clearly have several of their own fans in attendance tonight, a fact demonstrated by the healthy number of punters bouncing around in the pit like grasshoppers on hot coals. The rest of the crowd appear to be saving their energy (and enthusiasm) for the headliners, but the band themselves deliver a good mix of slower, reggae fare and up-tempo punk rock, with most of the usual favourites (‘Monkeys’, ‘Drinking For 11’, etc.) present and correct.

The Dropkick Murphys have been plying their trade for over a decade now, and they’ve picked up their fair share of detractors along the way. Their authenticity has frequently been called into question, due to the fact that they’re an American band playing music with a strong Irish folk influence. But the band’s Irish family heritage has been well documented, as has their pride and loyalty to their hometown (‘For Boston’, ‘I’m Shipping Up To Boston‘).

From the moment that they blast into the opening ‘Famous For Nothing’, Al Barr and co. sound nothing short of immense, and their delight is obvious as the crowd go utterly nuts; roaring themselves hoarse for the likes of ‘Boys On The Docks’ and ‘The Gauntlet‘. Impressive, indeed, but bassist Ken Casey’s self-deprecating banter is proof that his band haven’t let all this success go to their heads. They’ve always been the people’s rock band, and now they’re deservedly getting to play to more people than ever before – without losing any of the underdog determination and everyman spirit that got them here.

Keeping the diehard Dropkicks fans pleased was never going to be easy, but tonight’s set-list is pretty much as good a balance of the old and the new as you could wish for. The Academy’s security staff clearly aren’t pleased as hundreds storm the stage for the traditional finale of ‘Skinhead On The MBTA‘, but tonight the Dropkicks are calling the shots, and you get the feeling they wouldn’t want to end this any other way.

Alex Gosman

Southampton Guildhall
17/01/08

Plus: Bloodsimple, Black Tide.

With its early 1900’s architecture and gigantic clock tower that can be seen for miles around, Southampton’s Guildhall stands as arguably one of the most unique and distinctive venues the UK has to offer. Add to this the fact that less than two hours before the doors swung open this evening, the building was filled with busy workers finishing off their day – the result of the venue doubling as the city’s council offices.

As hundreds huddle by the front doors, a short walk from the tour buses that hold tonight’s headliners, Miami quartet Black Tide set the pace with a 25-minute set of distinctly 80’s hard rock. Despite their tender ages (front man Gabriel is just 15, while bass player Zakk stands as the group’s elder statesman at barely 18) they create a racket that defies their years, leaning heavily on 80’s influences such as Megadeth and Motley Crue. The likes of Black Abyss display a penchant for writing genuinely catchy yet cleverly crafted choruses, and despite a few technical glitches that rear their head during the first two songs, their performance tonight is enough to suggest that with a bit of hard touring and some much needed experience, this is a band capable of bigger things.

By the time New Yorkers Bloodsimple appear, the aforementioned huddlers are firmly inside, filling the cavernous room with a genuine sense of excitement as well as bodies. Starting their set with new song Ride With Me – a three-minute-plus concoction of spoken word vocals and subtle guitar atmospherics – the quintet make what appears to be a suicidal start. Until, that is, they blast through a thunderous rendition of the mammoth-riffed Red Harvest, lending the entire floor an appearance similar to that of a trampoline. With barely a second’s rest they carry themselves with an energy that seemingly knows no boundaries; front man Tim Williams spending much of the set perched atop the monitors and commanding the crowd with ease. “How did it sound out there tonight?” he’ll ask afterwards, stuffing his freshly dirtied clothes into a nearby rucksack. “I heard Southampton is a pretty tough crowd to win over. They either love you or hate you. Hopefully we did pretty well tonight.”

Tonight, though, is about one band: Avenged Sevenfold. As the first few punters squeezed through the doors shortly after 7pm, most wasted little time in sprinting firmly towards the barrier, desperate to secure the best (and also most uncomfortable) spot in the house. Others embraced their friends in excitement, sprinting across the floor and enjoying the vast space that would soon be filled with over 2,000 people. So it comes as little surprise that, as the lights dip and the haunting organs of Critical Acclaim begin to slither out of the speakers, the scream that goes up is powerful enough to knock you flat on your arse from a mile away.

Entering one by one – culminating with vocalist M. Shadows standing centre stage, a mic stand held high above his head – it’s the start of what will soon be known as one of the best gigs Southampton has seen in some time. And, tonight, there are literally a hundreds reasons as to why. There’s the explosive, creepingly intense opening riff of The Beast And The Harlot. There’s the crowd-led rendition of Gunslinger that sees thousands of hands pierce the sky. There’s even an impromptu run through the Sex Pistols’ Anarchy In The UK, with Shadows changing the words to “I am Johnny Christ” in tribute to the band’s frequently picked on bassist.

It’s this moment in particular that signals the biggest change in Avenged Sevenfold, because what stands out above all else is that tonight, this is a band playing with smiles on their faces. A band that for the first time in two years look as though they’re enjoying being onstage, rather than treating it as a chore. As they treat the crowd to a closing run through the much-loved Unholy Confessions, it’s a happiness and excitement that has clearly transferred over to each and every person present, filling the street outside with smiles and squeals of excitement. A sign, you sense, that tonight may well be the start of something even bigger.

Ryan Bird

Photos by Graham Pentz @ G-Tizzle Photography

Bristol Academy
17/02/08

Photo © Cesar Sebastian

I can shout.

The day was Sunday. For many this particular day of the week is one to be spent in a serene state of rest; at ease from the world and its bulging pocket full of adversity. Some may wish to spend a little extra on newspapers so they can read those escapist stories, with photos of beautiful people that are printed on the slightly shinier paper. Then sit around achieving nothing except the silent cries of joy from everyone’s taste buds as they relentlessly gorge upon little molecules of tea, and enormous morsels of a roast dinner, all encouraged by whatever lazy sod is in control of the fork. Yes, the Sabbath is a very strange day indeed. Normally associated with colours such as yellow, or overjoyed dandelion, if we’re talking Strictly Come Dulux.

I said I can shout.

So, on this holy day, I rested. By rested, I of course mean that I wiggled my way across the beer stained floors of Bristol Academy, being furiously squashed by people with interesting tee shirts, being blinded by a shining white pair of perpendicular lines, surrounded by the glittering lights of electronic heavens and having my ears pierced by bass loud enough to create a rift in time, all the while lifting my skinny fists up high, towards two nodding graphic designers from a snail devouring tribe across some body of water, who as masters of puppets, yanked on the strings of our limbs and made us dance militantly to soul crushing beats. The day was Sunday, and I fucking rested.

You don’t have to shout at me.

This wasn’t the first time I’ve seen those French wizards play. So based on previous encounters alone, my hopes were painfully high. Surely there was only a limited number of ways in which these songs can be mixed together? As the crowd hush and the opening roar of the most aptly titled track in the world, Genesis fights its way out from beneath those stacked Marshall speakers, it brought with it an overwhelming aura of deja-vu. Then, in a total nonchalant, ‘oh, what just happened‘ fashion, Gaspard Auge and Xavier De Check-Out-How-Fucking-Badass-My-Name-Is-And-Chill mutilate the already dislocated basslines into something you couldn’t even fathom, let alone expect to sound as powerfully good as it did. With the purring introduction of Phantom creeping in at every other bar, the crowd’s momentum levels were filling up like an energy drink induced Brandon Biebel. And at that precise moment, you know the one, where that funky riff comes in that makes you punch your fist, at this exact moment, the sound is lost. Poof. Gone. Vanished. Just like anyone’s credibility when they mention Scientology.

OK, well stop making me then-

Everyone in the crowd is now totally flaccid. This sort of thing should never, ever happen. For the first time ever, I think a hint of worry was evident in the eyes of Justice, yet that prominent cross was still shining away, like some extended metaphor for hope, or something. Piercing through the tension, ever so slowly, was the unmistakable riff I was talking about, but not in a way that makes you punch your fist, no, no. More of a way of, ever-so-gently turning everyone’s smile into that of an ecstasy fuelled Cheshire cat. And when the Phantom finally does reveal itself in all its bass-so-good-I-just-shat-myself glory, well, I think I just explained it, didn’t I? Redemption was achieved, and the crowd were now at the mercy of two DJs, and whatever noises emerged from those speakers.

I’m getting louder with you.

I could go into detail about every perfect pick ‘n’ mix made on this Sabbath night, but I’m sure you’ll grow weary of that, and lets face it, can my nose actually get any browner while writing this review? It’s a case of Pinocchio gone tits up here. Basically (yeah), this set was truly mind blowing. With every tour, these two hopefuls are maturing into the biggest dance music pioneers this side of the millennium, and that’s a very safe statement to make. To even consider slowing down the Waters of Nazareth, practically separating them in some mad Exodus re-enactment, and then blasting the vocoded bliss of The Fallen remix over the top is a decision that surely only mentally unstable people could make. Yet to do it without batting an eyelid, simultaneously sucking on a huge ‘Fuck you smoking ban, I can do whatever the fuck I like‘ statement, and actually make Bristol architecture shake and bounce, bounce, bounce that ass, then let them do it. Two encores wasn’t nearly enough. Stadium tours in no time, surely.

This is the excuse; let these puppet masters raise your skinny fists like antennas to whatever is really up there beyond those glittering skies. It’s worth whatever you’re paying.

Joe Moynihan

Brixton Academy
18.02.08

The last time Jimmy Eat World did a headline show in London was in March 2005, having deserted us for a criminally long time to record, and mix…then remix again, their new album.

Luckily for them, and their fans, their latest offering ‘Chase This Light’ was well worth the wait, and tonight’s sold out show at Brixton Academy proves that absence truly does make the heart grow fonder.

Swinging onto stage at 9pm precisely the four piece throw them into their latest single ‘Big Casino’, a track they showcased at their double Reading slot this year, and which has been honed into big riff perfection. As they slide into ‘Sweetness‘ its clear the band are on cruise control – seamlessly winding from track to track, picking and choosing from crowd favourites like ‘Futures‘ and new material, like upcoming single ‘Always Be’ , and lesser known gems like ‘Disintegration‘, taken from their EP ‘Stay on My Side‘ – with Adkins spitting out the bitter line ‘Lie, lie, better next time‘. Guitarist Tom Linton takes over vocal duties for ‘Blister‘, reminding us how good as frontman he can be with a wry grin.

The crowd tonight is on fine vocal form too, and almost every line is sung back work perfect. Adkins trades vocals Linton throughout, layering harmonies over swaying guitars. ‘Bleed American‘ (aka Salt, Sweat, Sugar) brings the crowd to fever pitch – but it’s swiftly followed by the downbeat ‘For Me This Is Heaven‘. As the lyrics ‘Can you still feel the butterflies?’ drifts over the stage, there’s a moment of calmness over the crowd, which is swiftly slapped aside by the angry, hate laden vibes, crunching guitars with heavy bass, with the band toying with our senses every moment of the night. The lighting tonight slashes through the crowds, heightening emotions for every track, with glittering ropes as a back drop giving a Matrix style feel to the proceedings. Their live version of ‘23‘ is simply sublime, and we’re also treated to ‘Hear You Me‘ and a new version of ‘Your House’ – where Adkins smiles benignly as he sighs the lines ‘ And I know what happens, when we get to your house…you rip my heart right out, you rip my heart…right out.”

With ‘Chase This Light‘ Jimmy Eat World have totally come into their own, it brings a new found maturity backed up with tracks that thankfully haven’t lost their pop punk, sing-along anthems but don’t lapse into saccharine sweet drivel. Christ Testa and John Field’s slick production, coupled with Chris Lord Alge’s mixes have raised the bar with an eclectic mix of rock, emo , indie and everything in between and it’s easy to see how these guys have influenced so many of the middle America bands we’re hearing nowadays.

The set tonight is professional and slick and punchy- taking the audience by the collar on a rollercoaster of emotions. As they close the set with anthem ‘The Middle‘ there are smiles all round. Jimmy Eat World leave you on a total high that still has the crowd smiling, even when they realise the Victoria line’s closed already and it’s a long way home….

Dee Massey

Jimmy Eat World play The Roundhouse on March 3rd 2008
For further info check out www.jimmyeatworld.net for further info and tour dates.

Barfly – London
08.02.08

The first thing that struck me when I arrived at Barfly on this evening was that for a sold out show not many people were about, but that only meant that I could at least bag myself a decent spot from which to stand and watch Between The Trees, a band who although little known already have an extensive touring list under their belt.

Opening with “Forward” a song “we wrote about you” I’m pleasantly surprised to find that they are full of energy and enthusiasm, rather than the moody emo vibe I was expecting considering a lot of the subjects the touch upon. They even managed as the set progressed to get the audience that had gathered to watch to drop the pretence of being to cool to dance and at least have a little teeny bop.

The next song “Fairweather” begins smelling like Panic @ The Disco with the can’t help but tap your feet rhythm holding it all together and the lyric “Your heart starts racing like a bullet from a gun” sung with such a perfect clarity that I feel as though I have actually just been shot. Lead singer Ryan Kirkland has one heck of a set of lungs and a voice so perfect in its pitch and tone that I never notice him falter in the entire set. I’m willing to bet that he’s never smoked a cigarette in his life and he trains his voice as often as he prays, and judging from the many hidden and obvious references to God in their songs I’d say he’s at least a 3 times a day kind of guy.

Props to their lighting man as it’s perfectly balanced against the emotions of each tune never more so than the red moody lighting in “The Way She Feels”. A song that deals with a very current media issue of self harm the red lighting and slow build into a chorus of “Then she closed her eyes, found relief in a knife” the band tell a story with their performance. Affiliated with “To Write Love On Her Arms” (www.myspace.com/towriteloveonherarms) they’re even selling the shirts in their merch which they shamelessly ask you to buy because the suitcases are too heavy to take home to Orlando.

I can completely envisage these guys on a much larger stage as The Barfly seems to stifle them, its closeness being too close. They look cramped, as if they have so much more to give and not the room to spread their wings. They play a new song “Story Of A Boy” which at first I thought was pretty brave as they’re trying to win this rooms affection, but heck in that situation you may as well just give them whatever you fancy right? I’d say that this band are pretty upfront and ready to rise to any challenge, hell they dealt with the pretentious crowd in the room with playful banter designed to draw attention to the fact that they were feeling segregated up there on stage. Ryan gets on the piano and this is the only time I can fault their performance because underlying somewhere in this song a beat was out or something was off key, but it was so slight that had I just been watching for my own entertainment I’m quite sure I’d never even have noticed.

Closing with “Red Lights, White Lines” I’m wishing that they had a few more to give, but alas it was over with a mouthful of water from Brad Kriebal (lead guitar) spat in the face of Mr Kirkwood. Beat, melodies, lyrics and a tight performance this band have all the ingredients to bake you a cake and send you home happy. Entertaining you is what they’re there to do and they do it so well that they manage to have a load of fun too.

Keri Stanley

Scala, London
13th February 2008

Manchester Orchestra will always get the two thumbs up from me. I’m writing this review now whilst sitting on the bus on my way home from their Scala gig and listening to them on my iPod. So you get the picture that I pretty much love these guys already.

Tonight’s show wasn’t their favourite London show they’ve ever done, but they’ve promised me they’ll top the King’s College gig, which gave Andy a break from singing whilst the crowd took over and sang the majority of their “I’m Like A Virgin Losing A Child” album back at them., leaving the whole place bristling that something very special had happened.

A blinding set featuring songs from their debut album, plus a couple of teasers from the new album, on it’s way very soon. The second track, which was called something like “Shake It Out”, but I was too lost in the moment to fully hear what Andy Hull was saying, was fucking amazing, and was definitely whetting the audience’s appetites for what’s to come.

The usual Andy solo performance at the end was accompanied by a rare show of his side project song, which enthralled all those there and just topped off this night to perfection, despite the odd atmosphere that Scala always brings.

I’ve seen Manchester Orchestra live about six times now, because they are a band that instantly gives you that feeling they really care about their music. With them playing over 250 shows a year for some time now, these are hard-working lads but they put everything they can into every performance, and humbly thank everyone for being at the show. And when they say it, you know the truly mean it.

Right, ‘Sleeper 1979’ has just started paying in my ears and I’m pissed from the bottle of Jack Daniels the boys gave me to say thanks, so this is it. Manchester Orchestra are amazing, and you should all know this by now. Shame on you if you don’t.

Moose

The Refectory, Leeds University
30th January 2008

Jared Leto’s background as an actor has certainly given him a taste for the theatrical. As the lead singer of Thirty Seconds To Mars, he conducts a live show which has a cinematic feel and keeps fans enthralled from start to finish.

In comparison, the opening act for the night, LostAlone, were rougher round the edges with crunchy guitar riffs and melodic sing-along choruses. They performed well, with spontaneous youthful energy although their songs could do with some variation to make them stronger.

By the time 30STM took to the stage an hour later, the venue was packed with fans holding their camera phones high in a sea of lights. The suspense built up as the intro music started and flashes of light threw the band member’s shadows onto the sheet covering the front of the stage, teasing anxious fans. As the drums to opener ‘Battle Of One‘ kicked in, the sheet was dropped and cheers erupted from the crowd.

This dramatic introduction made way for a slick, well structured set of songs mostly from their latest album, ‘A Beautiful Lie‘. Recent singles ‘From Yesterday‘ and ‘The Kill’ got the biggest reception and prompted fans to sing and scream the lyrics back to the band. The devotion mirrored that of fans of similarly charismatic bands like My Chemical Romance.

Each band member performed well, providing a musically stunning soundtrack and complimenting the band’s polished image. However, fans of gritty rock ‘n’ roll gigs would probably complain that there was lack of spontaneity, making it feel a bit flat. Occasionally the vocals were drowned by the guitars, but the encore really showed off Leto’s vocal abilities. He performed ‘Oblivion’, ‘Was It A Dream’ and ‘A Modern Myth‘ as a solo, which proved his vocals to be strong and also beautifully pitch-perfect.

For the final song of the evening, ‘The Fantasy’, the audience was commanded by Leto to take two large steps forward so they could all get a little closer. Unfortunately for some, that was a close as they got to him that evening as the after show signing was cancelled due to his illness. By the way he performed, you’d never guess he was ill.

Words and photos by Justine Trinkett

Scala, London.
20th January 2008.

What better way to conquer the Sunday night blues than fight fire with fire? Best known for his heart wrenching lyrics mixed with a wonderfully bitter tongue and melancholic outlook, Chris Carrabba, ex frontman of Further Seems Forever, played one of his first gigs of the 2008 with a sold out show at Scala.

Having left his band mates cooling their heels in Florida, preparing to record the new album, Carrabba’s playing on borrowed guitars in a venue that’s packed to the rafters with a crowd of all ages. In the ten years that he’s been performing under the mantle of ‘Dashboard Confessional‘ he’s attracted a cult like fan base, which is evident tonight in the word perfect sing-alongs that almost drown his voice out.

Kicking off proceeding with ‘The Swiss Army Romance‘ which we’re rarely treated to live, it becomes clear that we could be in for some old favourites. “Tonight I’m going to pay a lot of old songs” – cue cheering- “…and some new ones!” -cue booing. However Carrabba is in a jovial mood, laughing and joking with the crowd and taunting us with the opening chords of ‘Screaming Infidelities’ before pausing, laughing and throwing himself back into the track. Picking and choosing from 5 studio albums, Carrabba is open to suggestions from the crowd, and apologizes if he’s missed out anyone’s favourites, promising to just keep on coming back till he’s kept everyone happy.

Stripped of his backing band, Carrabba still exudes an amazing stage presence. He has the ability to look at home on any stage, be it at a sold out Madison Square Gardens, or in the tiny Barfly. ‘The Good Fight’ rings out loud across the audience, and ‘Don’t Fight’ is treated like an old favourite. ‘Vindicated’, usually played with crashing guitars, has a new passion and attitude, so much so that even Carrabba himself concedes that he’s never heard it so good. During ‘Where There’s Gold’ two bras are pinged onto the stage, and Carrabba seems very taken with the leopard print one, “It has rhinestones..and its says ‘Sexy’ on it…like the leopard print and rhinestones weren’t enough?” he laughs.

Tonight there is something very compelling about Chris’s performance, he has the ability to vocalize thoughts and emotions in a way rarely bettered by others. We’re treated to a new song ‘ Get Me Right’ which is sharp and exciting, proving that despite that seemingly incessant album releases, it’s clear that they have many more quality tracks waiting in the wings. Highlight of the night goes to ‘Again I Go Unnoticed’, a punchy track that always sounds so much better when it’s stripped down, the anger, the desperation pouring out some from lyrics that are shouted back from the audience.

It’s hard to believe it’s been a decade since Dashboard Confessional took it’s first faltering steps, Carrabba’s way of coping after a particularly acrimonious breakdown. For an artist to generate such a fervent and loyal fan base over so many years proves what a talented singer/songwriter he is, and tonight he’s cements his position at the forefront of the genre.

Dee Massey

www.dashboardconfessional.com
www.myspace.com/dashboardconfessional

Mean Fiddler
20.12.07

Judging by the crowd tonight it’s evident that MTB have a loyal following; it’s freezing outside, there are xmas parties a-plenty and last minute shoppers everywhere but these facts aside the venue is bustling in anticipation.

I kicked myself for having missed the first band The New 1920, after finding myself standing next to the hottie that is their singer. Those who were present said they were very good. Having listened to their 2 song CD sampler, I kick myself again as their sound is a catchy mix of heart warming melodies and harmonies. They might not appreciate my comparisons to Saves The Day, but I personally love them and think they’ve got a great thing going on.

The second support “27″, hailing from Massachusetts, were a little more mellow, perhaps slightly better suited to being played on your stereo. Not to berate them in anyway, I am first in line to support the female fronted band, since there will never be enough of them. 27 were nice, relaxing, tight, but not perhaps the best style of music to get a crowd warmed up for a show.

Finally Minus the Bear were up. MTB sound crisp, polished and precise in delivery this evening as their decision to not go all “spinal tap” with amps pays off -less (amps) is more they say! They open with “Knights” from their latest release “Planet of Ice” and have the crowd moving within seconds to the groove-laden samples and beats; this sets the tone for the evening as we are treated to a great deal of the new material as well as the older fan favourites.

The crowd seemed to become restless during “Dr L’Ling” before the brilliant Thin Lizzy-esque dual lead guitar outro kicked in, it sounded perfect and they really seemed to be enjoying that moment too, playing off the crowd’s reaction. It was at this point that I was distracted by the couple right in my eye line, nay right in my face, making out against the wall as if their lives depended on it. It’s been many a year since I’ve been witness to such raw animal lust. MTB must have some subtle undercurrent sexual tones to bring out this side in people. I wasn’t the only witness to this free sex act and people were soon taking bets on the actual sex of this androgenous couple which was a little misleading.

Back to the band! One of the many highlights tonight was “Drilling” which was tight as you could get and the brilliant fans’ favourite “Get Me Naked“, where literally everyone in the room was singing along to the vocal hook “I’ve got to wake up so fucking early” (story of my life!).The other tracks from “Highly Refined Pirates” were also warmly received by the crowd, as we were treated to “Monkey!!! Knife!!! Fight!!!” and “Absinthe Party“, the latter being one of my personal favourites.

In a musical world full of bands that preach bullshit onstage or go through the tick-list of what people want to hear (“we love you London, you’re the best crowd” etc…) we see that MTB are not one of these bands at all; Jake Snider may not be the most out-going of front-men but comes across as simultaneously cool, chilled and humble. And whilst they may not be a visual band who throw themselves around the stage (whilst in the moment), you can easily close your eyes and enjoy the show just as much.

Throughout the show there are shouts for “Pachuca Sunrise” which they saved until last and what a great way to end the show, dreamy and intricate with its upbeat and infectious chorus, the crowd were always destined to leave satisfied with this closing.

Brilliant gig, brilliant band, come back soon!

Katya Ozols
Photo taken from www.myspace.com/minusthebear

L’Usine, Geneva
20.12.07

This was very much a flying visit to Europe for Orange County’s legendary Adolescents, with just 5 gigs on the mainland. I’ve often wondered if I’d ever get to see this band (and bearing in mind I’ve been listening to ’em since ’84 on the ‘American Youth Report‘ LP… well, that’s a lot of wondering)… so this was just too good an opportunity to pass up.

The gig is in a classic mainland European venue, a huge building comprising a couple of live music spaces, cinema, bar/café, kitchen, second hand record shop and accommodation for bands. It’s a very impressive setup.

Now, whilst the Swiss might have given the world precision time pieces of some repute and that infamous triangular chocolate bar, their musical contribution has had negligible impact. So it’s great to see that the first band on are Geneva’s own Hateful Monday. Not a band I’ve heard of previously, but I did a bit of research beforehand and discovered they’ve actually been going nearly 10 years. A four piece, they pump out very slick and listenable Bad Religion styled melodica and get a decent reaction from the hometown crowd. There’s just one distracting element to them… the singer/bassist has a striking resemblance to a young ‘Tiger’ Tim Henman, but thankfully he makes it to the end of their set without throwing the game away…

France’s Burning Heads up next and they’ve evidently got a loyal following in Geneva and go down a storm. They play for a good hour, with a mix of fast tuneful skate punk, and a handful of slower reggae based numbers to break things up. Was good to hear the two strongest tracks from their split with Uncommon Men From Mars (who are in attendance) – ‘Freedom Tower’ and the smoking ‘S.T.F.U‘ (Shut the Fuck Up) about their new President and all round man about town – Nicolas Sarkozy… “This is your time boy, and now we’ll see, the kind of man you want to be… your project based on lies and conspiracy, we know we face our enemy”.

A staple set closer of Burning Heads for many years has been The Adolescents own ‘No Way‘, and after some encouragement from the audience, and with Adolescent Steve Soto’s good humoured stage side approval, they launch in to it… a homage, if you will for what’s coming next… oh yes!

I’m temporarily distracted by another look-a-like, and this one is all together more disturbing. There is a guy grooving down the front to Burning Heads who is a dead ringer for Crocodile Hunter Steve Irwin (RIP), I shit you not – It was as if Steve had escaped unscathed that fateful day from the stingray attack, and was here in Geneva, alive and well, drinking beers and stoked to be seeing The Adolescents. But I digress…

Here comes the main attraction – The Adolescents, and they launch in to (can you guess) ‘No Way’… and are up and running. Singer Tony Cadena is going nuts from the off, throwing himself all over the place electrocution style, and the band effortlessly thump out one memorable song after another.

A bulk of the set comprises naturally of their best known platter – the seminal ‘Blue’ album from ’81 – and a bunch of songs that any self respecting fan of American Hardcore will have hard coded into their brain cells… “L.A. Girl” “Self Destruct” “Who Is Who” “Creatures” “Democracy” “Rip it Up” “Word Attack” and of course the place goes insane when they throw “Amoeba” and “Wrecking Crew” at us… excitement level zero, I don’t think so!!!

We also get treated to all three tracks from the “Welcome to Reality” EP and a couple of numbers from 2nd album “Brats In Battalions“. Keeping things up-to-date there’s material (including the title song) from their most recent disc ‘O.C. Confidential‘ with anti-GM farming rocker “Monstanto Hayride” and the punishing indictment of their home country “Lockdown America” really shows The Adolescents have plenty of fire still burning in their bellies. They finish with “Kids Of The Black Hole” and I will admit to having tingles running up and down my spine, a joyous moment, all 5+ minutes of it: “Pushing all the limits to a point of no return, trashed beyond belief to show the kids don’t wanna learn“.

Of course this isn’t the end and they come back out to hit us with the ace Eddie and The Subtitles nihilistic anthem “American Society“, a raucous “Search And Destroy” and then pull the plug with “I Hate Children“. There was talk later of a bigger tour of Europe in Summer 2008, with hopefully some UK dates. On this evidence I can recommend your attendance. This was easily one of the best gigs I’ve been to in 2007.

Pete Craven