Brixton Academy
19.12.07
It’s easy to be cynical about the Pogues these days, given that Shane MacGowan’s mob haven’t released any new material since they first reunited in 2001. But whether they’re in it for the money or not, it is undeniable that their stirring Irish folk/punk hybrid brings out the Christmas spirit in tonight’s sold-out, Guinness-gulping crowd.
First, the Holloways deliver a spirited performance, despite the largely disinterested crowd. Their double-speed cover of The Clash’s ‘Bankrobber‘ does earn them a few extra brownie points, but following ‘Generator‘ (their best known song) with a load of non-descript guitar jangling isn’t the best of ideas for a finale.
Rare are the occasions tonight when Shane MacGowan’s between-song banter can actually be understood by anyone who’s still sober enough to try. During the songs, however, his heartfelt slurrings are boosted by the sound of a four-thousand strong choir – and it’s doubtful as to whether the Academy has seen a more impassioned sing-along than that which greets ‘Dirty Old Town‘. Ultimately, the Pogues were always a band of the people, and tonight is proof enough that they haven’t lost that common touch.
Playing for nearly two hours can result in a musical marathon in the wrong hands, but neither band nor crowd are lacking in energy or enthusiasm. It is, of course, ‘Fairytale Of New York‘ – featuring guest vocals from that receives the loudest of cheers, as clouds of fake snowflakes descend from the rafters. As a horn section are brought on for a raucous finale of ‘Fiesta’, it’s hard to imagine a finer way to round off a year of gig-going.
Alex Gosman
Photo by Sheva
As has become a tradition at this time of year, Millwall’s most notorious Hard Skin ventured down to Brighton from their South London enclave to fill us full of seasonal cheer. They arrived at this gig via 2 dates in Spain and looking a bit worse for wear. It’s not surprising, Fat Bob describes the place as being “like the Third World” and he’s a man that has been around the block a few times and knows what he’s talking about. Got it…
It may seem quaint to talk of such a concept as ‘gig etiquette’, but tonight, as Kevin Devine struggles to make himself heard over the clutch of chattering idiots at the back, you can’t help but wish that common courtesy could be made a condition of entry to music venues.
I remember the first time I ever heard Pendulum‘s “Through the Loop“. I was on a bus sitting down like a normal human, when my mate whacks out her iPod and demands I take a listen. As soon as Willy Wonka started speaking I was hooked. Sat on a packed bus on a cold November Saturday afternoon, looking like I’d ingested God only knows when the beat kicked in and I lost control of my limbs. This is exactly what this gig was like. It gripped hold and I had to go with the flow.
New York, New York post punk rockers, Interpol, hit London in fine form last Friday when they slowly, but gracefully, set the Palace on fire with one of the best live gigs I’ve ever set ears to. They have a wonderful sound with extracts of the Editors, Joy Division, The Cure and even The Strokes (in their early years).
Tonight’s gig is at a neat venue in renovated buildings on the old Nantes quayside, and is billed as ‘Punk Rock vs. Electro’ with two bands and a bunch of DJ’s spinning a mix of hip hop, drum and bass and break beats… complete with video projections.
Really good set from (I think) DJ Le Clown that has punters and the Burning crew all out on the dance floor… and the BH guys then climb on to the stage and plug in for a solid 60minutes of their trademark melodic SoCal inspired skatecore and tracks than encompass their lengthy back catalogue, notably the “One With the Flames” “Escape” “Taranto” albums and last years “Bad Time for Human Kind”.
It is safe to say that when the night started I had no idea what it would unveil. As I walked into Alex’s Bar I am greeted by my friend Vince who right away introduces me to Kira (bass player of Black Flag and Dos). We both exchange a, “nice to meet you”, and then I am turned around and told to come here.
As the night progressed I had seen multiple styles of music and each band got mellower as it went along. Dos were the best choice to close out the show. They are very mellow being only two bass players and a majority of the set were instrumentals with some vocals thrown in by Kira.
Walking into the Barfly on a freezing Friday night to catch a slot from indie upstarts Zut Alors, we’re a little taken a-back by the practically empty venue. Singer songwriter Laura Izibor is woefully tinkering on keyboards on stage in another ‘deep and meaningful’ epic, bringing a slightly downbeat feel to the proceedings.
Tracks are edgy without being pretentious, rich with catchy hooks and unexpected turns. Every so often there’s a glimpse of vulnerability about the band, which is both engaging and just adds another layer. ‘One That Got Away‘ (their forthcoming debut single) is just one of the tracks layered with edgy guitars, an unbound exuberance that’s tempered in parts.
It’s last chance saloon for Ryan Adams. His previous two London appearances have been lacklustre to say the least; the loveable idiot and unfairly talented entertainer replaced with a surly, serious and downright boring performer who set lists were almost as short as his fuse, and after angry outbursts in Shepherds Bush and a criminally short set at Koko, it’s with some reticence than we found our seats at the Hammersmith Apollo.
Whilst it’s heartening to see such a large queue outside the Electric Ballroom for a hardcore bill of tonight’s calibre, it’s less heartening that, nearly an hour after the doors have opened, said queue is still moving at the speed of an arthritic snail. The door staff appear to be taking the very concept of incompetence to new heights, and the result is a hell of a lot of (justifiably) pissed off punters that have paid around £15 each for the privilege of being made to freeze their arses off in the cold November night, whilst missing the first band into the bargain.
Comeback Kid‘s ‘Broadcasting…‘ album is arguably one of the finest hardcore releases of 2007, and hence they certainly deserve the baying throng that greets them tonight. You get the feeling that they – like most hardcore bands – would be more at home in a smaller, barrier-less venue, but they rip through the likes of ‘Talk Is Cheap‘ and ‘Lorelei’ with enough passion, power and precision to compensate for the relative lack of intimacy.