30th August 2017
Disclaimer: This was a pivotal night where I fell back into love with live music (post mini-life break). Heading home, I decided to come out of the restful slumber which had consumed these pages almost to the point of extinction. So much to discuss. A fantastic but flawed concept, a stunning performance and unequivocally the worst band we’ve EVER endured!
A “new” concept in gig going. The Pit Party. Promoted and organised by Fluffer records, held resident this warm summers evening in East London’s latest hipster outpost extension of Shoreditch, Stoke Newington. The “Secret” location being a dingy disused nightclub on the high street called EPIC. Bands in the middle, crowd round the outside. Of course nobody has ever done this before outside of the huge arena tours (exception being Monotonix … in 2010!!!).
Immediately I had 2 annoyances with the promotion. Being billed as “360 degrees” is somewhat of a misnomer. 270 maybe, but one side of this band island (connected by low hanging overhead power lines) is piled with amps, meaning you see nothing but disembodied heads peeking above the stacks. Plus the corners were obscured too. Also was this really “sold out”? Given the acres of space I doubt that severely and one can only assume that health and safety had some part to play. Despite this, security was so appallingly lax, that at one point a band on stage were forced to stop mid song to get assistance to remove a power slammed crowd surfer from the stage.
Concept and setting aside… Yowl were the first to trial run the stage. It wasn’t surprising to find out that there is not much space on this small stage for this 5 piece band. Sounding like a rambling politico post punk bunch of indie rockers, they had a bunch of melodies that were cross-wired within their scrappy sound. However someone needed to turn down the volume as it was so loud that the free earplugs did little to dampen the overpowering din. Could have been pretty good if they got their levels right.
Bad Breeding were up next. They were simply terrible. Nothing much has come close in terms of their appalling, almost torturous sound. They are a self proclaimed anarcho-punks so we shouldn’t have been surprised. But the wall of guitars was so unbearably loud, out of tune and nothing more then feedback buzzed through the air. Vocals were a mere blip on the sonic scale and most people were simply braving it out as there was no-where else to go! Truly unpalatable, awful band that showed absolutely no redeeming qualities what so ever. The faint applause at the end was merely a sarcastic goodbye and good ridden’s!
The headline act were no strangers to intimate London venues, but tonight was something really special. Japandroids with with guitar drum combination of soaring indie rock and roll are simply the perfect people to play a pit party. With plenty of space to work with their enthusiasm and stagecraft were at their charismatic peak. The crown were so immensely close they were often singing into the mic and sharing more than just sound waves. It gave a supreme feeling of total immersion and shared gig experience that is impossible to price tag.
Mind the Beachball
They played tunes across their 3 LP’s from the scuzziest fuzz of the debut Post-Nothing, the sky-soaring chorus lines which dot around Celebration Rock and the maturing methodical pop applications of recent Near To The Wild Heart Of Life. Outstanders were the “North East South West” with its strummy yet crunchy guitars, the ecstatically energetic “Young Hearts Spark Fire” and the cumulative crest of their elements the pop friendly rock-banger “House That Heaven Built”.
Their songs studied the school of “ooh ooh” choruses, whilst firmly putting rock and melody on equal weightings. Their sound is dirty, yet melodically clean, vocals sung true conviction with an endearing persona that means you’d back them every time.
A totally engaging and affirming, all killer, no filler show of an indie rock crew at the top of their powers. An incredible night of highs and lows!
28th September 2018
It’s not very often that the DiR crew choose to forego a pint in a pub to head in almost for doors opening, tonight was that night. What we were greeted with was a queue that stretched round the building and back out onto the high street! 15 minutes later an already fairly busy Brixton Academy were enjoying REWS. We caught this all girl duo’s last song which was energetic with clangy noise rock guitars backed by overly cymbal focused drumming. Not bad, but not much to judge.
It’s rare a support get ideas above their Station, but Avatar thought, acted and played like they were tonight’s Headline act! But nobody could blame them as they brought in a huge crowd and full stage setup and even their own lighting rig. Avatar are a heavy neo-classical prog metal troupe who are hard to ignore. Their eccentric flamboyance and overt creepiness were enough to draw attention in their own. It was so over the top that somehow it was fun, rather than haunting.
Avatar (From afar…)
Their well heeled, waist-coated roadies were clearly off shift from the Grand Budapest Hotel. The band’s classical (circus?) themed outfits and make-up gave an air of regal showmanship. Musically they love a good heavy headbanging riff whilst they synchronised hair windmills flailing their long Scandinavian locks. Skipping effortlessly from thunder chugs to intricate picking, harmonious dueling power metal melodies to country hoedowns…it was always entertaining.
Their ringleader complete with conducting baton, owned the stage in a freaky you dare look anywhere else manner. He delivered yelps, monologues, guttural screams and super high cleans with ease. Certainly he’d be the guy in real life that people went out of their way to avoid. Their closing track and dedicated to all the ‘Freaks’ pretty much sums up this unconventional but assured band. Totally engrossing, fun, unmissable and unsettling all at the same time!
With the Halestorm banners now raised they were here to banish thoughts that their support has upstaged them. Lzzy Hale bounded onstage with her brand of no nonsense hard rockers in tow and immediately gave us a taste of her incredible raspy power vocals. The sheer scale and pitch of these howls is incredible and forms the cornerstone of their sound. However she wasn’t the only hale on stage who wanted attention. Little brother Arejay on drum duty was immensely watchable and entertaining, twirling, leaping and speedy sticksmanship. His drum solo and now customary “big stick” trick is really something special.
Their set was made up primarily from latest album Vicious which isn’t a bad LP, but this always leaves longer term fans wanting a few more classic cuts. Those from the past were (for me) to obvious highlights with oh-oh’ing “I Miss the Misery“, rollicking rockers “Mz Hyde” and “Love Bites (So Do I)” plus set closing full hearted ballad “Here’s To Us“.
As a hard rock band dressed in black they certainly didn’t provide the visual spectacle of Avatar, but they certainly out-performed them in terms of the music with fantastic melodies, vigor, energy and above all else, epic rock anthems!
17th June 2017
It was a blazingly hot afternoon in the hallowed London 2012 Olympic stadium and home of West Ham Utd. The overall buzz levels surrounding this performance were about as high as I’ve known, as the kings of 80’s rock are back with the (almost) classic line-up including the two bitterly divided figures Axl Rose and Slash. This is a reunion (of sorts), the likes of which most people dare not dream would happen. The tour name “Not In This Lifetime” seems to back this up too. Sure, GN’R have been pulling in the Vegas punters for years with the one man Axl Rose parody show, but tonight was the real deal!
Proceedings started off however with the bluesy southern styled rockers Tyler Bryant & The Shakedown. As an unknown entity they showed absolutely no fear in front of this huge ensemble. Strutting about stage their front-man was Steven Tyler-esque (in more than just name) as his hit some fairly difficult high notes, but still soulfully delivered the swagger on slower bluesier numbers. Among the more restrained numbers there were a few arena sized anthems which got the crowd onside. Certainly ones to watch.
Tyler Bryant & The Shakedown
Conversely with hindsight I wish I didn’t have to watch the next set from indie rockers and purveyors of drum driven noise, The Kills. Now I’ve been known to enjoy this duo (No Wow was a particularly good album), but today with a quickly filling cauldron of sweaty hard rockers, they were out of kilter with the fans and thus it mostly fell on deaf ears. The fuzzy guitars just faded into obscurity, the drums mere pitter/patters and vocals yelpy. A most disappointing choice of supporting act.
Guns N’ Roses stepped out of their own fractured shadow as Slash, Axl and Duff all emerged onto the stage to a rapture of adoration.
Guns N’ Roses
Clearly sharpened from his stint fronting Ac/Dc, Axl seemed a true professional tonight and totally in control, considering even turning up on time was an issue a few years ago. His voice was as good as ever and switches effortlessly from his rambling rapid fire verses to high pitched yelps and wails. The highest notes are probably condemned to the archive, but he managed tonight’s bumper set with ease. Flipping from gallivanting around stage to introspective balladry on the grand piano, he was back to his enigmatic best.
The same can also be said of his partner in amplification, the iconic guitar hero, Slash flung his assortment of stunning Les Paul’s around without missing a note of the extended jams and solos which melded tracks together. A particularly standout moment was a stunning instrumental version of Wish You Were Here played between himself and his rhythm partner Richard Fortus.
A fair few covers were thrown in for good measure, “Black Hole Sun” in honour of recently fallen grunge superstar Chris Cornell and a nod to last years appearance in this stadium “Whole Lotta Rosie“. These were alongside more expected output of “Knockin’ On Heaven’s Door” and orchestral swell of “Live & Let Die”
The flamboyance and style with which their played this truly epic set list was remarkable. Despite how OTT it got, the musicianship and rapport with the crowd were perfectly in tune. Yes, it was overblown at times, but this is 80’s hard rock of the highest excess, what else would you expect? A heavy slant was duly given to Appetite For Destruction, but the set picked and selected the best from across their output. The set highlights for me were the glorious solo to November Rain, roof raising Paradise City and weirdly the edgier (Buckethead influenced) riffing of Better.
After so many classic rock anthems, those here in London Stadium rested easy as we boarded the Nightrain back to normal life once more. Escapism at its most finest for 3 glorious hours of amped up euphoria. Even if this is the only time in this lifetime…it was worth it!
23rd March 2017
A sizable queue snaked up Camden high street prior to this anticipated evening of rock and roll and the visit to these fair shores from Canadian rising stars, Monster Truck, here to promote their great “DiR.net Album Of The Year 2017 Sittin’ Heavy.
First up at the racetrack this evening was a The Picturebooks, a German Duo of Guitars and Drums. What they lacked in numbers they certainly made up for in decibels and drumsticks as their drummer beat his low rise kit to within to a bloody pulp. If those skins could talk they’d be in the police station reporting assault charges. The resonance was deep and thunderous which gave everything a foot stomping vibe that was brightened by the gruff vocals. Guitars were as bluesy as you’d expect and they has a few decent rabble of songs that shined out from the set. In contract to their precise deliberateness our main event was ready to ramp up the engines…
The throttle went well and truly through the floor as Monster Truck launched somewhat ironically straight into “Why Are You Not Rockin?” which set the tone for the rest of the evening. A night of ‘Monster’ riffs and ‘Truck’ loads of high octane rock and roll ensued (puns intended!). There was little in the way of diversions with a focus firmly upon their set, not even the bare chested guitar slinger could divert much attention. Whilst its clear they can riff with the best in the business, of me its the overlay of vocal harmonies and powerful wooo-ooaaaahhhs…which provide the melodic hooks scaled to land moby dick.
With such a straight-up hard rock band, they could easily have repeated the same winning riff, chorus, riff formula. But yet they balanced out the set with mid-tempo ‘pop’ numbers (“For The People”) between their all out attack gung-ho guitar frenzies (“The Enforcer”) and even threw in a few more swaggering slow-burning blues numbers (“Seven Seas Blues“). Not to mention the James Brown “I Feel Good” cover which should get its own release! A gigantic show from a rising band who are heading for the top of rock mountain.
15th March 2017
It’s clear after many years of being in and around the London rock’n’roll circuit that times have changed. Gone are the days of a cheeky pre-gig grab and run from McD’s, a few cheap ones at the local bar before heading to the venue sharpish to start swilling on more cheap lager. Nowadays we now like a nice comfy pub with good beer and a quality kitchen to satisfy our rumbling tummy’s.
Nevertheless, we did managed to get in for the only support band of the night, Miraculous Mule. What was miraculous that I remember them at all, which being honest is hazy at best. They were a rootsy 3 piece blues band that struggled with captivating the crowd and stuck to same tempo. Honestly…a forgettable Ass.
In stark comparison, on bounded the talismanic presence of Danko Jones, band in tow to a rapturous rousing applause. He wasted no time in kicking into his trademark punchy punk infused hard rock. Stopping regularly his stage banter is second to none, away from the crafted and scripted lead-ins he lives, breathes and sweats rock and roll so its no wonder he speaks with such passion to his fans.
Rather than revert to stereotype and dwell on the recent album Wild Cat, this evening’s set list was truly career spanning. From early raw punk of Sugar Chocolate and Cadillac, to their (in inverted quotes) “Pop” song First Date, the sweltering dirty groove of Legs and the menacing thunder roar of There’s Gonna Be A Fight Tonight. When the new material did surface it was warmly received, with plenty of crowd singing despite the relatively short time between its release and today. They were soaked in pop, macho rock posturing, general merriment and uplifting melodies.
What is 100% guaranteed at a Danko show is that we’d finish the night with the epic Live only track that is ‘Bring On The Mountain’, tonight was no exception. This unreleased song (and probably never will be put to a studio record) captures the essence of the man and the band, one that’s so steeped in rock tradition, grit and determination that can only be put into perspective from the summit of rock and roll. As he finished his heartfelt monologue he calls all the names of those with him at the top (a british feel to the list tonight including Lemmy & Strummer). Inevitably the cheers go up, and finally as we build to the finale, the taught guitars are finally unleashed in an avalanche of furious power chords…Fade to Close!
Job Done! Next City! The Next Crowd Awaits! Danko Jones Has Left The Building!
“This heart gets stronger, this skin gets thicker, this mouth gets louder”
January 19th 2017
Fast forward into 2017 and I (after many missed opportunities) thought that “The End” of Black Sabbath was a worthy tour to catch before they crumbled into the heavy rock and metal history books of which they authored many years ago.
Now a huge venue and a huge band needs a suitably big support act and rising hard rock and blues busters Rival Sons took this coveted slot. Having first seen them back in 2012 supporting Black Stone Cherry, apart from the elapse of 5 years, not a lot has changed. Sure they have polished up their professionalism and got better kit, but my opinion is still the same. Underwhelming. They have a lot of precious materials to work with showcasing a knack for retro styles blues riffs, swagger by the jagger-full and a vocalist whose range nearly blew the roof off this dome. Yet it all seems lazily patched together with the same mid tempo ploddy beats, riff, chorus, beats, riff chorus repeat… It’s just not inspiring seeing such a talent going through to motions and certainly the overkill on the retro effects do nothing to mask their tepid blues by numbers formula.
The tolls of the bells rang loud over the PA at tonight’s chosen church of heavy metal in anticipation at the eerily empty stage. The crunch of Tony Iommi’s darkly menacing Gibson SG finally signaled the entry of the forefathers of metal and all round darkness. Speaking of which, the “Prince of Darkness” Ozzy Osbourne himself swiftly…no gently…no shuffled slowly, onto stage centre to utter the immortal words “What is this that stands before me?”. 20,000 Heavy Metal fans was the correct answer and they immediately showed their captors for the night they can sing as loud as any crowd they’ve witnessed over their last 40+ years of touring.
Ozzy Osbourne & Tony Iommi
After such longevity, its clear they had their live stage craft honed to absolute perfection as they slothly pummeled their way through an outstanding set of career spanning metal monsters. They may not move as fast, but they still gracefully levitated between songs and evaded intense fire cannons proving their theatrics were not of this world. The show was a set piece masterclass in suspense, perfect timing, humongous riffs and often surprisingly up-tempo dynamic shifts, often many times within a single song (Exhibit A: War Pigs).
The highlights for me was witnessing the grandfather of metal Iommi chugging our deeply tuned riffs which sounded as earth shattering today as i’m sure they did way back when. He has lost nothing, deftly skulking around the fretboard for those huge chords before dexterously dancing through epic solos with ease. The setlist was drawn primarily from their early heyday and those first 4 albums which defined the landscape for all who followed in their wake. The riff-fests of Children Of The Grave, Iron Man, Fairies Wear Boots and Into The Void were all stunning and gloomily anthemic.
As could be expected, Paranoid played us out to allow everyone to say farewell to the Black Sabbath (Osbourne, Iommi & Butler) in fitting style… on stage doing what they have always done, rocking, shocking and rolling!
19th August 2016
Tonight marks the end of the line for one of the most universally loved DiR.net bands. We’ve been to see them 5 times before, from small gigs in underground venues, festival appearances, now defunct legendary theatres. The most memorable of which wherein they played their first 4 albums in 2 nights in a row in Shoreditch. Motion City Soundtrack on their “So Long, Farewell…” tour were about to strike their final chords, but before they did do they had a few support acts…
The Excerts kicked us off with a mixed bag of alt rock tunes which was largely uninspiring and totally unmemorable.
Dinosaur Pile-Up upped the ante somewhat as they played a riotus set full of rock anthems with a grungy slant and a pop heart. Tracks from latest album 11:11 were harder, heavier and packed full of effects to ramp up their muscle. Energetic riffing and singalong melodies are their strong point, both of which were all here in abundance. A set of high energy fist pumping pop rock that really got the crowd revved up.
Motion City Soundtrack entered to mixed emotions from the crowd. Both equally glad to be here, but sad their leaving. Still none of that seemed to matter as MCS got straight down to business and ran us ragged through a huge all killer, no filler greatest hit set. They selected their best work showcasing their unrivaled craft for infectious pop-punk that’s as intelligent as it is infectious, energising as it is sobering. Their blend of poetic witticisms and tremendous songwriting was cranked up full volume and the partizan crowd truly gave it one last hurrah. Most of the sold out venue, young and old knew every word to every song, such is a tribute to their brilliance and longevity over nearly 20 years.
Motion City Soundtrack
It was clear this was a business night, not much in the way of band banter, MCS were here to play like it was their last night on stage. However as the set closer and pop anthem “The Future Freaks Me Out” rang to a close, the goodbyes from Pierre and the gang were full of heartfelt honesty and sadness that the time of MCS had run its course. Of course you never can rule out a re-union these days and you can rest assured that DiR.net will be there waiting for them when/if they do reignite the flame.
I’m not one for videoing, so enjoy someone else’s footage from the front…
Saturday 30th May 2015
It’s always exciting to get the festival experience to the sheltered urban playground as opposed to elements exposed mud filled gatherings. With superior sound, proper beer, great venues and that wildly eclectic vibe, Camden is the perfect host for a day of upcoming and established Rock. We started out in true festival fashion in the Brewdog Pub catching a couple of acoustic song smiths Andy Smith and Danny Wright down in the basement. This only served to amplify the need for amplification and just down the road @ which can only be described as featureless cellar we caught EofE. These pop/rock have a real metallic edge live and engaging youthful angst was nicely served up over rampant riffs.
Heading to different class of venue we upgraded from the basement to the balcony at the Jazz Cafe to catch a trio of promising young bands. Before that however we managed to arrive for the last track of the Broken Witt Rebels, whose sound is akin to early days Kings of Leon strutting with a bluesy swagger. Gravel voiced and wailing guitars aplenty this was a rather cool, albeit brief cameo appearance.
Broken Witt Rebels
The no frills 2 minute fun punk rock of Brawlers were up next. Their brand of carefree power chord pummeling and socially slanted lyrics were both immediate and damn infectious. They seems to be having a blast and their bouncing around spurred on those in the crowd who (just after lunch )were already in advanced states of intoxication.
Next Up were the Graveltones, a heavy blues rock duo that deal in dirty licks and loudness. Most memorable was their thunderclap drumming, splitting eardrums with each hammer blow on the skins. When they ramped up the energy they were free flowing with riffs and grooves galore. When they slowed the pace they did labour somewhat into repetition. Plenty of promise nonetheless.
Now to the one I have been waiting for, underground rock/grunge/pop/punk hero Matt Bigland and his band Dinosaur Pile-Up. With 3 albums of high octance pop, unhinged rock and nirvana-esque vibes I was eagerly anticipating seeing these guys again. I was sadly disappointed though. They clearly suffered from dodgy sound throughout their first 2-3 tracks and Matt was getting more and more agitated with every off colour note. Eventually half way through we left, it was difficult to watch a great band self destruct and we were getting hungry too!
Fed and watered from a variety of camden market vendors the DiR crew strode with purpose to Mr Flowers pick of the day, alt rock legends …And You Will Know Us By The Trail Of Dead. Their brand of energizes prog pulsed rock was in full flow this evening. Huge dynamic shifts, oppressive volumes, walls and layers of guitars all present and correct. Not to everyone’s taste though as the words boring and dull were also uttered.
…And You Will Know Us By The Trail Of Dead.
Recovering from temporary hearing loss, we ventured through the streets and ended up picking a random band out in a smaller bar, this just so happened to be Ducking Punches. We were greeting by a small acoustic gaggle of guitar, drums and the occasional violin fronted by a chap that was telling tales of life in small town Suffolk. It was immediately engaging and relatable through the story telling and singalong chorus’s. The standout moment of the day came from a melancholic muse over a lost friend, beautiful and heart-string tugging.
Most of the gang had now split and only the hardy few were left to check-out the clubthumping dance/dubstep-metal of Modestep. Their huge 8 string guitars were suitably downtuned ready to chug out rapturous melodies that blew off the roof. More Djent than expected they relied more on dub and electro which fitted the time and the club vibe, but didn’t strike any true differentiation from a DJ with a loud guitar.
All in all, one thing that can be agreed was Camden well and truly rocked!
17th November 2014
As ever the Roundhouse venue, beautiful in its surroundings delivered its usual sonic assassination of great rock music. I’m of the firm belief there is about a 2m square within the venue for which the sound is truly epic (stage centre 10m back if you’re interested). The rest just hear warped muffled reverberations from the circular brickiness of the…lets not gloss it up…”train shed”. This doubled with the abundance of pillars makes appropriate positioning essential, thankfully we made it to the sonic sweet spot only to be greeted with angry and agitated hard hardcore punkers Hatebreed who have disregarded sonic approachability.
It was fast, it was brutal, it was noisy, it was shouty, it was not everyone’s cup of tea. Endless razor-like power-chord chugging and indecypherable angst made for a tedious repetitive set that barely registered any dynamic shifts or semblance of a melody. Was an odd choice of support, one which backfired.
A warm welcome was received by Volbeat, the reining Danish kings of Scandinavian heavy rock. Their fine blend of diamond tipped rock, mammoth metal licks, exquisite vocal harmonies and epic pop choruses quickly soared into full flight. It was a wholly professional outing typified by the smoothness of the Hetfield meets Elvis vocals, the warmth of the guitar tones, the thunderous road of their amplifiers and the full voices of the onlooking crowd. It did seem like playing huge arena and stadiums are what they are used to and this smaller gathering felt a tad uneasy. Nevertheless all the hits were present and correct, good variety of old and new tunes, some sung in native danish (#puzzled) plus a few cool covers to boot. Huge and outstanding!
27th March 2014
Heaven’s Basement finally have found a rich vein of success and their headline show at The Electric Ballroom way back in March underlines their new found popularity. Their support came from a mix of sleaze glam hard rockers The Dirty Youth, who impressed with their melodic guitar work and big vocal hooks in the short time they were around.
Glamour of the Kill, post-hardcore noiseniks did plenty to upset the hard rock theme and brought the metal edged nastiness. Razor sharp riffing and abundance of electro backings they surely entertained, but sadly lost marks for fairly average vocal efforts. At their best when straddling the line between metal and melody.
Heaven’s Basement were as impressive as ever. I liked their staging whereby their relatively short singer/lead guitarist were up on pedestals for all to see, adding that extra bit of pro-polish and entertainment value.
Playing a mix of titanium edged guitars with a increasingly heavy outlook they truly rocked out. Combining their fast and heavy elements with their knack for Pop melodies and huge hard rock riff brings out their best.
Vocalist Aaron has grown in confidence and is now a true front man with a great stage presence.