Gig Review: Random Hand at Islington Academy, London 28/1/22

I think that the three year gap between seeing Random Hand in January 2019 and January 2022 is the longest time I’ve ever gone without seeing them. Even when they had their break, it seemed a shorter time than that. I guess that’s what a global pandemic will do. I believe the original plan for this gig was for it to be in the summer of 2020 but this had to be postponed for the reasons mentioned in the previous sentence. Since the original gig was announced, there had been date changes, venue changes and line-up changes but it was finally here and I couldn’t wait.

Unfortunately we arrived at The Islington Academy a little late due to work and the early start so only managed to catch the last three songs from Babar Luck And The East End Trinity. You could feel the positive vibes that Babar and his crew always bring though, so I was pleased we were able to catch a bit of their set.

Up next were Riskee & The Ridicule. I believe the last time I saw them was also supporting Random Hand. Since then they have added Maz, the former saxophone player in Ghouls to their ranks to play bass guitar. Looking around the crowd, it very much seemed as if a good chunk of people had come out specifically to see Riskee and they must have been delighted with the show the band put on. The band started with (a) Kaboom! and didn’t slow down from then on. There was a lot of hype around the band before the world stopped and even with the break it appears that their momentum keeps on rolling. The band played a tight set and even with some issues with the sound – I think there was a problem with a drum mic – the band soldiered on and played an entertaining set.

Following Riskee were the penultimate act of the night, The Filaments. Last seen in London, headlining the opening night of Till The Fest in October, I was just as excited to see them again. I wasn’t the only one because as soon as the band began their set Islington went off. On this occasion, the band were playing as a seven piece with a three part brass section which is not something I’ve seen The Filaments do for years. Having that many people on the stage added to the energy that The Filaments omit. Musically, the band flick effortlessly between ferocious hardcore punk and barroom singalongs with ease and have the crowd in the palm of their hands throughout the set. Tearing through their set with minimal time between songs meant that they manage to squeeze plenty of tracks into the set but I was still wanting more when they finished. Half hour sets aren’t long enough for The Filaments! They have too many classic songs that I want to hear. They seem to have already announced a fair amount of gigs this year so hopefully it won’t be too long before seeing them again.

The night was flying by, it was soon time for Random Hand and there was a feeling of anticipation filling the venue. The band would be playing their third album, Seething Is Believing, from start to finish during the set to celebrate its tenth (or eleventh because of postponements) anniversary which, as luck would have it, is my favourite album the band have released. Though I have to say it’s a close run thing as they only release brilliant albums. To nobody’s surprise the crowd went for it as soon as the band began set/album opener Tales Of Intervention and it only got rowdier as the set progressed. I feel like there’s always a bit of a risk with album shows that a couple of the deeper cuts on the album might fall flat on the more casual fan but this was not the case on this occasion. Listening to the album live really made me appreciate the track ordering on the album. How many bands have songs of the calibre of Not A Number, Three From Six, Floating Ghosts and Bones following each other – amazing work. Like I mentioned in the introduction, it had been three years since I last saw Random Hand but this felt a reunion with an old friend where you just fall back into friendship like you’ve never been apart and it felt wonderful. Robin remains one of the best frontmen in punk rock, an extremely watchable performer and very funny whilst interacting with the crowd between songs. There are also a few moments where he takes the time to give thanks to the other bands and the venue, and you can see how genuinely happy the band are to be able to be doing gigs again. After completing Seething Is Believing, the band dipped into their discography to play an encore including classics such as Scum Triumphant, Play Some Ska, Anthropology and Anger Management to ensure the crowd went home even happier. What an absolutely blinding set and I can’t wait to see them again at Manchester Punk Festival in April… Is it April yet?

Random Hand once again show why they are one of the most highly respected bands to emerge from the UK’s DIY punk scene ever. I’ve lost count of the amount of times I’ve seen them over the years – it’s easily in double figures now – and they never, ever disappoint. Being able to see them once again after so long was a cathartic experience. Legends.

This gig review was written by Colin Clark. Photos by Colin and Emma.

Gig Review: Anti-Flag at Islington Academy, London 4/2/20 (by Chris Bishton)

Sometimes when bands announce gigs, much as I want to see them, I pause and think "when this comes around, am I really going to fancy it?". On paper, a Tuesday night, in the first week of February, at a venue that's north of the river was one of these gigs that might make me think twice. But when that band is Anti-Flag, no way was that ever going to cross my mind with this gig.

I get to the venue when Maid of Ace are already on stage. A four piece from Hastings and my first thought is that they're very tight, as you might expect from a band that's made up of four siblings, but by the time I've properly got into the venue, got to the bar and then got my spot in the audience sorted, their set is pretty much over. However, they've made enough of an impression for me to make a mental note to check them out online in the next few days.

Next are Canada's The Creepshow. I'll be honest, even though they've been a band for around 15 years, I'm not familiar with them. They're a charismatic blend of psychobilly and horror punk. Not normally my thing, but I love their set. Anyone with that amount on energy that's able to play a double bass above their head is a winner for me. The crowd seem to think so as well – in the end the perfect warm up for Anti-Flag.

Staring down as the backdrop to the stage is the banner of Trump and the cover of the recently released new Anti-Flag album. It's pretty well documented the band have never called out specific politicians in the past, despite their fabulous political, economic and social commentary they've never wanted to define their music in that way. But now they've made an exception. Identifying Trump as such a odious individual and dangerous threat to both the US and the rest of the world that his image forms the artwork on the new album and he's sampled on its opening track. And with the gig falling on the same day as his State of the Union address and his impeachment trial on the verge of collapse, it suddenly seems so much more important and appropriate for Anti-Flag to take this new approach.

And so, we're now ready. Blitzkrieg Bop by The Ramones kicks in and the crowd know the band are about to take the stage. They enter one at at time, all of them dressed as usual in black. All looking so cool.

Whenever a band tour on the back of a new record, I'm always slightly nervous that the new stuff will take too much prominence when really everyone is there to hear them play the classics. But, I've got no such fears following the release of 20/20 Vision a couple of weeks earlier. It's a brilliant album that's been on constant rotation. If they played it from start to finish I wouldn't be unhappy. So perhaps the band know this, as they kick off their set with Christian Nationalist and the crowd love it. It's the latest socio-politically charged anthem and another defining Anti-Flag song. It's only been out a couple of weeks, but the crowd already know it inside as they scream "you're no better than the rest, white neo-christian nationalist!".

What follows is a blistering set. They've released so many albums it must be hard to decide on what to include and what to leave out, but we get loads of classics including The Press Corpse, Turncoat, Trouble Follows Me, 1 Trillion Dollar$ and Fuck Police Brutality as well as the new ones Hate Conquers All and 20/20 Vision.

Justin and Chris#2 swap lead vocal duties throughout and, as you'd expect, the band frequently deliver their politically inspired messages in between songs raging against hatred, bigotry, corporate greed and police brutality. At various points we're asked to raise our middle fingers in the air, shake hands with strangers next to us and create a circle pit in what is actually a relatively small venue.

The whole set and performance is obviously well rehearsed. Chris#2 is up on, and then leaping off, speakers before throwing the microphone stand complete with loudhailer still attached over his shoulder without looking, safe in the knowledge he's done it so many times someone will be behind him to catch it.

With the band off stage, the crowd start calling for the encore, not with the traditional "more, more, more" but with a chant of "you've gotta die, gotta die, gotta die, for your government, die for your government, that's shit!" whilst stamping on the floor and banging the bar to the beat of one of the band's classics.

As expected, they reappear and dutifully give us what we want, blasting out four more songs complete with a mini stage invasion with The Homeless Gospel Choir (why weren't they publicised as playing beforehand?) and the familiar finish of Pat's drum kit being dragged into the audience before Chris#2 also ends up on the floor with us.

The end of the night is signalled by the band urging us and the world to generally fight for all that is good before Whitney Houston's I Will Always Love You blasts out over the PA and we step out into the cold night. Well worth a trip north of the river!

This gig review was written Chris Bishton.