Gig Review: Tree House Fire at New Cross Inn, 13/5/22

You know that when Be Sharp Promotions put on a ska and reggae show at the New Cross Inn that it’s going to be an evening full of great music, great times and great peoples. On Friday the 13th of May Tree House Fire were back in South London to play their Rocket album in full to celebrate its ten year anniversary. Along the with Tree House Fire, we had a stacked line-up to enjoy thanks to Zen Baseballbat, Till I’m Bones and Lo(u)ser.

We arrived at NXI quite early and used the time to catch up with our friends. It was nice to see a lot of people had arrived early to catch LA native Lo(u)ser open the show. Armed with just his electric guitar and a Nintendo-themed video projected behind him, I got the impression that not many people in the room knew what to expect from this performance. What we got was a fun, upbeat ska pop half an hour. This was one of the freshest and most creative sets I’ve seen at NXI in quite some time. Lo(u)ser (real named Chris Graue) quickly got the crowd on side and there was a lot of folk saying super positive things about the set when it was completed. There was a moment midway through the set where Chris left the stage and with an advert playing on the projector screen, before returning wearing just a pair of TMNT shorts and socks. I’m not sure why but he joked that he’s just a man with a guitar and that he needed to do something else as he’s just a man with a guitar. This was a very special treat to open the show and I’m glad I got to witness it.

Next up was the debut performance from Till I’m Bones. The band formed earlier this year and features Jak Coleman and Charlotte Corry, formerly of NXI favourites Just Say Nay. It would be super easy and extremely lazy to just say that Till I’m Bones are a continuation of Jak and Charlotte’s former band, which I understand to an extent as Jak has such a recognisable vocal and distinctive songwriting style there will be comparisons, but after getting to see them live it’s clear that this new project is a whole new beast – and I loved it. There’s a whole new intensity to the sound which I would assume is partly the influence of the bands other members, Beth (bass), Gary (guitar) and Aaron (drums). As mentioned, this was their first ever show as Till I’m Bones and my goodness they’ve set the standard very high for their future performances. What an absolute pleasure to witness what will be a big player in the UK ska punk scene in the very near future take their first steps into the world. Till I’m Bones have a handful of gigs all over the UK lined up already and I seriously suggest you get to one near you – what a band!

The penultimate support act of the evening were Zen Baseballbat. Despite being around forever now, this was astonishingly the band’s first ever time at New Cross Inn. Coming down from Manchester, it was nice to see a sizable crowd gathered to check them out, I would imagine it was the first time for a lot of people in attendance. For the next half hour or so we got to witness some great ska/new wave from an extremely watchable band. I’ve long said that ska bands have some of the best musicians in the DIY scene, this allows the band to play their songs perfectly whilst also having a dance around the stage. There was a real charm to the set which added to my enjoyment. Playing a set full of tracks from the newest album, Better Ways To Love & Offend, Zen Baseballbat showed there’s plenty of life in the long running band and look set to earn a whole new generation of fans.

Now it was time for the evening’s final act, Tree House Fire. Despite being all the way from Wales, Tree House Fire feel like a NXI band. They are absolutely loved in South London and return again and again. When it was announced that the five-piece would be playing their debut album Rocket in full, there was much excitement among the regulars at the venue who have been going to see them for years. The band first came to my attention long after Rocket was released so I didn’t have the same excitement that a lot of people had but was still looking forward to seeing one of the best live acts in the UK ska scene. As soon as they began playing the whole room began to sway, I looked at so many friends with big smiles on their faces as they sang and danced along with the band and I loved seeing it. Something that always impresses me whenever I see Tree House Fire is just how tight they are musically, they are some seriously talented musicians. Lead singer Sam oozes charisma on stage and commands the room throughout the set, they seriously have the crowd in the palm of their hand. With each song they play they get an even bigger reaction and it’s just an absolute pleasure to be in the room. This was another great set from Tree House Fire and I’m sure it won’t be long until the next one.

This review was written by Colin Clark.

Gig Review: The Specials at The Roundhouse, Camden 23/9/21 (by Chris Bishton)

I honestly couldn't remember buying tickets for this gig. Was it pre-Covid? During lockdown? During lockdown II? And if I did, had it been rescheduled at any point or had I requested a refund? Who knows, but it was a bit of a jolt when my mate texted a week before asking "was it you that brought The Specials tickets or me"?!

Then it came back. It was me. I vaguely remembered having to apologise for sleeping on them and only managing to get tickets for the Thursday night rather than our preferred choice of Friday at the same venue, The Roundhouse, in London. Cue frantic searching through emails for confirmation and booking references, followed by endless hours of shuffling my life around so I'd be able to make it and, finally, this was it... back at a live music gig for the first time in over 18 months!

And what a way to come back! One of my all time favourite bands in one of my favourite venues. To my mind, The Specials are living legends and their gigs are as welcoming as they are boisterous. The Roundhouse is probably my favourite mid-large sized venue. Originally a railway turning point, it always seemed derelict when I was a kid, but the listed building is now restored holding around 2,000 people. It seems vast inside, with a cavernous roof space and numerous supporting pillars, but because it's circular, even if you're standing towards the back, you're never that far from the stage. As we queued to get in, I couldn't wait for it to get going.

So, first up is Freedom Highway. A jaunty start, it's the first track off their new Protest Songs album. Always politicised, always 'protesting', I guess it was to be expected they'd start with this or something similar, but I can't help thinking I wish it was a song of theirs that I *really* loved. Not to worry, the second song is Rat Race, and we're right into classic Specials. The crowd sways, bounces and skanks in its appreciation before more favourites, Do Nothing and Friday Night, Saturday Morning, follow.

"Warning, warning nuclear attack" cries Lynval Golding providing us with the crucial introduction to the wonderful Man at C&A. It's at this point in the evening I hear the first shout of "Rude Boy" signalling we're in the full swing of things now. Stereotype and International Jet set come next, both familiar, before a song from 2019's Encore album. This release had me nervous a few years ago. Bands releasing new material after such a long time is always tricky, but I'd loved that new album and it was great to hear something from it live for the first time.

Most of the band then leave the stage as Lynval and the drummer lead the crowd on a mellow singalong of Bob Marley's Get Up, Stand Up – a classic that is also covered on their new Protest release. Then, before everyone else returns to the stage, Lynval gees up the audience again with crowd pleasing anti-Tory comments, although his scolding of that week's climate change protests is not received as well as I think he anticipated, as my mate an I exchange a WTF glance to each other.

Back with the full band, they continue with absolute belters including A Message To You Rudy, Nite Klub and Too Much Too Young before concluding with the adored Monkey Man before they leave the stage. There's nothing quite like a Specials crowd dancing and singing along to this cover.

The encore starts with a slower song that I don't actually know, possibly another from their new album, but then the penultimate song is Ghost Town, another classic crowd pleaser. Unsurprisingly, Terry Hall hasn't cracked a smile all night. This continues right to the final song as he urges the crowd to sing with more gusto with each verse of You're Wondering Now. Finally, as what seems like the entire audience shouts it at the top of their lungs, he's satisfied, breaking out into a fabulous grin. His and our night is done and we've all loved it.

The devotion and affection towards The Specials, rightly, continues to endure. This was the first of two sold out nights at the Roundhouse, followed by another third gig in London at the Troxy. So lastly, if I may, just an observation that continues to grate on me. I've no time for people bemoaning Jerry Dammers, Neville Staple et al are no longer in the band. If you don't like the formation of the band now… don't go to live gigs and sound off about it loudly in the pub beforehand. Yes, we all have bands that we'd like to see play with their original line-up, but The Specials first split in the early 80s. You'd have to be in your late 50s or older to have seen the original band live. So don't go to gripe, go to Enjoy Yourself (It's Later Than You Think)!

This gig review was written by Chris Bishton.

Album Review: Bad Press by Captain Accident & The Disasters (by Theo Martin-Herbert)

An absolute belter for ska and reggae fans here. Captain Accident and The Disasters have recently put out a meditation on modern life, opening up with a slow track that winds its way into your brain, welcoming the end of the world and asking you to dance while everything burns. This invitation sets up the tone for the rest of the album, mulling over how we got here and how we can keep things positive now that we are here.

The album has a great pace throughout, slowly beckoning you over to come and listen before picking up the pace. Couple that with some fantastic guitar work throughout – great lead lines permeate the experience, really accentuating and complimenting the songs with added textures and hooks. The production too is crisp and clean, every stab coming through with a great vocal sound as well, so definite props are deserved for that! Overall, Captain Accident have crafted something special for all you ska and reggae fans out there – give it a listen and enjoy the end of the world.

Stream and download Bad Press on Bandcamp here.

Like Captain Accident & The Disasters on Facebook here.

This review was written by Theo Martin-Herbert.

Column: In Defence Of UK Ska

First things first, I guess that I need to explain the title of this column. I’m fairly certain that everyone reading this will know about the excellent book In Defence Of Ska by Aaron Carnes. In the book Aaron sets out to stand up for ska and explain that the genre is actually really good despite it often being seen as uncool by music folk in all areas of the industry. If you haven’t read the book yet I thoroughly recommend it. The book also has an accompanying podcast where Aaron is joined by Adam Davis of Link 80 and Omnigone and a special guest each episode which is well worth a listen.

This column isn’t about defending the good name of ska and trying to convince you that it’s cool. It’s about the idea that it’s ‘back’. I’m disputing this because, for me and a loyal, dedicated and fan base in the UK, it never went away!

For a very brief history of ska punk, the genre blew up in the mid to late 90s in America with bands like Reel Big Fish, The Mighty Mighty Bosstones, Less Than Jake, Goldfinger, No Doubt, Mustard Plug and loads more exploding into the punk scene. Like all waves that reach a high and then drop, on the way down somebody somewhere decided that ska punk wasn’t cool anymore and the genre returned to the underground. There were of course loads of bands still playing ska punk in the States but their audience was nothing like it was when ska hit its high. In recent years, ska punk has been back on the rise. The Interrupters have become one of the biggest names in punk rock, even appearing on big American talk show Jimmy Kimmel. California based Bad Time Records has been consistently putting out album of the year contenders from the likes of Kill Lincoln, Omnigone, Catbite, We Are The Union and Joystick, among others. Skatune Network, the YouTube channel of We Are The Union trombone player Jeremy Hunter, where they take popular songs and cover them in a ska style gets shared endlessly. In early 2021 DIY prince Jeff Rosenstock re-released his 2020 album No Dream as a ska album titled Ska Dream. That release irked me. Not because it was a bad album and not because I saw it as someone jumping on to the ska bandwagon. Jeff is a former member of the legendary Arrogant Sons Of Bitches and has always expressed a love of ska. It was because a lot of people in the UK seemed to be proclaiming that ska was back. It wasn’t back. It was still alive and had retained its passionate fan base for years and years.

My first introduction to the UK’s DIY ska punk scene was through [Spunge]. I’ve said so many times that it’s now boring, but the Cheltenham based four (five at the time) piece were my gateway band into ska and punk rock music. I discovered them around 2002, which was around the time that their third album The Story So Far was released. This introduced me to loads of UK bands who, throughout the late 90s and early 2000s, toured relentlessly to packed crowds every night of the week. Along with [Spunge], there were bands such as Capdown, Lightyear, King Prawn, Farse, No Comply, Adequate 7, Whitmore, Ye Wiles, Jesse James, Howards Alias and The Filaments. How’s that for a walk down memory lane? You had labels such as Household Name, Golf Records, Moon Ska Europe and Deck Cheese putting out incredible albums on a regular basis.

 

These bands then influenced the next generation of UK ska bands. As we moved towards the mid 2000s to 2010 bands such as Sonic Boom Six, Random Hand, Mouthwash, Grown At Home and The JB Conspiracy were popping up and carrying on the scene that the bands before them had built.

At this point the big wave of ska in the USA had well and truly ended but the popularity of the likes of Less Than Jake, Goldfinger and Reel Big Fish remained. Whenever those bands would tour the UK they would play to thousands of people every night. In 2007, Less Than Jake had a six night residency at the Astoria in London where they played all six of their albums to packed crowds. The UK still loved ska punk.

Around this time TNSRecords in Manchester were releasing music from the likes of Faintest Idea, Rising Strike, Beat The Red Light, Harijan, John Player Specials, Stand Out Riot and Sense Of Urgency. The ska punk scene was absolutely thriving in the North of England. Down South bands such as ClayPigeon, The Skints, Anti-Vigilante, Tyrannosaurus Alan, New Town Kings, Imperial Leisure and The JunK were always on at The Camden Underworld and drawing impressive crowds. Let’s also not forget Dirty Revolution from Wales and The Hostiles from Glasgow as well. There were small ska scenes all over the UK and it was still a great time.

Big alternative festivals such as Boomtown and Rebellion would regularly book these bands for their summer events, allowing them to reach an even bigger audience. Proving that people still loved ska punk music.

Massive ska punk all dayers would become a regular event. The Camden Underworld would regularly host a Christmas party packed with ska punk bands and in Bristol a venue named the Fleece would run an event named Skank Fest which would regularly host gigs that ran from midday until midnight with ten or so bands.

There does come a time in scene cycles where the crowds begin to change. The older members of the crowds begin to settle down and find themselves with responsibilities that mean that they can’t get to as many gigs as they used to. This cycle obviously applies to the people in bands as well, responsibilities and life get in the way and playing shows all over the country begins to take a back seat. This did mean that the amount of shows began to dwindle but this gave opportunity for the next wave of bands to come along…

Yes, here is the bit about our best friends in Be Sharp Promotions. After putting on ska shows around Kent and South London since 2009, in 2012 they found a home at the New Cross Inn. Since then the pub/venue has become synonymous with ska punk. Bands such as Call Me Malcolm, Popes Of Chillitown, Tree House Fire, Captain Accident & The Disasters, The Bar Stool Preachers, King Punch, Just Say Nay, Millie Manders And The Shut Up and The Pisdicables have all made names for themselves at Be Sharp shows. Word has spread far and wide about the great things that Be Sharp and NXI are doing for the ska scene and legends such as Random Hand, Lightyear, King Prawn and The JB Conspiracy have regularly taken to the stage to sold out crowds. They’ve also managed to attract international acts such as Big D & The Kids Table, Jaya The Cat, The Toasters, Dave Hillyard & The Rocksteady Seven and, the big one, GOLDFINGER!

In my opinion NXI really became the home of ska punk when Mike and Paul Smith of Be Sharp teamed up with Chris Fishlock of Fishlock Promotions (based in Bristol) and Jason Berden of El Topo Bookings (from Belgium) to create Level Up Festival. These promoters all met at a Bristol Skank Fest (which I was also at) and the idea for Level Up was conceived. Level Up is a three day festival that takes place at NXI every July. Since starting in 2017 the weekend has become a staple in ska punk fan’s diaries with people travelling from all over the UK and further afield to attend the festival. Despite only having three editions so far (bloody pandemics), Level Up has not only been the setting of so many fantastic moments and memories but has also helped strengthen the ska punk community. It’s a beautiful weekend and, in the words of Craig “C-Rage” Darran, it’s “ska punk Christmas.”

So, in conclusion, ska punk never went away in the UK and continues to go from strength to strength. More and more bands are coming out and releasing fantastic albums. The scene remains as supportive as ever, you will often see members of different bands deputising in other bands or just joining for guest spots. Ska punk shows remain big sellers. At multi-genre festivals the ska bands always get massive receptions. Thinking of Call Me Malcolm’s amazing Gorilla set and Manchester Punk Festival still puts a smile on my face.

The ties between the UK and American ska scene remains strong as well. Call Me Malcolm released their latest album Me Myself And Something Else with the help of Wiretap Records. Pook, formerly of Beat The Red Light and current member of Redeemon and The Filaments, recently started his own label/distro named Pookout Records to help UK ska fans get hold of new American bands’ releases without having to pay a fortune in shipping. Pookout Records regularly sells out of their Bad Time Records releases very quickly and they are also working on releasing music from some exciting new UK bands. Paul of Be Sharp recently started his own booking company with fellow NXI promoter Eddie name ACA Booking and have linked up with Bad Time to help those bands come to the UK to play gigs. This is a great opportunity for the bond to grow even stronger and hopefully open doors for UK bands to go to the USA and showcase just how good our scene is.

To conclude the conclusion, ska didn’t die in the UK and I doubt it ever will.

This column was written by Colin Clark.

All photographs taken by Emma Prew at various ska punk shows over the past five years.