Album Review: Work Hard, Play Hard, See You In The Graveyard by Popes Of Chillitown (by Dan Peters)

The Popes of Chillitown find themselves in an unenviable position right now. What do you do when you’re the next ska punk band to release an album after your label mates dropped what has widely been considered the greatest album of the year already? It’s like playing an all dayer and the band before were incredible and now you’re next on and people are expecting you to be able to top it!! The Be Sharp alumni are fully up to the task though, so let's dive in.

This will be the last time I mention ‘I Was Broken When You Got Here’ now since ‘Work Hard, Play Hard, See You In The Graveyard’ really is an entirely different beast to the former. The Popes have a sound that is much more rooted in dub than their peers and they have a flavour of ska I find reminiscent of Got The Thirst era King Prawn. One thing that’s a marked difference to previous offerings is that ‘Work Hard’ is markedly heavier than everything you may have heard from the band before. Right from the get go, with storming opener Prang, pretty much all the way through the distortion is used with reckless abandon and I’m more than happy for the change. Everything is lent to a fierceness and energy that fires me up and brings out the goosebumps on my arms.

Everything here is top draw quality. There’s not a song on the record that I’d describe as less than a goddamn riot but if you forced me to pick some incredible standouts I’d probably lean towards the aforementioned Prang, the politically aware Upside Down and the skank-all-day-on-repeat ska punk anthem Take Control. The mixture of traditional ska punk, dub and the newer heavier elements (even a little of my beloved double time drumming in Lego Prisoners) is a heady mix and something finely tuned and infinitely danceable in ‘Work Hard’. The UK ska scene is a busy place to make your stand these days with quality found in any direction you care to look. Doubly so to be associated with Be Sharp, the home of the greatest bands that UK ska has to offer. The Popes Of Chillitown have confidently and competently laid out their claim as one of the premier offerings with Work Hard, Play Hard, See You In The Graveyard. To say that this album is the best thing the Popes have produced to date is something of an understatement, this is a desert island album. If someone told me this was the only thing I could listen to for the rest of my life then I’d probably die a happy man, probably a little young from over skanking.

Stream and download Work Hard, Play Hard, See You In The Graveyard here: https://popesofchillitown.bandcamp.com/

Like Popes Of Chillitown here: https://www.facebook.com/PopesOfChillitown/

This review was written by Dan Peters.

Album Review: SkyTigers by Red City Radio (by Robyn Pierce)

At the beginning of March, Oklahoma punks Red City Radio dropped a new EP on Red Scare entitled SkyTigers. The band seems to have been building up to this release slowly, putting out two singles from the EP in 2017 before packaging them together with three more songs as SkyTigers. For me, this gradual output has only added to the sense of anticipation and excitement for some new material. When Red City Radio put out their self-titled album in 2015 after Paul Pendley left, the band (and particularly vocalist Garrett Dale) showed that they could push on and continue to create really danceable and uplifting punk. SkyTigers has emerged as the band has grown and toured over the last couple of years, and I was so stoked to check it out.

The EP’s first track, ‘If You Want Blood (Be My Guest)’, is also the song that the band first released back in April last year. Its strong melody and bluesy charm delivers the classic RCR message of finding dignity in self-sufficiency. I can’t help but draw comparisons between the line “We don’t need a god damned thing from you” and the repeating affirmation “I don’t need anything from anybody” from their previous song ‘Two Notes Shy of an Octave’. The track also includes some great vocal harmonies, as does the rest of the EP. In fact, RCR are getting really good at filling out their songs with more of the band’s vocals and the harmonies are probably better on this EP than on any of their other albums. The second track, ‘I’ll Still Be Around’, starts out simply, with just Garrett and an acoustic guitar – like he’s sitting at the back of a dive bar (or “the darkest bar in the corner of a shithole town”) pouring his heart out. The song soon picks up, throwing in some lovely basslines and a gnarly guitar solo.

Both of these first two tracks are excellent, but I think ‘In the Shadows’ is one of the best songs RCR has ever produced. It’s almost a full five minutes long, but I promise that it’s totally worth the extra listening time. The song is about overcoming self-doubt and the fear of failure; about facing the demons that hide out in the shadows of depression or anxiety. The song is dark and sexy, with an undeniably catchy melody and another amazing guitar solo. The guys have even added in some horns on this track to make it even more exceptional. RCR are truly at their best when they are writing uplifting songs about self-empowerment and self-belief (“Show Me On The Doll Where The Music Touched You” is probably one of my favourite songs ever). ‘In The Shadows’ is the perfect song to throw on when you’re feeling down. A few chants of “I show no fear when I know that the devil’s here”, and you’ll be ready to do anything.

The EP’s last two songs are similarly excellent. In ‘Rebels’, RCR have created another great singalong, and I really love the production on the vocals. But, fair warning, the chorus of “They’re only rebels cause they like the songs” will absolutely get stuck in your head – possibly for several days. ‘SkyTigers’ is a real showstopper, moving from a ridiculously catchy melody to some prolonged wo-ah woahs, and offering some reflection upon the power to be found in human emotion and in each person’s ability to come together with others to do good. It has a similar effect to Propagandhi’s closing track on Victory Lap, ‘Adventures in Zoochosis’.

SkyTigers combines all the best things about RCR in five truly fantastic songs. Although it’s been a long time since we’ve had new music from them, what they have given us is exceptional. With its extreme danceability and encouraging message, this is set to be one of my favourite releases from this year.

Stream and download SkyTigers here: https://redcityradio.bandcamp.com/

Like Red City Radio here: https://www.facebook.com/redcityradio/

This review was written by Robyn Pierce.

Album Review: Budweiser And Butter by Hummer

Hummer are a three piece band from Warrington and Newton in the North of England. Consisting of Will Atkinson (bass/vocals), Joe Watson (guitar/vocals) and Matthew Cain (drums), Hummer have been getting rave reviews from the punk music press for their brand of catchy and melodic punk rock music. On March 30th Hummer released their latest EP Budweiser And Butter on Horn And Hoof Records. Let's see what the fuss is about.

Budweiser and Butter begins with the song Daisies. The song surprises me with how much harder musically it is compared to many of their catchy melodic punk contemporaries. There is an element of alternative rock music mixed into their sound which gives Hummer's sound a fantastic edge to it. I also enjoyed the dual vocals of Atkinson and Watson, this gives the song a huge energetic boost. Daisies is about growing up, thinking about how you lived your life so far and deciding to have as good a time as you possibly can. A great, positive start to the EP. Up next is title track, Budweiser And Butter. This song is more what I imagined for Hummer's sound. It's a bit softer in sound and has this great guitar line that really hooked me into the song. That and the extremely catchy chorus that begs to be sung along with. The track is about being in a bad mood but realising that things could be worse and pulling yourself out of it. I'm loving all of this positivity.

I adored the high tempo way that the vocals on the third song, Turpentine, are delivered. It drew me into the song immediately. I found myself nodding along uncontrollably and having a fantastic time listening to the track. Hummer write some really wordy songs but do a fantastic job of getting their message across quite succinctly. Turpentine is about trying to figure out what is wrong with you, why are you so bitter and depressed for seemingly no reason. And that it's time to try and sort yourself out. Workahol sees Hummer get heavier on a song about being addicted to your work and forgetting about having a life away from it. This song is a definite highlight of Budweiser And Butter. There is a great amount of passion and emotion pouring out of the song, you can tell that Hummer really believe every word that they are singing. The fifth song is named This Won't End Well For You. The beginning to this song starts slowly and expertly builds towards the opening vocals. The verse is slower than what we've had previously on the album but the chorus hits us with an Anthony Joshua like punch. The song is about realising that you've been set up for failure but knowing that you will come out on top in the end.

Stone Cold Wasted is another song that starts slowly but builds up to the meat and gravy of the song brilliantly. The opening verse is very bass heavy, creating a wonderful backdrop as the vocalist paints a picture of a night out on the lash by yourself. That's what the song is about, going out by yourself and having a merry old time despite being a "loner." As someone who used to go to a lot of gigs by myself and having a wonderful time I found this song really relatable. You can have plenty of fun by yourself. The penultimate song on Budweiser And Butter is titled Invested. Invested makes great use of Hummer's two lead vocalists with both taking turns on verses. I imagine this dynamic is great fun live. Of all of the songs on this EP, this would definitely be the one I'd be most excited to see at a gig. The song's ending, how it slows down and builds to a big finale with superb harmonies, such a great way to finish the song. The final track on the EP is Unreasonable. This song is about being accused of being unreasonable but not knowing why. This is a big sing-a-long song that makes it perfect to finish the EP. Really finishing things on a big high.

I'd never heard of Hummer before I was told about this EP but they've now made a massive impression on me. I love how positive Budweiser And Beer is. I often find that this kind of gruff, melodic punk rock can sometimes be a bit on the downcast side but that is certainly not the case here. Take a chance on Hummer, I've no doubts that they will brighten your day.

Stream and download Budweiser And Beer here: https://hummerpunkrock.bandcamp.com/

Like Hummer here: https://www.facebook.com/hummerpunkrock/

This review was written by Colin Clark.

Gig Review: The Copyrights at New Cross Inn, London 27/4/18

It was time for our seventh gig in nine days and I have to admit that I was really struggling. Last thing in the world I wanted to do was make the journey down to New Cross, all I wanted to do was lay down in bed and sleep. But, for the first time ever, The Copyrights were in London and I knew I couldn't miss this historic event. The Zatopeks were also playing a rare London show and it had been far too long since I've seen them so I powered through my exhaustion, with no doubt in my mind that it would be worth it.

The first band on are a new one in the UK punk scene – London's Mean Caesar. Featuring current and ex-members of bands such as Great Cynics, The Murderburgers, Myelin, Pure Graft, Werecats and Crystal Piss, it's clear that Mean Caesar are a band to really take notice of. The five piece took to the stage and blew me away immediately with some great melodic gruff punk. Lead singer Danny Lester has a great presence on the stage as he prowled around the stage and, at times, the floor. The set was short and sweet but did plenty for me to get excited to see what comes next from Mean Caesar. They also filmed a music video on the day of the gig so make sure that you keep an eye open for that in the coming weeks.

Up next were Honey Joy. I've only seen Honey Joy one time before, at one of their first shows a few years ago, supporting RVIVR at The Boston Music Room in London. Since then the five piece have played many more shows and even been over to Gainesville to play The Fest, as well as putting out their first album, so I was interested to see how they've progressed. Very well it seems! Despite what seemed like a few issues with sound and admitting that they hadn't practised in a little while, Honey Joy put on an energetic performance with the band looking as if they were having the best time on stage together. Playing a grungey style of indie pop punk, Honey Joy showed why they've become as popular as they have in the last few years.

The Zatopeks are one of my favourite bands of all time so for this to be only my second time seeing them was pretty poor form on my part. Last weekend at Manchester Punk Festival I'd seen Spider performing in his other band, Gutter Romance, so I figured he'd be in town with the Zatopeks. Unfortunately for whatever reason that wasn't the case but the band did have a fantastic stand in guitarist in the form of DeeCRACKS guitarist Matt – not too shabby. Something I noticed last time I saw the Zatopeks, and again at the New Cross Inn, was how much faster the band play live than on record. This really amps up the intensity in their songs. Frontman Will DeNiro gets increasingly erratic as the set progresses. There isn't enough room for him on stage and he often finds himself down in the crowd. At one point he was stood on a picnic table by the bar and was crowd surfed back to the stage whilst continuing to sing – this made for an awesome sight. The Zatopeks played a great set spanning their entire career, including a cover of a Ramones song where they brought Lucy of Australian band The Spazzys on stage to join then. They also played a brand new song from an upcoming, and long awaited, fourth album which I cannot wait for. I really enjoyed the Zatopeks and now am impatiently awaiting the next time I get to see them.

A phrase I never ever expected to hear was "hi, we're The Copyrights and we finally made it to London." The long running pop punk band from Chicago were at the end of their first ever UK tour which started in Manchester the Saturday before this gig. I chose to catch Revenge Of The Psychotronic Man's final ever MPF set over The Copyrights show at MPF knowing I would be catching them at the New Cross Inn a few days later. I'm glad that I made this decision as, not only did ROTPM kill it, it felt right for my first time seeing The Copyrights in the UK to be at my favourite venue. There were around 200 people squeezed into the New Cross Inn eagerly waiting to see The Copyrights and when they took to the stage it was as if the past fifteen years of wanting to see the band erupted into some crazy mosh pits and big sing-a-longs. Despite a limited set time, The Copyrights managed to play a big set list (including the encore, they managed to play over twenty songs). The set featured songs from their entire discography, including old school tracks such as Button Smasher and Cashiers as well as newer tracks Heart Of Glue and No Knocks. It was great to see just how well received each and every song was, this wasn't a case of only knowing one album or a few songs. It seemed as if everyone knew every word to every song they played. The Copyrights themselves looked as if they were having a fantastic time on stage as well, hopefully making up for the years of struggling and trying to get to the UK. Hopefully such a positive reaction from London, Manchester and the entire UK will mean it won't be so long before a second visit to our shores! The Copyrights were absolutely superb and helped end mine and Emma's crazy week of gigs in the best possible way.

This review was written by Colin Clark. Photos by Emma Prew.

Gig Review: Hot Water Music at the Electric Ballroom, Camden 25/4/18 (by Richard Mair)

The punks are taking over London. Down the road at the Underworld The Cancer Bats are laying waste to the capital with four evenings celebrating the 10th anniversary of the incendiary Hail Destroyer, whilst the DIY Space For London plays host to underground darlings Worriers. This fact isn’t lost on The Flatliners frontman Chris Creswell; who regularly thanks the crowd for coming out early and checking them out. In all fairness he needn’t have worried, the Ballroom is nicely full for the Canadians when they take to the stage.

Despite the brevity of the set and the fact that Chris Creswell is pulling a double shift the band give their all, opening with Hang my Head off last year’s “Inviting Light” the band take little time getting the crowd going with Creswell’s guttural screams of the opening bars getting existing fans in the mood for numerous sing-a-longs. Despite the change in sound that the band have grown into from their early releases it’s pleasing to see the reception newer songs receive alongside older cuts such as second song of the night “Eulogy”. A genuine fan favourite and it’s easy to see why. The front rows explode with fists and fingers lofted as Creswell lashes his guitar with a smile that would melt even the coldest heart. The Flatliners continue to be one of the scene’s biggest potential breakout acts with their infectious punk ethos mixed with what is increasingly becoming a polished and nuanced sound that will have a broader appeal. They clearly love being on stage and entertaining and, through the remaining six songs, get everyone in the mood for the rest of the night. Playing a set heavy on newer songs, with five of the eight song set released off of either Dead Language or Inviting Light, they showcase more of their recent sound which on reflection is probably more palatable to most diehard fans of tonight’s post-hardcore headliners. With further stints to the UK in support of The Gaslight Anthem, it’s highly likely they get the wider exposure they richly deserve.

If tonight’s first support have more in common with the more straightforward punk rock sound of latter day Hot Water Music, the second support is a genuine throwback to the band’s early years. Former Avail frontman come seasoned folk punk troubadour Tim Barry has the unenviable task of following a brilliant but brief Flatliners set with an ever increasing and expectant crowd waiting to see their heroes for the first time in years. Thankfully his experience, ability to write a killer folk-punk tune and amazing stage presence means he quickly has the room stunned into silence and eating out of the palms of his shovel sized hands.

Opening track “Slow Down” is reminiscent of Chuck Ragan’s solo work, a true blue-collar anthem, slow, driven by a simple guitar lick and Tim’s vocal range. It’s a proper storyteller’s song that captivates the audience and is followed up by “Dog Bumped” one of his most well-known and best loved songs; it’s greeted with a fantastic reception and the more up-tempo style swiftly gets the attention of the most cynical.

In the respite between tunes Tim explains the background to his songs, at one point describing what “riding the freight trains” means to an audience not familiar with life on the poverty line in the US. Throughout his set, he makes many socio-political references but it’s the story behind “Prosser’s Gabriel” from his 2011 album “28th and Stonewall” that’s really hits home. “We need to stop building statues to white people” says Tim before embarking on a lyrical journey of an uprising in Richmond Virginia where slave freedom fighter Gabriel Prosser was captured and killed; the sting in the tail being that he was buried in what is now a car park. It’s this attention to detail and passion about people and society that really resonate with the audience and by the end of the set it’s safe to assume we are all in even more love with Tim Barry and his collection of stories from the breadline.

Finally the band everyone is desperate to see take the stage. For some lucky few their last experience of seeing Hot Water Music on these shores will be their show at the Old Blue Last in 2012; however given the size of the venue it’s probably easier to suggest that many will have to go back a couple more years to their 2010 appearance at the 02 Academy Islington for their last glimpse at who for many are their punk rock heroes. With a career built on many classic songs complete with rich bass lines, gravel throated vocals and brilliant melodic guitars, it’s inevitable that the night will be littered with iconic songs; even though the band are touring in support of 2017’s Light It Up. Proving that this will not only be a night celebrating this latest album but also their career highlights, Chuck Ragan immediately launches into the ferocious “Remedy”; one of the band’s most recognisable songs for casual fans taken from what is arguably their most accessible album (Caution). In fact throughout their set a total of 6 songs will be played from this one album, including a more unusual song and a personal favourite “Sweet Disasters” with its soaring final third getting everyone singing, to “Alright for Now”, a genuine surprise given its rarity in the set lists over the years, with its slower pace and driving bass line – it’s a highlight of the night.

Given the variety of fan favourites across their career, inevitable calls for songs such as the cover of Leatherface’s anthem “Springtime” or classics such “Moonpies for Misfits” raise smiles from those stood in our vicinity, although one lucky punter no doubt went away happy after their dreams of hearing “Alachua” heard live were realised. The band also played a key role in encouraging as much participation from the audience as possible; a deliberate quietening in the mid-section of anti-capitalist / anti George W. Bush anthem “Jack of All Trades” allows the audience to emphatically bellow the lines “... but fucker yeah you’ll get yours” back at the band with countless middle fingers raised in defiance.

Newer songs sit perfectly in the set list next to old faithfuls and, although just three from last year’s latest album appear, it’s “Vultures” that really stands out, propelled by Jason Black’s sexy bass line. Towards the end of the main set some of the big guns start to appear. “Turnstile” (one of my all-time favourite HWM songs) is epic, with its closing instrumental that feels somewhat dragged out for effect with Chris Creswell looking at home making it sound even more incredible live than it does on record, whilst last but one song “Hard to Know” gets everyone singing along with their mantra of “live your heart and never follow”. The main set concludes with another favourite from “Caution”; “Trusty Chords”, which the band blast through with gusto.

If the main set contained surprises the encore was truly special for this very reason. Coming back on stage a drenched Chuck again acknowledges the crowd for coming out and supporting the band over the years and makes a welcome gesture to their missing “brother” Chris Wollard who due to health reasons has missed the current touring cycle going back to their appearance at Fest last year. The point not lost on the fans who collectively no doubt hope for a speedy and successful recovery of one of the two leaders of the band.

Opening their return to the stage with “Wayfarer” is inspired, as the ballroom erupted with whoa-whoas, fists and crowd surfers. Single-handedly you could argue that this song generated a whole subculture of anthemic gruff punk bands such as Red City Radio or Iron Chic. Such is the devotion with which the crowd respond that the next song raises the bar even further, as Tim Barry comes on stage with the opening chords of Avails “Simple Song” ringing out. I’d often describe Chuck Ragan as a slab of solid granite; if that’s the case Tim Barry must be the mountain itself; dwarfing everyone on stage he endearingly smiles, laughs, hugs and inspires as he belts out lyrics to a song many thought they might never hear live. Avail were truly stunning in their day and the potency of this song in particular hasn’t diminished over time.

Inevitably it has to be something spectacular to close the night and the Bouncing Souls “True Believers” is the perfect way to go out. A night where everyone is there for one reason is truly defined by a song about unity, the scene and the people that make it special. Given his role with the Souls recently, it’s amusing to see George Rebelo give up his stool behind the drums to The Flatliners Paul Ramierez and amble round the stage playing guitar with Chris Creswell and saying “hi” to the front rows. Not content with just saying hi, Chuck is off with a microphone in hand to give the audience one final sing-a-long.

I’ve waited a long time to see Hot Water Music again, and their infrequent visits to these shores have always been worthwhile, but tonight feels truly special and one can only hope it’s not as long before we see them return again.

This review was written by Richard Mair.

Album Review: Late Teens by Press Club

Press Club are a four piece band from Brunswick, Australia. In March, the band, consisting of Natalie Foster, Greg Reitwyk, Frank Lees and Rufio MacRae, released their new album Late Teens. After stumbling across it on Bandcamp and then hearing some friends speak very positively about it I decided it was time to really give it a proper listen.

Late Teens begins with the song Crash. The song starts with some dreamy and distorted guitars before Natalie's vocal comes in. The first thing you notice is the rawness in the recording of the vocals, giving the whole song a record live vibe. This is an indie punk song that goes along at a methodical pace. It's about always being let down again and again and being fed up of it. The song's high point is the chorus that begs to be sung along with. Up next is the up-tempo Headwreck. I have to admit that I much prefer Press Club when they are playing this fast paced style of indie punk over the slower paced stuff. It's just got more ummphh to it. The energy on the track is outstanding, really getting my blood pumping. Headwreck is about guys who go out of their way to play mind games with their partner and wanting to find someone who doesn't do that. The third song Suburbia is one of the tracks that Press Club released before the album's initial release. It's clear when you listen to the song why it was chosen. It really features the best of Press Club. It starts out fairly slowly but then gradually builds towards a fast and catchy slab of indie pop punk. Natalie's vocals are superb here, brilliantly emotional on the slower parts and then showing plenty of punk rock attitude when things speed up. Suburbia is a song about not being able to let go of a former love back home who has fallen for somebody else.

On my first listen through of Late Teens the fourth song, My Body Is Changing really shone. Of course it was the chorus of "my body's changing, my body's changing, my body's aching" that really caught my attention. It's such a simple but really powerful chorus. I can see this song becoming an anthem for the band. The song is obviously about the changes your body goes through in your life and taking control of it, not caring what other people might think. The fifth song, Golden State, is a slower shoegazing-emo song. Back are the dreamy distorted guitars and raw vocal recording style. As the song progresses Natalie's voice gets more and more stretched, giving a huge amount of emotion to the song's finale. Golden State is about being in a relationship with somebody who is struggling with their mental health and how hard it can also be on you. This is a interesting take on the subject of mental health and not one that's ever really tackled despite its importance. This will be a hugely relatable song for many people listening.

The second half of Late Teens starts with a instrumental named Side B which leads brilliantly into the seventh song, Ignorance. The song gets going with some harder guitars that play off of some softer vocals. The range of vocals shown by Natalie throughout this album is just staggering and not something I'm really used to listening to punk music. Ignorance is another big highlight on Late Teens for me. I love the ups and downs on the song and of course the build towards the end of the track. It's about the mistakes you make when you are young and trying to make things right again. Let It Fall starts out fast and loud and has plenty of that distorted sound that seems to be a bit of a trademark for Press Club. This is without a doubt one of the angrier tracks on the album with Natalie sounding thoroughly pissed off throughout the song. It's a song about the continued fight for equality between men and women and refusing to give in. I think this is why the lyrics "let it fall" are sung in the same tune as the way Lady Gaga sings "can't read my, can't read my" in her smash hit song Poker Face. As far as I'm aware Lady Gaga is someone who has done a lot to help with equality in the music scene. This was a cool little nod her way and really helped add something a little extra to the song.

The ninth song on Late Teens is named Trading Punches. It's an up-tempo song that I think could quite easily draw comparisons with RVIVR (on the songs where Erica has the lead vocals). It's one of the more punchy pop punk tunes on the albums and that chorus is so catchy that it will be buried in your ears for days to come. You'll find yourself uncontrollably singing "I wouldn't give it away, I wouldn't give it cause, I know where we came from, I know where we came from" for days after listening to the track. The penultimate song and the album's title track starts off in stunning style. Late Teens begins with a huge accapella vocal section that really drags you into the song - I bet this is just incredible live. Soon the band come in with a slow paced methodical plod style before things pick up and the song really comes to life. It's interesting listening to the vocals and drums go down one melodic path while the guitars go off and do their own thing. It's a contrast that also works very well together. Last but not least is Stay Low. This song has the feel of a final song to it, starting with some midwestern style punk rock guitars before some superb punchy vocals bring up the tempo. The track takes us on a bit of a rollercoaster with some great ups and downs. It all flows so naturally that it's easier to just go along with it. The chorus is really a fists-in-the-air shout back at the stage moment and the way things build to the track's final moments is a joy to listen to.

Late Teens by Press Club isn't in the style of something I'd often listen to but this was a really enjoyable thirty-eight minutes of music. The band just do their own thing without feeling any need to conform to what is conventional. You have to respect that. Australia continues to pump out these incredible bands. Press Club are another to add to a massive list of bands from down under.

Stream and download Late Teens here: https://pressclub.bandcamp.com/album/late-teens

Like Press Club here: https://www.facebook.com/pressclubmusic/

This review was written by Colin Clark.

Gig Review: Iron Chic at The Dome, London 23/4/18

What a weekend it had been! After three fantastic days in Manchester at Manchester Punk Festival and the next night in Bristol for a raucous Dreadnoughts set, we found ourselves in London to see Iron Chic headline The Dome in Tufnell Park. Originally the show was scheduled to be at The Lexington in Islington but due to the massive demand for tickets for the show it was moved to The Dome. After seeing them at MPF and being blown away yet again by the New Yorkers I was amped to see them again.

There was in fact a trio of bands that had played MPF over the weekend on the bill tonight with Dream Nails and Mobina Galore supporting Iron Chic. I hadn't been able to catch either of the support acts at MPF so this felt like some bonus bands for me. First to take to the stage were London four piece Dream Nails. Wearing some spectacularly glittery outfits (that immediately got me thinking about how their washing machines must get clogged up with glitter), they took to the stage with a great amount of swagger and confidence and quickly charmed the crowd with a high energy and well thought out live show. It was entertaining and thought provoking in equal measures. Dream Nails are one of a number of female and non binary bands that are proving that punk rock isn't just for boys, playing a great mix of indie and pop punk alongside of fast paced riot grrrl punk rock. It was the variation in their set that really drew me in. They didn't feel the need to conform to one style of punk rock, instead playing a style that suits the message of each individual song. Just some of the messages Dream Nails sung about were women's rights, safe and legal abortion, fascism and people not replying to text messages. I was so impressed with Dream Nails and look forward to seeing them again.

Up next were Canadian duo Mobina Galore. I last saw them supporting Against Me! at the Electric Ballroom a couple of years ago and was impressed. I'd also heard very favourable reviews of their set at MPF so was looking forward to seeing them. If you've not listened to Mobina Galore yet (shame on you) then the best way I can describe them is as a cross between The Distillers and Kamikaze Girls. It's aggressive and powerful punk rock that really grabs your attention. Jenna (guitar and vocals) and Marcia (drums and vocals) are two incredibly talented individuals who make some fantastic music. The crunching guitar and the hard hitting drums along with some of the best snarling vocals around create this wonderful sound that hits you right in the stomach. There was minimal talking between songs as they preferred to power through banger after banger. I did not mind this one bit as I was enjoying their music so much, in particular the tracks You're Not 23 Anymore and Vancouver. Mobina Galore are a fantastic up and coming band that will soon be household names within the punk rock scene all over the world.

Now for the second time in three days I found myself getting excited to see Iron Chic. After seeing them Saturday night in Manchester, I pretty much knew what to expect from the set list but this didn't prevent me singing the opening lines of Cutesy Monster Man at the top of my voice at the beginning of Iron Chic's set. Other than Bo Diddley Plaza in Gainesville this is the biggest crowd I've seen Iron Chic play to. Since they released You Can't Stay Here last year their popularity seems to have sky rocketed with plenty more people jumping on the bandwagon. That said this was perhaps one of the most static crowds I've seen Iron Chic play to. I'm not sure why, maybe because it was the start of the week and people weren't drinking as much? Maybe it was because people were exhausted from a busy weekend at Manchester Punk Festival and then travelled to Bristol to see Propagandhi? I dunno. That said, even though there wasn't much in the way of movement in the crowd there was plenty of singing and fists in the air from everyone inside The Dome. Iron Chic have carved out a reputation for being a fantastic live band despite not being the most animated of bands on stage. Instead of jumping around the stage they engage the crowd with their incredible songs that always get such fantastic reactions. Their set featured a good mix of all three Iron Chic albums with me personally getting most excited for the songs that come from Not Like This. At MPF I was a little surprised that the set wasn't heavier with new songs as this was Iron Chic's first time back in the UK since You Can't Stay Here was released but I'll never be sad about hearing the old favourites. The songs they did play from the newest album sound fantastic live and fit brilliantly into the set. This was a bit of a relief for me as You Can't Stay Here has definitely been an album that has been growing on me rather than one I fell in love with immediately. Iron Chic are one of the best bands in punk rock currently so it's no wonder that the shows keep getting bigger and bigger. As long as they keep coming back, I'll definitely be going to see them.

This review was written by Colin Clark. Photos by Emma Prew.