Album Review: How To Survive By Getting By by Fine And Great

Fine And Great are a three piece from Munich, Germany, featuring three friends who have played in different bands of varying genres for years. In 2019 they decided to get together for a new band to share their combined love of emotionally charged pop punk music. Early in 2020 they released their first single Three Sheets To The Wind before lockdown happened and put a bit of a halt to everything. Not deterred, the band managed to write and record their first EP, the appropriately titled How To Survive By Getting By which was then released in July 2021 on Midsummer Records.

The EP begins with Happy New Year. I do wonder if this is a continuation of the second song on Three Sheets To The Wind – Merry Christmas. I really hope it is and not just a happy coincidence. After a little atmospheric reverb, the song jumps into life. Immediately the song is packed with energy before guitarist Manu’s vocals come in and things slow down. The song is full of great little tempo changes that allow the song to build and the listener to get emotionally invested into it. For me the best moments are when Manu and bass player Tooney combine to create some sweet gang vocals. The second track, Ghetto Chicken, was released as a single in the lead up to the EP’s release. It begins with some welcoming “whoa-ohs” before Tooney’s vocals start and then Manu comes in to take the lead. The way in which the two interchange vocals is really good. The chorus is a real ear worm and features the EP’s title How To Survive By Getting By. The track is about realising you’re not okay but finding a place that helps you feel better. The ending of the song is a real treat with Tooney and Manu trading lines before the two combine to finish things off in real style.

Going Nowhere starts with a nice noodly guitar riff before the song really kicks in. Tooney takes the main vocals on the track whilst Manu provides some excellent harmonies. Both singers seem to strain their vocals more on the chorus creating a great sense of urgency that I really enjoyed. The track is about being in a relationship and not being sure where it’s going, giving you some emotional stress. The penultimate song is titled Stole The Liquor. Fine And Great also released this track as a single before How To Survive By Getting By came out. This was a great choice as it really encapsulates what Fine And Great are all about. The song is packed with builds, great vocals, harmonies and beautiful story telling. There’s a moment in the song where Manu lets out a shout that you would most likely expect from his other band, Captain Asshole. It’s a rare moment on the EP that really showcases the pain in his voice. Finally we have the track Okay. Once again the song starts quietly and takes a good while before really reaching its highest moments. The vocals contrast on the track with Tooney’s cleaner vocals against Manu’s gruffer style sounding brilliant. When the song reaches its final section it gives you the highlight of the entire EP. The sound, especially for a three piece, is huge and this huge climax finishes How To Survive By Getting By in a fitting way.

What a debut from Fine And Great. Obviously the band have plenty of experience from their other bands but to come together, in such a difficult time, to create something as good as this EP really shows what a talented band Fine And Great are. With gigs slowly starting to happen again around the world I would expect to see Fine And Great on many line ups throughout Germany and perhaps the rest of Europe too. This is another band that really showcases the amazing amount of talented bands that reside in mainland Europe and another I urge the fine folk of the UK to check out. You won’t regret it.

Stream and download How To Survive By Getting By on Bandcamp here.

Like Fine And Great on Facebook here.

This review was written by Colin Clark.

Album Review: You Didn't Doubt by Chartreux (by Chris Bishton)

You Didn't Doubt This is the debut from Leipzig's German punks Chartreux. Released on the always brilliant Gunner Records earlier this year, it's only seven songs long which, for me, makes it too stretched to be an EP, but a little short to be classed as a full album. Not that this is in anyway a problem and, as the saying goes, all killer, no filler. Mini album anyone? Further, given the band only played their first show in February last year just before everything stopped, it's obviously been a tricky time to record and release anything so I'm willing to go with the band's assertion this is their first full length record. And it's a great first full length too – DIY skate punk meets hardcore, but with a bit of gruff Gainesville influenced sing-a-long anthemic punk in the mix as well.

The opening track is Role Play. A raucous and blisteringly quick start, with lyrics that are gruff and shouted in English. The guitar playing reminds me of 90s/00s Pulley, although the vocals are definitely grittier. It slows a little towards the end, but at less than two minutes, it still flashes by.

The blink and you'll miss it MO continues with Harriet. Having listened to the (mini) album a few times now, I actually think this is probably my favourite track. It's also under two minutes, but the vocals are a little more jaunty and lend themselves to a sweaty room, gang sing-along.

The lengthy (just over two minutes, haha) Nods And Handshakes is the third track. By now as a listener, I know what to expect and it's obviously nothing particularly different or out of place, but it's still solid, shouty punk with a great swagger to it.

The rest of the album follows suit. Liberation Day is perhaps the most "hardcore" of the remaining songs. Screeched, sweary vocals remind me of a track that you might hear on a Pears album. It's fast, then slow, angry and passionate.

The album concludes with Repeat Rewind. At three minutes it's epic in duration compared to some of the other songs, which is mainly down to a 20 second intro. However, the pace and passion isn't compromised and there's no cutesy, whimsical finish to this record. As the title suggests, it simply leaves me wanting to put the whole thing on again right back at the start.

German punk is in a great place at the moment. Peers and contemporaries include Arterials, Hell & Back, Captain Asshole, Sidewalk Surfers, Primetime Failure (I could go on, but you get the idea) and I fully expect Chartreux to become a regular fixture on the Booze Cruise line-up. If I ever get to Hamburg, they'll be another of my "must see" German bands.

Stream and download You Didn't Doubt on Bandcamp here.

Like Chartreux on Facebook here.

This review was written by Chris Bishton.

Album Review: Bodies by AFI (by John O'Hare)

AFI are a band who have seen multiple sound changes throughout their fantastic 30 year career. Admittedly I haven't listened to much of their output since Decemberunderground (Interscope Records, 2006) so I was certainly interested to hear their latest outing.

The opening track Twisted Tongues surprised me as it dropped straight in. I’m used to a drawn out intro track like previous records, but there’s none of that here. The song is fairly upbeat with the standard air of AFI melancholy we’ve come to know and love. There’s something about Davey’s voice that’s just very theatrical and always carries a lot of emotion. The chorus hook ‘You talk in twisted tongues’ is delivered in typical Havok style. The drums are lively and tight, accentuating the tricky basslines, particularly in the bridge section. The song trails out with an almost Sing The Sorrow-esque (Dreamworks, 2003) guitar riff, swirling off into the distance.

This drops effortlessly into track 2, Far Too Near, which is an instant hook mainly because of the tempo and plucky lead riff. There’s some fantastic, twangy rhythm guitar just set down in the mix which provides a great backing to the lead riff. Once again, the drums are tight and snappy leaving space for bass player Hunter Burgan to explore some cheeky bass lines. In opposition to the rest of the song so far, the vocals in the bridge are brought super close, as if Davey was sitting next to you. This is a welcome transition providing an excellent build up to the last chorus. The excellent bass playing continues leading into Dulceria, opening with a real groove as the drums stomp on behind. The lack of guitars throughout the first verse is a welcome change and allows the lyrics to really be heard. We know AFI don’t follow any kind of convention and this is the perfect example. A complete departure from the punchiness of the opening two tracks, venturing towards a new-wave inspired sound.

On Your Back returns to the upbeat pop-rock style. Up to this point there are a number of electronic/orchestral elements but nothing as prominent as the piano accompaniment here. While the tempo is fairly the high, the single keyed notes just bring that down and add another melancholic layer. Once again this song feels very reminiscent of the lighter side to Decemberunderground. It’s as if the floodgates are open in regard to electronic/synthy additions, as Escape From Los Angeles is driven by an electro bass line, with a variety of synth layers and effects throughout. The drums, whilst still real (I believe), have also been given a more electro treatment, so much so that when the vocals drop out it drifts into straight up Synthwave.

I imagine the previous song would be a hate it or love it amongst AFI fans both old and new. As a fan of their older material, Begging For Trouble is exactly what I wanted to hear. The absence of guitars to begin with leaves the drums and bass providing a superb backing to the fairly unaffected vocals. It’s in these types of AFI songs that Davey seems in his element with catchy vocal melodies from the off, keeping it simple throughout.

Back From The Flesh is another complete u-turn in sound. Opening with a haunting choir-like vocal set on a backdrop on pulsating synths. I think I heard some birds chirping off to the one side also. (Anyone else hear that?!) The tempo is slow and drifty, brooding slowly until the almost orchestral chorus comes in. In the second verse there’s an addition of a clean guitar, playing minor melodies, sounding like they’re lifted from a horror video game (Silent Hill anyone?). Looking Tragic takes another turn, the stop-start guitar riff sounding poppy and fresh. A chorus line of ‘Everyone’s looking tragic/Looking for the new panic’ is begging to be sung aloud by teenagers.

Death Of The Party opens up with a plinky lead synth line on top of the drums and bass. It’s almost a straight mix of the older punky AFI sound with the newer, synth lead AFI of more recent records. Every instrument in this song is perfectly syncopated that it starts to sound less like a band and more a solo artist with a backing track, which isn’t necessarily a bad thing. Once again though, it is encouraging to hear No Eyes opening with a straight up guitar riff. In my opinion previous AFI albums have always been very top heavy, in that the second half is generally weaker than the first. This is different here though, No Eyes easily becoming my favourite track from the record. There’s great guitar work throughout, but guitarist Jade Puget really shines here with many layers of interesting lead lines.

The final track of the record, Tied To A Tree is a dramatic closing number. Opening with a simple acoustic guitar and piano line, with haunting vocals across the top. The chorus is a huge contrast when it drops with massive snare hits and heavy bass. As mentioned previously, AFI have always been very theatrical and this finale sums that up completely – a choral main vocal backed by pounding drums and a variety of electronic sounds. To end, it sounds as if Davey has been dropped underwater as his vocals drifts away.

Bodies may not be for the older AFI fans, used to the raw and spooky sounds, but there’s certainly a lot of great moments throughout this record. Whilst the guitar work has always been excellent in any AFI record, it almost takes a backseat here allowing the bass and the synth parts to take more of the centre stage which I found very interesting. I wonder if Jade Puget plays a lot of the synth too? Or he’s doing some crazy shit with his guitar! It may not be a record I return to, but it’s great to know AFI are still writing and recording at the highest level. Maybe one day we’ll be treated to an EP of 1995 era sounding AFI to keep us older fans involved.

You can stream and download Bodies in all the usual places and like AFI on Facebook here.

This review was written by John O'Hare.

Gig Review: Out Of Love Debut Show at The Craufurd Arms, Milton Keynes 17/9/21

I’m not sure many new bands have earned more hype over the last eighteen months than Out Of Love. The hype began for me when I was sent their first single S.L.U.M.P and was absolutely amazed by the band. This was in early 2020 and then we all know what happened with the rest of that year and the beginning of this one. During the time when bands couldn’t play live, Out Of Love managed to release two superb EPs on Venn Records and continued to grow their fanbase. Eventually gigs were able to come back, Out Of Love finally announced their first two shows. The first being at the Craufurd Arms in Milton Keynes and the second at The Engine Room in London. I was over the moon to see that the first show would be at the Craufurd Arms as it’s one of our most local venues. Tickets were free but limited so I snapped ours up quickly and excitedly waited for day of the gig.

A trio of the band’s friends were booked for the gig which helped create a great atmosphere for the entire night. The gig was actually taking place in the bar area of the Craufurd Arms instead of the main venue room. This was my first time attending a gig in the bar and I later found out that they had constructed a small stage for the event. The first act to take to the stage was hip hop duo Kas and Olindo. Kas was in charge of spitting bars (hip hop terminology I’ve picked up from the yoofz) and Olindo played drums alongside a backing track. This was my very first time seeing a hip hop act live and, while it’s far from my favourite genre of music, it was interesting to watch. Kas prowled around the stage during the set and I found him very engaging to watch. Between songs he spoke about the amount of friends in the room and seemed so genuinely happy to be back on stage after so long. As I said, musically this wasn’t really for me but I did appreciate the effort that went into the set and the messages that they promoted.

Next to take to the stage were three piece pop punk band Midweek Maybe. My first impressions of the band was that they play music solely for their own entertainment and if other people like it then that’s a bonus. Unfortunately there were some guitar issues with the first song which the band laughed off before quickly switching guitars and carrying on. I absolutely hate to say it but there did seem to be some issues with the sound throughout the set which did stop me enjoying the set as much as I think I could have. It seemed to me that the drums overpowered the vocals, making it hard to really understand the lyrics to the songs. I did enjoy the banter between the songs however and it’s clear these guys have been great friends for years. There was a nice moment where Kas joined the band on stage to help sing a song that he had helped write. From what I understood they were in a band together in the past and this is how they knew each other. Since the gig I’ve checked out Midweek Maybe online and have been very impressed with their sound.

The penultimate act of the night were Hertfordshire emo punks Lapyear. Whatever sound issues there were for Midweek Maybe they seemed to disappear for Lapyear. I do wonder if it was potentially because I moved to a different spot in the room? Lapyear play a twinkly type of emo that really showed off the band’s technical ability. I know that the band have played some shows since they came back post-pandemic and it showed because they were slick. The band were very watchable live, in particular their guitarist who seemed to get lost along with the music. I’m not a massive listener of emo music but when it’s played as well as this you can consider me a fan. There was plenty of emotion but also a good amount of punk bite during their set. The band’s lead singer had a really good voice and was very well backed by the rest of the band. They stated that this was their first time in Milton Keynes so of course they, did as every band that comes through does, made a joke about the amount of roundabouts. Lapyear finished their set with a longer song that really took you on a roller coaster to finish a great set.

It was finally time for Out Of Love. And when I say finally I mean after 500 odd days of waiting to see them live, not that the night was a long one. Before the five piece took to the stage the floor was filled with pink and yellow balloons adorned with the Out Of Love logo. The band then ushered everyone to get as close to the stage as possible to make it feel like a punk show. What then followed was a joyous set playing all the songs from both EPs. I wish I could remember the order of songs that were played but I’m writing this a week after the gig and I forgot to write any notes – I’m out of practice! What I can say is that every song did earn a big sing-along from the crowd, much to Out Of Love’s delight. This was the band’s debut show but watching them you would have thought they’d been playing live together for years. Much like Lapyear, they were super slick for the entire set. I know the guys have been in previous bands but I’m not sure if they were with each other. It was nice to see the massive smiles that remained on the face of Out Of Love throughout their set. We’ve been waiting for this set for a while but they’ve been waiting even longer and it felt like it was quite a cathartic moment for the band to really release this collection of songs to the world. I always feel like punk bands write their songs to perform for crowds and it must have been horrific to not be able to do so for so long. The band finished the set with their first ever single S.L.U.M.P. which earned one final sing-along. This was such a triumphant debut show for the band and it proved to me, at least, that they deserve all of the hype they’ve been getting and perhaps should be getting more.

Out Of Love could do some pretty amazing things in the future and I’m looking forward to boasting that I was at their first show. I can’t wait to see them again when they take to the stage at Till The Fest in early October.

This review was written by Colin Clark.

Album Review: Don't Panic by Neckscars (by Chris Bishton)

Neckscars are one of those bands that I can't quite place how I first heard them. Formed in 2018 and from New York, I haven't seen them live or read anything much about them, but what I did know was I've been really looking forward to this album after hearing a few songs online in recent months.

Don't Panic is their debut full length, recorded last year in two parts thanks to COVID, but released this summer on Sell The Heart Records in the US and Engineer Records in the UK. If you like your gravelly voiced, hook-laden, melodic punk in the vein of Hot Water Music, Dillinger Four, Gameday Regulars et al (three of the four members of Neckscars were in the latter), this is going to be right up your street. 

The album opens up with the first track In Front Of Me. Straight into feedback, smashing drums and then melodic guitars, I know within seconds that I love it. It's animated with those harmonic, sing-a-long vocals that are just simply my favourite type, which is then continued into the second song Born Sick.

The energy is then taken up yet another notch with Jarring, the song released online as a single earlier in the year. The guitars swell and the melodies form to create one of the album's standout tracks.

Unfinished starts a little slower, it is introspective  and compels me to really listen to the narrative. As I do this, the song quickens and fast guitars sync with ringing vocals. I truly love it.

The concluding track of the first half is then Not Enough JPMs. It's a return to the faster combative pace of a couple of the earlier songs, rounding off side one in great style.

Side two offers up much of the same. A couple of tracks with slightly less rapacious guitars than others, but all with the recognisable gruff harmonies that are begging to be played and seen live. Loaded is probably the standout track on this side for me.

The album concludes with First Time, Long Time which features a guest appearance from Jon Snodgrass – another banger – formerly of Drag The River and now serial collaborator on most things gold.

There's lots of familiar punk themes throughout – unsteady self doubt and anxiety. A well trodden orgcore road perhaps, but it just seems to fit so well with this brand of catchy, fist-in-the-air punk.

With 10 songs in 30 minutes, the album also hits the sweet spot for optimum enjoyment of a punk record. There's no duds on here and so the formula means the album retains your whole focus from start to finish.

I've no doubt this will be on my best of the year list, although it has to be said this album won't get the recognition it deserves. People will say they've heard this thing many times before. That maybe the case, but I say "so what?", there's a reason for that and that's because music like this makes my heart beat and soar that little bit higher and faster than usual. Always have and always will. It's why why I love bands like Neckscars and their brand of punk so much.

Stream and download Don’t Panic on Bandcamp here.

Like Neckscars on Facebook here.

This review was written by Chris Bishton.

Album Review: Back To The City by Travoltas (by Ilse R. Smit)

Travoltas are back (to the city) baby! While I personally became aware of them around their most recent full length “Until We Hit Shore”, which was released in 2017, this band was formed about three decades ago and have more than earned their stripes as pop-punk veterans. I can only imagine how many people they’ve introduced to the Dutch scene, or the genre in general! It should come as no surprise that I was very excited to dive into their latest EP “Back To The City”, which was released on June 25th on White Russian Records. I could be wrong, but I have a feeling this is the closest I’ll ever get to feeling patriotic. Travoltas has a sound I know isn’t surf rock, but can’t help but envision scenes of 60s cool kids having a blast at the beach while I listen to them. If you have no idea what I’m talking about (I don’t judge!) their sound is often described as The Beach Boys but punk-rock. Their songs have a very high degree of ‘I don’t think I’ve ever heard this song before, but I definitely know who this is’ and I respect that. This EP is the second release, after single “Find You There”, that features the ever so lovely Tim van Doorn on keys and as backing vocalist. If you’re not familiar with his work, I would highly encourage you to check out his solo work on Bandcamp and the self-titled St. Plaster record, and give his studio Big Dog Recordings a follow while you’re at it!

I think we should all be grateful the six piece basically treated us with a soundtrack to the summer! We all know we need one since, you know… *vaguely gestures around while spending yet another summer at home*. That being said: any day you’re in need for some summery vibes is a good day to listen to Travoltas and Back To The City is no exception.

We start off with Escape the Pressure, an opening track that perfectly encapsulates the antidote to that feeling when you’re overwhelmed by your hectic day to day obligations and expectations you have committed to and/or have put on yourself, desperately looking for a release of the tension that has been building inside of you that you’ve noticed just now as you finally took a deep breath, allowing you to take a step back and somehow ended up with evaluating your life choices (it can’t be just me). Although thinking about this state of mind usually makes me feel my heart beating in my chest, Travoltas make it fun! It kicks off strong musically with an energetic rhythm accompanied by the keys, reflecting the urgency of slowing down our million-miles-an-hour minds, that are quickly joined by the lead guitar. This could be personal preference, but pace-wise I’m definitely adding this song to the playlist I run to, which in turn can be a great way to escape the pressure. It works on so many levels. The lyrics carry a message that urges you to start doing what you really want to do and encourages you to change your route if you’re not enjoying the journey to your destination. It provides you with something aspirational as it describes the contrasting, liberating feeling you could experience after you’ve switched gears, emphasized by the polyphonic chorus repeating the song’s title. I blame my driving references to the lyric video, I don’t even have a license.

The second song is Back To The City, the title track. I can’t quite put my finger on it, but the guitar sound in the intro gives it some sort of southern rock/country edge. Is this intentional? I don’t know, but the mountainsides described in the first verse, certainly don’t set our scene in the Netherlands, so if this was an attempt to ‘Americanize’ the song, I say mission accomplished! It also speaks of being on the road for a long time and looking forward to ‘boogie-woogie all night long’. Perhaps it is a nod to our secluded lives we’ve lead the past year and a half. While we can’t quite do what we want to just yet, we know we’re getting there and have begun to dare to look forward to that all night boogie-woogie. I know I am! Transitioning from looking at past experiences with some sense of sadness, missing the good old days, to using that nostalgia to fuel our anticipation of what is to come.

Start Again is the ballad of the EP, while still being a very upbeat, Travoltas-esque song. It makes total sense sequence-wise. Although the title alone might suggest something different, the lyrics are actually about not wanting or feeling the need to start over. In this song we hear singer Perry Leenhouts assuring his significant other that while acknowledging the rough patches they’ve been through, or are in the middle of, he wouldn’t change a thing. As a hopeless romantic, I think it’s a very sweet ballad and a nice addition to the release. Although I hadn’t mentioned it thus far, the harmonies/backing vocals overall are also delightful to listen to and come out very well in this song.

Ultimately we end with Nightcrawler. The closer has an epic/theatrical air surrounding it. I can see it being played during a unifying scene where our protagonists prepare to face the unknown, assuring each other that things will be okay with lots of ‘together till the end’-vibes that unfolds in an ominous, aesthetically 80s futuristic universe. Again this could be influenced by accompanying music video, but I think it’s spot on! The spoken word bridge is done in what I can only describe as an amazing movie trailer voiceover meets Batman voice in which The Nightcrawler introduces themselves to us. I can see this being a very fun song to play as a Travoltas live set comes to an end, where the audience has that coming together moment you often feel when you’re in a room full of sweaty people who you’ve danced and sung with for the past hour(s). That while knowing that not long from now, you will also have to face the dark and find your way home through the night. And, while you don’t want to think about that just yet, mentally preparing for that moment nonetheless. In a similar manner, Nightcrawler prepares you for the silence, the darkness that will follow after the stories you’ve just been exposed to are over. You’ll leave Nightcrawler feeling calm and content, but also excited to listen to the EP in its entirety for who knows how many times.

TLDR: The Travoltas have managed to release an EP that is both very coherent and varied in sound and covers a lot of ground thematically in just four songs. I really enjoyed listening to it MANY times in preparation for this piece, and I’m glad I did because it definitely deepened my appreciation for the songs and helped me connect to them on an emotional level.

If this EP can’t satiate your Travoltas appetite (those 15 minutes go by so fast!), don’t forget to head over to their youtube channel where they recently released one of their acoustic sessions. The fact that they titled it Volume 1 leads me to believe that there is more to come, and I’m looking forward to it!

Order Back To The City on Bandcamp.

Like/Follow The Travoltas on Facebook and Instagram.

This review was written by Ilse R. Smit.

Gig Review: Slam Dunk Festival 2021, South, Hatfield House 5/9/21

Slam Dunk 2021 actually happened and I have to say immediately it was one of the most fun days I’ve had in years. My attendance, since this edition of the festival was first announced back in 2019, was most likely not going to happen. It originally clashed with another festival I had tickets for (Bristol Booze Cruise), then a lot of the bands I was most keen to see had to drop out and with the ones that did remain, I was super sceptical about them coming over. Booze Cruise, along with every other event, got cancelled or postponed because of that bloody worldwide pandemic so that clash went away. As the festival’s new date began to get closer, I began to get more of an itch to attend the festival but I continued to hold out on getting a ticket until the last possible moment. That moment being when I knew that some of the overseas bands that were booked were in the country but that they were also allowed out of the airport. I was also waiting to hear back from Slam Dunk about a press pass but sadly that didn’t happen (hey, Slam Dunk, next year yeah?).

The day of the festival arrived and I had to set out early. I live in Bedfordshire, not far from Hatfield House where Slam Dunk takes place at all. But because of having to get all sorts of connecting trains at different points, my journey was far more complicated than it should have been. Why is it that trains only go up and down and not across around these parts? I also wanted to make sure to get to the festival site with enough time to get through the ticket area with plenty of time to get to the Punk In Drublic stage for the opening band. As the build up for the festival grew there had been a lot of drama on the festival social media posts about tickets not being sent out and kids getting stressed and confused about the COVID-19 protocols that would allow you access to the festival site. I expected getting in to take longer than usual. This couldn’t have been further from the truth. After meeting up with my friends we strolled up to the gate and basically walked straight through. To be completely honest, I was a bit concerned that the chap who checked my COVID passport barely looked at it at all – I hope the rest of the people working the gate were more thorough!

To start the day we made our way to the Punk In Drublic stage which was returning to Slam Dunk for the second year. I have memories of the first Punk In Drublic stage at Slam Dunk being opened by California’s The Bombpops and them playing to a huge crowd. Unfortunately the crowd that greeted Sweden’s The Baboon Show wasn’t quite so big but that didn’t stop the rock ’n’ roll foursome putting on a big show to start the day. They played a blend of heavy rock and punk that I think would have sounded great in an indoor setting but perhaps didn’t translate as well on a sunny, outdoor stage. It was a spirited performance though with the band clearly masters at working a crowd. I assume that the band were new to the majority of people in attendance and I’m certain that they came away as new fans of The Baboon Show. They’ll be back next year for a tour with the legendary Descendents.

Next we made the journey over to the Key Club stage for the Popes Of Chillitown. Regular readers of CPRW will know of our love of the Popes. We’ve been watching them live for years and it was amazing to see them get the chance to play at a festival like Slam Dunk. As they only had a thirty minute set it meant that the band could only squeeze in about five songs. This didn’t stop them from putting on one hell of a show for the massive crowd that had gathered to see them. These guys have spent years on the road in the UK and have clearly earned a massive fan base along the way. I always think that the band are at their very best when they’re on stage and, despite the early start, they brought all of the energy to Slam Dunk. During their opening song they had the crowd dancing enthusiastically. Popes frontman Matt/‘Tarzan’ was at his frantic best, jumping all over the stage along with getting down to the crowd and singing with them. Seeing these guys playing this festival and absolutely smashing it shows why the festival should take more chances on the so-called smaller stage and allow them to showcase what a talented place the UK DIY scene is. Congrats to the Popes on this exceptional performance.

After Popes we made the trek back to the Punk In Drublic stage where Buster Shuffle had already begun their set. The South London based ska band were a late addition to Slam Dunk, replacing Texan folk punks Days N Daze who sadly had to drop out at the last minute due to issues with travel. Buster Shuffle felt like a perfect addition given the warm sunny day. Their upbeat ska/two tone was made for sunny days in a field and I had a lovely time watching them. Despite some issues with their piano early on, the band powered through to deliver a slick set. I’m not overly familiar with the band but it’s the type of music where you can have a great time regardless and it seemed that Buster Shuffle managed to get the sizable crowd moving throughout their time on stage.

Following on from Buster Shuffle were a pair of UK punk rock legends. First was Snuff. Snuff seem to have been one of the most active bands on the touring scene since gig restrictions have been lifted so were well practiced for their set. This was my first time seeing them since Dan from Spoilers had the joined the band on bass and they had a three piece brass section especially for the occasion which was nice as well. Snuff very much fit the bill of a no nonsense punk rock band, storming through their set with minimal banter between songs but when they do stop for a chat it’s always very entertaining. Personally, I prefer Snuff when they play their more cockney sing-along songs, songs like Arsehole and Whatever Happened To The Likely Lads went down a treat along with a really fun cover of The Merrymen’s Feeling Hot Hot Hot. All punk bands should be covering Calypso music on hot and sunny days. Snuff were a lot of fun as always.

UK skacore heroes Capdown were next to take the stage and you could feel the anticipation and excitement throughout the crowd. Capdown are arguably the most influential bands of their era so this extremely rare chance to see them play live was one you couldn’t miss. It’s been a few years since Capdown played any type of show but as soon as they took to the Punk In Drublic stage it was like they had never been away. Lead singer and saxophonist Jake Sims-Fielding was a ball of energy, bouncing around the stage whilst screaming out the lyrics to the opening tracks. What struck me quickly was how good the sound was for the band. I’ve often found outdoor gigs to not have the best sound but that could not be said on this stage. Capdown sounded massive. As you would have expected, the band stormed through all the favourites, each track getting a bigger reaction than the last. Personally I loved hearing Cousin Cleotis, Pound For The Sound, An A-Political Stand Of Reasons and, of course, Ska Wars. There’s always a real concern that this could be the last Capdown show whenever they play but if this was the last (I really hope it wasn’t) then it was a hell of a way to end it.

Next we made our way to the main stage to see Creeper. I don’t think I’ve seen Creeper since they headlined the opening day of the very first Manchester Punk Festival back in 2015. At the time they had only released their debut EP. Very few would have predicted the absolute behemoth of a band they have become since then. Their most recent EP, American Noir, debuted in the UK charts at number 13 which is absolutely insane for an independent punk rock band. It was now 3 o’clock in the afternoon and the sun was beaming down relentlessly. It was a little strange seeing a band who have such a spooky aesthetic playing in the bright sunshine rather than a dimly lit club but it didn’t stop Creeper from putting on a big set. Frontman Will Ghould is a wonderful performer and even from my vantage point, towards the back of the biggest crowd I’d been in at the point of the day, I couldn’t take my eyes off of him. During their nine song set, they played a great mixture of old and new songs. I was pleasantly surprised that they played VCR off of the debut EP alongside the newer stuff. Another highlight was when Hannah came out from behind the keyboards to perform a brilliant duet of Misery with Will. Creeper really showed why they are so highly thought of within the UK alternative scene.

Up next on the agenda was the Key Club stage for the super special surprise guests. Except they weren’t a surprise for us as the Leeds leg of Slam Dunk had happened the day before and it was already revealed the day before as UK pop rock heartthrobs McFly. I’d seen a lot of people had been disappointed that it hadn’t been Neck Deep as the secret guests but I was actually quite happy to see McFly playing and it seemed like a lot of people in Hatfield felt the same. I feel like McFly were a gateway band for a lot of people as they entered the world of guitar-based music. I went along as I figured when else would I ever get the opportunity to see them – I certainly wouldn’t buy a ticket for their own gig. Though to be honest I’m not sure I can really count this as seeing them. By the time I arrived at the stage, the crowd was so full it wasn’t really possible to get a good vantage point and all I could see was the one person running to the front of the stage and playing McFly songs. Could’ve been anyone. The kids at the front that I could see however seemed like they really enjoyed themselves and that was nice.

Following straight on from McFly were A. A are almost twenty five year veterans of the UK rock scene but somehow this was my first ever time seeing them. Obviously they’re best known for their big hits Nothing and Starbucks but they have a big catalogue of fantastic rock tunes to work from. Despite being one of the hottest days ever recorded (maybe an exaggeration), frontman Jason Perry took to the stage dressed like he was about to hit the slopes. I’ve been told on previous tours he dressed as a Deliveroo rider, complete with the bag – I guess the man enjoys dressing up. I absolutely loved A’s set. From start to finish it was an incredible amount of fun and it was great to see how many passionate fans the band still has after all these years. From making playful jibes towards McFly, to releasing a small confetti cannon and encouraging the crowd to do a walking circle pit, Jason had the crowd in the palm of his hands throughout. The aforementioned Starbucks and Nothing (which closed the set) got the biggest reactions from the crowd but my personal favourite track was Old Folks. A were potentially my highlight of the entire day and the next time they play a venue local to me I will be making every effort to go and see them again.

On my preview of Slam Dunk Festival I published a few weeks ago I mentioned that I’d like to see both Anti-Flag and [Spunge]. Unfortunately for me they clashed. What a bummer. I decided I would see [Spunge]. To be honest, I absolutely love Anti-Flag but [Spunge] are the band that started this whole punk and ska adventure I find myself in so there was no big dilemma really. Plus, on a really sunny day like it was, it’s only right to go and dance to some ska. I was very pleased to see that I wasn’t alone in my thought process as [Spunge] also drew a massive crowd. Before the set Paul Smith of Be Sharp Promotions and I speculated on if it would be best of set or if they would play a load of songs from Room For Abuse in preparation for the upcoming tour. It turned out to be a best of set and the band just played banger after banger. It’s always amazing to see [Spunge] bring so much joy to so many people and, from the opening moments of Ego to the final beats of Kicking Pigeons, the crowd were having the time of their lives. Along with all the old favourites, the band squeezed in a performance of their newest song Just Sayings. Over the last couple of years [Spunge] have been drip feeding us a few new singles so I wonder if that means a brand new album is on the way? I really hope so. I can’t wait to see them on their Room For Abuse Tour in October.

With [Spunge]’s triumphant set complete we made our way to back to the Punk In Drublic stage for the final three acts of the day. First was Chicago’s Alkaline Trio, making their first appearance in the UK (aside from the day before) in years. I think it’s fair to say that Trio were a lot of people’s most anticipated band of the day. From the moment that the band began to play openers Private Eye and We’ve Had Enough the crowd embarked in a huge sing-along. Unfortunately the band had some issues with their bass cabinet during the opening songs so had to take a short break to fix it. During this drummer Derek Grant treated the crowd to a short drum solo. It was a nice treat seeing one of the best drummers in the world perform such a solo. From then on Trio played a storming set featuring songs from their entire back catalogue. Much like Creeper – who I saw running through the crowd, excited to see their heroes – Trio have a bit of a spooky demeanour so it was a bit strange to see them play in the bright sunshine. I did feel like it took a little bit away from the set on a whole as some of the imagery that the songs provoke are quite gloomy but that didn’t prevent the crowd from having a great time. I was a little disappointed that they didn’t play Stupid Kid or Radio but I did enjoy hearing Every Thug Needs A Lady, Mercy Me, Armageddon, Warbrain and This Could Be Love for the first time in years. We’re looking forward to them returning for a UK tour with Taking Back Sunday next year.

Two bands left and it was time to admit that I was starting to struggle. I decided to take myself away from the group to find something to eat, get a drink and have a little bit of a sit by myself before the penultimate act of the day started their set. So I did. After finding food and drink I found myself a spot to sit and replenish my energy levels. It was a much needed piece of restbite and was quite nice just to do a bit of people watching and take in the events of the day. It really did feel fantastic to be back in that environment again.

After eating, I decided I better head to the toilet before meeting back up with my group. Frank Turner And The Sleeping Souls were just starting their set and I noticed quite a few people sprinting across the site to see them. Frank Turner is one of the most beloved performers in the country but I must admit that I was surprised to see just what a great reception he got on the Punk In Drublic stage. I arrived at the stage about halfway through the set. It turns out that I timed it perfectly as the band were just starting Photosynthesis, one of the songs that introduced me to Frank Turner many years ago. Following this Frank performed his version of the NOFX classic Linoleum. This was one of the highlights for me as NOFX early this year retired the song and it always earns a big sing-along. Especially in this type of crowd. It was extra amusing as NOFX were on the side of the stage watching before their set. This was my first time seeing Frank and the band in about four years and I was reminded why I used to enjoy seeing them so much. The final four tracks completed a great performance – Try This At Home, Recovery, I Still Believe and Four Simple Words ensured that they finished with a bang and got the crowd ready for what was to come.

It was finally time for the last band of the day, the legendary NOFX. As ever, I was hoping they would play The Decline (still haven’t seen it live) but unfortunately they did not. I’ve always found NOFX a little hit or miss live so I was interested to see what it would be this time. To my delight it was a hit. Starting out with Backstage Passport before jumping into Dinosaurs Will Die was the perfect beginning, really getting the crowd amped up. It had been a long and really hot day so you could have forgiven the crowd for being a little lethargic. This definitely didn’t seem to be the case. We were hanging out towards the back of the crowd but from my vantage point it very much seemed as if the pit was going wild. Between tracks there was the customary NOFX “banter”, including asking a parent why they’ve brought their child to see them before explaining what snowballing is to them. From there they played What’s The Matter With Parents Today? A song I recently rediscovered a love for after listening to Pump Up The Valuum for our album club podcast series. There was a great moment when Frank Turner joined the band on stage to sing NOFX’s version of The Ballad Of Me And My Friends. This was my second time seeing Frank sing with NOFX while they play one of his songs after seeing them do Glory Hallelujah a few years ago. Looking back at the setlist, it seems that they didn’t play a few of their traditional big hitters such as The Separation Of Church and Skate, Bob and, of course, the retired Linoleum. I did expect them to play Linewleum but sadly they didn’t. We did get to hear I Love You More Than You Hate Me from Single Album though. Looking at setlist.fm it appears that the band played a set featuring tracks from thirteen of their albums which was nice to see. My personal highlights were Leave It Alone, Radio, Eat The Meek, Franco-Unamerican (partly due to my pal Toby’s dancing) and the finale Kill All The White Men. NOFX closed the day with a massive punk rock party that left everyone leaving feeling great.

As I said way back at the start of writing this review I left buying a ticket to the festival until the very last minute. Gosh I’m glad that I did. After the last eighteen months of mostly being indoors and not seeing anyone this day was needed far more than I realised. It was a moment of forgetting all of the horrible things that have happened all over the world recently and a chance to remember what life was like before. The bands were all fantastic but to be back in a environment with friends and like minded folk who are all in good spirits was the best feeling. I had such an amazing time and I really didn’t want to go home. Massive thanks to the Slam Dunk and Punk In Drublic crews for defying the odds and somehow making this festival happen despite everything that was thrown at them. What a day!

This review was written by Colin Clark.