Why Kelis is the Most Punk Act on the Victorious 2026 Lineup

We are moving past the indie fatigue to highlight an artist who actually refuses to play the industry game.

Let’s be entirely honest with ourselves as we look at the Victorious 2026 lineup. There are a few names on that poster that make you feel like you’ve stepped into a beautifully preserved indie time capsule. If you’ve spent the last decade drinking warm lager on Southsea Common, you have likely seen some of these guitar acts multiple times. It’s familiar, it’s safe, and frankly, it’s a bit exhausting.

Enter Sunday night’s true savior: Kelis.

On paper, the casual festival-goer flags her as a early-2000s pop nostalgia trip. But if you dig past the monolithic yard-orientated dairy memes, you realize she is a vibrant antidote to standard festival fatigue. In fact, Kelis is arguably more punk than half the guitar bands on the bill combined.

The Original Raw Energy

True punk isn’t about chords; it’s about a refusal to behave. When Kelis burst onto the scene with her 1999 debut Kaleidoscope, she wasn't doing shiny, focus-grouped pop. Produced by The Neptunes, it was aggressive, weird, sci-fi alternative R&B. Go back and listen to the sheer, throat-shredding rage of "I hate you so much right now!" on "Caught Out There." That isn't a pop hook—it’s a post-hardcore breakdown disguised as a single. While standard indie bands are writing polite songs about missing the train, Kelis was busy inventing a completely new sonic blueprint.

Unapologetically Multi-Dimensional

The music industry despises artists it can’t easily categorize, which is exactly why Kelis’s career is so brilliant to write about. She refuses to stay in a single box:

The Culinary U-Turn: At the height of her commercial success, she walked away from the standard music machine to graduate from Le Cordon Bleu as a classic French saucier, launching her own hot sauce line because she felt like it.

The 2026 Continental Shift: She spent years managing a farm, and her latest move involves relocating to a massive 300-hectare farm in Kenya.

The Sonic Evolution: Her last full album, 2014's Food, was a gorgeous, brass-heavy soul record released on Ninja Tune—the ultimate alternative stamp of approval. Now, hitting Victorious in the middle of a massive European festival run (alongside Sónar and Pukkelpop), she is teasing her first new music in twelve years.

The Sunday Verdict

When she takes the stage on Sunday night, don't expect a predictable, track-by-track trip down memory lane. Her live sets are legendary for being fluid, chaotic mashups—effortlessly sliding from early neo-soul into heavy electronic club anthems like "Bounce," or dropping unexpected Donna Summer covers.

In a festival landscape that can occasionally feel flat and personality-free, Kelis is the real deal. She’s outspoken, she’s alternative, and she has spent twenty-five years completely refusing to play the industry game. If you're looking for the set that will actually make you feel alive on Sunday evening, step away from the indie-by-numbers and head straight for the woman who has spent her life breaking the mold.

Victorious 2025

Victorious Festival has always been known for its scenic backdrop and eclectic lineups, but this year was defined for us by the unique, on-the-ground moments that make a festival truly unforgettable.

From an impromptu circle pit to a …, it was a weekend that proved the best memories are often the ones you don't plan.

Friday: A Day of High-Energy Beginnings

Friday was all about raw energy and powerful performances. The day kicked off with an artsy band whose stage presence was a work of art in itself. man/woman/chainsaw played a brilliant set with nice music that built into a crescendo, punctuated by a screaming electric violin and a cartwheel on stage.

Over on the Main Stage, The Charlatans swaggered through a set of their signature long songs in the blazing sun. The day took on a surreal quality as a hang glider floated overhead and a lone butterfly weaved its way through the very centre of the thick crowd, a moment of peaceful chaos that perfectly captured the festival's atmosphere.

But for many, the highlight of the entire festival was the afternoon set from Sprints. The band delivered a performance so electrifying that they changed their setlist on the fly, feeding off the crowd's amazing energy. In a moment of pure rock and roll bliss, they indicated that they wanted a circle pit, and one promptly opened up. This wasn't a dark, late-night pit—this was a full-on circle pit at 2 PM on a Friday on the Main Stage in the sunshine, a sight to behold. Their set was a masterclass in great energy and presence, featuring songs from their album Feast Heavy and the standout track "Rage."

The day continued with Ash, who played a crowd-pleasing set of their hits, including "Shining Light," "Girl From Mars," and "Kung Fu." They also threw in a separate and particularly memorable punk-infused calypso song. The crowd reception was excellent for all the day’s bands, building the perfect foundation for the headliners. The night ended with a split bill, with the high-energy performance of Kaiser Chiefs followed by Queens of the Stone Age on the Main Stage, while Madness brought their timeless fun to the Castle Stage, creating a truly memorable Friday.

Saturday: The Value of Going In Early

Saturday was a more sparsely filled day with bands of personal interest, but it was a day that proved the immense value of showing up early to discover something new. That discovery came in the form of The Pill, an incredibly engaging and brilliant band from the Isle of Wight. Their 12 PM set was filled with a great sense of humour and songs about being posh and blonde, as well as the track "Woman Driver." The crowd was fully captivated when the band had everyone turn around to check for mullets as a playful nod to their song "Hate a Man with a Mullet," with the brilliant banter that hairdressers were closed until Tuesday because of the bank holiday. It was a hilarious and high-energy performance that highlighted the value of their first headline tour, which will be stopping at the Southampton Joiners on October 1, 2025, and their new EP, THE EP, featuring the single "POSH."

Later in the day, the Main Stage was treated to a dose of fun from Rizzle Kicks, who delighted the crowd by doing their signature "mama do the up" dance.

Sunday: A Day of Mixed Fortunes

Sunday started early, with a quick glimpse of Balancing Act from Manchester before heading to the Castle Stage for Overpass. They were followed by the incredible Young Knives, whose set was a definite highlight, with beach balls bouncing through the crowd during songs like "Hot Summer," "Barbarians," "Fresh Meat," "Terra Firma," and "The Decision." A particularly poignant moment came during "Fresh Meat" when they unfurled a banner—a simple white sheet with words on it—a subtle but powerful statement that added a layer of context to the day, given the earlier controversies of the weekend.

The flow of music was then broken up by the comedy of Jasper Carrott on the Main Stage. While it was a unique choice for the festival, it was an interesting move that felt a little out of place with the musical energy of the day. The musical momentum returned with The Zutons, who delivered a very good set with a thick sound that got the crowd dancing and enjoying the sunshine.

However, the final highlight of the day belonged to Bloc Party. Their set was a great mix of their newer, dancier tracks and the classics from their iconic 2005 album, Silent Alarm. Frontman Kele was his usual expressive and talented self, giving a great performance that included coming down from the stage to interact with the crowd. While the initial crowd interaction was really good, the moment soured on the way back when, in a moment of over-bravado, he deliberately knocked over cups of water that security had placed out for the people at the front in the scorching weather.

Overall, it was a weekend full of great music and unforgettable moments. While not every performance was a perfect fit, the experience was a true testament to the joy of live music and the little moments that make a festival truly yours.

Victorious Festival/Strong Island: tom langford

Victorious Festival/Strong Island: tom langford

Victorious Festival/Strong Island russ leggatt

Victorious Festival/Strong Island russ leggatt

Victorious Festival 2025 - Day 2 - Saturday!

Victorious 2025: Saturday Was a Beautifully Bizarre Blend

After the glorious guitars of Friday, we plunged headfirst into Saturday at Victorious, ready for a day that promised to be as eclectic as it was electric. Our chosen path led us through a fascinating mix of indie chaos, nostalgic pop, and genre-defying soundscapes, a testament to the festival's brilliantly varied booking.

Our day began with a much-needed shot of adrenaline from The Pill. A band whose name alone hints at a jolt to the system, they delivered on the promise. Their set was a raw, unfiltered blast of punk energy, with jagged riffs and a no-frills attitude that cut through the early afternoon haze. It was a proper, sweaty, and cathartic experience that felt like a secret gig found in the middle of a major festival.

The mood shifted beautifully with the arrival of Public Service Broadcasting. Their set was a multi-sensory journey, blending post-rock instrumentals with an array of fascinating archive samples and mesmerizing visuals. It was both a dance party and a history lesson, a unique and captivating performance that stands alone at a festival. It takes a truly innovative band to make music feel this important and this much fun at the same time.

Saturday’s headliners, Vampire Weekend, closed the night in magnificent style. Their set was a meticulously crafted, elegant showcase of their unique indie sound. The band was impossibly tight, and their intricate, melodic tunes sounded incredible in the night air. Their performance was a beautiful, sophisticated climax to a day that had been anything but predictable.

Victorious Festival/Strong Island: tom langford

Victorious Festival 2025 - Day 1 - Friyay!

Victorious 2025: A Friday Fueled by Riffs, Anthems, and the Unexpected

The first day of Victorious 2025 has come and gone in a glorious blur of sun-drenched anthems and sonic surprises. From the front lines of Southsea Common, we embarked on a meticulously curated journey, a testament to the fact that the best festival experiences are often found in a well-planned schedule. Here’s how our Friday unfolded, deep-diving into a day that proved rock and indie are not only thriving, but also wonderfully weird.

We kicked off our day with the unapologetically chaotic art-punk of Man/Woman/Chainsaw. The band, a whirlwind of frenetic energy, delivered a sound that felt both primitive and intellectually sharp. Their performance was a glorious cacophony of screeching guitars and primal rhythms, a perfect palate cleanser to start the day. It was raw, urgent, and a wonderful reminder that sometimes, music is meant to be a controlled explosion. A proper racket, and we loved every minute of it.

Stepping onto the Main Stage, we were greeted by the effortless cool of The Charlatans. Tim Burgess, a figure etched into the indie landscape, floated across the stage, a beacon of timeless swagger. Their set was a masterclass in feel-good grooves and swirling psychedelic keyboards, each track from "The Only One I Know" to "North Country Boy" a nostalgic, celebratory moment for a crowd that has grown up with them. It wasn't just a gig; it was a communal rite of passage, proving that some bands simply get better with age.

We then plunged into the aural assault of Ash, who came armed not only with their legendary punk-pop hits but also a sense of renewed purpose. Tim Wheeler was in blistering form, tearing through classics with the vigour of a band a fraction of their age. Crucially, they gave us a thrilling preview of their new album, a fresh, fiery sound that proves their creative engines are firing on all cylinders. Their set was the perfect marriage of nostalgia and new beginnings, a reminder of their enduring relevance.

In a moment of pure festival eccentricity, we found ourselves singing along to Daniel Bedingfield. Yes, that Daniel Bedingfield. A true wildcard on the bill, his performance was a surprisingly joyous blast of early noughties pop. His powerful, soulful vocals and undeniable stage presence had us all dancing ironically, then un-ironically, to "Gotta Get Thru This" and "If You're Not The One." It was a moment that only a festival can create, where genre boundaries dissolve and we’re all just there for the good times.

As the evening drew in, we headed to the Main Stage for the unbridled energy of Kaiser Chiefs. Ricky Wilson, a perpetual motion machine, commanded the massive crowd with boundless enthusiasm. Their set was a nonstop party, a glorious hit parade of festival anthems from "I Predict a Riot" to "Ruby." They are a band built for big crowds, with singalongs, jumping, and witty banter all part of the package. It was a high-energy, feel-good performance that warmed the soul and prepped us for the headliners.

Victorious Festival/Strong Island: Russ leggatt

And then came the main event. Queens of the Stone Age didn't just play; they exerted a heavy, hypnotic force over the entire festival. Josh Homme, a true rock god, oozed charisma and cool as the band’s colossal, swaggering riffs filled the night sky. The sheer weight of their sound was magnificent, each track a masterclass in sonic texture and groove. We were completely swept up in the monumental sound of "No One Knows" and "Go With The Flow," a perfect, powerful end to a day that delivered on every front.

From chaos to cool, nostalgia to new, Friday at Victorious was a perfect testament to the festival's fantastic programming. What a day. And that’s just the beginning.

Victorious Festival 2025

Victorious is the UK’s biggest metropolitan family-friendly festival on Southsea Common and this year's Festival is shaping up very nicely for the bank holiday weekend!

bloc party

With something for everyone from comedy to family activities as well as some of the world’s biggest artists the festival by the sea is one not to be missed.

While Queens of the Stone Age, Vampire Weekend, and Kings of Leon are monumental draws, promising arena-sized thrills, Victorious Festival also has incredible depth. Don't just arrive for the headliners; arrive early and immerse yourself in the full lineup, making sure to champion the fantastic local acts too!

The line-up this year is brimming with acts we are looking forward to, from the searing post-punk of Bloc Party and Sprints to the anthemic punch of Ash and the infectious energy of The Reytons, there's a constant stream of vital rock and indie talent across every stage, ensuring no moment goes unheard and every day offers fresh, unforgettable discoveries.

Get your tickets here and we’ll see you there!

FINAL EARLY BIRDS END AT MIDNIGHT TONIGHT!

ash

https://www.victoriousfestival.co.uk/

Deftones / Weezer - Crystal Palace Park - 29th June

It was a scorcher of a Sunday! Under a relentless sun, thousands descended on Crystal Palace Park for a double bill that promised to be as compelling as it was contrasting. The weather was a character in itself, a baking hot and glorious backdrop to a day of loud noises that proved to be a resounding success.

We arrived as the day's energy was building, catching snippets of the early acts. We saw a little bit of High Vis and some of the jarring, industrial-tinged electronics of HEALTH which served as a fantastic appetizer for the main event. Both bands did an admirable job of battling the intense heat, and their sounds were a welcome jolt to the system, setting the stage for what was to come.

Then came the kings of infectious rock Weezer. It was a masterclass in festival euphoria. From the moment they stepped on stage, they delivered a non-stop barrage of hits, a set list so packed with classics it felt like a collective singalong spanning two decades. Every track was met with rapturous applause, but it was a specific moment that truly cemented their rock and roll wit. During "Pork and Beans," Rivers Cuomo's mischievous grin was visible from afar as he changed the iconic lyric, singing "Deftones knows the way to reach the top of the chart." It was a hilarious, respectful nod to their fellow headliners, a brilliant moment of mutual appreciation that delighted the crowd and showcased the band's genuine charm.

As the sun finally began to set, the mood shifted. The air grew thick with anticipation for the mighty Deftones. Their set was a primal, immersive experience that was the perfect counterpoint to Weezer's bright hooks. Chino Moreno, a frontman whose captivating presence is a force of nature, led the band through a journey of crushing riffs, atmospheric soundscapes, and soaring, ethereal vocals. The set was a powerful, visceral descent into their unique blend of heavy and melodic, a reminder of their enduring influence. From the heavy groove of "My Own Summer (Shove It)" to the otherworldly beauty of "Change (In the House of Flies)," they delivered a performance that was both brutal and beautiful.

Crystal Palace Park delivered a truly unforgettable Sunday. Despite the long queues and the inevitable trouble with trains on the way home, the day was defined by the music. Any frustrations faded into the background, completely overshadowed by the pure, electric energy of two legendary bands. It was a day of two halves: one filled with the nostalgic, hook-filled joy of Weezer, and the other with the heavy, captivating intensity of Deftones. In the end, it was absolutely worth every moment.

Check out our footage from the day below!

Isle of Wight Festival 2025 - Review

As the Isle of Wight Festival 2025 wrapped, we left Seaclose Park buzzing with earworm anthems and sun-kissed faces after a great weekend of live music.

There’s something special about crossing the Solent, feeling that sea breeze, and knowing you’re heading for one of the UK’s most iconic music gatherings. It’s a festival that practically invented the modern outdoor music experience back in the day, and for 2025, it was a line-up that beautifully blended legendary status with cutting-edge talent, particularly for those of us who live for a good riff and an anthemic chorus.

On Thursday the festival's Big Top tent set the stage for a night of diverse sounds. Rhythm of the 90s kicked off the evening with a nostalgic throwback set, making us feel simultaneously old and ready to bust out some questionable dance moves. Following them The Smyths paid tribute with their performance and the energy continued to build with The Pigeon Detectives delivering a lively show that had everyone moving.

Closing out the night, Example unleashed a high-energy DJ set that turned the Big Top into a pulsating dancefloor, leaving the audience buzzing for the days to come.

example

Friday saw the festival truly hit its stride, with action on both the Big Top and Main Stage, Lottery Winners kicked things off with their infectious energy and playful banter, setting a high bar for the weekend.

There was a series of exciting indie and rock acts, starting with Crystal Tides, the Portsmouth indie-rock outfit who graduated to the Big Top – always brilliant to see talent rise through the ranks! Scottish rockers Twin Atlantic gave a powerful performance, Amble helped to build anticipation for the Main Stage headliners and The Lathums brought anthemic singalongs with a heartfelt and energetic dose of modern indie, their set proved why they're rapidly becoming one of the UK's most beloved new bands.

Back on the Main Stage Amy Macdonald charmed the crowd with her distinctive voice and heartfelt folk-pop and then it was The Corrs who captivated with their unique blend of Celtic-infused pop-rock, bringing a timeless elegance to their performance.

The highly anticipated performance from Sting offered a masterclass in sophistication. Backed by a tight band, his set journeyed through a meticulously crafted songbook from a catalogue that reads like a musical history lesson. From the angular, sophisticated punk-infused reggae of The Police with hits "Roxanne," "Message in a Bottle," and "Every Breath You Take" to the rich, genre-bending tapestries of his solo career with songs like "Fields of Gold," and "Englishman in New York," Seeing Sting live isn't just about ticking a box; it's about witnessing musical excellence. It's a chance to understand why certain artists endure, continuing to inspire generations with their unique vision. Sting seamlessly weaves through his eras, ensuring every attendee finds their moment of connection.

The night reached a further level with Faithless activating a dance party, bringing their iconic electronica to headline to the Isle of Wight Festival for Friday.

Mae Muller

On Saturday Mae Muller commanded the Main Stage with her vibrant pop presence and then The Saw Doctors brought a unique blend of folk-rock and infectious energy with a passionate delivery and singalong choruses creating an atmosphere of pure joy and celebration.

Over at the Big Top Pale Waves provided shimmering, synth-kissed moments that kept the energy bubbling before 2024 Mercury Prize winners English Teacher took to the stage. Having just been announced as headliners for Rockaway Beach Festival 2026, English Teacher showed us their intricate musicianship with Lily Fontaine's captivating, often sardonic, vocals making a set that's both thought-provoking and surprisingly exhilarating. With an intelligent, intense, and utterly captivating set, they gave a fresh perspective, marking them as exciting new indie voices.

Next up Yard Act brought razor-sharp wit and pulsating angular post-punk brilliance in a theatrical experience, with frontman James Smith's observational lyricism and dynamic delivery at its core pushing the boundaries of modern indie.

Back over on the Main Stage Razorlight injected some swagger into the day, proving they still have the 'golden touch' when it comes to indie bangers. Johnny Borrell's charismatic delivery of "America," and "In The Morning," ensured a sun-drenched singalong.

Busted gave us a non-stop barrage of nostalgic hits like "Year 3000" and "What I Go To School For" which had the crowd jumping along with their infectious pop-punk energy. It really was a joyous blast of nostalgia for those who crave a dash of noughties sentimentality (and who doesn't?). A fun-filled performance that even rock and indie fans secretly (or openly!) enjoyed.

The Script delivered a heartfelt set, with frontman Danny O'Donoghue connecting deeply with the audience before Stereophonics took to the Main Stage with Kelly Jones's gravelly vocals commanding the crowd through classics like "Dakota" and "Bartender and the Thief" igniting a thunderous response.

Supergrass closed out the Big Top for the evening delivering pure, unadulterated joy with a full-throttle sprint through their back catalogue. The crowd became a joyous sea of bouncing bodies, solidifying their indie icon status.

The final day of the festival brought more great music and a highly anticipated headliner. Olly Murs had the audience wrapped around his finger with his charismatic performance and chart-topping hits on the Main Stage.

Texas, led by the ever-charismatic Sharleen Spiteri, delivered a hit-laden set that showcased their enduring appeal and Jess Glynne's soaring vocals and undeniable pop anthems brought a wave of feel-good energy to the Main Stage.

jess gkynne

The Ultravox frontman Midge Ure transported the Big Top audience back to the synth-pop and New Wave era with his iconic sound, showcasing his unique vocals and pioneering electronic soundscapes.

Ian Broudie's melodic genius brought us a set brimming with catchy, feel-good tunes for Lightning Seeds and James rounded off the Big Top for the evening with Tim Booth’s mesmerising presence. The band's rich, evolving sound delivered a truly captivating performance and to tell the truth after that we were all ready for a little "Sit Down".

The excitement was palpable for Justin Timberlake, who closed out the Main Stage for the festival with a show-stopping performance. The Isle of Wight Festival 2025 was an unforgettable weekend filled with incredible music, energy, and atmosphere. Each performer contributed to the vibrant tapestry of the festival, leaving attendees with lasting memories.

The Isle of Wight Festival 2025 delivered more than a lineup; it delivered an experience where you can find an array of stages, unique food vendors, and hidden gems scattered throughout Seaclose Park. Plus, the mere act of travelling to the Isle of Wight feels like the start of a mini-holiday – a perfect escape from the everyday hustle.

So, if your idea of a perfect weekend involves sing-along anthems and discovering your new favourite band under the summer sky, then the Isle of Wight Festival is undoubtedly calling your name. Grab your tickets for next year, rally your crew and get ready for an unforgettable four days of island good times and seriously loud noises. We’ll see you there!

Coach Party / Girl Scout / Panda Swim - Wedgewood Rooms 11th October 2023 - Live Review / Gallery

Photos: Sam Taylor/Loud Noises Mag

Words: Sam Taylor/Mr Teeth Reviews

“It's like a prom in here" enthusiastically proclaimed Girl Scout as they took the early slot at the Wedgewood Rooms.

The Scandinavian band being the opening for local-ish lovelies Coach Party. With a busy night ahead, this tour is certainly providing some well-deserved exposure for the group. Albeit faced with the potentially daunting task of being first on.

Yet despite the short set, there was still some fun to be had in the form of a (rather good) jazzy commercial break. During which Girl Scout directed the audience towards the merch stand.

Here fans could discover the 2 EPs released by the band. In the past having been compared to the likes of the Breeders (featuring Kim Deal of Pixies fame) and at times you can see why. However, when turning down the fuzz pedal, latest single "Bruises" from the "Granny Music" EP has a much more alt-folk vibe about it that comes across rather well on the small stage.

Certainly, a group to look out for and one who hopefully return as headliners once they've released more material.

Having missed the memo about a 2nd support act, it was a nice surprise to discover Panda Swim were somewhat reminiscent of American indie rockers Weezer. In particular when it came to the song "Dinosaur" taken from their own Loser EP.

Although these Pandas haven't travelled as far as the USA, they proudly announced being "from across the water but still with a PO postcode... cue the boos". Yet, with the likes of other Isle of Wight acts such as Wet Leg, Plastic Mermaids and Coach Party making a name for themselves, I think anyone from Portsmouth will happily take them as one of our own.

As for the headliners, the crowd at the Wedgewood Rooms eagerly awaited Coach Party and it was soon easy to see why the venue was so busy. After all, it wasn't just the Isle of Wighters having a night out on the mainland.

An eager fan held out a sign "What's the Point in Life... to See You" in homage to the Coach Party single. As is the power of music. Yet the song itself has a rather jolly, catchy and uplifting chorus... despite its downbeat lyrical content.

This early track set the tone for the rest of the performance, with a bunch of short bursts that make up the band’s first full-length LP "Killjoy". On record it's somewhere between an alternative power-pop album and punk rock. Whereas live the Coach Party engine runs on pure joyful energy.

TAKEDOWN FESTIVAL - Live Review

Takedown Festival 2023 – Live Review

as december falls

Even though Takedown Festival may have been on an 8-year hiatus, 2023 was actually my first time attending the one-day event. Initially I'd been intrigued as to how logistically it would pan out at Portsmouth Guildhall, which as it happens was done rather successfully. The headlining acts split between the main auditorium and a welcomed outdoor area, while the smaller rooms hosted everything else.

Meanwhile a select few of us were lucky enough to attend exclusive acoustic sets in a separate VIP area upstairs. Seething Akira being the first to accept the challenge of stripping back their material, which combined with an impressive turn out for their main stage set showed the lads are more than just your average local band.

jamie lenman

seethink akira

Dave McPherson

In terms of the bigger names, Jamie Lenman (ex-Reuben) and Dave McPherson (InMe) both showed much love for each other during their acoustic performances. At one point joining forces as Dave guested on a Jamie number, during a setlist that also included Mrs Lenman providing backing vocals. Likewise, they’re on the same level when it comes to showcasing material in its rawest form. The ability to drive home stripped back renditions with just as much passion, while entertaining the crowd with a stage presence that comes about having been on the scene for a good number of years.

Both performances also included a couple of surprise covers. Jamie Lenman’s take on “Love Song for a Vampire” by Annie Lenox, while Dave went for an emotional classic in “Unchained Melody”.

 The Sun was Shining on Takedown Festival

Luckily the sun was shining and as such the open-air stage beckoned for a lively set from Brighton based CLT DRP. The trio being an energetic mix of opinionated pop-punk with electronic influences. So much so that you could hardly make out if their guitarist was doing much more than triggering samples – but that didn’t matter, they were pretty damn fun.

The same stage later in the day would also host Saint Agnes, who in my humble opinion really stepped it up by comparison. Even if tracks from their latest album “Bloodsuckers” love a repetitive lyric, it just helps elevate the angry shouting of singer Kitty Austin. It’s the right balance between being catchy, with enough angst to justify their storming cover of “Firestarter” by the Prodigy.

Back inside things were heating up too, having caught both Fearless Vampire Killers and Palm Reader on the main stage. The latter already on my “must-see” list for the day, with their 3-pronged guitar attack demonstrating post-hardcore doesn’t have to be all about sacrificing heaviness for melodic tunes. Whereas the Vampires seemed to just come out of nowhere, having not been on my radar or prior festival planning, but they were certainly worth checking out.

 Even though as an ageing rocker I’d decided to watch both these from the balcony, it was soon time for another sit down in the comfy seats of the VIP lounge. Skindred were headlining later on, clashing with Sleep Token, but the chance to see them stripped back wasn’t going to be missed.

skindred - benji webbe

skindred

 It’s a setting that Skindred’s Benji Webbe laps up, often hosting his own Q&A session between songs. However, as well as being everything you want from a showman, a whole set simply with a laid-back Mikey Demus playing guitar had Benji on top form. His voice is just incredible, whether it be the heartfelt singing on “Saying it Now“ or the genre defying ragga-punk of “Nobody”.

 Takedown Festival 2023 - Genuinely a Huge Success.

jamie lenman

 At this point it seemed we were on the home stretch, however there was plenty more on offer. Takedown Festival providing plenty of music across every inch of the venue, one that came with a lovely vibe about the place, in fact it all seemed rather civilised. Even during the DJ’s in the stupidly loud basement bar outside the toilets.

Having seen Jamie Lenman up-close and personal earlier, in full-band mode it was a somewhat static performance, hampered by a slightly temperamental pedal-board.  Yet it was still just as entertaining, complete with a Sepultura backdrop and endless references to the Brazilian legends for no apparent reason.

black water county

In contrast, Black Water County may have had a sparse crowd and a smaller stage, but it was certainly one of the liveliest. After all, when a group turns up at a rock festival armed with mandolins and Irish penny whistles, you know you’re dancing shoes are required. If you’re a fan of the Pogues, Skinny Lister or the Dropkick Murphy’s then be sure to add Black Water County to your playlist.

 When it came to festival headliners Sleep Token, given the 2.5k capacity I’d be surprised if anyone else playing elsewhere at the Guildhall had an audience. The room was rammed by hundreds of excited fans knowing every song from the very first note.

 As far as theatrical acts go, Sleep Token certainly aren’t the first mysterious band to hide their persona behind cloaks and masks. However, the lack-of between song interaction (even when 1 of 3 backing singers passed-out) along with lengthy prog-rock intros, meant for a somewhat disjointed set. Not that anyone else seemed to mind… and while I wasn’t quite sold on the whole performance myself, it was obvious the rest of Takedown Festival were clearly loving it.

Words by Mr Teeth Reviews

Images by Sam Taylor

Victorious - Saturday

We started off our Saturday’s entertainment early for the second day of Victorious Festival with The K’s opening up the on the Common Stage followed by a trip over to the Castle Stage to catch sets from Swim Deep and Coach Party.

Swim Deep

Coach Party

Back at the Common Stage it was time for We Are Scientists who always put on a great show, their crowd interaction and between song banter really adds another dimension to the gig experience.

We first fell in love with WAS's ‘With Love & Squalor’ for it's great fresh indie rock tunes that have such immense attitude ... not to mention kittens on the cover - we were SOLD right there (clever marketing ploy). Since the early days there have been so many great albums, which really cemented them as indie rock legends with their intelligent upbeat indie rock which is what so many love them for.

Their delivery was spot on and with so many tunes to choose from even the uninitiated would recognisethey are the kind of band you can see multiple times each being a great and unique experience! With so many catchy riff-a-riffick earworms even the casual listener would be drawn into their vortex of awesome.

Kicking the set off with a bang ‘You've Lost Your Shit’ was powerfully upbeat and got the set off to a riotous start.

There was a good mix of older classics like ‘Inaction’ ‘Buckle’ & ‘It’s A Hit’ as well as new material in the set - W.A.S. are a band which have a solid backbone of hits as well as an ability to keep knocking out melodically interesting and humorous hits literally constantly whilst also seemingly always being on tour!

As the indie alt rock legends that they are they managed to squeeze so many tight performances of bangers like ‘Nobody Move, Nobody Get Hurt’, ‘After Hours’ and the bouncing ‘The Great Escape’ into their measly 30 minute set like a well oiled machine.

Check out our gallery of the beautifully voiced silver fox that is Keith Murray and the one and only Chris Cain in action:

Victorious 2022 - Friday

Primal Scream kicked off Friday afternoon opening the Main Common Stage for the weekend. With less artists performing it was still a really busy day filling up quickly.

James were really engaging and frontman Tim Booth dove into the crowd during ‘Come Home’ and it was a good day for a nice 'Sit Down'

Bombay Bicycle Club also graced the Common Stage and the evening culminated with a performance by Steroephonics which rounded off a great day and got us excirted for all the artists yet to perform over this Bank Holiday weekend in sunny Southsea!

Self Esteem:

Bombay Bicycle Club:

Victorious 2022 Preview

With less than a week to go here are our picks for Victorious Festival 2022.

With a huge back catalogue of hits including ‘Loaded’ and ‘Movin’ On Up’, psych-rock veterans Primal Scream will open up the Common Stage as special guests on Friday afternoon. They are followed by James, Bombay Bicycle Club and Stereophonics who are celebrating an amazing 30 years together in this year.

Saturday sees rock band The Subways and post punk band White Lies as well as New York indie trio We Are Scientists performing. We are scientists are a must see for Saturday - not only do they put on a great show but the between songs banter is a thing to behold, don’t miss them they play at 3.30 on the Common Stage!

Indie rock legends The Libertines will be taking to the stage as special guests for Sunday afternoon.

Sunday will also have performances from acclaimed alt-rockers Nothing But Thieves and Editors as well as indie-electro giants Metronomy.

Suede will play the Common Stage on Sunday while the Duchess of Pop herself, award-winning nu-disco diva Sophie Ellis-Bextor will play the Castle Stage.

You can find the clashfinder here to plan your day!

The Chats - ‘GET FUCKED’ Album Review

REVIEW BY DANNY BUTLER

It is hard to believe it has been five years since The Chats released their debut EP, ‘The Chats’. A short but sweet masterclass in DIY Garage Punk laced with teenage angst, humour, and Australian culture. In 2017, after creating their own record label ‘Bargain Bin’, they released their song ‘SMOKO’ with accompanying low budget video on YouTube, showcasing all the above on a global level drawing the attention of likes of Dave Grohl, Iggy Pop and Josh Homme whilst achieving more than 16 million YouTube views and 20 million Spotify streams. Their debut album ‘High Risk Behaviour’, released in 2020, was certified Gold by ARIA on release peaking at number 5 in the Australian Albums Chart. They even managed to get on Metallica’s ‘The Metallica Blacklist 2021’, a 30th anniversary special edition compilation featuring renditions of ‘Black Album’ songs from artists such as Miley Cyrus and Weezer. Pretty impressive stuff!

As of August 19th 2022, the young punks from Queensland will be back with the release of their second full length album, ‘GET FUCKED’. With that, I can most certainly say that they have not strayed from their style of ‘balls-to-the-wall-matter-fact-no-bullshit’.

Opening with an outright slap in the face, the lead single, ‘6 LTR GTR’ perfectly sets the tone for the album. Musically harkening back to the aggressive style of classic hardcore punk. The likes of ‘Rise Above’ era Black Flag instantly come to mind. The album maintains its fast pace and punch through out the first five tracks, including a 35 second mosh inducing ‘Southport Superman’ ending on a blazing ode to mental health struggles ‘Panic Attack’. After this, the album seems to slow down for a couple of songs, bringing it back to their early Garage sound. One of these songs, ‘The Price of Smokes’, the longest song on the album at 3:42, highlights the cost-of-living crisis that everybody in the world is currently going through, building its intensity until it reaches a crescendo of Eamon Sandwith screaming “THOSE BASTARDS IN PARLIAMENT OUGHTA BE HUNG BY THEIR NECKS”.

The second half of the album matches the teeth gritting intensity of the first, lyrically staying true to their “everyman” image and voice. There’s not much going on musically, but their lyrics are something that all of us can relate to in youth and mid-life. These guys are sick of being surrounded by douchebags and so are we!

Penultimate track ‘Emperor of the Beach’ is my personal highlight of this album, starting off with a mid-paced bouncy three chord roar, with a surf punk surprise that could match the twang and attitude of the mighty Dead Kennedys.

The final track of the album, ‘Getting Better’ is a two-parter that starts somewhat a gentle closer. I can only describe this as straight off a mid-late 70s Ramones album and features a catchy ‘Woo-ing’ sing-along melody. The second half of the song ramps the tempo right up to where we began with a Chuck Berry Rock and Roll style rhythm finishing with a bang!

Overall, the album can be quite repetitive, which can be quite fatiguing. Whilst it’s not the most intellectual, technical, or poetic song writing, the album is an absolute blast. This is exactly where punk needs to be right now. Back to basics and primitive. In a material, capitalist world run by ever growing conservative governments and dominated by technology, The Chats can provide a true voice for the disaffected working class with all their charm. And I wish them all the best and will hope to catch them live again. Rating: 4/5.

Kate Nash - Live Review- Portsmouth Wedgewood Rooms

Kate Nash – Wedgewood Rooms, review by Keith Sandys

It’s been a couple of years since Kate Nash performed at the Wedgewood Rooms, yet you could tell her fond memories were heartfelt. It’s something that happens a lot when artist return to our infamous Portsmouth venue, as such us locals welcome artist back with open arms.

With Kate Nash, some friendly faces and a big hug is evidently just what’s needed. Largely as the result of her open emotional vulnerability and the documentary “Kate Nash: Underestimate the Girl”. However, what doesn’t break you makes you stronger and Kate Nash has fought a hard battle between the press and record labels in her youngers days. This time around though, returning to the road much more on her own terms.

Released when Kate was barely out of her teenage years, tonight’s set still largely featured 2007 debut album “Made of Bricks”. The night starting with the opening track from that very album with “Play” and it was clear Kate Nash is in a good place.

Constantly smiling and messing about with her guitarist and bass player, there was laughter, forgotten words and falling over mic leads. However this was far from a chaotic performance, it just makes Nash real and happy to be herself, without having to pretend to be anything different.

Within a few songs “Sister” taken from “Girl Talk” saw Nash in her more rock-influenced era, the album having been self-released moving away from mainstream success. Music is clearly an outlet for Kate Nash, with those early tracks from “Made of Bricks” taking on a whole new meaning in more recent years.

Songs written as a youngster ringing true all this time later, the idea being that Kate Nash once would have been marketed/exploited as a young pop star. Yet to a certain extent, this is almost pop music for people that don’t like pop music. The songs are catchy and often simplistic. However the angst and honesty in the lyrics, along with the odd expletive connects much more with her audience than your average mass-produced Simon Cowell product.

Although, as expected it would be original single “Foundations” that would understandably receive the biggest reception. At the time played endlessly on the radio and a tune Kate Nash is quite rightly proud to close the main set with.

Kate Nash then performed the rather silly “Free my Pussy” alone on the Wedgewood Room Stage. However, it wasn’t long until the band returned for backing vocals and some more larking about, before a rock n roll climax of guitar solos and feedback ended the show.

As for those pop tendencies, while you may not hear “Dickhead” on radio-one drive time, the chances are you’ll be singing it for days to come. This was a wonderful gig, but if you haven’t done already, give “Kate Nash: Underestimate the Girl” a watch on BBC iPlayer for a true insight behind the scenes.

Loud Noises Fest 4.0

It's been 4 years of Loudnoisesmag and to celebrate all things loud and noisey we can today announce the line-up for Loud Noises Fest 4.0 which is being held at The Birdcage in Southsea on Friday 16th November.

Our headliners Frauds are a raucous 2-piece from London, who we've been following since we first caught them live all the way back in 2015. Their new single 'Animals' is out November 2nd, in the meantime check out the single 'Sandwiches' from their debut album here, along with links to our previous review and interview:

Having just released the single ‘Graffiti; Irony; Lists’ we are proud to announce that Oxygen Thief will also be playing for us.

Their new album ‘Confusion Species’ is set for release on the day of the show so this will be a great celebration of all their hard work in putting the album together.

Completing this awesome line-up are Portsmouth’s own Horseflies. Check out this ‘Video Nasty’ and review of their brilliant album ‘Sea Control’ here:

Review: Victorious Festival 2018 – Saturday

by Keith Sandys

With a fresh change of clothes and the bad weather behind us, the Saturday at Victorious Festival 2018 was off to a glorious start. Well, it was dry for a day at least…

Happy Mondays

Friday at Victorious Festival ended with the (baby)shambles of the Libertines and I was partly expecting the Happy Mondays to start in the same vein.

Bez must be wondering how he’s still being paid to dance around in his knee supports. However, frontman Shaun Ryder would be lost without him.

Along with Rowetta Satchell on backing vocals the rest of the band were also on top form. Listed as “Special Guests”, presumably for contractual reasons, Ryder and co. thoroughly deserved their afternoon slot on the bill.

DJ Tom Mayhem

While the weather played its part in keeping the Beats and Swings tent being busy all weekend, it almost certainly would have been regardless. The whole of the Victorious Festival site was open and the sun was shining for the Saturday, yet Portsmouth DJ Tom Mayhem kept the crowd dancing under canvas.

Sleeper

Sleeper were one of many popular 90’s Britpop acts to feature on the Victorious line-up since its incarnation. Old indie hits such as “Sale of the Century” were sounding fresh as ever, so I’m tempted to catch them at the Wedgewood Rooms later in the year.

Andy and the Odd Socks

Of course, watching a CBeebies presenter playing to a bunch of toddlers isn’t on everyone’s itinerary. However, you’re taking your child to a festival, highlights can take an unexpected turn.

When someone uses the term “freak” in their lyrics, it’s often self-deprecating. However, Andy and the Odd Socks turn it around, into a positive trait for their song “Unique”. In fact, I’d go as far to say it’s one us adult freaks can relate to all too well.

Jamin’

One of the many positives about Victorious Festival is how it makes a point to support the local scene. After all, there’s a lot of talent in Portsmouth.

As such I made a point of catching Jamin’ on the Seaside Stage, overlooking the English channel. Having seen the Libertine’s the night before, Jamin’ wouldn’t have seemed out of place alongside the Saturday nights headliners. In fact, they could probably have given them a run for their money…

Billy Bragg

“If any of the younger members of the audience wonder what an old bloke’s doing up here with an electric guitar, I’m what Ed Sheeran would be if he read the paper”.

This may have been in jest, however, Billy Bragg has a point. He is, after all, one of the true protest writers of our times, whereas the likes of Ed Sheeran give your average singer-songwriter hope of fame.

Following a reworking of a Bob Dylan in “The Time they are a Changing Back”, Bragg went on to show his age a couple of his own classics. “There is a Power in a Union” and “New England” very much songs of the people. Furthermore, lyrically Bragg is still just as relevant as ever.

Brian Wilson

From the moment Brian Wilson was escorted on stage, it was obvious he’s a man not in the best of health. While of course that’s well documented, it doesn’t stop the 76-year-old Beach Boy to perform a set of summer favourites.

The weekend’s weather may not have quite been filled with Californian sunshine, but the performance certainly was. Brian Wilson sat behind his mini-Grand Piano, although hardly played a note. Instead, it was the impressive array of musicians he surrounded himself with that carried the great man. Including, as it happened a secondary Beach Boy, stage left, on guitar and vocals.

Paul Weller/Paloma Faith/Duke Special

While I tried to share myself about a bit, it was Paul Weller who I would see the most. As the mod-father started, one thing in particular stood out. He is an incredible musician.

You never knew what you were going to get. Soulful vocals and gentle guitars, to rock n roll honky-tonk piano. What’s more, the changeovers were seamless, something the Libertines the night before could learn a lot from.

Elsewhere was Paloma Faith, a lady who knows how to put on a show. Her music may be a little commercial for my tastes, but as a person, I’ve always thought of her to be highly entertaining. She lived up to this expectation live too, very good at what she does.

Then there were the smaller stages, Duke Special is a man I’ve seen many-a-time, yet never fails to disappoint. Headlining the acoustic stage, sat behind an electric piano until his acapella performance of “Turtle Soup”. Duke is a performer in every sense of the word. So while his cover of Neil Young’s “Harvest Moon” drifted across the night sky, there was just enough time to see Paul Weller’s encore.

All in all, resulting in another fantastic day out at Victorious Festival 2018

Review: Victorious Festival 2018, Sunday

by Keith Sandys

Victorious Festival 2018 had got off to wet start on Friday night. Although things started to dry out on Saturday, Sunday was in danger of being a complete washout.

Sure enough, the British weather hit Southsea and tried it’s hardest to dampen spirits. Yet, the Victorious Festival organisers did well to keep things going. Despite several stages having to close altogether due to safety reasons, along with those being affected by limited power, the show went on regardless.

Gomez

While having a festival on the seaside is a pretty special location, it is, however, open to the elements. As such even the main stages were suffering, Gomez ended up playing an acoustic stage under a makeshift gazebo and elsewhere stage times had gone out the window.

It was soon obvious many festival goers had decided to stay at home until the last minute. Gomez may have played to fewer people than expected, but the stripped down versions still came across really well on the big stage.

Gomez

Dub Pistols

As the water was being swept from the stage, the wind and rain was showing no sign of letting up. It was getting to the point where the plug may have been pulled on the Dub Pistols altogether before they even started.

However, you can rely on Dub Pistols to bring the party to Portsmouth, whatever the weather. The musicians in the band may have had to huddle in a corner at the back of the stage, but that didn’t stop Seanie Tee and Barry Ashworth embracing the elements.

In fact, the pair were lapping it up, Seannie Tee in his waterproofs and umbrella, while Ashworth was getting as wet as the rest of us. The mud may have made it harder to dance, but one thing was certain, Dub Pistols yet again put on a show to remember.

Dub Pistols

Tuba-Libres

It was soon time to give in and take shelter, which for some meant getting to see impromptu performances by the likes of Bang Bang Romeo play in nearby pubs. For others, it was to head to the Beats and Swing Tent. While local cover bands may have drawn in the crowds on smaller sages, Tuba Libres were putting their own take on familiar tunes. All with the help of a horn section and some rather unnecessary stage costumes.

Sleaford Mods

Next up it was back under the rain clouds and into the mud bath of the Common Stage. The setup for Sleaford Mods is simple, Andrew Fearn provides repetitive electronic beats while Jason Williamson delivers the vocals.

Really, it was all about Williamson and his East Midlands accent. The beats were minimalistic and other than pressing play on a laptop, Fearn was more there as moral support. Visually, however, Williamson is an intriguing character. Part humble disco dancer, part working-class hero with a mouth like a sewer.

Sleaford Mods

Simo Lagnawi

The World Music Stage was one arena that had to be rained off. Luckily, however, the Peoples Lounge were on hand to provide a last minute alternative. Simo Lagnawi performed some traditional Moroccan music with his bandmates on percussion, the hypnotic sounds the perfect warm-up for what followed.

The Turbans

While everyone may have been excited about the headliners, it was the Turbans that were being promoted among the smaller stages. Despite the change in performance time and having moved to an even smaller setup, the band soon lived up to the hype.

Although a traditional mix of instruments, this was musical fusion at it’s finest. It also summed up the vibes of the World Village. The Turbans come from all over Europe and beyond, resulting in a combination of Turkish folk and gypsy music, along with other Eastern flavours.

The Turbans

The Prodigy

Clearly the biggest act on the Sunday of Victorious Festival 2018, the Prodigy were ready to play their only UK festival date of the year. The weather had cleared up and smoke and lasers engulfed the stage.

Opening with “Breathe” it was clear the Prodigy setlist was going to feature a number of classic dance tunes. That said, there were still a couple of more recent songs thrown in. Pretty much every track had the crowd dancing, with the really big ones spread out nicely throughout the set.

As a live act, the Prodigy have come a long way since the 1992 debut “Experience”. So while that release focussed very much on Liam Howlett as the main man, the Prodigy have gone on to grow into a full band. Keith Flint and Maxim Reality own every inch of the stage, but the live touring members are hardly hidden away.

During the encore, the Prodigy went old school with “No Good (Start the Dance)” and then ended the night with “Take me to the Hospital”. The whole show was superb, making a day out in the rain at Victorious Festival 2018 worth every moment.

As for Victorious Festival 2019, let’s just hope more bands are given tents, or at the very least that sunny Southsea lives up to its name!

Prodigy

​​​​​​​Review: Victorious Festival 2018 – Friday

Review: by Keith Sandys

Victorious Festival 2018 got off to a wet start on Friday night, albeit nothing compared to what would follow! Those who ventured out in the initial downpour were treated to a whole afternoon of music, while the rest of us tried to hold out until the last minute.

The Lightning Seeds

Having previously played at the first ever Victorious Festival in 2012, the Lightning Seeds made their return to Portsmouth. That original festival planted the (lightning) seed for the future. Having since moved from Portsmouth’s Historic Dockyard to taking over the whole of Southsea’s seafront.

Although the rain had kicked back in by the time the Liverpudlians took to the stage, they were certainly in good spirits. The Lightning Seeds played a handful of 90’s hits, while both the band and audience remained upbeat. Not only that but tracks such as “Lucky You” and “Life of Riley” were sounding great – proper festival tunes.

Shed Seven

90’s Indie/Britpop has always featured heavily on the Victorious line-up. Which, while catering to those of us of a certain age, probably keeps the festival costs down. Although unlike some of the other bands from the same era, Shed Seven have recently been promoting new album “Instant Pleasures”.

While a couple of numbers from the latest release slotted in nicely among older tracks, it was always going to be the old songs fans wanted to hear. Classic Britpop such as “Going for Gold” among the highlights.

DJ Prince Brandon

Due to its continued success, the Beats and Swing tent was much larger than in previous years. It’s location near to the 2nd main stage also made for a natural stop off between bands. As for Victorious Festival 2018, it would also prove to be an ideal umbrella, given the rainfall across the weekend.

That said, regardless of the weather, you’d have to fight for your spot undercover to start with. Especially given the number of quality acts the stage had lined up. None more so than local DJ and good friend Prince Brandon, whose set already had the tent nearing capacity.

You can never predict what combinations of tunes you will get from Brandon. Although while there may be some tunes you know, there’s always a good few obscurities thrown in for good measure.

Kaiser Chiefs

Starting off their performance with “Everyday I love you Less and Less”, it was soon obvious why the Kaiser Chiefs are so popular.

With a whole host of catchy hooks and sing-a-long choruses, Kaiser Chiefs were exactly what you want from a festival band. Frontman Ricky Wilsons’ performance may be a little contrived, but he knows how to control a crowd.

Tracks such as “Angry Mob” and “I Predict a Riot” were played back to back, while a wonderful cover of the Who would follow. The rendition of “Pinball Wizard” all the more poignant given the movie “Tommy” (in which it appears), features several scenes filmed on location, in and around Portsmouth.

The Libertines

So from a faultless act to one that was almost intentionally messy. The Libertines were never going to be the tightest of bands, but even I expected something a little more together. With the slackness between songs, it all started to drag a little.

Personally, I’m still holding out for Pete Doherty to appear on “I’m a Celebrity” or such like. Although while Doherty may have grabbed the headlines in the past, it’s Carl Barat that’s clearly the real frontman.

By the encore, the Libertines had started to fall apart even more. When Barat stepped in on drums for a brief cover of “I Say a Little Prayer”, it was soon abandoned in favour of “I Get Along”. However, presumably, in order to ensure curfews were met, it wasn’t long until the sound was cut altogether.

Victorious Festival

Victorious Festival is fast approaching so here are our picks for the Bank Holiday weekend's live acts not to miss: 

On Friday the festival opens its gates early this year at 1pm for a full day of entertainment including Kaiser Chiefs who take to the Castle Stage at 8pm and with headliners The Libertines starting at 9.40pm this is sure to be an opening night to remember! 

On Saturday we are looking forward to PINS on the Castle Stage, followed by Cabbage as well as Sleeper back over on the Common Stage. Headliner Paul Weller will be on stage from 9.20pm to 10.50pm so you can still get over to the Castle Stage to catch some of Paloma Faith who starts at 9:55pm.

On Sunday it's all about The Orielles, Sleaford Mods and a much anticipated UK exclusive from The Prodigy who are set to give an amazing end to the weekend in this beautiful seaside setting.

JOHN, Arndales and Dad Hair @ the Birdcage, Southsea

Review by Keith Sandys

It was a hot and sweaty Saturday night in Southsea. One where promoters Calamity Cratediggers could easily have renamed themselves “Clammy Cratediggers” due to the humidity.

dad hair

If anyone wasn’t aware there was a gig on above the Festing Pub this evening, they were by the time Dad Hair had started.  While I struggled to walk in the blazing sunshine, I could already hear they had come on halfway down the street.

So while that meant I missed half their set, I did at least still see some of Dad Hair once I finally arrived. Only rather than in a birdcage, the room was already starting to resemble an overheated fishbowl.

While I’m not struck on the name, Dad Hair were, however, a decent live band. Think along the lines of early Nirvana and Mudhoney or Sonic Youth. Basically, if you also like fuzzy guitars and 90’s grunge, then Dad Hair are worth checking out.

Obsessed with the state of the high street and their home county of Bedfordshire, Arndalesrelease new album “Shops”. It also draws influence from sharing a Google document with their friends about anecdotes at work. Plus they’ve also become firm favourites with no other than Black Flag’s very own Henry Rollins.

arndales

Even if in concept only, I was already liking the sound of this band. Their track “Prestige Pricing” samples an old-fashioned till, but it’s far from a masterpiece such as “Money” by Pink Floyd. As for performing “Shops” live, Arndales were a little sloppy, but to be honest I didn’t mind that at all. The keys were a bit haphazard, but somehow giving an unnerving edge to the band, albeit a little low in the mix.

Then there was “Dark Store”, where singer Alan Arndale gave an insight into the content of the song. As anticipated, it was again to be based around retail. This time the warehouses that front as the stock room for online shopping. Speaking of which, in hindsight, I wish I treated myself to a copy of the album, subliminal message maybe?

While again I thought the name JOHN was a bit lame (they could have been called, Bill or George…) it’s simplicity grew on me once I knew they were a 2 piece, both named John. There’s been a huge influx in 2 piece bands in recent years, with the likes of Slaves and Royal Blood taking the limelight.

The thing is though when you’re as good as JOHN you don’t need anyone else’s help. With John on drums and vocals, along with John on guitar, the two lads from London made enough noise between them.

I’ve always been fascinated by drummers who can play and sing at the same time. Growing up they always seemed to be kept literally on the back seat. Often only singing lead for ballads, such as Peter Criss from Kiss on “Beth”, or the Eagles Don Henley. Although someone once said, “It was a sad day in rock and roll when Phil Collins stepped away from his drum kit”.

Luckily, however, John stays firmly seated throughout. How he manages to keep it up though is another matter. The rhythms aren’t exactly straightforward, while vocally he’s needed to compliment the heavy riffs brought to us by John number two.

The compelling thing about JOHN is they were pretty relentless, while almost all of it is just about the drums and vocals. Although it wouldn’t work without an almost telepathic connection with John’s namesake on guitar. Even with the new songs the pair were tight and well-rehearsed, certainly proving they deserve the support slot for their upcoming tour with Idles.