Following the release of their new album ‘Losing What We Love” in October 2023, Chicago Pop Punk icons Knuckle Puck headlined The Fleece in Bristol as the final headline show of their small UK tour, and we were honoured to be there to capture the action. Knuckle Puck have secured their place over the years as one of the best in their genre, with their craft of crunchy, catchy vocal melodies over blazing instrumentals ranging from energetic emo and pop punk to a shimmering slower-paced tone. With their debut album ‘Copacetic’ approaching its 10 year anniversary, we were excited to see how far the band have come at this milestone.
The night was opened up by German emopunk group Shoreline, who lit up the room with their tasteful, upbeat emo jams. The band’s chemistry was contagious, as the bassist and guitarist ran back and forth on stage, swapping positions and singing into each other’s microphones. This was my first time being exposed to the band, and probably many others’ in the room too. It’s safe to say they’re definitely one to look out for.
Shoreline
Knuckle Puck opened their set with new song “The Tower”, kicking the show off with a taste of their new era. Anyone in the crowd who wasn’t already on board with the energy were quickly turned around as they performed their classic hit ‘No Good’ two songs into their set, which immediately had the crowd piling to the front of the stage and screaming the opening words back at vocalist Joe Taylor; “where’s your respect? and didn’t your father teach you anything before he left?”
The Fleece proved to be the perfect venue for the band’s return to Bristol, with its lack of a barrier encouraging crowd surfers, stage-dives and mic-grabs. Vocalist Joe Taylor was seen with a glowing smile throughout the whole set, passing the microphone to fans as they shouted the words back at him, and helping crowd surfers up onto the stage. The band were visibly enjoying the show just as much as the crowd, savouring the moment as they play to a packed out room of passionate fans.
Having not regularly listened to the band since they were a significant part of my music taste in my teenage years, hearing these songs live was truly a nostalgic experience, and despite having no photo pit to separate myself from the chaos, the atmosphere was ecstatic regardless. Old favourites such as ‘Disdain’, ‘Want Me Around’ and ‘Pretense’ had me singing my heart out with the rest of the crowd, holding my camera above my head to prevent it getting obliterated by crowd surfers between shots.
4 albums and a handful of EPs into their career, it’s clear that Knuckle Puck have still got it, remaining one of the most consistent and beloved acts in their genre, and their shows are more energetic as ever.
Words and photos by Ben Hunt – no use without permission.
Holly Humberstone’s penultimate show on the European leg of her tour was set to be an electrifying performance, the sold-out Bristol Beacon was filled with much anticipation for the Brit Award Winner to begin her performance.
After an incredible supporting act from the band Medium Build which got the crowd warmed up and enlivened, the stage at the Bristol Beacon glowed a warm red and Holly Humberstone graced the stage. She was met with a sea of clapping and excited cheers from the audience and opened with the first track from her debut album of the same name, ‘Paint My Bedroom Black’, which was released in October 2023.
Holly Humberstone had a perfect blend of synth-pop and indie rock in her performance. She began playing the soulful ‘Dive’ which features on her brand-new EP ‘work in progress’ released just the day before this performance. Following this Humberstone introduced her first ever single ‘Deep End’ as she thanked the crowd for sticking with her for the past 4 years, highlighting the establishment her career has gained so far, yet also giving the sense that this is just beginning of her success.
Personally, one of my favourite moments of her performance was ‘Cocoon’ from her debut album, where she brought back out Medium Build for a duet. The chemistry onstage between the two of them was invigorating, and the raspy and breathy harmonies of their voices together were truly beautiful.
Slowing the pace, Holly sat at a piano and shared a painfully relatable anecdote of moving to a new city during the pandemic and feeling alone without her loved ones. She began playing the beautiful and emotive “London is Lonely”, showcasing the impressive multitude of talents from singing to songwriting and the playing of the guitars and pianos along with this.
After an echo of chants for an encore Humberstone and her band ran back onto the stage and performed soft ‘Friendly Fire’ which the crowd sang back to Holly. From my view on Level 2 of the venue I could see fans in the pit gripping their friends’ hands, arms round each other, singing together. Finally, Holly concluded with the punchy ‘Scarlett’. By this point in the performance, the audience in the balcony seats were standing, dancing and waving their arms along to the song, this was the perfect end to a captivating evening.
Without a doubt, Holly did not disappoint on this Friday evening in Bristol. She filled the arena with her distinctive voice, beautiful songs and stage presence. A heartwarming and special night delivered by Holly Humberstone, one which Bristol certainly won’t forget anytime soon.”
With a stern scene of self-possession and his unmatched stage tenacity, Healy approached his house, the easeful set on stage, and glowed as he welcomed us home. Intertextuality and postmodernism remain at the forefront of everything they do, The 1975, still at their very best.
Being Funny in a Foreign Language, The 1975’s fifth studio album and most recent release soaked up a lot of space during the initial section of this, rather extensive and diverse, setlist. Its goopy guitars are particularly eloquent live, serving up a stew of noise that is so undeniably The 1975’s brand.
It would be rude not to comment on the stage set and dramatised performance aspect of this show. Yet somewhat familiar to last year’s set, with a few extra trinkets, it was a spectacle nonetheless. I, like many other of their admirers, find comfort within the dreamscape of this band. World building is a strong point of theirs, and it always has been. The 1975 have this finesse of building a commonplace that really does allow the audience to revel in its serenity.
Like so many faces in the audience, I grew up with my teenage years soundtracked to this silly alternative pop band and they really had a concisely selected set list to cater to us now mid twenties sad adults. As the illusory synths of ‘An Encounter’ slowly began to credendo, we all know what was up next, and our hearts will never be prepared for those god forsaken first 4 notes of ‘Robbers’ A gut wrenching, basically cult classic bellowed from the stage. The crowd almost drowned out the band, as we revelled and savoured the moment of that final outro. Following this, the atmosphere lifted as we were blessed with the twinkling piano and roof top rendition of ‘So Far (it’s alright)’ also from the Self Titled era AKA the doc martens and tumblr kid age that soundtracked the 2010’s.
Tim Healy, Matty’s dad, appeared on stage next as Matty gazed at him with glassy eyes as he performed vocals for ‘All I Need to Hear’ adding a touch of sentimentality. As we move on through the set, we get to Matty’s consumption… the part of the set that displays the most amount of these postmodern ideals The 1975 really hammer home. Concocting these theatrical, self referential performances that reflect on the state of the world’s politics we are living through. With boisterous references to over consumption of media, Matty proceeded to gaze into the static television screen that he eventually climbs through and disappears from sight. Band’s self awareness is criminally addicting as Matty appears again, lying on the grass covered stage in the centre of the arena behind the sound desk.
As Matty made his way back to the main stage, guitarist Polly Money led the vocals for ‘Jesus Christ 2005 God Bless America’ and I cant believe I’ve got this far without mentioning her exquisitely angelic presents.
The tone jumps to change as we enter the ‘at their very best’ section of the set, where they play more optimistic and buoyant tracks like ‘If You’re Too Shy (Let Me Know)’ and ‘TOOTIMETOOTIMETOOTIME’ off of their middle child album A Brief Inquiry Into Online Relationships. Following this, they indeed got the entire arena bouncing to timeless pop classic ‘The Sound’
Concluding the set with perhaps the best decision, Matty, Ross and Ross appeared on the sound desk stage to round off the evening with ostentatious close. Riffs of ‘People’ – The 1975’s heaviest, most enraged and politically motivated track. It definitely had the crowd split and I think this was a really intentional decision. But as someone who loves heavier music, to me, it was the perfect farewell.
Supporting the last 7 shows on the Bombay Bicycle Club UK tour, KAWALA brought their show to Cardiff SU’s Great Hall
Kawala, the British indie-pop band known for their infectiousness and bouncy stage presence, delivered a crowd warming performance in their support slot for indie kings Bombay Bicycle Club. The venue giggled with anticipation as the crowd very eagerly awaited their arrival to the stage.
Kawala has an eclectic sound about them, they are a bright indie pop band, yet they blend dual lead vocals, along with a seamless soup of acoustic and electric guitar. This blend is something I particularly enjoyed, as it helped weave an intricate soundscape that filled the venue.
Without a doubt there is strong chemistry between all members, and it is evident that the band is devoted to their pop craft. Especially with pop classic Do it Like you Do. A track about self love and growth, it’s wholesome, bright and feel-good. And although a sing along track, the lyrics were delivered with sincerity and charm. And speaking of charm, there was spirited interaction between Kawala and the crowd, which was indeed essential for a support slot like this one – especially at the end of the tour, I commend their energy and fortitude.
As their final notes reverberated, there were lots of smiling faces scattered around the venue, their job to entice and warm up the crowd sufficiently well done, this band proved their indie pop band status with their lively and pleasant set.
Words and photos by Kate Feast – no use without permission
My, my, someone better fetch the anaesthetist after Shikari’s fanciful show at Cardiff’s Utilita Arena on the 16th February. I mean, opening with System…Meltdown is bold. They knew they’d have the crowd instantly in a chokehold with that concoction.
There could be paragraphs about Shikari’s live visuals to be honest. As always, there was buzz around how they’re going to raise the bar that Shikari themselves have set and maintained, and now certainly jumped over. Even in the year since I’ve seen them last, it really is safe to say that they’re dedication to elaborate live visuals is tastefully ostentatious. Specifically Rou’s, now seemling iconic, climb up the screens, where is proseeds to ‘dive’ into the large light box, and the water visuals reflect himself being trapped underwater. Love lasers, confetti and sparkles? Yeah you really missed out, there.
As a whole, the band’s precision and affection for each other really glows, it’s clear that they are giddy on stage, savouring every moment. This extends all the way to the backs of the crowd where little pockets of dance parties emerged, and it was delightful. These parties were soon interrupted by the band moving to the back of the venue on a stage at the sound desk! Whilst Rou went on a parade around the balcony, hugging each person he encountered on this way around the venue.
Of course, the set list was pretty impeccable – highlights include “Jailbreak” with an extended trumpet version, played by Rou. The rooftop rendition of “juggernauts” and of course the extended D&B drenched version of “Sorry, you’re not a winner” which, of course, created an ecstatic crowd.
Anyway, it’s time we hand our keys back to The Dreamers Hotel, it was a pleasure to see one of my favourite live bands once again.
Live review and photos by Kate Feast – no use without permission
It was a rainy Tuesday in Bristol, but that did not stop the queue – and the hundreds of people in it – from getting to the venue for the 6pm doors. There is a nice crowd for the first act of the night, who to many including myself, was a pleasant surprise. AIR YEL’s performance was brief and largely acoustic, with a couple of well-known covers, but made sure those who were already in the room had a chance to warm up their voices for the exciting line-up to come.
Air Yel.
After a quick changeover, New York self-proclaimed State Champs enter the stage on the tunes of ‘We Are The Champions’ and kicked off their high energy performance with ‘Just Sound’ from their 2022 album ‘Kings of the New Age’ – with vocalist Derek DiScanio parading around the stage like a true champion. This is not the first time State Champs have played a larger room in the city, the pop punk band headlined the Marble Factory in 2022 and Bristol’s O2 Academy on two separate occasions. Coming out of the photo pit having been able to watch the first few songs from up close, making sure I am not accidentally hit in the face by bassist Ryan Scott Graham jumping, dancing, and spinning around on stage using the available space to its fullest extent, I was surprised to see a lack of energy in the audience. Whether State Champs fans just couldn’t get their hands onto the limited number of tickets, or were still recovering from the downpour outside, it was disappointing to see only a few hands up in the air. The energy slowly started picking up towards the end of their set and peaked with wider-known songs ‘Secrets’ and ‘Elevated’.
Mayday Parade
Mayday Parade’s frontman Derek Sanders walks onto the stage as final support act, singing the intro to ‘Oh Well, Oh Well’ standing bare feet on the edge of the stage. Alongside some voices coming from the audience, the rest of the band join in shortly after and their emotional but upbeat set is off to a good start. Whilst I can barely hold in the excitement myself, it seemed like once again only a few people in the audience were as excited as myself to see the band currently on stage. Similarly to State Champs, Mayday Parade headlined the O2 Academy three times before, as well as the Marble Factory on their last UK tour – where the energy and excitement was much more present than this time around. The setlist, however, is not the issue in their case; the five-piece know how to pack a short set full of absolute hits from across their musical career. The opening track from their self-titled album was followed by ‘More like a Crash’ from their 2023 EP, the lead single from their 2018 album ‘Sunnyland’, two tracks off their 2009 album ‘Anywhere But Here’, as well as multiple tracks off their ever popular debut album ‘A Lesson In Romantics’.
I may be slightly biased, as this is my 40th time seeing Mayday Parade live, but I feel like the true charm of Mayday Parade lies within the full spectrum of emotions their discography offers, which isn’t necessarily covered in the short set of singles and popular songs. Considering the five-piece have headlined this stage plenty of times, the magic of their live performance seems rushed through and overlooked as a support act. Whilst the crowd claps along during ‘Piece of Your Heart’ and engages in the sing-along, the band especially thrives playing songs like ‘I’d Hate To Be You When People Find Out What This Song Is About’. It has a perfect mix of intriguing instrumentals and lyrics that feel so good to scream along to, but particularly hits when lead guitarist Alex Garcia starts his spellbinding guitar solo. It is not a secret that Garcia is an unbelievably talented and passionate guitarist, but this specific solo continues to give me goosebumps after hearing live dozens of times. The song is a perfect summary of what Mayday Parade can do, especially live, and their performance deserved more than the 40 minutes of allocated stage time, as their countless headline tours prove time after time.
Mayday Parade
It has now been three hours since the first fans eagerly made their way to the barricade, and the Academy is packed wall to wall in anticipation for the Canadian pop-punkers. Simple Plan kick off their 90-minute set with the opening track of their debut album, including red and white confetti being shot in the air, shortly followed by ‘Shut Up’ and ‘Jump’ which ensured that everyone who just arrived, was still getting a drink at the bar or queuing up for the loos, are now part of the sea of jumping people with drinks being spilled and countless hands in the air. Not long after, more zero’s and early 10s hits such as ‘Addicted’ and ‘Welcome to My Life’ are being played. Growing up listening to pop punk and emo, these songs are considered classics; and they are everywhere. From pre-gig playlists, to recommended songs on shuffle, to an alternative club-night like Thekla Thursday – even if you are completely unaware of Simple Plan’s discography, there are plenty of songs you just happen to know, and Simple Plan’s setlist is simply packed with classics and charting hits.
Simple Plan
Something the four-piece from Montreal do incredibly well is crowd engagement. Not only could you win access to a post-show pizza party meet and great throughout the evening, but they were also able to get every single person in the room to wave their hands in the air during ‘Welcome to My Life’, and even get the crowd deafening at times and independently singing entire choruses. Streamers go off during ‘Iconic’, but not quite as planned. The large, long coloured tails were shot right over the audience, and instantly got stuck on the balconies, missing the desired dreamy effect streamers normally have. Lead vocalist Pierre Bouvier makes a comment on the disappointing execution of the streamers, before moving on to the next hit song on the setlist marking the halfway point of the show. The tropical fun of ‘Summer Paradise’, originally released featuring Sean Paul, becomes an even more immersive experience with two large beach balls bouncing around the crowd. At this stage of the show, I am actively regretting locating myself on one of the balconies rather than the pit, as I am completely missing out on the fun. I am not alone in this experience, as the young girl and her mum next to me are eagerly reaching over the balcony in attempt to give the massive beachball a little bounce every time it comes near, without any luck. As the end of the set is slowly nearing, the band successfully attempt get some energy back into the room with a party mashup of All Star, Sk8ter Boi and Mr Brightside. More classics are played, including the opening theme of the animated series with the same name ‘What’s up Scooby Doo’. Simple Plan cover all bases when it comes to audience demographics, with largely young adults at the barricade, and many of their millennial fans brought their own children having a party in the back until it is time to go home, proving pop-punk really is nowhere near dead yet.
Simple Plan didn’t hold back on their crowd engagement and production value, but as the cherry on top they also had an impressive amount of guest artists. Derek DiScanio from State Champs is invited back on the stage for ‘Where I Belong’, which is a collaboration between Simple Plan, State Champs and We The Kings. DiScanio being invited onto the stage for this song is not surprising, but Mayday Parade’s Derek Sanders also makes a guest appearance halfway through the song. The two Derek’s and Pierre take a bow and it’s an upsetting reminder that the show is nearly over. Simple Plan come back on stage for their encore, starting with 2011 hit ‘Jet Lag’ with AIR YEL, the first performer of the night, joining the Canadian group on stage for Natasha Bedingfield’s share of the vocals. After a quick mash-up of a few more songs and a group photo with the crowd and a handful of lucky fans that were asked to join, the moment we have all been waiting for arrived and the first notes of ‘I’m Just A Kid’ blasts through the room.
Simple Plan
However, this hit song is performed in a different format than most would expect, with Ryan Scott Graham from State Champs as lead vocalist, Pierre Bouvier on drums, and drummer Chuck crowd surfing. Once the show is over and the masses start heading towards the exit, I feel like I am 16 again listening to these bands as if pop punk is the only music genre out there – and that was revitalising. For a few hours I no longer had my ‘adult’ worries, and could be a teenager again, proving that pop-punk and emo music isn’t just for all ages, but that it is never just a phase. Bands like Simple Plan bring some energetic, positive fun to the every-day life and Bristol’s audience showed up ready to have fun and forget about their worries for a few hours. No wonder Bouvier awarded Bristol his favourite UK city!
After releasing the much-awaited new album ‘Calling The Dogs’ in October of last year, we were thrilled to catch Citizen headlining SWX on the fourth leg of their European tour with Drug Church & Viji. After spending much of last year touring Australia and Asia and embarking on a huge American run later this year with Taking Back Sunday, it was a pleasure to catch them for their brief stop in the UK. The crunchy-emo vocals paired with the post-hardcore/fourth wave grit of the band have made Citizen the long-standing figurehead of miserable misfits.
Opening the night was Viji, Austrian-Brazilian dark bubble-grunge artist who now resides in London. Viji’s (real name Vanilla Jenner) brings everything to a live performance that you would expect from an artist out to singlehandedly revive the 90s riotgrrrl/grunge movement. She sings with an attitude, her band sport baggy t-shirts and mullets, and the drums are consistently noisy and fast. Her songwriting is a mix of dirty distortion basslines blended with indie vocal hooks. She has the incredible ability to drift from an attitude-soaked shout-speaking verse to a higher register angelic chorus, boasting vocal abilities that can only be described as masterful. Despite having never heard her music previously I catch myself humming along instinctively.
Next up are the incredible Drug Church, the act I was actually most excited about on this bill (no hate Citizen- I have waited years to see DC!). The setlist has an unbelievable span of their catalogue- opening with ‘Grubby’ was a strong start. Finally getting to be immersed in frontman Patrick Kindlon’s trademark firey performances was an absolute blast- from the first song he whips up a moshpit at the front and it stays moving for the entire set. Four songs in and the energy won’t let up- they start the raw and aggressive ‘But Does It Work?’ to screams and cheers. By the end of the stellar fan-favourite ‘Myopic’ the room is shouting in anticipation for the closer ‘Weed Pin’. Hearing the iconic guitar line marking the beginning of the chaos, the whole room jumps – ‘first time in dress shoes!’.
Citizen begin with ‘Hyper Trophy’, the third track from the new record. The sound has veered to a more indie-centric approach than previous releases, but the songwriting remains compelling, and the distinctive vocals of Mat Kerekes continue as some of the best in the game. All the new electronic elements, softer lead guitar lines, and synths from the new album are carried over to the live performance.
We are then treated to ‘Jet’, opening track from the 2017 album ‘As You Please’- this one gets the room singing, with screams of ‘I’m the result of everything you never were!’ all around.It’s a reminder what a staple of ‘sadboy music’ this band has served as for so many years. I am frequently transported back to my teenage bedroom as I am screaming the lyrics throughout many of the older songs.
Five songs in, and the opening chords from ‘How Does It Feel?’ tear through the sold-out venue. After a slower but emotion-packed rendition of this track from the award-winning album ‘Youth’, we get to hear the crisp, raw and crunchy-emo ‘Yellow Love’. With the beer flowing thick and fast, there are definitely some grown men crying by this point in the night- and you cannot blame them, this band really bring out a different side in a lot of us.
Luckily the tears can soon be wiped away, because ‘Pedestal’ is up next. The masterpiece from my favourite Citizen record ‘Life In Your Glass World’ packs a punch live, the piercing snare hit on every word of the final line ‘and then you get shoved in my face’ was met with waving arms and beer flying in all directions. Next up is ‘Big Mouth’ – I am guilty of filming the entirety of this bass-driven anthemic number, but the video is a hilarious amalgamation of blurry chaos and shout-singing along far too loud. The set is starting to enter the home stretch now, with fans shouting out what they want to hear and the band looking chuffed with the fourth night of a sell-out tour.
‘The Night I Drove Alone’ is among the most requested, and the band do not disappoint. The pained scream of ‘I should have crashed the car’ around the room gave me goosebumps, something this song never fails to do. Me and my friend have to hold hands and scream every single lyric together, the room feels very connected in this moment, and I am too overcome with emotion to take any notes on the performance. Having a look at Spotify when writing my review up, I spot that ‘The Night I Drove Alone’ is Citizen’s most played song on the platform. After experiencing it live, I really have no doubts as to why that is.
The atmosphere shifts yet again as the band continue the set with ‘Dogs’ from the latest album. I don’t know this song very well, but it is my top earworm of the night, the line ‘we’re all dying, we can’t be treated!’ whizzing around in my head long after I have left the venue. Upon listening to the new album back again, I would recommend this song the most- it has the flavour of their older songwriting whilst fully embracing a more modern vibe. It makes me recall the line Pitchfork wrote on Citizen, ‘a band you can grow up with, rather than out of’.
With the evening drawing to a close, there are only two songs left for Citizen. ‘Death Dance Approximately’ is a song as diverse as its writers. The quick stabs at the beginning, straight into a catchy indie(but make it crunchy)-style riff, vocals leaning somewhere near pop territory, and a heavier ending make it a great choice to bring the show to a close. The song allows the band to demonstrate their eclectic and impressive skillset. Their encore is the animated ‘I Want To Kill You’ which ends the night on an upbeat and singalong crowd pleaser. I file out the venue utterly exhausted from three hours of jumping and singing but buzzed off the thrill of an extraordinary line-up. If you get the chance, Citizen are a must-see band for 2024.
Review by Jace Hawker. Photos by Ben Hunt – no use without permission
It’s a chilly February evening, and I am thrilled to be piling into a packed out Marble Factory for a night of live music. Drinks in hand, the crowded room chats and laughs, waiting for the show to begin.
Gladie are up first, a five piece hailing from Philadelphia. From the get go they set the stage on fire with their youthful energy and dynamic songwriting. Opening with ‘Thank You Card’, they immediately had my attention as it dawned on me I had this song saved on Spotify! The band have a nervous but charming presence, and having already embarked on several significant support tour, they are one to watch. Their smooth lead guitar lines and intricate songwriting boasts a maturity beyond their years. With a unique style both musically and fashion-wise, Gladie injected a refreshing vitality into the scene, leaving the crowd eager for more.
Gladie – Glenn Morrison
Following Gladie, Prince Daddy & The Hyena took the stage, returning to British soil after several UK appearances last summer. They delighted the audience with hits new and old, having notably added ‘Black Mould’ to their setlist since I last caught them at 2000 Trees in July. Each song was punctuated with chugging bass lines and cowboy-esque exclamations, showcasing their trademark blend of punk rock attitude and infectious enthusiasm. Their setlist, which included a brand new song, was a testament to their evolving sound and continued relevance in the punk scene. My only regret from this show is not grabbing one of their black and pink hoodies from the merch table… maybe next time!
Prince Daddy and The Hyena – Glenn Morrison
By the time The Menzingers stepped into the spotlight, the crowd was buzzing with anticipation, thanks to the electric atmosphere set by the opening acts. Armed with a Les Paul, a black Telecaster, and a sunburst bass, the band delivered a tight, punchy performance from the get-go. Seamlessly blending Celtic-inspired punk with elements of English 70s punk rock and country, The Menzingers treated the audience to a relentless barrage of anthems old and new. From the opening chords to the closing notes, there was hardly a moment to catch your breath as the band commanded the stage with seasoned expertise.
Hits like “I Don’t Wanna Be an Asshole Anymore” and the epic “Good Things” ignited the crowd into a frenzy of dancing and singing, showcasing the band’s undeniable charisma and stage presence. With flawless delivery and unmatched energy, The Menzingers proved why they consistently pack out venues.
Tom May / The Menzingers – Glenn Morrison
My personal highlight includes a slower bridge on the third song (annoyingly I didn’t know the songs name! I will find it with enough Spotify digging and coffee!) with their tasteful use of backing vocals. Their ability to bring a crowd down and back up with them in that song was amazing, and I loved every second of it!
Lead vocalist Greg Barnett informs the crowd they have had a very British Sunday, after going for a roast dinner. I wonder if we could contact Greg for a comment on the best place for a Sunday roast in Bristol?
The Menzingers – Glenn Morrison
As the cheers and laughter reverberated around the room, it was clear that The Menzingers would be back, and the audience would be eagerly awaiting their return!
With the recent release of their new album NO JOY, US rock band Spanish Love Songs returned to Bristol to finally play a headline show to a sold out crowd at The Fleece.
I first caught SLS back in early 2020, when they supported The Menzingers at SWX. They were due to return to the UK soon after on a headline tour, and finally they made it back, this time promoting NO JOY, going across the UK and Europe.
Opening the night was Suds, a 4 piece from Norwich, who were along for the ride. Although I’d heard of them, this was my first time checking them out, and I was blown away by their music and style. My personal favourite has to be their opening track A Terrible Thing.
Next up was Heart Attack Man, back to the UK after last being here for 2000Trees. Opening with Leap Year, made semi-viral through TikTok, these boys rocked the stage and got everyone warmed up for the main event of the night. A few dedicated fans were singing all the words back from the audience and kept the energy high.
And then it was on to the main set of the night. Opening with LIFERS, with the dull hum from the synths provided by Merideth, they were right into it, with the crowd fully on board with the new album.
The night was full of a mix of tracks from all eras, with Songs from Brave Faces Everyone holding up just as well as Schmaltz and NO JOY. One of the older favourites of mine is certainly Buffalo Buffalo.
The Boy Considers His Haircut went down well, with people more screaming back the words, in some kind of euphoric therapy session.
There were some people travelling far and wide for the show, with some following shows across the tour and others coming along for just one. But it is safe to say this isn’t my first SLS show, and certainly won’t be my last.
They were open about not doing the walk-off-walk-on thing that bands seem so committed to, instead choosing to blast through their last three songs.
The night ended with the title track to their previous album, Brave Faces Everyone, which had Everyone singing along, and even one person crowd surfing over the barrier.
And that was the end of the big show. It was great to see SLS finally headline a show in Bristol, and they are truly getting the reception they deserve. NO JOY has really hit home well with so many people, and it’s only a matter of time to see what this band have in store for us next.
“A sold-out show at the O2 Academy is always guaranteed to get sweaty, but there were very few that could compare to the level of energy and passion from both the audience and performers the night Don Broco came to Bristol. They started as they meant to go on with ‘Gumshield’ as their opener, and it only got better from there. The level of commitment and talent throughout the show was phenomenal, including the two opening bands, Trash Boat and Ocean Grove, who warmed the crowd up nicely for a hell of a show.
The show was rooted in heavy rock with blends of pop and a splash of metal, reminiscent of early 2000s rock, giving it a nostalgic feel while being 100% contemporary and original. The heavy bass lines came through strong, especially in my personal favorite song, ‘Pretty.’ By that point, I had joined the crowd in becoming one connected mass of bouncing sweaty bodies, and the energy was infectious.
The visual spectacle that came from both the stage design and lighting only added to the experience. There was a healthy amount of strobes, adding to the absolute chaos down below in the mass of bodies that was the mosh pit. For me, the visuals are just as important as the music when seeing live music, and this was a show that I could confidently say ticked all the boxes. The stage presence of frontman Rob Damiani was also phenomenal as he moved constantly from one side to the other, jumping and dancing his way through the set. He was joined with equal enthusiasm by the rest of the band, and with that, the stage came alive for a night.
The crowd matched the energy from start to finish. At one point, the attention was focused on two children who were experiencing their first-ever live gig. Drumsticks were quickly passed in a human chain back to the two youngest audience members, much to the celebrations and congratulations of the entire venue. What a first gig.
First or thirtieth gig, this was one to remember, and the entire crowd left happy, sweaty, and a little deafer than when they came in. The entire evening showed how live music should be done, and that, although formed over 10 years ago, Don Broco is still at the forefront of avant-garde musicality and has no intention of stopping.”
Words and photos by Anna Hatfield – no use without permission.
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