1,239 SI AND MATT HALL, Jim Blair and Hip Route, Swindon The Tuppenny, Thursday 28th July 2022

 

“We’d like to thank Covid 19 for our second headline show of the year!” deadpanned Si at the start of their set tonight, this (very!) short notice replacement gig being due to tonight’s intended headliners at The Tuppenny’s regular Thursday night Music Club testing positive for the dreaded ‘rona. Thankfully no-one was really ill from it (hence Si feeling able to make the above comment!), but this gave me a local gig on an otherwise quiet Thursday, catching up with the brothers Hall, former mainstays of Raze*Rebuild, one of my favourite bands of recent times, and now ploughing a more acoustic version of said band’s blend of Springsteen-esque heartland Americana and Mould-esque hooky popcore sonic assault. A combination of family commitments and lack of funds meant I missed their recent “My Dad’s” Festival set, but having caught them last month at The Beehive (gig 1,233) I knew Si and Matt were in fine form. So here we go!

 Parked in a free sidestreet spot after finding my now-preferred free-after-6 car park was full, and wandered around to the ‘Tupp just after 8, chatting with Matt about our kids (!). Local mainstay Jim Blair, who’d also thrown his hat in the ring as a late replacement tonight, was just finishing sound-checking, and, along with Hip Route bass partner John, started their duet set shortly afterwards. Jim, a flared trousered, barefoot rocker with the soul and husky, grizzled voice of a Mississippi Delta bluesman, and his baseball-capped cohort John laid down some down and dirty old school swampy blues, slightly affected by speaker issues (promoter and soundman Ed Dyer remarking someone had thrown a glass of whisky over it!) but with Jim’s highly proficient and intricate fretwork a feature, particularly after switching to a lap steel for the set’s denouement. The slow burn to noisy crescendo of “Find My Way” and closer, a growling rendition of the old standard “Come Together” were highlights of a good set. Still not to my usual tastes, but my narrow-minded ears are still suitably educated to recognise talent. And these boys have that…

 An entertaining between-sets discourse with Ed (or should I say, “Teddy”?!) before I had a pre-gig chat with Si about his recent hand issues – the new guitar helps, but he needs to educate his muscle memory into playing softer and gripping less hard! As we mentioned before, you can take the boy out of the punk band, I guess, but…! Further evidence of that, as Si and Matt kicked in at 9.40 with a smooth “Rhythm And Rhyme”, came from his one foot back, forward leaning stance to deliver his somewhat reined-in yet no less authoritative vocals. Following an early, melancholy “Slow Burn”, the toilet-circuit road movie soundtrack “Face For Radio” was introduced as “a Raze*Rebuild song,” some wag down the front (OK, me…) commenting that it was on their Coasters EP, Si then quipping, “we changed our name [to Raze*Rebuild] as we got requests for “Yakity Yak”!”

 

I’ve always said one sign of a great song is the performer’s ability to deliver it “live” in radically different ways; that being the case, Si and Matt write great songs. Full stop. The formerly galloping rocker “Troubled Minds” turned into a deliciously austere self-examination, while the multiple tumbling hooks of a later “Back To The Fall”, my favourite Raze number, would sound great in any setting, and even a slight middle-8 miscue from Matt (causing Si to come back with the subsequent amended hook of, “Matthew Hall, Matthew Hall…”!) didn’t detract from its excellence for me. In between, newie “Keep Distracted” lamented a partner’s absence abroad, and the atmospheric “You’re The Chalk” saw Si give his voice full beans (possibly a little too many!); then the galloping hoedown closer “Audiobook” again reflected a journey from youthful punk rock indignation to middle (r)age cynicism (and featuring the brilliant line, “can I smash the system while seated – and in comfortable shoes?”), rounding off another fine set.

 Quick chat with the boys afterwards (Si reckoning they were just “OK” tonight, but what does he know – he never watches his own gigs!) and a lengthier discourse with Ed about the importance of continuing to attend events in these troubled and financially pressured times, before I threw a fiver in the tip jar and headed home. As I mentioned, I’m glad the scheduled performer is alright, but even happier for their absence tonight, and another chance to catch up with, and be entertained by, this talented duo!

1,233 SI AND MATT HALL, Julesbury, Swindon The Beehive, Thursday 16th June 2022

 

My gig companions of Sunday’s Gregor Barnett show (gig. 1,231) now become my hosts for this one! An infrequent “live” outing these days for Si and Matt Hall, the former driving forces behind my favourite Swindon band since XTC, the glorious blue-collar popcore/ alt-rock noise that was Raze*Rebuild. Si’s happily in a new relationship now, but also suffering from lactic acid build-up in his hands, affecting his guitar grip (old age, it doesn’t come alone…!). Nonetheless, he promised to tough it out for an intended full hour acoustic performance up at the Beehive, where I last saw the boys play on an emotionally fraught Swindon Shuffle final day (gig 1,190), after visiting my now happily fully recovered brother in ICU.

 Logan fancied it too, and after permission was sought and granted for his attendance in this pub venue (thanks Jase!), we drove over after his Thursday swim session, parking behind the cinema and wandering up the increasingly steep hill for 8.30, greeting Mr. Dust, loitering outside. Things were running late so we popped inside for a drink and to catch opening duet Julesbury, a female singer/ guitarist (presumably Jules!) and her partner, who turned out to be Logan’s old guitar teacher James! Their set was very hushed, introspective and traditionally folky, sounding almost baroque and medieval at times, as if they were playing madrigals and not songs! “Jack Daniels” (“a romance song, not an ode to Jack”! insisted Jules) and “Brave Man” (a darker, more reflective octave shredder dedicated to her dad) were notable numbers in a loop pedal-augmented, highly proficiently played if slightly overlong set. Okay, but not my stuff really.

 We grabbed refills and pork scratchings (!) and bagsied a couple of stools in front of the “stage” for the Hall brothers’ set. “Let me know if it’s too loud,” requested Si, “it’s not supposed to be endurance gigging!” Easing into their mammoth 15-song set with “Rhythm and Rhyme”, Si concentrated on the rhythm parts with his new guitar (“it looks like an electric but plays like an acoustic – it’s blowing my mind!” he commented later) and sensibly let Matt display his talents with his undulating, intricate riffery on his self-made instrument. Good thing too, as even by the second number “Face For Radio” (tongue-in-cheek dedicated to his brother!), Si was shaking his hand during and between numbers to alleviate his issues, continuing to do so throughout. Nonetheless, he and Matt soldiered on manfully; good on ‘em!

 

The slow burner “Kat I’m Sorry” saw Si, trying to keep restrained due to the intimate nature of the setting, nonetheless give full rein to his usual stentorian roar in the strident, Buffalo Tom-esque chorus; as he later said, you can take the boy out of the punk band, but…! A couple of more alt-countrified newies (including “Slow Burn”, a grungy ballad which could have walked off da Tom’s “Smitten” album) led into a cover; not an “incongruous” one, this time, but a totally apposite and well delivered reading of The Waterboys’ sweeping 80’s classic “Fisherman’s Blues”. A bit of “swirly” from Matt augmented the hushed atmospherics of “You’re The Chalk”, whilst a clutch of old amped-up sweat-inducing Raze favourites in “New Leaf” and “Troubled Minds” retained their trademark gallop, even in this acoustic setting, Si still working up a sweat for his art and commenting, “If we ever do merch it’ll be wellies!”

 Logan and I had my favourite “Back To The Fall” dedicated to us; then “Audiobook”, a rocky, racey hoedown dealing with the transition from extended punk rock adolescence into “middle rage” (as a number of Si’s songs do), rounded off a gem of a set from these 2 talented brothers. Compliments then a quick departure (it is a school night, after all!), following this infrequent but enjoyable showing. Nice one boys!

1,190 THE 2021 SWINDON SHUFFLE, Swindon The Hop, The Tuppenny, The Victoria and The Beehive, Thursday 9th to Saturday 11th September 2021

 

After a Covid-induced one year hiatus, and a slight bump from its’ usual slot into early September, “The Swindon Shuffle” – the ‘don’s answer to the “Camden Crawl” and a free, multi-venue, charity fundraising showcase of Swindon’s musical talents – makes a welcome return to my gig itinerary! And this time I’m out for more than just the single “one and done” nights I’d been restricted to in 2019 and 2018, due to a number of intriguing acts being scattered across the breadth of the event. Also, this year the charity beneficiary is, appropriately, The Prospect Hospice, falling in line with the recent “My Dad’s Bigger Than Your Dad” Festival fundraiser in honour of recently lost Swindon musical stalwart Dave Young. So I’ll be throwing some folding into buckets at some point…

 

So, “Shuffle Day 1” Thursday (although event organiser Ed Dyer would argue the Shuffle starts with Wednesday’s quiz night!) saw me “on it” pretty much from the off, parking up in Old Town and hitting the upstairs room of The Hop about 7.30, just as opener JIM BLAIR was finishing off his set with a fuzzed-out cover of stompy old blues staple “Come Together” and his own “Dancing Barefeet”, one of Dave Young’s favourite numbers. Caught up with folks before my real early-bird motivation, ABSTRACTION ENGINE, due on at 8. Since catching an impressive showing from this lot at 2018’s “12 Bands”, I’d been meaning to sample a “live” set of their own material, but events and unfortunate clashes have thus far conspired against us, so I was glad to set that straight tonight, settling in front and centre for their set. For whatever reason, I’d expected a set of post-millennial, intelligently crafted US alt-indie-influenced rock from vocalist David Moore and his charges, and opener “Low” initially underlined this, creeping in low and slow-burn in a pseudo-laze Real Estate-meets-Promise Ring style. However, “What Would You Say” was notably more upbeat, with cascading ringing guitar interplay and some very fine hooky choral harmonies, and by “Dreamer”, next up, the robust drum intro and darker, almost proto-Gothy atmospherics saw them almost channelling “Spiritwalker”-era Cult! A chameleonic lot, this, then, with various rock/indie musical styles and references aplenty thrown into their melting pot; difficult to pigeonhole, but thanks to a welcome penchant for insistent, hooky chorus lines (“Talk In Your Sleep” even recalling a rootsier Big Star chorus!), very easy to enjoy. Final number “Shiine”, which with its absorbing melancholy and largely instrumental intricate meander felt as if it could have walked off 90’s Boston faves Wheat’s “Hope And Adams” album, put the final polish on a splendid set – nearly 3 years in the waiting, but well worth the wait!

 

Had a chat with David – a fellow veteran of the post-punk wars! – and his splendid bandmates in the beer garden, before heading off to The Tuppenny. CANUTE’S PLASTIC ARMY were rounding off their set in front of a full house, with some galloping acoustic guitar and Anish’s as-ever strident, commanding vocals the feature of their version of the old folk staple “Gallows Pole”. I caught up with some folks (again) and took an early watching brief (which, happily for my buggered knee, turned into a sitting brief next to my old Brunel mate Andy) for THE LOST TRADES. Opening with “One Voice”, this collective of 3 acoustic/ folky singer-songwriters again proved the whole is greater than the sum of its’ parts, with an enchanting set of stripped-back, smoothly pastoral numbers overlaid with interwoven 2/3 part harmonies. A lot quieter than I’d normally go for, but I’m a total sucker for choral vocal harmonies (the likes of Gigolo Aunts would attest to that), and this equally honey-throated trio delivered them by the bucketload. Some fun between-song banter as well, Jamie debating the rights and wrongs of wearing the t-shirt of the band you’re going to see (a total no-no in my book!), and Tamsin bubbling over the video for a finger-clicking “Oaks” garnering them a mention in “The Guardian” (!). “Good Old Days” was again my highlight, Phil contributing some comparatively startlingly strident electric bass, and “Groom Of The Stools” (“Horrible Histories in musical form!” quipped Tamsin) was a untypical yet jolly way to end another charming Lost Trades set. And for me, to end Day 1!

 

“Shuffle Day 2” Friday – or “Nappy Night” as some termed it, stealing a reference to those 70’s/ 80’s U18 Brunel Rooms nights – was all about young bands up The Vic! I parked up behind the Roaring Donkey and headed in at 8.30 for openers KOTONIC, or, “the Kotonic two!” according to the vocalist/ guitarist, due to the absence of their drummer for Covid reasons. This impromptu duo played an interesting brand of dark emotive rock, veering towards 90’s post-grunge, 2000’s emo and even contemporary darkwave, without plunging headfirst into any of those styles. Easy to see where the big riffs would be, even in these stripped-back acoustic versions of their material, and clearly the vocalist is used to howling above the noise, evidenced by his strident yet commanding tones and the conviction of his delivery. New single “Roots” and a later “Not Broken” were both slow burns towards big, angst-ridden chorus crescendos, and whilst some of the material seemed a bit overwrought and serious, there was definite promise here.

 

But my main target, and ultimately my highlight of the night, was next up. I’d been meaning to check out CONCORD DRIVE for some time, not only due to some favourable “live” reports indicating a young indie band of burgeoning promise, but also because the guitarist was the son of an old friend – yup, that’s where I am now, I’ve graduated from supporting my mates’ bands, to checking out my mates’ kids bands! I’d caught up with Nathan briefly earlier, so hit the front for their set, the band emerging at 9.15 in front of a packed and unsurprisingly young crowd of their contemporaries. Opener “Stranger Still” immediately underlined that reported promise, being the kind of urgent, insistent indie rock that would have seen me gleefully piling into a mosh in my 90’s heyday, and the repetitive hook and looser, almost funky drummer beat of “LDN News” marked them out as more than one trick ponies. But it was the latest single, “Don’t Wanna Be” that was my highlight; a proper indie banger, this, a thrashing dervish of a song recalling Indoor Pets’ excellent “Teriyaki”, and delivered in a confident, swaggering style by young vocalist Jacob, who with his Justin Young-meets-Jarvis Cocker stage presence, preening and posing and rabble-rousing in equal measure, is either a natural-born frontman or the biggest show-off in town! “Train To Boston”, a Bowie/ T Rex glammy stomper was another highlight of a rapturously received set of urgent, vital and propulsive indie rock from a very promising band: “next year’s headliners?” mentioned Ed Dyer to me… maybe…

 

TRANSFER WINDOW, another youthful lot, followed in short order; they’d apparently recently shed one member so were debuting as a 3-piece, the young guitarist/ vocalist apologising for his, “terrible voice,” in advance of their opener, an upbeat emo-esque beast with an angular, backbeat chorus. This set the tone for another frantic, fast paced indie rock set, with an early “Shallow Tendencies” (“the first song we ever wrote – it’s fucking terrible!”) an embryonic and grungy howl, and other numbers veering between punky amphetamine gallops and emotive thrashes (one later number recalling Jimmy Eat World’s “Sweetness” for me). In similar musical territory to Concord Drive, they might be a bit behind in terms of songcraft and development, although their recent personnel changes probably won’t have helped their forward trajectory. Either way, still another young band worth watching out for…

 

This brought us to 10.45 and headliners STAY LUNAR. Still a bunch of spritely young bucks themselves, they seem almost veterans of my sojourns into the local scene now, as I’d seen them as Shore and Rainy Day Fund as well as their current incarnation. I’d always enjoyed them before without being blown away, but tonight they took a step up with easily the best “live” performance I’d seen them deliver. From the strumalong opener “Thinking About You”, through the upbeat robust jangle of “Not Your Fight” to the smoother (dare I even say radio-friendly) 80’s synth-embellished pop vibe of “Anywhere/ Everywhere” they were notably more practiced and polished than previous outings, whilst retaining their hazy, dreamy 80’s melody. The 80’s in fact are quite the touchstone for Stay Lunar, with many and varied similarities popping into my head (C86, The Smiths, Nick Heyward, even The Lotus Eaters!). New number “Hello Old Friend” a song about mental health, shone with its introspective charm, and closer “Brainshake” was a funkier groove to close out their popular set, before Ed persuaded them back out, somewhat reluctantly it seemed (!), to reprise an earlier “Immediately”. A set-list grab and a chat with Concord Drive’s Jacob (tonight’s Star of the Show for me; sorry Stay Lunar…) rounded off a very successful “Nappy Night”!

 

So “Shuffle Day 3” Saturday was my final action, as other commitments precluded my Sunday attendance; after a busy and emotional day, I was out early as well, parking up behind the cinema and wandering up to The Beehive, scene of tonight’s shenanigans. Met SI AND MATT HALL outside for a chat before taking a spot stage-front alongside Paul and Sophie Carter for their opening set, prompt at 7.15 under the watchful gaze of a photo of esteemed local music reporter Flicky Harrison, also lost earlier this year, the Beehive stage renamed for The Shuffle in her honour. The boys kicked off with oldie “Rhythm And Rhyme”, before “My Remedy”, the first of a smattering of newies, underlined what compere “Dubs” had alluded to in his introduction, feeling a little more alt-Country than Si’s usual tubthumping blue collar rock, Springsteen-meets-Mould style. “Slow Burn”, another newie, lived up to its name with some hushed guitar work underpinning an angsty lyric; then a storming, singalong “Back To The Fall” (“an old Raze*Rebuild number for these guys [Paul and myself]”) was my set highlight, predictably enough. “Reluctant Shut-In” and closer “Audiobook”, racier musically yet coming-of-old-age lyrically, proved Si has had as productive a song-writing lockdown as brother Matt has had a guitar-making one, Matt showing off his new construction this evening!

 

Ran into Rich and entourage before popping outside and chatting with Si, Matt and various other folks; then back in for the first couple of numbers of SPLAT THE RAT’s Irish folk set. I enjoyed their authentic cover of The Waterboys’ fiddly-diddly 80’s classic “Fisherman’s Blues” whilst musing that it felt contrary to the spirit of The Shuffle ethos to play lots of covers (oh shut up, you bloody purist!). But in any case, my busy day and a couple of late nights were catching up with me, so I bailed at 9, grabbing a kebab and heading home. Sorry Flour Babies (headlining The ‘hive tonight)… I will catch one of your sets ere long!

 Thus endeth The Swindon Shuffle for me; once again an excellent opportunity to catch up with old and new friends, as well as a fine showcase of the musical talent Swindon has to offer; plus, tellingly, evidence that the torch is being passed to a younger crowd, both of performers and punters, which can only serve to revitalise and enrich the scene. Whatever, after the Covid cancellation of 2020, it was just great to have it back!

 

1,173 SI AND MATT HALL, New Bedlam Asylum; 1,174 THE MENZINGERS, SPANISH LOVE SONGS, Swindon The Tuppenny; Bristol SWX, Thursday 6th and Friday 7th February 2020,

A couple of “grown-up punk rock” gigs on consecutive nights which might initially have been 3; then nearly became just the one…!

So, Thursday first; following the recent untimely demise of Swindon’s finest, grizzled blue-collar alt-rock combo Raze*Rebuild, this pre-arranged booking for an acoustic Thursday show at the Tuppenny pub up the Old Town became vacant, only to be happily backfilled by… R*R mainstays Si and Matt Hall! So I made plans to go, safe (but disappointed) in the knowledge that my knees will no longer take a battering at the hands of their banded-up rampant alt-rock. However, in a typical “wait for one bus then two come at once” moment, fellow local US indie rock acolytes Abstraction Engine, a band I’ve yet to catch but had been meaning to for ages, booked a support slot at The Vic, same night! Neither the Hall boys nor AE’s exemplary frontman David knew in advance as to their set timings, so I drove up early doors in the vain hope that they wouldn’t clash.

 
Parked up in the final spot in the car park opposite the Vic, then took a wander in to find AE soundchecking in the back room. Decided not to disturb their work because, well, I’m not a selfish twat and it’s not all about me, so I took a wander to the Tupp, where Si and Matt were setting up (Matt with his new guitar which he’d made on a 6 day course!) but were happy to be disturbed and to confirm their headlining set would kick off at 9.30. Thus armed, I chatted awhile with the boys before heading back down to the Vic, where David and the AE boys were hanging out outside. “Tell me you’re on in ten minutes,” I hopefully inquired, only for David to sadly reply, “nope, we’re on at 9.30!” Bollocks! So, I stuck with the original plan, extended my apologies to a magnanimous band, then ‘twas back to The Tupp to meet up with Stu and find a couple of seats for opener New Bedlam Asylum. This proved to be a pseudonym for Charlie Miles, a young green-haired punk who immediately impressed and entertained with some full-on in-your-face acoustic punk rock ranting, the man sawing furiously at his gaffer-taped up instrument and gabbling 90 to the dozen, all angry, bilious, bucolic and full of angst and self-loathing, but also erudite and actually bloody funny. “Depression Goatee” was not only a suitably angst-ridden opener but a theme he’d continuously return to, in between other numbers encompassing pro-wrestling, veganism, some seriously left-leaning politics (a brilliantly scabrous “Shy Tory” being my favourite number of his set) and a Neutral Milk hotel homage (!). Superb dumb thrashy acoustic punk rock fun on one level, but given the breadth of his referencing (including Jeff Buckley, The Supremes and a host of artists I’d never heard of!), one suspects there’s a very cultured and intelligent mind beneath the punk rock self-loathing exterior. Either way, an impressive performer whom I’d like to catch again, and not only because he referred to me as, “guy who likes Neutral Milk Hotel”!

And now for something completely different…! Si and Matt were always going to sound low-key, at least initially, in comparison to young Charlie, both being beyond their angry shouty punk rock years…! Si sensibly gave props to the crowd (“this is unexpected - a roomful of people… for now…!”) and the opener (“I can’t do miserable tonight because Charlie just blew it out of the water! Charlie, this one’s for you, it’s called “Face For Radio”,” an unexpected faux pas which drew howls of laughter) as they eased into their stride. A melancholy alt-country “My Remedy” was an early highlight before “All The Gear”, a full-on knee-killer in band form, finally saw Si cut loose with the vein-bulging stentorian roar. A couple of Buzztone numbers embellished the set, albeit allegedly slowed down considerably from their 200 mph skate-punk versions (!), Si joking about putting these oldies up on Myspace back in the day (“Myspace? We’ve got a page on Ceefax!”), then “Kat I’m Sorry” saw a particularly impassioned vocal from Si and some excellent fretwork from Matt (Si repeatedly commenting on Matt’s self-made new guitar throughout). A fun cover of “Dancing In The Dark” skewered the obvious Springsteen comparisons in their music, before closer “Back To The Fall” was dedicated to me (!) for sticking around and not going to the Vic instead! A night of contrasting sets then, both notable and entertaining in their own right.

I bade farewell to all and sundry, promising to meet up with Si at the Menzingers’ gig in Bristol the following night; then things all started to go the way of the pear… Home at 11.30 to find an upset Rach up with Logan, the pain he’d been having in his legs for a couple of days having intensified. Rach took him up to A&E, leaving me to toss and turn all night, do Kasey’s school run the next morning then join her up in an A&E cubicle. After tests and admission, it was subsequently found to be a temporary viral infection, thankfully, but as I left at 4 to take Kasey for her swim lesson, they were still on the ward awaiting blood test results, so it looked as if I’d be needed to collect them and the intended trip down to Brizzle would be off…

Happily, the final test results came back OK and they taxi-ed home, and after checking things were OK, Logan was more comfortable and Rach could definitely cope without me, the gig was back on…! So, I left just after 6.30, hammering down the M4 then being held up by an utter dickhead BMW driver on the run into Bristol city centre, but still parking up, hitting the venue and squeezing down the front in time (just!) for Spanish Love Songs’ main support set at 7.20. An added attraction on tonight’s bill, they’d impressed last time out with a noisy, sweaty and all-hands-together Exchange set, and the crunchingly heavy riffery of opener “Losers” suggested more of the same tonight. Monolith vocalist Dylan Slocomb came up for air after a couple of bulldozing numbers, proclaiming, “Holy shit! Last time out we played the Exchange but I was super sick – this is more fun!”, before a speedier, strident and robust singalong “Sequels”.

The humble and self-effacing attitude of Dylan and the band – a feature last time out – was again to the fore, Dylan commenting, “I never thought we’d be releasing album No. 3 [today] and playing a room this size!” before completely filling it with their own brand of massive riffery, heavy and strong-armed drumbeats, and huge anthemic singalong choruses. Much of the set recalled the similarly bone-crushing relentlessness of Manchester Orchestra, although the likes of “The Boy Considers His Haircut” and a superb “Buffalo Buffalo” delved more into angsty yet gloriously shouty emo-punk territory. Dylan again announced, “really, this is the coolest thing ever!” before set closer “Beer And Nyquil” again underlined their inclusive vibe, their connection and empathy with their audience, with the hooky choral line of, “I want to hold it together” sung back by the crowd, providing a very fitting and apposite for a killer set. And this was just the support…!

Grabbed a breather and ran into Si (as promised), plus recent Gaz support star Ben Sydes! I knew there was an emo boy in him…! Took a spot house right on the crowded floor, as “A Praise Chorus” played over the tannoy, eliciting a singalong to the “crimson and clover” section… Then, 8.30 saw the lights smash to black and the intro music of “Rebel Rebel” herald The Menzingers onstage. Straight away they were “on it” with enthusiasm and gusto, the fast-paced opener of “Anna” ringing out, albeit sounding smoothier, shinier, and even a tad quieter after the behemoth Spanish Love Songs set…

I’d been late to the Menzingers party, having joined in for the ironically titled “After The Party” a couple of years back, which saw a maturing of their ragged emo punk into a more Gaslight Anthem-lite hooky and polished sound. New album “Hello Exile”, one of 2019’s finest, continues this journey for me, continuing the recent lyrical themes of moving from an extended adolescence into “proper” adulthood, and incorporating elements of Pixies-ish alt-rock, Americana and even a more countrified feel into their sound. Thus, the early likes of “Anna” and a soaring singalong “House On Fire” recalled a faster Gin Blossoms, and saw me plunging into a good-natured mosh – which featured a larger percentage of girls than I was expecting – and singing along with gusto, just the tonic I needed after a fraught day.

The boys were certainly having fun onstage, swapping vocal chores between bald, perpetually grinning Brian Bendis lookalike Tom May and his heftier, strong-armed colleague Greg Barnett, however things got increasingly violent in the mosh so I retreated to a supposedly safe distance, only to be followed by a white t-shirted bloke who, no matter how far back I went, seemed to be right in my face! I soon tired of this and swapped over to house left, the clarion call of “Burn After Writing” thankfully snapping me back into the gig. Greg remarked on an early singalong from a punter with, “I love it when that happens – especially when it sounds like a Disney pirate!” Don’t know what he’s insinuating about the Bristolian accent, but anyway… A mad mosh accompanied a tremendous “Telling Lies”, subsequently and thankfully diffused by a melancholy “Last To Know”, then later a punky double of “I Don’t Wanna Be An Asshole” and “Nice Things” preceded some proper old school punk, Tom channelling his inner Joe Strummer for a fine reading of The Clash’s “Death Or Glory”. My final mosh-visit was for their best number, the irresistibly bouncy set closer “Lookers”, by which time I was also on guard for a horde of crowd-surfers – again of both genders!

“Lookers” was the clear highlight of the night, so I could happily have done without the encore, then afterwards I held out for the drummer’s list, a helpful roadie throwing me the screwed-up ball as a prize. So, another night of equally meritorious yet contrasting sets, the gloss and tunefulness of The Menzingers contrasting with the seething and bludgeoning power of Spanish Love Songs. Heck, I liked ‘em both! A quick drive home and a kebab rounded off a fine evening and this two-in-two. Great stuff from all 4 acts… and, more importantly, a son who’s now fully on the mend after a brief but scary illness. That’ll do for me!

1,150 RAZE*REBUILD, Swindon Rolleston Arms, Saturday 24th August 2019

A late shout, this particular gig, despite it featuring a pretty firm staple on my gig “Dance Card”, namely Swindon’s finest purveyors of strong-armed, hard-rocking blue collar millennial punk rock, Raze*Rebuild… the lateness of my decision was down to this gig falling on the last day of our Summer family holiday in Cornwall, a superb but completely rammed week of sightseeing, Eden Projecting and Adrenalin zipwiring. A hectic time, then, so I wasn’t sure I’d have any energy left for a Raze gig; however a swift drive back with, amazingly, no traffic holdups, got us back to the ‘don in more than good time for me to sit and chill awhile before setting off for this one. My 18^th Raze*Rebuild gig overall in little over 3 years, putting them a clear 4^th on my “most seen bands” list… let’s do this!

Donned shorts and kneestraps as usual and hit the venue just after 8.30, catching up with fellow Raze uber-fan Paul Carter and also Pete Monkey, whose rabble-rousing punk combo 2 Sick Monkeys were headlining tonight, and chilling outside in the warm late Summer evening. We were also joined by various Raze folks and friends, including crazy Jon, our late plus-one from May’s Spanish Love Songs/ Pkew Pkew Pkew Exchange gig (gig 1,136), who’d been to Twickenham for the rugby with his mate and was in entertainingly bizarre and profane form. Eventually the witching hour arrived and Raze were pretty much ready for the off about 20 past 9, so I joined the throng (which by now included Shuffle entrepreneurs Ed and Colin) inside the pub for galloping opener “Burden Of Youth”. Not much room for me to rock out as usual, with too many folks walking between my vantage point and the window-located stage to get to the bar, so I contented myself with some vigorous swaying to Raze’s blend of fist-pumping anthemic Springsteen rock and Bob Mould-esque sheet metal popcore. Then there was the sound…

Si had called for more vocals in the mix during third number, “Kat I’m Sorry”, before really dialling up the stentorian roar himself, totally belting out this huge, stately power ballad (and I mean that in the “Taillights Fade”, “Hear You Me” sense, not the squawking Jennifer Rush sense!). However, this became an unwanted theme tonight, Si repeatedly calling on the young soundman’s services to adjust a murky and uneven sound throughout, at one point even quipping to him, “I bet you thought you’d get to sit down tonight, didn’t you?” Luckily Raze* Rebuild are the type of band to just get the fuck on with it, and their songs are the type of material which can stand (and occasionally actually benefit from) a bit of roughhousing, so, true to form, they simply barrelled through it, delivering an American Hi-Fi-esque set of ragged, rampaging rock. “Sand In The Petrol” was thunderous (Si introducing it with, “here’s a ballad – we can do punk rock and ballads!”), “All The Gear” and “Troubled Minds” an old-fashioned power-packed one-two punch Rock Marciano would have been proud of, and after “Poison Air” required a couple of takes, Si losing the vocals completely first time around, closer “Back To The Fall” (“this is our last song – maybe you’ll hear me singing it, maybe you won’t…” deadpanned Si, ironically) was it’s usual roaring, soaring self. So despite the sound troubles, this was again a typically raucous set from Raze!

A chat with Si afterwards confirmed that this would likely be Raze’s last gig for awhile, Si also commenting that their return would ideally coincide with some new material to freshen the set up from the band’s perspective, some new numbers being in a very embryonic stage and needing considerable work before being gig ready. Fair enough, I guess, although personally I’m not getting tired of hearing this particular set of numbers! Towards the end of the set, it had also dawned on me just how busy my day (and week!) had been, so I, tiring fast, reluctantly decided against sticking around for the Monkeys and headed off home. At least I’d got the chance to see Raze*Rebuild one last time before a likely pause in proceedings – let’s see what they emerge with next time… and hopefully we’ll be able to hear it too!

1,146 THE 2019 SWINDON SHUFFLE (Friday only), Swindon The Hop and the Victoria, Friday 12th July 2019

One day later than planned, thanks to last night’s impromptu White Lies gig, I’m finally out Shuffling! This, the 13^th annual celebration of all things fertile and creative in Swindon’s musical scene, represented the 5^th time that I’d sampled its’ delights, yet (as per last year) due to family commitments over the weekend, also represented a Friday night only “one and done” Shuffle experience for me. If that were so, I’d picked the right night, with the Mighty Raze*Rebuild headlining events at The Victoria, this time in their full-on amped-up band mode. So, after medical considerations conspired against my dancing to their recent Regent set, tonight also represented an opportunity to rock out to da Raze once again!

Preparations were duly made, so it was a be-shorted, knee-strapped and lenses-clad Sheriff that rocked up the hill just after 8, after watching an absorbing Wimbledon men’s semi-final, to meet with the Raze boys early doors at The Vic. This wasn’t my initial musical destination, however; the band schedule at tonight’s 2 venues seemingly fell into 2 broad categories, namely jaunty indie pop at The Hop, and grunting rock piggery at The Vic! As my musical tastes arguably fall Midway (Still?) between these 2 generic categorisations, I was planning to split my time between the 2, so it was first off to The Hop, a new venue this year, to catch the last knockings of ABSTRACTION ENGINE’s early set. A droney, haunting and morose US alt-rock/ indie influenced final number, with suitably doleful lyics (“falling by the wayside” and suchlike) made me hark back to late 90’s Boston band Wheat for comparisons, and make me regret staying at home for the tennis, particularly when I ran into Beef in this amply-attended upstairs room, who informed me that this final number was a fair representation of their set. D’oh! Anyway, I was now here, and seated near the front for next band up, introduced by Shuffle co-promoter and Hop compere Ed Dyer as, “the band who change their name every 10 minutes!” – no longer Shore or Rainy Day Fund, this was now STAY LUNAR. They pretty much epitomised this stage with some, well, jaunty indie pop, falling between the Byrdsian C86 gauche yet bright and breezy jangle of the likes of The Razorcuts, and slightly blander, more anodyne Haircut 100 type fayre. Nonetheless, it drew quite a crowd, who were all prepared to groove out; “you may have noticed I’ve got a lot of family here,” commented the curtain-haired blond vocalist which was true, most of them dancing in front of our seats!

After a few numbers, I noted very little variation in Stay Lunar’s material so cried enough, and popped back to The Vic. The rather excellently-named COBALT FIRE were about to kick-off; apparently the new project of local veteran chanteuse Ells Ponting, and if so this was quite a departure from my previous viewing (back at Treefest 2012, gig 854!), Ells swapping low-key acoustica and Postal Service covers for more strident, operatic dark rock. Some dirty, grungier moments appealed to the early 80’s Goth in me, but at times it felt a little overblown, plodding and operatic, making me think of Evanescence which for me is never a good comparison. Still, I really liked her final number, a dark and dramatic manifesto number called “Fuck Pretty” with some spot-on lyrics, and kudos to Ells for challenging herself and her audience with a dramatic new direction.

Back to The Hop, for TALK IN CODE’s funky and slightly baggy indie pop last knockings in front of an appreciative and mobile crowd; then I was faced with my Shuffle clash dilemma of the night… how much of WYLDEST’s set could I catch before I needed to bail out for the Raze set? Luckily, consultations with Ed revealed The Hop had a strict 11pm curfew and The Vic was running late, and I was also buoyed by the presence of Raze drummer Jamie behind me, Jamie partaking of Wyldest’s early numbers whilst waiting for the shout from Si at The Vic. So I was able to avail myself of most of Wyldest’s set, and I was glad I did; Zoe Mead’s dreampop vehicle have developed commensurably since my last band encounter (when, as Wildest Dreams, they opened the 2014 Shuffle for me), the 3-piece plying a very beguiling blend of woozy, hazy and ethereal dreampop, some darker, atmospheric and chiming guitar driven shoegaze (second number “Rolling Waves” reminding me of 90’s indie soundscapers Kitchens Of Distinction, no less) and some shinier, poppier yet quirky material recalling Belly (viz. later number “Alive”). Zoe herself was a charming if slightly nervous frontperson, commenting on my Death Cab For Cutie t-shirt after a rambling song intro, and pointing out her parents, both rocking new album t-shirts!

I’d managed to catch most of the set, but time was now bumping up to 10.55, Jamie having left 10 minutes earlier, so I handed a watching Shuffle co-conspirator Dave Franklin a tenner, with strict instructions to get me the Wyldest CD – and the setlist! Hotfooting it over to The Vic, I had time to get a drink in before RAZE*REBUILD kicked off their headlining set in front of the hardy and appreciative Shuffle faithful. The initial couple of numbers felt controlled and confident, particularly a rather splendid actually yet almost laid-back “Face For Radio”, but the boys really cut loose with the rock after an epic “Kat, I’m Sorry”, the subsequent “New Leaf” powerful, potent and punk-tastic, compelling me to really rock out down the front.

As ever, Raze were an awesome rock beast tonight; less ragged and ramshackle than the recent Regent gig, tonight it all felt well-honed, well-practised and precision-delivered. Well paced too; “Sand In The Petrol” giving this whirling dervish a necessary mid-set breather, before “Jaded Heart” slowly picked up the pace, Raze again cutting loose with a brilliant anthemic double of “All The Gear” and new single “Troubled Minds” (look out for that video, folks!). The boys made light of tonight’s one slip-up (well, the only one I noticed, anyway…), Si commenting to Matt, “you’ve ruined my slickness!” after a counting-in error to final set number “Poison Air”, but made up for it for me, introducing a brilliantly swooping, soaring and rocking encore “Back To The Fall” with, “this one’s for Dave… to be honest, they’re all for Dave…!”. I didn’t even mind the punctuation point of their Queen cover of “Don’t Stop Me Now”; this was a triumphant set, the essence of Raze*Rebuild, and more than worthy headliners tonight.

An end to proceedings then, but not the end of the night, as Ed and I enjoyed a late-night Mr. Cod and chat before I wearily headed off, home for 1. One and done again, but thanks to Wyldest and particularly Raze, it was well done again, Swindon Shuffle!

1,142 GAZ BROOKFIELD, Simon Hall; 1143 RAZE*REBUILD, Swindon Beehive; Swindon Regent, Friday 21st June 2019

What had threatened to be a rather unfortunate gig clash – and indeed, earlier in the evening, a medical emergency-induced double blowout – turned into a quite splendid raucous 2 gig night out in the ‘don! I’d long penned local blue-collar rock faves Raze*Rebuild’s 2019 debut into my Spring Dance Card, tonight’s show at The Regent serving as both Shuffle warm-up and a celebratory performance for Regent (and former Castle) landlady Audrey’s birthday; however, acoustic folk/punk guitar basher and gig regular Gaz Brookfield then announced an impromptu solo performance at The Beehive – for the same night! To make matters worse, said gig was going to be part-recorded for a mob singalong to feature on his new album! Bugger! Heavy of heart, I decided to stick to my initial plan and go see Raze, but call at The Beehive first – where Raze frontman Si Hall was pulling a double shift of his own tonight, doing an acoustic solo support slot for Gaz – and tender my apologies to the man, maybe catch some of his set before legging it up the hill to The Regent if timings were favourable. You never know…!

But then the medical emergency; earlier in the week I’d been prescribed Beta-blockers to start to address a long-standing (and hereditary) atrial fibrillation issue, but I’d reacted badly to them, suffering with shortness of breath. In fact, after my leisurely cycle commute home Friday evening, I was gasping like a guppy fish on dry land, and in need of medical advice. Thus, I was frustratingly sat in an out-of-hours Doc’s surgery at 8.15, calming my breathing down but increasing my blood pressure at possibly missing out on tonight’s shenanigans! An all-clear (and chuck the damn Beta-blockers away!) from the doc later, I drove swiftly up the hill, hitting a well-attended Beehive to catch the last 3 numbers of Si’s set. “Kat I’m Sorry” sounded as impassioned as ever, Si warming up his larynx for later, an acoustic “Back To The Fall” nonetheless went well (“I wasn’t sure how that would go!” confessed Si), and “Sand In The Petrol” (“a sad slow one to end on a high note!”) rounded off a fine and well observed, if slightly reined-in set, Si thanking all and sundry for being so attentive!

I passed on my apologies to a magnanimous and understanding Gaz, also informing him of Logan’s mention of him on our recent “Dinosaur To Junior” appearance on Steve Lamacq’s Radio 6 show. Si advised Raze were due on about 10, which happily gave me about ½ hour of the Brookfield, so I stuck around, chilling outside with Ady then popping in for Gaz’ set at 9.30. A fun newie to start, featuring some wordy interplay about writing new songs, ironically enough, then we were straight into the likes of “Diabetes Blues”, “Gunner Haines” and “Under The Table”, to a loud reception from the raucous crowd, who to Gaz’ obvious delight, sang along to pretty much everything. No fool Gaz; he’d clearly thought this through and picked a set of well-known, roof-raising singalong bangers to really warm the crowd’s collective larynx in advance of the mob singalong. In good fooling too, the man; “Haines” was introduced with a quip of, “a song about a dead soldier – keeping it light!”, “So Very Rock And Roll” was, in Gaz’ words, “what its’ really like to be a professional musician – “professional musician”, hah! Both of those words are a lie!”, and a punky “I’ve Paid My Money” allegedly had it’s first 2 verses, “written by pricks!”

“Maps”, oddly enough, was a stand-out, things getting weird as the audience kept calling out the title, so by the later “Be The Bigger Man”, the audience were in clear party spirits.

(Me too – by this time I’d excused myself at 10, but a swift wander up The Regent revealed things running very late, openers Flour Babies having just started their set! Thus buoyed, I popped back down The Beehive for the rest of Gaz!)

So I was happily there for the recording; a couple of runs through “Great Minds Drink Alike”, Gaz performing it off-mic in the middle of the crowd, with everyone giving it their roof-raising lustiest best voices. So it seems that, along with a few dozen other loud punters, I’m on the next Gaz Brookfield album. Great stuff! Gaz broke out the Whitney Houston cover after that, which was a fortuitous time to head up the hill, where Raze*Rebuild were plugging in and getting ready for launch at 11. Good timing!

Due to my medical issues earlier, I was strictly instructed not to dance, but I nonetheless took my usual front row spot for Raze’s opener “Burden Of Youth”, being joined by Ady and also old mates Avril and Ingrid, out on a girly night and clearly, erm, well-refreshed…! “Burden” was a rampaging opener setting the stall out for the set, Si clearly saving his roar for this one, and an almost jolly “Face For Radio” followed, a few folks dancing along and myself obeying doctors orders, contenting myself with a gentle sway… Damn shame, as this was pretty much a totally incendiary set – in fact, I’m sure that if you looked up the word “incendiary” in the Oxford English Dictionary of Rock, there’d be a pic of Si in full flow, lionesque roar and bulging neck veins, backed up by Matt intricately picking the riffery, Paj head bobbing in time to the bass, and Jamie pounding furiously away at the back. Another clear masterclass in what makes “live” rock’n’roll such an inclusive, visceral experience; again, by no means note-perfect or technically spot-on, but raw-boned, raggedy-arsed, sweaty and hellishly awesome. The rampant “New Leaf” got me a namecheck, “Sand In The Petrol” was honest and impassioned (for the second time tonight!) and “Troubled Minds” was a brilliant punky blast.

“This has gone way better than I thought!” gasped Si at the encore; “set the bar low and you can’t fail to be impressed!” as they launched into closer “Back To The Fall”. Another great, rocking set from the Raze; they’re well warmed up for The Shuffle, I’d say, and hopefully I’ll have my dancing shorts back on then and will be able to do them justice…

Chats with friends and the Raze boys afterwards – I think they appreciated my mentioning them on Lamacq’s show, which was nice – then a wander back to the car via The Beehive for a quick word with Gaz; and an almost London-late 12.45 home time… good thing it’s Friday night! So, another slap in the face for anyone who says nothing happens in Swindon; this was a great double-header out in the ‘don!

1,119 “THE 12 BANDS OF CHRISTMAS”, Swindon Victoria, Saturday 15th December 2018

 

It seems only apt that the final punctuation stop on a crazily packed 53-Gig Year of 2018 would be this one, the crazily packed Swindon music fraternity's "Christmas Party" that is the "12 Bands Of Christmas"... also that it should fall on a crazily packed day! Saturdays often fall into the category of "trying to fit a quart into a pint pot", but with last-minute Chrimbo shopping, picking up undelivered parcels, a cinema trip with my little man ("Aquaman"; not bad but the plot was, well, crazily packed!) and tea at my dad's, this one already felt like fitting a gallon into a thimble!

No matter, I drove up the hill early to ensure parking on a busy pre-Chrimbo Saturday, then caught up with the Raze*Rebuild boys (there it is, you've just sussed out why I'm really here, haven't you!) as the place rapidly filled. Wandered down to the back room, caught up with Andy Fenton and mate Nige, then took a watching brief for openers ABSTRACTION ENGINE at 8.30. As per previous "12 Bands" events, the format was simple; 12 local acts, all doing 2 numbers, both covers and ideally outside their usual genre, in their own style. So this indie jangle lot, seemingly led by Stephen King's younger brother, led off with an appropriately jangly "Can't Take My Eyes Off You", subsequently impressing more with their take on Wham's "Freedom", which turned into a 60's inflected TFC laze-rock strumalong. Good start! BASEMENT CLUB, who'd apparently come out of retirement for tonight, followed with a couple of growly vocalised numbers, including a C Lo Green song, then CANUTE'S PLASTIC ARMY impressed with a haunting stripped-back "Life's What You Make It" which was actually quite beautiful. By their second number "That's Not my Name", vocalist Anish was threatening to flatten the front couple of rows with her strong and strident vocal tones (as her neighbour and local impresario Ed Dyer, who'd joined me by now, had promised), particularly during the segue into "Whole Lotta Love".

Things were already getting busy in the back-room venue by now, so I sought some fresh air and space outside, chatting with Ed, and Graham from Cinnamon Smith (splendidly decked out tonight in a Nefertiti headdress!), before plunging back in for GEORGE WILDING. I'd unfortunately missed this talented young man's TC&I support slot, but I was glad I caught this, as young George encapsulated the spirit of the event by turning "Let It Go" into a funereal (albeit no less singalong!) death-dirge, before a glammed-up and more upbeat Abba medley which went down a storm with the by-now packed crowd. A quick chat with the lovely Bex, a star performer here last year, before CHENEY, who was joined by the ebullient Theo Altieri, who then led a rabble-rousing singalong to "Electric Avenue", which made up for a dull "Bittersweet Symphony"... no reflection on their bleep-bloop synth-effects led version, I just think it's a crap song!

Out again for another necessary breather; by now it was sardine city back there, the concept of "personal space" having long since disappeared, with the compere continually exhorting the crowd to, "take 2 steps forward" (mate, I was down the front; if I took 2 steps forward I'd be in the dressing room, never mind on the stage!). It just felt considerably oversold, and with up to 40 or so performers across the 12 bands as well, it was simply waaaay too full.

So, I squeezed into the back on my return, to catch the MATT BRYANT EXPERIENCE, Mr. Bryant himself sporting choirboy garb and leading his band of cavalrymen through a languid "Be My Baby" and a tinny "Sit Down" during which Bryant tried to get the crowd to sit down - no room to stand comfortably, mate, never mind sit! ATARI PILOT, featuring R*R bassist Paj pulling the first of his double shift, turned "Heaven Is A Place On Earth" into a chuntering and layered REM-alike jangle-fest, although their subsequent "Let's Dance" felt too faithful to Bowie's original.

Talking about double shifts... I grabbed a tiny spot down the front as Jamie took the drum-stool for the first of his own double-header! First THE HARLERS; initially a 2-piece, sneering and growling through a grungy and gravelly "Molly's Chambers" and a snatch of "We Will Rock You", before being joined by a bassist for a tremendous sparky and spiky rant through The Subways' "Rock'n'Roll Queen". Then, the main reason for my attendance, RAZE*REBUILD, Si leading the band on with a quip of, "playing at 20 past 11? I'm as pissed as you lot!" before inviting a singalong for a genius selection of "Nothing Compares 2U", the Raze-boys of course turning this teary ballad into a full-on punk rock rollercoaster thrill-ride, a la China Drum's "Wuthering Heights" or Husker Du's "Eight Miles High". Yup, that good. Journey's cheesy rocker "Don't Stop Believin'" ("dialling the Cheese-ometer up to 11," according to Si) was big dumb stompy fun too, but for me the boys had led off with the real winner, and the single-song Highlight of the Night.

Stayed upfront for YVES, whose "No One Knows" was again too faithful to the QOTSA original for my liking, their take on "Take On Me" also being a bit of a mess, the vocalist not even knowing the words to the verses! Still, they were lapped up by the seething mass of bodies, so what the fuck do I know, eh? Still, one thing we could all agree on was that THE MARTYRIALS' bat-shit mental set was last year's "12 Bands" highlight, so no surprise that this unorthodox band of psychedelic punk ruffians were booked to headline tonight, with an extended 5 song set. Some inspired choices again from the totally wired Sammy and his charges; "Waterloo" was an action-packed and sheet-metal synth layered dirty and dirgy delight, as far removed from Abba's original as possible, "Danger High Voltage" was sneering and snarling, and whilst I could have done without the (almost predictable?) "Sweet Transvestite" and the closing, and comparatively plodding (apart from a frenzied punk rock mid-section) "I Want To Break Free", the unmistakable synth pulse opening of "Kids In America" had earlier heralded a breathless, brilliant version, almost matching "NC2U" for song of the night. As ever, Sammy was a supreme showman, preening, pouting and thrusting like a cross between "Ziggy" Bowie and "St. Julian" Cope, the ideal frontman to conclude a bizarre and brilliant set. I could, however, also have done without the couple of dicks that climbed onstage at the end... it's not all about you, you morons!

That bumped us up to a red-eyed 12.30 so I bade my farewells, heading home reflecting on the night. Way too packed; hopefully talk outside afterwards about moving it to Level 3 next year will bear fruit. A few too many "straight" covers for me too; the bands I'll remember are those that entered into the spirit of the thing, getting into a song, moving the furniture around and offering their own warped take on it. Kudos then to Canute's, Wilding, Raze and Martyrials... and overall (despite my couple of grumbles) a fine – if crazily packed – way to see out Gig Year 2018!

1,111 RAZE*REBUILD, Leon Daye, Swindon The Tuppenny, Thursday 15th November 2018

Out for a gig the night before Shiiine On; I must be barking mad! Still, it's a local one, just up the Tuppenny, and promises to be relatively sedate too... Raze*Rebuild offering an acoustic set in the Tup's compact and cozy settings, so one I can leave my kneestraps at home for, for once with this band!

A slightly late departure from home, as Rach was at a governor's meeting, so I parked up behind the Roaring Donkey and made my way in for 8.45, as support Leon Daye was working through his early numbers. Quite an appropriate support selection, this guy, as his material was generally quite upbeat; "Beautiful Day" was his best number, a jolly Britpop walk along a sunny Summer riverbank, and a couple of others were even slightly emo-ish, albeit with a more yearning, high-pitched vocal rather than an inarticulate howl. A couple of folkier, more introspective numbers finished a decent opening set.

Chatted with promoter Ed and other passing folks (hi Liam!) before taking a seat near the front with the other R*R ever-present, Mr. Paul Carter, for Raze's set at 9.30. Si (whom I'd seen earlier sitting with his old folks, then commented to a passing Matt that he, Matt, looked the image of his old man, only to be told that was his step-dad!) introduced the band on with, "we're Raze*Rebuild from...here!" which promoted some audience discussion as to whether the band were actually from the Tuppenny ("Paj is here so often he's on the contents insurance!")... Opener "Face For Radio" then featured some nice electric reverb from Matt (acoustic, shmacoustic...!) and some understated vocals from Si. I think he'd left the stentorian howl at home along with my kneestraps!

This was a relaxed and chilled performance - a couple of words you wouldn't normally associate with Raze*Rebuild, I know - and again was slightly different to their Shuffle gig, when drummer Jamie just used a beatbox for percussion. With a drum kit, - albeit a skeleton kit of hi-hat, snare and bass alone - their usual gravelly, growling blue-collar alt-rock all got a little bit alt-country, as if they were channelling their inner Wilco or Cake, even... A couple of muffed lines and notes (Si commenting, "you get what you don't pay for," then later remarking he'd been put off by thinking whether his cat was going to dig his plant up - phew, rock and roll!), which would doubtless been bludgeoned over by the full-on electric band line-up, were nonetheless largely ignored by the audience, and slowies "You're The Chalk" and "Kat I'm Sorry" (which saw Si cut a bit loose with the roaring vocal) unsurprisingly benefited best from this arrangement. Even "Burden Of Youth", which Si had admitted he was concerned for, actually worked well, galloping along at an insistent, countrified pace.

Us front row punters then got a bit confused when, contrary to the set-list running order, Si skipped “Back To The Fall” and introduced "Sand In The Petrol" as the last number, but then went back to "Fall" as an encore (the band not bothering to leave the small stage, Si quipping, "there's nowhere to go [offstage] to, just round in circles... metaphor for my life really..."), this ending a somewhat different Raze*Rebuild set, offering a different flavour to their work.

I grabbed the list - my 800th! - before curtailing my socialising in favour of a (relatively) early one. A big weekend planned, but glad I made it out to check out a surprising alt-country side to Raze*Rebuild!

1,105 GAZ BROOKFIELD, Jake Martin, Si and Matt Hall, Swindon The Victoria, Thursday 11th October 2018

21 today! Yup, this one is the 21st occasion I'd partaken of the delights of Gaz Brookfield "live", either with his Company Of Thieves, or, as per tonight, on his in-your-face, rabble-rousing, punk-folk semi-autobiographical troubadour tod. This, a sadly-rare Songs Of Praise-promoted date, represented the first time in 18 or so months Gaz had frequented his old home town (still looks the same, though...!) and saw him in good company tonight; not only spritely tour support Jake Martin, but an acoustic Raze*Rebuild line-up (namely Si and Matt, sans rhythm section)! With that prospect on the cards, I couldn't really grab my ticket quick enough...!

Not wishing to faff around parking, either, I headed up early and hit the venue at 7.30, greeting R*R's Si and Matt, SoP impresarios Dave and Ed, Mr. Paul Carter and Gaz himself outside, before heading in, where we were joined by Stuart and The Big Man, both - amazingly - availing themselves of a solo Gaz show for the first time! Stu and I took a front row spot for the introduction of "approximately 50% of Raze*Rebuild, by volume!" Si had expressed slight nervousness beforehand, there being no place to hide in this stripped-back version of the band, but no need as this was an exemplary performance, showcasing the strength of the songwriting, Matt's splendid guitar work (Si commenting, "isn't my little brother good on guitar!")... and, actually, Si's voice! This shouldn't have been a surprise really, but, without the need to compete with the loud guitars in the band line-up, Si dropped an octave, reined in the usual stentorian howl and sang... amazingly well! "Troubled Mind" was a perfect example, and the Northcote cover, "Worry" also benefitted from this treatment. "Kat I'm Sorry" (preceded by some fun preamble about "catharsis"..."sounds like a metal band with a logo made up of sticks!") hiccuped once or twice, but was largely its usual epic self, and closer "Back To The Fall" was a great galloping beast, even acoustically. "Our last song before we hand you over to Chris Webb... Oh fuck, sorry I mean Jake!" remarked Si, reading Gaz' tshirt, ending a great set with a slightly embarrassed smile...!

Chatted with Stu, Rich and recent arrival Ady before Jake Martin then took the stage. "How much did they pay for this Gaz? Come get your money's worth!" entreated Jake, so Stu and I hit the front again. An early "Revolution's Always Late " was a tongue-in-cheek Bragg-like protest number (methinks generally, Jake would have been right at home in those Red Wedge, Tory-protesting 80's, alongside Bragg and The Men They Couldn't Hang), and by now, Jake was in full acerbic flow, reflecting on his role as "the fluffer" on this tour (and delighting on the Swindon crowd getting this porn reference) and acidly and deftly taking down a couple of  chatty hecklers, to the audience's loud approval. "For Fuck sake Jake", with the audience participation, was inevitably the highlight, but an excellent "Mountains" (before which he asked for a hand, "for my buddies from Razorlight!", and called out a watching Gaz for being "stage rapey"!) ran it close. By closer "We Sing The Words All Wrong", he'd won everyone over, the communal singalong raising the roof. Nice one Jake!

We kept our spot as the place really filled up and Gaz sloped onstage at 10, with a laconic and funny "Solo Acoustic Guy". Almost an understated start, but that didn't last long, a wide-eyed "Diabetes Blues" getting the singing started early. "Swindon! Fucking hell, it's been awhile... it won't happen again!" confessed Gaz, before Ed, after handing him a can of Thatchers Gold, cheekily enquired, "am I responsible for killing you?" "Under The Table", Gaz' litany of debauchery, was introduced with, "[on] day 2 of the tour I had to play this in front of my mum!", before then confessing during a tribute to his hometown, "I'm sure I took a shit in the bushes next to the Regent!"

Typical Gaz! Again, revelling in the enthusiasm of a home-town crowd, Gaz turned it on, giving a consummate and inclusive performance, also revelling in the frequent mass-singalongs. "I've Paid My Money" ("not directed at anyone in particular", but pointedly dedicated to Jake after his heckler issues earlier) was great, bilious and acerbic, "Banality" was pointed and rollicking, and after the secret of the Aged Revolt tour name was revealed (it's - shhhh, can't say!), the eponymous newie, performed as a duet with Jake, was a flag-waving call-to-arms for the Rebel Alliance. Praise too for The Vic ("the Terminator of venues!") before a superb "Land Pirates Life" rounded off the set perfectly.

Killjoy time now; I hate Whitney – I’m sorry, but I do! - so can really do without that cover, but that aside, the encores were equally excellent, "West Country Song" raising the roof, and finale duet "Great Minds Drink Alike" being delivered "in the round" from the floor by Gaz and his faithful wingman Jake. Superb!

Copious compliments and handshakes with performers, promoters and friends completed a superb night of entertainment, chat and bonhomie. A great 21st - not long now until Gaz inevitably catches and overtakes the Mighty Seafood as my "most seen act", and that will be an accolade well deserved!

PS A fun footnote, the night after, saw Gaz texting me to ask if I'd swiped his setlist - guilty as charged! - and asking for a pic of it!