First on was MATH HILL & THE HORRIBLE CHILDREN. Previously advertised as Medieval folk songs played on modern instruments, the outlook was questionably dim. However, once the gothically-clad four piece took the stage things took on a new light. With a sound that veered closer to 1970s Stones and even similar period Neil Young than anything else, The Horrible Children took Country Punk into its' dawn. One of their weaker points was a withdrawn performance of "Wild Horses" and a barely recognizable cover of Jeff Buckley's "Eternal Life". However, it says something about the strength of a band's originals when the covers let them down. This group are no exception and were perfect openers.
Next up were THE FRANKLING MINT. I'm told this was their second gig, but was later told it was also their fourth in 2 days (after playing 2 sets with Rob Nichols at tonight's gig and the previous day's Wakeystock.) Despite a blazing performance and the first to introduce any element of Punk to the evening, it showed. With nerves at the forefront of their performance between songs, there was an uneasiness in the slience. However, it was their ability to play through this tension with the fierceness and voracity of a starved lioness that set them apart. After coyly admitting that their CD was available for the exchange of an e-mail address, they launched into "Crystal" and in 3 and a half minutes they were gone. At least for the meantime.
ALL-STAR 69ers...If you've never seen an All Star 69ers show and have heard wonderful things about their innovative stage shows and unique live act and wanted to experience this first hand - tonight was a good a place as any to start. Perhaps better. Appearing in Hawaiian shirts for their Summer spectacular to mark the beginning of Autumn, and with a stage set so extravagant as to maybe make one exercise caution about what is about to go down.
A backing tape asks for a warm welcome to the "Best Musical Act of 1994, voted for by readers of Horse & Pony Magazine(?)"tongue firmly in cheek, the band kick off. Slightly misleading, as from the first strum of the first major chord, all fun and frolics disappear, and the comical introduction paves the way to the well-deserved mosh pit. Singer Dan told me: "We're on third, but I think of it ike the main course...the dessert is not what you come for." And judging this performance, there certainly is validity in what he says. This isn't a gig, it's a show. No-one leaves empty-handed and - throw in a technically-brilliant "Good Vibrations" for measure to test the band's capabilities, a 6ft crocodile, palm trees and inflatable bananas - All Star 69ers are not only in a league of their own, but champions.
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Next up was ROB NICHOLS & THE NINES (aka THE FRANKLING MINT). I've been told many things about Rob, always different, always complimentary, so I really didn't know what to expect.(Afterwards, hearing the CD and looking for other live reviews proved to me just how different each occasion was.)
Donning a 10-gallon hat and walking on in a HMV's Biggest-Ever Sale T-shirt, Rob asks down the mic for his brother (at the bar) to hurry up, and then tells the guitarist(for whom he's waiting) to join in when he gets there. A short, folky-strummy introduction leads into an explosive, albeit somwhat shaky full-band jam, complete with harmonica, complimented further by the addition of guitar no.2, Dave. Three and a half minutes down the line, this bluesy number is over, and the introduction to the next song begins in true folky style..."The next song is about...ah, who gives a shit?" And it begins. The nerves, and shaky intros too, are gone now and the band are relating. After a couple of songs, Rob trades electric for acoustic and plays a solo number introduced as "Say Hello To Emily." Back with the band again and a "5 Years"-style drum intro announces the next song, "Welsh Avenue."
The stum-along antics characterising the previous songs are lost here to a 'see-who-can-play-the-quietest' treatment. Through the next song, and another solo number (a reworked "Love Will Tear Us Apart") and the band are introduced. And so they launch into the final number, "Love At First Sight," yes, the Kylie one with a country-rag treatment. It goes down a storm when the crowd catch on. And so they finish.
And thus ends Country Punk 2. I didn't see the first, but in the long standing tradition of inferior sequels, all I can say is I can't wait for Part 3.
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