I love it when a band or artist takes a different and unexpected direction, especially when it is a band I have been a fan of for a long while. Lost Trends are back with a new single which takes a funky, west coast hip hop style and they make it their own. The rhythm section are faultless and drive the track with some delightful laid back, understated funk vibes. Meanwhile Pete’s guitar is so good that it could fit neatly into something by the likes of Parliament/ Funkadelic. This is all overlaid by Rusty’s vocal which while it draws on that US 90s west coast feel, think Warren G, it maintains the English roots of this superb band.
Lyrically it is perhaps their most powerful song so far and is a comment on the state of the world we live in and the people who made it bad. Couplets like “At the food bank, gonna tank feeling really low. But you can’t make a difference if you haven’t been to Harrow” says so much in just a few words. Their last single “Takedown” was explosive in sound, this new one is explosive in voice and sentiment. I am excited by the thought of seeing “Interest Free” played live. I have played it a lot since I first heard it a few days ago. If you want to give it a spin, and by the way you NEED to, click here. Meanwhile stay alert, stay angry and be the voice of those who don’t have one. That is just a few of the messages I took from this song!
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Punk icon Charlie Harper published a long awaited autobiography last month on Earth Island Books. The rather excellent foreword is by Lars Frederiksen (of Rancid), and the cover art is by Steve Dann. It details his long and colourful life against a supremely well put together social history of the UK music scene and the formation and development of punk rock. Even if you are not a UK Subs fan, but simply a music fan or punk fan you will love this book. Charlie regularly fires both barrels and rarely pulls his punches this memoir is often brutally honest. The details of so many UK Subs gigs are included. If there is anything missing it is perhaps more information about the UK Subs songs and how they were created, maybe he has saved that for another book.
Charlie is not a music historian but he knows his own story intimately and all the many things that were happening around him. The birth of rock ‘n’ roll, the sixties, the rise of punk (and its continued development) are all stars of the book. There are some wonderful vignettes, I particularly loved the piece on Rod Stewart giving Charlie a harmonica lesson in a London club in the sixties. Harper gives a fantastic and at times forensic insight into the UK Subs history. Studio stories, gig tales, highs and sometimes rather deep lows. The carousel of UK Subs members is extensively detailed. Charlie’s early life and memories of Britain’s cultural history starting at the tail end of World War Two help to explain to a small degree how punk came to be. I believe that Charlie being older than many of his punk peers makes him more authentic, he really does “mean it, man!”
The book includes many previously unseen photographs from Charlie’s life. This adds even more authenticity, which enhances the volume perfectly. There is no definitive or strict timeline to the UK Subs gigs that are covered, but for me this adds to the charm of the book. It stands at just shy of 480 pages, although mostly doesn’t feel too long. This is helped by having some really short chapters, there are nearly 140. Some might say it could be edited a little more, but then it wouldn’t capture the ragged edges of punk, the UK Subs and Charlie nearly so well. Treat yourself to this tale of a life well lived!
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On a baking hot July evening, the Fulford Arms in York was lit up with an electric mix of energy, activism, and genre-hopping joy for this year’s Jamnesty gig, a fundraiser in support of Amnesty International. (If you would like to donate, just click here) The lineup was packed with local talent and rising stars, each bringing something distinctive to the stage, a fiery combination that nearly blew the roof off. It was also great to see so many staff and students from Huntington School on the night and on the stage!
The evening opened with El & Ewan, a duo whose stripped-back acoustic set delivered a punch of raw honesty. Armed only with guitar and their voices they gave us a delightful set of gorgeously performed, mostly, sad songs. They both seemed a little nervous, but that didn’t stop them from playing a simply gorgeous cover of Keane’s “Somewhere Only We Know”.
Next up, the Sparrows took the stage with a richer, bluesy, dirty garage rock sound. There were covers from the 60s to the 90s from artists that included the Stone Roses, Johnny Cash, Oasis (sadly), James and the Beatles. “Sit Down” was a mega hit with the crowd as they swayed, then stomped, then whooped. A huge shout out to the drummer who was, frankly, phenomenal! A great set from a fresh band.
The tone shifted both dramatically and delightfully with The Fruity Pebbles, who brought neon energy and a funk-pop vibe that was danceable and addictive. They had the room bouncing from their first song. Beneath their wonderfully playful façade was tight musicianship and a band that clearly seemed to have rehearsed well. Their take on Abba’s “Voulez Vous” poured funk into an already funky tune and the emotion was off the scale as they closed with a powerful take on Robbie Williams’ “Angels”.
Next it was a chance for deep groove to meet grit as the Apocalypse Disco lived up to their name. This was a fusion of funk, disco, and dystopian theatrics. Think Giorgio Moroder meets Nine Inch Nails in a synthy warehouse rave, or perhaps the Prodigy on speed. Frontman Robin led a hypnotic performance of “Alive” that turned the Fulford Arms into a sweaty dance floor, the ceiling was dripping sweat too. The apocalyptic groove ran deep as the duo showed that they were easily the most danceable protest music of the night. Namaste motherfuckers!
Then came Fendry, whose headline set proved exactly why they’re one of the UK’s most talked-about rap acts right now. He gave the early part of his set to the mightily talented Rashevos (I hope I spelled that correctly).After that Fendry commanded the crowd from his first rhyme to his last cipher. He has confidence, style, skill and just the right level of arrogance. He has the talent to be as big as Skepta or even Eminem. Fendry is a rapper and grime artist originally from York, but now based in Wembley, London. His recent rise has been through the PenGame rap battle circuit and a string of energetic singles, he continues making waves in the underground scene. He is undefeated in several battles, including wins against JM and Domi Dusk. He gave the crowd a bold, beautiful end to a night of music that meant something.
Jamnesty 2025 at the Fully wasn’t just a gig, it was a statement. The Fulford Arms provided the perfect DIY venue vibe, and the acts each channeled the spirit of resistance, rebellion, and release in their own way. Whether it was acoustic melancholy or disco-punk anarchy, the message rang clear: music can, and will, fight back! Our world needs more nights like this, if you fancy organising your own Jamnesty event then click here for more information.
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The Craven Brew Co is a cask led brewery with a delightful taproom and award winning brewers. In April they celebrated their third birthday with a music driven mini festival which featured an array of talented covers bands; Hazjak, 1960 Four and Superconductors. Unfortunately I didn’t get to see all the bands. I was there for Superconductors to see my mate Andy play drums. This was only their second or third gig, but it seemed like they were far more of a seasoned band than that. To say that Superconductors are versatile would be an understatement. They play punk, pop, rock and glide effortlessly from one genre style to another. Their seventeen song set was vibrant and included songs from the 60s right through to the 21st Century. While some people danced, everyone else sang or tapped their feet.
“Rosalie”, the Bob Seger song that was a hit for Thin Lizzy kicked off proceedings and it set the tone for a set that never stopped rocking. There were plenty of highlights including “I Fought The Law”, “Basket Case” and “London Calling”. They even played a version of Abba’s “Does Your Mother Know”. Who knew that a song like that would work so well when played by a bunch of middle aged blokes? Covering the Barenaked Ladies classic “One Week” was a challenging and brave move which the band, particularly the singer pulled off perfectly. Apparently it took him three months of dog walks to learn the lyrics. A magnificent set was closed with a rousing romp through Leeds favourites the Kaiser Chiefs “I Predict A Riot”. My lasting memory was an authentic take on the Ruts smash from 1979, “Babylon’s Burning”.
The playing was pretty immaculate throughout, I was very impressed with the guitarist who moved effortlessly from one style to another. In my opinion a covers band has to have talent, passion, a sense of fun and skill in selecting the right tunes. Superconductors scored top marks in every one of those categories. I have seen many covers bands over the years and not many were as good as Superconductors. The band take their name from a Rush song but I also took a look at the definition of the word. A superconductor is a type of material that, when cooled to a critical temperature, can conduct electricity with no resistance or energy loss. The band are cool, hit a critical temperature from the start, were electrifying, no one resisted their entertaining show and they did not appear to lose any of their abundant energy despite playing for an hour. If you are looking for a covers band in the Leeds area or Yorkshire then look no further than Superconductors!
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On 23rd January 1990, David Bowie announced his Sound And Vision world tour. This tour would run from March 4th until September 29th that year. During the tour, he invited each local audience to decide on a ‘greatest hits’ running order. This was organised through local radio stations. The tour surpassed Bowie’s previous Serious Moonlight (1983) and Glass Spider (1987) tours’ statistics. It visited 27 countries. The tour included a total of 108 performances.
At the time Bowie looked forward to retiring his old hits. He said of the tour “It’s time to put about 30 or 40 songs to bed and it’s my intention that this will be the last time I’ll ever do those songs completely, because if I want to make a break from what I’ve done up until now, I’ve got to make it concise and not have it as a habit to drop back into. It’s so easy to kind of keep going on and saying, well, you can rely on those songs, you can rely on that to have a career or something, and I’m not sure I want that.” Having seen him a few times after the Sound and Vision tour he didn’t entirely retire all of them!
Cheekily and rather amusingly the NME ran a spoof campaign, in response to the telephone poll called ‘Just Say Gnome’. This was a great attempt to have “The Laughing Gnome” included in the set-lists. Apparently Bowie had considered playing “The Laughing Gnome” in the style of The Velvet Underground until he found out the voting had been perpetrated by the NME. Hearing it played that way would have been quite interesting in my opinion. As a footnote, during his A Reality Tour, Bowie performed “The Laughing Gnome” with his band during a November 2003 soundcheck at Wembley Stadium.
I saw him on that tour at the Milton Keynes Bowl on 4th August. The set list that day was:
“Space Oddity” “Rebel Rebel” “Ashes to Ashes” “Fashion” “Life on Mars?” “Pretty Pink Rose” “Sound and Vision” “Blue Jean” “Let’s Dance” “Stay” “Ziggy Stardust” “China Girl” “Station to Station” “Young Americans” “Suffragette City” “Fame” “Heroes” The four song encore consisted of: “Changes” “The Jean Genie” “White Light/White Heat” “Modern Love”
The support acts that day were Two Way Street (whatever happened to them?), The Men They Couldn’t Hang, Gene Loves Jezebel and Kim Wilde.
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Delilah Bon’s sophomore album is about to hit the streets, will it be one of those difficult second albums? Read on to find out! Album opener “Hey World” kicks off with Delilah introducing herself to the world over a synth-like orchestration and repeating a piano pattern reminiscent of Eminem in his prime. If you are new to Delilah this might me more to you, but either way it is a perfect start. next up is the previous single “Maverick” from March this year on International Women’s Day. It is another incendiary blend of rap and metal on which Delilah is in explosive form. Once again misogynists will be pissed off, but who gives a fuck about them? Delilah has this to say about “Maverick” “It is a song about self-worth and reclaiming your confidence, reminding yourself that you belong in the rooms you don’t always feel welcomed in. It’s about looking yourself in the mirror and believing in your power without needing the approval of others.” As always Delilah is absolutely on point as the definition of maverick in my dictionary is “an unorthodox or independent-minded person“, Delilah Bon is clearly both of those!
The title track “Evil Hate Filled Female” came out in May this year. It is an anthemic metal masterpiece with buckets of punked-up funk underlying it. Some of the drum fills sound like a full-on machine gun attack. Meanwhile, Delilah’s words spit more venom than an Inland Taipan. If Delilah’s anger and passion could be bottled it would power the planet for ages. She unleashes her deepest rock growl on this track and it will scare the living fuck out of misogynists, homophobes, and all haters! The metal riffs are more metal than most metal bands could even hope to achieve. The “la la la” hooks were so obviously created in pop heaven. Some of the music in the verses has a warped far-eastern horror film soundtrack feel to it. If music could kill sex offenders, abusers, and misogynists then “The Internet”, would be a lethal weapon. Delilah has some sharp punk and rap influences but since her arrival, she has developed into one of the most original artists on the planet. This was the fourth single from this album. It is a brooding dark beat with the best Delilah ciphers so far. Speaking in the guise of female-hating keyboard warrior Harry Dick Delilah bares her fangs and aims her venom at the vile individuals that spout pathetic and worthless hate. For lines like “All these people offended by transgenders send your children to church to god-loving sex offenders” it is way above the competition and the glorious dig at professional sweaty nonce Prince Andrew is sublime. I love the way that Delilah continues to turn all the shit she takes and uses it to fight back.
From the fly buzzing sound that introduces this song to the weird horror vibe of the music to the deeply personal and inspirational lyrics, “Finally See Me” is Delilah Bon at her best. The song deals with Delilah/ Lauren being bullied at school and appears to be a paean of her triumphing over those who bullied her by becoming the incredibly talented artist that she now is. She passionately stands up for the bullied, the misfits, and the outcasts and she deserves huge respect for that. Musically this shows her starting to cipher as well, if not better than, Eminem. Meanwhile, this track has a feel of Jonathan Davis, Korn frontman about it. Delilah takes on old-school rap bragging style with “I Am The Best (Ask Your Momma)” and it works perfectly, this epitomises perfect rap with a sublime pop style. She has just released a video for this song and it is one of her best film moments! I was reminded of Eminem by the beats and instrumental hooks used on “Villain” but lyrically it is pure Delilah. This one has a dark musical tone and the music moves nicely into a creepy clown carnival vibe toward the end. “My Girlz” is a bouncy, brass-laden track with Delilah delivering one of her best rap performances to date.I also felt that this had some hidden Beyonce style lurking in the background.
I can imagine all the grown-ass misogynists getting their panties in a twist if they ever hear “Grown Ass Men”. When Delilah is angry everyone needs to fucking listen! “Freak Alert” has a great electro sound underpinning it and a repeated bass pattern that stays with you long after the track has ended. What is it with high-profile artists, well almost any artists, being so fearful of speaking out against the likes of Epstein and his ilk? Delilah has no such fear and she lets us know on the stunning “Epstein”. Meanwhile on “Volatile” she is brutally honest about how this world makes her feel but on top of that she ciphers about what is wrong with the state of the world. When her rhymes express anger the Bon bile is directed at misogynists and haters everywhere. (“Cos Mr Industry thinks that every woman’s the same”). This song is a slow and dark metal rap that only Delilah Bon can do as adeptly as this. It describes many of her negative experiences in the music industry. Sadly we don’t live in a perfect world, but if we did then “Drop Dead Delilah” would be a huge hit. I love the carnival sound from the keyboard. If you like a warped undercurrent of electro-ska punk and horror comics then the album closer “Committed A Crime” will be right up your street, it is weird, wonderful, and shows just how good Delilah is.
Delilah Bon’s sophomore album, “Evil, Hate Filled Female”, tops the heights of her first and is easily a contender for album of the year! Sexist pricks in the music industry and in society should fear the level of venom directed at them throughout the record, but sadly they will not, so it is up to all of us who believe in fairness and equality to join the Bon Bon Battalion and fight for it. Delilah is an inspiration to women and oppressed minorities everywhere, despite her own fears. Let us all stick up for those who are oppressed and can’t stick up for themselves. Let us be there for Delilah too. Minorities, those of you who have been abused and put down, we’ve got your back, and we stand up for Delilah’s punky, rebellious clarion call. Men, we know you mean well when you say, “It’s not all men”, but that doesn’t change anything does it? I am an old white male and I support equality for women, LGBTQ+, and all decent humans.
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London-based four-piece rock band Ghost Arcadia is back in the classy rock groove with their first single in 14 months, “UNDER” which hit the streets last month. It is an emotional-sounding, anthemic song with a huge sound to match the clearly massive ambition it carries. There are titanic guitar riffs, harmonic and guttural vocals from Reuben Beau Davies, and some cinematic synth patterns. This might seem a bit pop driven at times, but underneath it all it is as heavy as fuck! The band spoke about the inspiration for the track “It’s an exploration of the everyday battles we face within ourselves. From addiction to self-doubt, we all face battles at some point in our lives. The song conveys the message that even when you are at your lowest, there is still a way out; there is still a light left to guide you from the “Under”. Sometimes, we must dive into our darkest depths before we can finally find a way out.” The song is a great taster for their new EP ‘What We Become’ which will arrive later this year!
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