The Beast playing 'Holy Child' live at the Hope and Anchor, London

Live Wires at The Hope

Went to meet Live Wires and see them play at The Hope & Anchor last Thursday night. They are making their RTYD debut at the next PUNK-ROCK-TIL-YOU-DROP gig at Dublin Castle on Wednesday 16th June.

They are: Nick Cooke - vocals and guitar,  Paul Waterman - guitar & vocals, Stevie Buckerfield- bass and Greg Ball - drums.

It also turns out that I have booked Paul and Stevie to play an acoustic slot at The Libertine, but I hadn't made the connection, so that's cool. Nice blokes. Offered to buy me a drink and gave me a copy of their new CD, which is great.

The gig was not well attended but the band put on a show anyway. Nick Cooke was energetic and suitably manic in his role as front man, stepping out onto the floor once free of his Telecaster. Their music was definitely the post punk end of the genre. Not Gang of Four, but maybe earlier Magazine or Wire. And a bit Good Vibration label, Belfast punk.

Before their performance, Nick had to make comfortable his mother and her friend, who proudly and loyally attend Live Wire gigs with some frequency. And why not?

I am proud to have Nick and co. as members of this family too.

14 Carat Grapefruit close the Xmas-Punk-Rock-Til-You-Drop gig

So we opened with the Stabilisers, then came the presentation of the 2009 RTYD Awards (news of this in the next post), which was followed by The Outbursts and that punch. Punch of the year. There's a new category of award for 2010; along with Man of the Year, as suggested by Colin Gillman, who of course aims to win that one.

And last up, finally, at gone 11pm comes the patient and slightly gig-weary 14 Carat Grapefruit. No band likes this slot, but they have to play it 'cos their bass player Lem has another commitment that evening which means he can't play an earlier slot. Whenever they play, they never disappoint though. According to Otto's recent blog on the gig, he forgot the words to the opening number, which was their very own Christmas song. Hilarious it is, of course. I didn't notice any cock-up. I, like many around me, was probably too busy laughing.

The audience has shrunk to a meagre ten or so people, but 14 Carat always don't seem to care. We don't either. We feel lucky.

This is the end of a busy year for The Grapefruit. Word is that they're gonna play a little less in the new year. But they tell me the experience of working so hard in 2009 has been beneficial to the band as a whole, and has also served to strengthen the commitment and conviction of those who may have felt any ambivalence about being a part of it.

The band run through all the faves. And try to leave the stage without Otto doing a rendition of I Got A Little List. He is not allowed to leave the legendary basement venue without delivering. And I am honoured to be included in his list of the loathsome, in my capacity as the promoter who puts his band on long after the majority of punters have begun their journeys home.


Otto kindly gives me an inflatable pink guitar that I bring home for my daughter. She is delighted. She takes it to primary school the next day and begins spreading the word about 14 Carat Grapefruit in the playground there. Imagine them doing matinee performances like The Pistols used to do for the school-age kids! There's a thought.

The Sneaks at the Hope and Anchor

I wouldn’t normally go out at 9:30pm on a Tuesday night but my mate invited me out to see his work colleague’s band play last night at the Hope and Anchor in Islington. They are called the Sneaks. They are in their mid-twenties so they don't yet qualify for the 'Bands' page of this site but I feel I ought to be aware of what sort of noise young up-and-coming bands are making. I jump on my push-bike and I'm there in 15 minutes. When I arrive my mate introduces me to the singer who is from New Zealand. He seems very nice. He has a moustache and an 'I Love N Y' t-shirt on. He is waiting to go on at 10:30 at the top of the bill. It is quiet upstairs in the pub. The whole scene is very familiar to me. It reminds me of many a gig I’ve played in London. The empty pub upstairs, the cycle of bands and their fans, up and down the stairs, in and out of the live area. I think the The Falcon. The Dublin Castle. The Bull and Gate (incidentally, does anybody remember that Jon Fat Beast? I wonder what happened to him?) Now, I haven’t been to the Hope for a long time. I think the last time I was there, I was playing a gig. If my memory serves me, it was 1998 - if that was the year that Arsenal won the double? That Saturday night, anyway, the pubs and streets of Highbury and the surrounding area were heaving with drunken celebrating fans - and strewn with broken glass. There was an edgy atmosphere, too. I remember a guy crashing into the loos, his hand bleeding from being attacked by a pissed-up Gooner with a broken bottle . He was an Arsenal supporter too, just with a blue shirt on. Once we had played, I remember we got the hell out of there as quickly as possible. Anyway, I like the Hope because of its Punk history and very few of the old punk venues are still in use. It was of course where bands like the Stranglers and X-Ray Spex played back in mid to late seventies. The Stranglers’ video for Get a Grip was filmed at the Hope and this fact always distracts me when I’m downstairs. As usual then, I find myself trying to work out how the room has changed since then and whether the stage has actually been moved since the video was shot. I’m sure there’s someone out there who can enlighten me. If you were one of the Finchley Boys or at the Hope back then, maybe you can put my mind at rest? It must have been longer than I thought since I’d been to a gig like this, cos it's now £6 to get in. It's worth it though 'cos the band is entertaining and I like their stuff. Post-punk-art-rock. A lot of energy. Fuzz- bass driven songs with frantically strummed clean guitar and occasional synthesizer. Short and fast songs. Oddly arranged and at times shouty in the vein of Sebadoh, or someone Lo-fi like that. They remind me of early XTC too; quirky songs that frequently change time and speed. Aptly, they cover an early Sparks effort called Moustache. The singer has charisma and is funny. His schtick is a full-face motorcycle helmet that had been fitted with a microphone which allows him to travel the length of the tiny stage while singing. The band are sort of chaotic. The stage is a mess of wires and foot-pedals. They are confident. They are very signable. I start to feel slightly envious and nostalgic. I rewind to memories of record companies coming to gigs. Promising to bring their colleagues to the next show. Journalists reviewing our gigs. Those were the days! After the gig, the soundman sticks on the Ramones, which is fitting because there’s a New Yorky-ness to the Sneak’s brand of art-rock. In fact, after the gig their singer, James, informs me the band are going to New York to play in a few days (this is the second time I feel envious). So I hear a song from the Leave Home LP over the PA and I am transported back to Ken’s Records in Godalming High Street sometime in 1980. Most of these kids weren’t born by 1980. I then start to envy them the experience of plundering four decades of rock and pop’s back catalogue. Envy them hearing the Ramones for the first time. Roxy Music.... The Doors.... Fugazi...... Drink up, I say to myself. You’re leaving.