UK Subs, The Skids, Anti-Nowhere League, The Business, GBH, The Bar Stool Preachers, Riskee and the Ridicule, Shanghai Treason, Wonk Unit, Bite Me Bambi, Random Hand, und Outcasts

Punk is a genre that has been recreated time and time again since the revolution began in the 70s. It has been adapted and changed and merged with genres including pop, rock, grunge and metal. Therefore the fact that London outfit UK Subs can boast to being one of the first street punk bands is a pretty impressive feat.

It is perhaps due to this legacy that vocalist Charlie Harper has remained a constant in the band since its formation in 1976. Their live show is now a piece of history as much as it is a gig as the current quartet attempt to recreate some of the basement intensity of the original punk movement. The fans old and new are completely invested in this mentality and head bang along with hands held high to the likes of 'You Don't Belong' and 'Left For Dead'. Their music is well known as the band remain onstage for over twenty tracks yet the energy never depletes all evening. The punk movement may be a distant memory, but UK Subs are going as strong as ever.

What an amazing gig. It was fantastic to have the Skids back again after so long. They really rock! The crowd were loving it. Great songs, great show, great audience interaction. Best gig ever.

Still Good glad I got to see them play more than once.please sir may we have some more. fun fun fun fun fun fun fun fun fun fun fun fun fun fun

It’s not all that often that it happens, but sometimes bands who have been plugging away for years find that it’s an event entirely unconnected to their own music that provides them with the opportunity for some later-career fame; The Business, a Lewisham punk band who hail from the subgenre of Oi! and had their halcyon days back in the eighties, found that to be the case when England’s famous 5-1 victory over Germany back in 2001 provided them with the opportunity to pen a song in the result’s honour - the result, ‘England 5 Germany 1’, is now probably their best-known song. On stage, though, little has changed, not counting a revolving door policy to their lineup; whoever it is that constitutes the band, they still play live with a ferocious energy that’s almost always matched by the old punk crowds that still pack out intimate venues around the UK to see them. With new single ‘Back in the Day’ having dropped earlier this year, they’re due back out on the road in December.

GBH formed way back in 1978 and are considered to be pioneers of English street punk. Although Colin Abrahall and his bandmates are not quite as reckless onstage as they were in their origins, they still have a strong following in the UK, Europe and the States and for anyone who is a fan of the 70's punk revolution, it's a great opportunity to catch a juggernaut still performing live.
Described as a cult classic due to the fact the band never had any commercial hits with either albums or singles, the four musicians swagger around stage as if it were still 1978 and they were 35 years younger. The raspy tones of 'Sick Boy' hardly change through the years and they still pack venues with their pure punk sound, which has not really changed throughout their long discography either.
Audiences are still devout and intently chant back the lyrics to some of the oldest material such as 'Big Women' and encore opener 'Maniac'. The sense of rebellion may not be as appropriate in 2014, yet for the experience of anarchy and the soundtrack to match it, GBH are a solid bet to see that in the modern day.

Hello folks,

this is proof of real professionalism! To play in front of such a small audience and deliver a really good show, as if there were thousands of them. Hats off! You could really see that you had fun with the band. Keep it up. Stay on the ground and close to the fans.
Thanks for the nice evening!

Greetings
Lydia TheNonTattooedLady
from Freiburg

Dear Listener, we’re in charge; not you. Riskee & the Ridicule smash through the speakers on their latest offering, Blame Culture, to tell us in no uncertain terms that they have something to say and we’re going to effing listen. This is the Kent quartet’s newest release, following up their 2014 critically-acclaimed debut, Dawn Of The Dog.

An awful lot has changed since the band’s first album and these guys aren’t afraid to tell you quite how aware of this they are. They don’t care if their ferocity intimidates you; as Riskee tells us on “Molotov Cocktails”, “I never got into this game to be liked for my words.”

While the UK continued to reel from the result of the EU referendum, the band had already acted on it, with Blame Culture ready for release on 6th January. The band’s understanding of the wider cultural, ideological and political challenges ahead led them to share “Colours”, the spoken word piece nestled between tracks 10 and 11, on the day of the Women’s March, following Trump’s inauguration. Riskee & the Ridicule know that now is the time to stand up and fight the numerous poisons breeding in Western society.

Awareness of the current socio-political landscape aside, Blame Culture is crammed with grime-punk bangers that can’t fail to make Dear Listener jump up and dance. Riskee (Scott Picking) has a determined sharpness of tone, cynical and sarcastic, akin to Scroobius Pip. On “Banger” he’s not worried about whether future challenges will be overcome, “We won’t make do with what we’ve got cos what we ain’t got we will get. No sweat.”

Blame Culture’s upbeat punk, and at times even venturing into indie-disco, mix should eliminate the band’s concerns on “Drown” about whether they are commercially relevant. This album moves genres forward and even generates fresh ones, soldering sharp-tongued quips on to a well-oiled rhythm and guitar section (Jimbo Aglony, guitar, David Thomas, bass and Matt Verrell, drums). There’s just a hint of teenage angst about Blame Culture, and something almost pointing towards the 10 Things I Hate About You era. Neither of these are bad things, this is angst for grown-ups. Let’s face it; that’s pretty much where we’re all at right now.

There’s no filler on this album, with tracks like “Running on Air” and “Hipster” carrying instant anthems. Riskee & the Ridicule also aren’t afraid to move into slightly darker soundscapes with “Backwords” and “Daddy’s Boots,” pushing more of the lyrical content, favouring wordplay and dense wordscapes, instead of trying to have you sing along. These guys are feeling positive about their future, despite the current outlook, and they’re inviting the world to join them as they tell us on “Party,” “If life throws you a curve ball then make it a learning curve.”

As the results of the US election were announced, some of us joked about battening down the hatches and sitting the next four years out. After all, by then the effects of Brexit would be laid out for all to see. Others saw the fear and devastation of those whose rights are jeopardised, and reminded us how lucky we are. The wisest warned us that the only way out of this mess is to stop assuming sense prevails and called us to action. Thank goodness Riskee & the Ridicule are here to lead the way. After all, as they demand on “Nobody Likes Us”, “You don’t tell us when we’re finished/We tell you lot when we’re finished.”

Awesome live band. Musically tight as anything, rock solid backline and clever guitar keys lifting it beyond punk and into something new. With Alex an amazing bundle of poetical energy out front, and lyrics that tell real stories about real stuff. Clarse inna glarse mate.