Archive for October, 2007

Gig Review: The Wedding Present, Manchester Academy, 26th October 2007

The Wedding Present setlist for Manchester Academy gig on 26th October 2007I’ve grumbled about my advancing years on this blog in the past and, thanks to evenings like this, I’m totally over it. The Wedding Present’s latest tour is in celebration of the 20th anniversary of the release of their classic debut album, George Best, an album I remember buying 20 years ago and one which has clearly stood the test of time.

It seems that many of the band’s erstwhile fans have also stood the test of time as the “newly refurbished” (portaloos, entrance through a gap in the hoardings, only one bar open) Academy was packed to its shiny new rafters with fortysomethings intent on reliving the glory days of a nascent British indie scene. As the band launched into the opening “Blonde” from Seamonsters – and I don’t think I could have chosen a better opener myself – thus the crowd launched into each other, bodies flying up and down, side to side, large bodies mostly, fortysomething years of chips, beer and Sunday morning fry-ups; a huge, heaving, fleshy quagmire.

I stayed on the periphery at first, fending off elbows and shoulders as a sublime Brassneck increased the intensity before a new song (which may have been called “I’m Always Like This When I’m Drunk”) and a Cinerama number calmed things down a little. A couple of songs later and it was time for the main event of the evening. A girl in a rabbit costume holding some large numbered cards lead a countdown and produced the final card showing the George Best album cover. It took four words from David Gedge – “oh why do you…” – to convince me to join the throng. It was a reaction I had not anticipated and one that I barely seemed to have control over, but it was the right thing to do. Having seen The Wedding Present almost 30 times, the first being way back in May 1986 when they supported James at the Leeds Ritzy, I’ve done some serious moshing to these songs in the past but nowadays at other gigs I feel quite self-conscious about letting myself go in the company of (usually) much younger audience members, afraid that I might look like a dad dancing at a wedding, or throw my back out, or both. In a very good-natured crowd of people of roughly the same age this didn’t seem to be a problem and the rest of the gig was a blast as the whole of the album was played out in order.

David Gedge is the only remaining member of the band from 20 years ago but the current line-up did a fine job of producing what were pretty faithful renditions of the originals, which meant plenty of the Weddoes’ lightning fast guitar strumming, which is always a wonder to behold, though I do miss the days of Gedge and Pete “Grapper” Solowka egging each other on to go faster still. Pretty much all of George Best was a highlight but while I’ve heard old favourites like “A Million Miles” and “My Favourite Dress” plenty of times before it was the less fêted likes of “Shatner”, “You Can’t Moan Can You” and the utterly brilliant “Anyone Can Make A Mistake” that made my night. Listening to these songs again and its fairly obvious that Gedge is master at what he does. The lyrics – simple thoughts, conversations and observations – fall effortlessly into the melodies with nary an awkward rhyme or poor scan. The songs are genius in their simplicity and in these times where the likes of Alex Turner, Lily Allen and Kate Nash (for fuck’s sake!) are celebrated for their (often extremely dubious) lyrical prowess, one wonders what the reaction to George Best might be had it come out in 2007.

The gig was rounded off with a frantic “Kennedy” and then “Flying Saucer,” by which time Gedge’s voice was close to collapse, as were much of the audience, and they called it a day, leaving us trawling our failing memories for the year that Bizarro was released. And Seamonsters

The Wedding Present – Shatner

The Wedding Present – Anyone Can Make A Mistake

The Wedding Present – You Can’t Moan Can You?

Gig Review: Arcade Fire, MEN Arena, Manchester, October 27, 2007

The Arcade Fire setlist, Manchester, October 27 2007On a good night, the Arcade Fire live are the sound of unmitigated joy. Last night, the Arcade Fire had a good night. I hate the arena, but for 90 minutes on a gloomy Saturday night, the Arcade Fire made the Manchester Evening News Arena the best venue in Manchester, if not the world. From the opening notes of “Black Mirror,” to the final, electrifying moments of “Wake Up, ” even though the crowd around me were somewhat subdued, we just knew that the Arcade Fire were on form, and it was a form that nobody else on earth can match.

Watching the Arcade Fire when they play like they did last night is one of the biggest pleasures life holds. On stage, they are a wall of energy, spitting all their angst and anger at the world, all their fear and insecurities out through their instruments, but it comes out as celebratory. They seem to need to be on stage, venting through their music, but the smiles on their faces, the energy and the enthusiasm that radiates from the stage could bring a great swell of exultation to anyone.

It only took as much as the second song, “Keep the Car Running,” to get me bouncing, completely enraptured and convinced this would be one of the gigs of 2007. Throughout the gig I was amazed at the lack of cheer radiating from the people around me because the band themselves could not have been any more dedicated and involved in their own performance. Watching them was completely mesmerising. Regine in particular had a giant smile on her face, and she kept coming out towards our side of the stage, smiling, shouting the lyrics and encouraging us to dance.

Arcade Fire @ MEN Arena, ManchesterCertainly one of the highlights of the set included “Haiti” with her vocals, which gets better every time I see it live and had some of the maddest drumming ever to grace a stage. Her Funeral duo of lead vocals bookended a rare outing for “I’m Sleeping In A Submarine” from their debut EP. “In the Backseat,” which we haven’t seen live since 2005, was absolutely flawless and completely mesmerising. She has toned down her self-conscious dancing since we first saw them, and tonight contented herself with the odd arm gesture, waving a tambourine around (when she wasn’t playing one of four or five other instruments or singing), and exhorting the crowd towards where we were standing to sing and clap along, like a tiny ball of candy-coated flame.

She had rivals for her level of energy though as Will Butler was moving around so fast he was practically a blur throughout the gig, whether smashing a drum like his life depended on it, pounding away on the keyboards or holding a guitar. Win Butler, for his part, was singing like he’d die if he didn’t, but in between songs he was chatty and all warm smiles, exuding pleasure at being on stage and grateful to the 14,000 members of the audience for being part of what he said was the Arcade Fire’s biggest indoor gig to date.

After Regine’s chilling moment, “Windowsill” briefly brought the tone back to celebratory, despite its somewhat dark theme. It’s like getting the negatives out is in itself the ultimate expression of hope to this band, and watching them you can’t help but become part of it. “Ocean of Noise” positively gave me chills, and by the time they reached “Tunnels” I think I had reached nirvana, jumping up and down and singing along. The Arcade Fire on stage in Manchester, October 2007“The Well and the Lighthouse” was fantastic but then they did a cover of “Still Ill” in honour of the Smiths inspiring Win Butler, and his health problems over the last year. It was not the best cover version I’ve ever heard, in fact it was slightly shambolic, but you’d be hard pressed to match them for intensity and intent.

The final two tracks of the main set, “Power Out” which segued into “Rebellion (Lies)” prompted some serious dancing as the band looked ready to explode as they thrashed away on their instruments, barely disappearing before the encore of “Intervention” and “Wake Up,” which I still consider the best live song in the history of music – tonight’s rendition not disappointing at all – before disappearing frighteningly early, leaving us panting for more and hoping the next album is not another 2 years away.

I dread arena tours. I dread seeing bands in venues this size and I always worry about the atmosphere and the view. While the crowd were wishy-washy and uninvolved where we were stood, the Arcade Fire are a band that can make up for a lacklustre crowd with their own enjoyment of the performance and this alone carried them through the gig tonight, appreciative and wonderous at their ability to vent their demons through their instruments and come away feeling drunk with the power of their own expression. It is something which only the very hard-hearted could watch and not find moving and uplifting, and it reinforced my assertion that nobody, past or present, can surpass the Arcade Fire on a night like this.

The Arcade Fire – I’m Sleeping in a Submarine
The Arcade Fire – In the Backseat

Video – The Arcade Fire perform “Still Ill” in Manchester

Posted by JustHipper on 28th October 2007 at 12:33 pm | comments (29)
File under arcade fire,Gig Reviews,manchester gigs,Reviews.

Gig Goer of the Week part 8: The Wedding Present, George Best Anniversary Tour

Last night we took ourselves down to see the Wedding Present on their George Best 20th Anniversary tour. Now, I have a funny relationship with the Weddoes. I have seen them live repeatedly and always enjoy the shows, but I never listen to them on CD. So I’m an anomaly in the crowd in that I do genuinely love them, but I don’t know the song titles (with a few obvious exceptions) and I don’t know the words. Not that this has anything to do with anything though.

I tend to like Wedding Present crowds in that they’re all about 10-15 years older than me, they are rabid fans and even though the mosh pit is pretty intense, it’s also pretty friendly. Last night, when my friend and I decided to risk the barrier, we were taking this fact as a given. As always, however, there’s always one (or 2) idiots…. The girl stood to the left of my friend was so drunk before the first of two opening bands even finished that she could barely stand up and was slopping her pint all over herself. Nonetheless she demanded more and off to the bar her suffering boyfriend went. When she demanded another, while clinging onto him for her life, however, swaying and banging into my friend, he finally refused. A fight ensued and she stormed off. He let her go and we ended up getting eased into where she was standing by the crowd. Her boyfriend didn’t make a move to stop it. When she came back about 20 minutes later, still angry and with another drink (how she got served is beyond me), the poor guy ended up having to move back, from his really great spot, to appease her. Frankly, he should have told her to piss off, as there is no excuse for that level of inebriation that early in the night, and there is no excuse for letting your inability to know your limits ruin other people’s night. I can’t imagine she lasted more than 2 songs into the main event.

Naturally, the moment they moved a group of big guys replaced her. We were a bit worried, although I figured they weren’t jostling, so they’d probably be fine, just enthusiastic. And then their single female friend turned up with a bag slung across her front that I swear must have contained a small child it was so large. On top of this monstrosity she’d put her jacket because gosh she couldn’t affect her outfit by tying it around her waist. As The Ledge had abandoned us to chat to some other friends who were a bit farther back, we had no protection between our backs and heads and the world’s largest handbag. The thing is, moshing bodies aren’t so bad. People on the whole don’t want to batter you in a pit and most of the pushing is down to people landing funny and the dancing, not deliberate attempts to injure or remove you. But when you wear a bag while jumping up and down the bag flies upwards and outwards and pretty much batters anyone nearby in a way you falling against them slightly does not. So there we were as the band came on being beaten with a handbag that actually weighed more than I do. Luckily for us, the other physics rule governing handbags in a mosh pit was in our favour – bag on string gets caught between moving bodies and inevitably it goes in one direction while you go in another. So she didn’t last long.

This is where the fun really started though as the band launched into the start-to-finish delivery of George Best: we were suddenly swamped by men, much bigger than us, about as enthusiastic as a crowd gets, and all jumping up and down with gusto. Now, there’s nothing quite like the experience of being in a friendly pit and this was no exception. Hands came round us at the barrier as people tried to stay afloat, apologies and promises to make sure we didn’t fall, giants tapping me on the head to tell me how “hot” the bassist is, blokes screaming the words and punching the air. It hurt like hell but the number of people around me (and it was changing rapidly as everyone fell about) who kept trying to keep me on my feet is one of the things that makes the bad people and idiots at gigs stand out so much. The press during “Kennedy” at the end was possibly the most physically painful thing I’ve ever experienced at a gig (and I can feel it today as I type this, it feels like I’ve been kicked in the chest), but someone had hold of me the whole time, and after the show everybody around us was apologising for pushing and asking if we were ok, which makes a huge difference in the atmosphere and the quality of the whole night. When you’re in a crush by the barrier watching something that unites everybody in the room, why would you be a selfish fucktard when you can spread the good atmosphere by being friendly, aware of others, and part of what’s going on around you, rather than being there in spite of it?

It only takes a little consideration, some kindness to your gig neighbours and the realisation that everybody is there for the same thing to make the difference between a good gig and a bad one, and sets a really good fanbase apart from, well, a fanbase that no band deserves.

Touts Spoil Everything: That Led Zeppelin Ticket Lottery

When the details were announced for the Ahmet Ertegun tribute with the remaining live members of Led Zeppelin reforming to perform, Bricking Chick phoned me up and asked if I would please register. Her better half is a massive fan, as is she, and she knew that The Ledge and I, to put it mildly, are not. I happily obliged. I mean what better thing to do than to acquire tickets to the most talked about gig in the whole world and present them to a friend?

Well, it seems, the touts have spoiled even that.

So, anyone without a credit or debit card in your own name, parents trying to buy for their kids, kids trying to buy for their dads, and, well, anyone else who may have also chosen to register to get some tickets for someone they knew would desperately want a pair – if you don’t use them yourself, you’d better not buy them.

The email I received today telling me I was eligible to purchase two tickets reads as follows:

This passcode is non-transferable. Only the winner of the ballot as named above is eligible to purchase a maximum of 2 tickets using this passcode and a credit [or debit] card in their name.

It then goes on to inform me that, “Tickets purchased by anyone other than the winner of the ballot as named above will be cancelled. ” Then there’s some stuff about not being allowed to resell them or they get cancelled, before the following piece of joy:

Each original purchaser must provide the actual credit [or debit] card used for the purchase along with valid PHOTO ID (passport or driving licence) in order to receive the tickets and non-transferable wristbands. All wristbands will be fitted immediately. The name on your photo ID must match the name against which your passcode is registered AND the name on the credit [or debit] card used for the ticket purchase, otherwise you will be refused entry to the event.

Furthermore:

There will be no exceptions to the above, no name changes or letters of authorisation will be accepted under any circumstances.

And then the two pieces of info explaining the idiotic restrictions listed above:

We reserve the right to cancel any ticket purchase made by any person whom we reasonably believe to be associated with any ticket broker or tout.

and

We are doing our best to keep the tickets for this event out of the hands of secondary ticket sellers and in the hands of the fans so please help us by adhering to the above.

So, in summary, the touting problem has gotten so bad that I cannot buy a pair of tickets and give them to a friend who is a massive fan, because if they don’t put stricter controls on the gig tickets than they do on security at airports, then these tickets, tickets for a charity gig, will be changing hands at prices that even the band, the promoter and TICKETMASTER realise are ridiculously high.

Now, if touting were illegal and all of these vile ticket resellers were put out of business; if eBay were to restrict tickets sold via their website to “Buy It Now” at face value ; if people didn’t have so little sense of morality that they were more than happy to sell tickets to other people just like themselves at prices they know cannot be afforded by the average person; and if music fans could control themselves and realise that the world won’t end if they miss one gig and refuse to pay these prices, refuse to buy from touts and shout and scream about the idiocy of the situation, then I could maybe get a pair of tickets for my friend and her partner and they could go see this gig.

And yet again, other people’s lack of ethics and decency is spoiling it for the rest of us. Good luck getting Glastonbury tickets folks.

Gig Review: Foals, Night & Day Café, Manchester, 28th Sept 2007

Another gig that we weren’t much looking forward to, this. Despite quite liking their “Hummer” single I was expecting another over-hyped indie electro band along the lines of New Young Pony Club. Expectations were confounded once again, however, as Foals put in a riotously good performance at the Night & Day.

I may have complained about how the air conditioning sucked away some of the atmosphere at the Twilight Sad gig a few weeks ago but a little bit of air con in the Night & Day would not be unwelcome. Even when it’s freezing outside, a full house means that the place resembles a sauna on Mercury. Foals mentioned the oppressive heat a couple of times during their performance but it didn’t seem to diminsh their energy levels one bit. From the off the guitarist and singer covered every inch of the stage while picking out their precision riffs, never deigning to play actual chords and rarely venturing lower than the twelfth fret. It’s this meticulous riffery that brings comparisons to math rock and one instrumental played on the night would not sound out of place on Battles’ excellent Mirrored album. Behind these two is a quite excellent rhythm section and a synth player who, while providing the band’s solid electro core, is happy to take a back seat let the guitars become the focal point for the audience.

The band’s energy was infectious and before long there was plenty of crowd-surfing and stage-diving going on in the extremely good-natured audience. During the closing mayhem of “Hummer” I swear I saw three crowd-surfers one on top of the other, the audience somehow managing to keep them afloat. On this evidence Foals’ Dave Sitek-produced debut album will be well worth getting hold of.

Foals – Hummer

Posted by The Ledge on 21st October 2007 at 5:25 pm | comments (4)
File under foals,Gig Reviews,mp3,night & day,Reviews.

Gig Review: Rufus Wainwright, Manchester Apollo, October 18, 2007

It is currently 1:49am and I’m awake and blogging. I skipped out on last night’s Battles gig because The Ledge got sent away for work and I couldn’t give the spare ticket away to save my life, and I was far too exhausted to haul myself down to a math rock gig on my own. I wanted to conserve my energy for Rufus, who I’d been waiting to see outside of a festival for a while now.

Needless to say the gig was memorable. I missed the opening act because I was slow getting out of the house, but timed it well to take my seat and only wait about 10 minutes for the main attraction. It was pretty much as you would expect to, a setlist consisting mostly of tracks from current album, Release the Stars. A 7-piece band. Theatrical clothing. Amazing vocals. A couple of costume changes and a couple of Judy Garland songs. Some entertaining between-song banter. He was pretty much perfect. In particular I enjoyed “Do I Disappoint You,” “Cigarettes & Chocolate Milk,” “Beautiful Child,” and my favourite ever Rufus Wainwright song, “14th Street.” It was lovely to see him bring a fan on stage to do the spoken word bit of “Between My Legs.” He sounded great singing an Irish folk tune sans microphone. He looked great in lederhosen. He looked even better dressed as a woman, tottering around on high heels and lip syncing while dancing with his band during the encore.

Something, however, was missing and I don’t think it had anything to do with what was occuring on the stage. Perhaps it was the seated venue, or the woman in front of me bitching through the whole performance that only being 20th row in a large theatre just wasn’t good enough (I don’t know what she was fussing about, my seat was fantastic, I had a great view of the whole stage, was close enough to see facial expressions, and being in the row in front of the sound board meant I had the best sound in the house!), or maybe it was because I was on my own, I don’t know. Maybe I just had a premonition.

Now, I’ve been going to gigs at the Apollo for 10 years, the Ledge for even longer. We always park in the same place when we go and in 10 years we have had nary a problem. Tonight, the first time I’ve ever driven myself to the Apollo sans companion, my car got broken into, the passenger window smashed and the bastards rifled through my glove box. Strangely, the only thing missing appears to be the jewel box for Want One. They didn’t take the CD though, as that was in the player. As this is the second car incident this week (some inattentive young lady rear-ended me at 3mph, destroying my bumper a week ago), it has somewhat marred the evening and taken any cozy post-gig glow I may have had away. So it’s now going on 2am, I’m waiting for the RAC to phone about replacing my window so I can drive into work tomorrow, I’m shattered, and I have only the memory of Rufus Wainwright in drag to keep me from losing the plot…..

Rufus Wainwright – 14th Street

Rufus Wainwright – Gay Messiah

Rufus Wainwright – Between My Legs

Posted by JustHipper on 19th October 2007 at 1:14 am | comments (245)
File under car thieves,Gig Reviews,judy garland,manchester scallies suck,Rant,Reviews,rufus wainwright.

Gig Review: The NME Rock ‘n’ Roll Riot Tour, The Apollo, Manchester, Oct. 10, 2007

About a week or two ago I heard this great song on the radio and with the constant plays on Radio One it wasn’t long before I not only knew the full lyrics, but that it was called ‘You’re Not Alone’ by The Enemy. Fast forward to Saturday morning just gone and I bought the album and by the Sunday night I had scored a ticket from Scarlet Mist. As you can see it has been a short love affair but one I must confess based on tonight’s performance is one that will last hopefully a very long time.

Now due to the renovations at the Academy not being complete, the gig was moved to the Apollo and I am sure you all know that the Apollo can be hit or miss, and I can honestly say I have seen more bad gigs here they any other place but also three of my favourite gigs of all time: Billy Idol, David Lee Roth and Jet have all been in this venue. I was more worried though of the effect of the smoking ban in the grotty hole as I was sure this would be one of the venues most affected [Ed: The Apollo has always been non-smoking. The ban should not affect the place at all] due to the air and lack of sunlight, but I am pleased to say that not only did the smoking ban not hamper most people lighting up, and it did not have that musty stench I was anticipating.

On to the gig itself – billed the NME Rock ‘N’ Riot Tour I must first apologise to the young girl who approached me and asked for my email address for the NME mailing list: the sheer look of contempt I gave her was unjust. However when I got in, I caught the start of The Wombats, who were better than I expected for a bunch of Liverpudlians. I wouldn’t go so far as to buying the album, but their energy on stage was electric, they moved with passion, sang with heart and really ‘rocked’ the venue. I enjoyed standing back and watching the crowd go wild at their songs. There must have been about 200 or so in the mosh pit at the front, all of whom were about 14 and it was nice to see a whole new generation of kids coming into the music scene.

Unfortunately, next up was Lethal Bizzle, a three-piece bunch of gangster rap wannabes. Believe me I wouldn’t wish these guys on anyone. The main guy looked like he needed a good meal in him and a couple of slaps around the face for his total admiration of himself. The second guy or ‘back up – I am just riding on my ‘homies’ wave -looked like any generic doorman, whilst the ‘mixer/MC’ was a double of Miss Jay from America’s Next Top Model. It was when these were on that my faith in society was restored (and my hatred of NME confirmed for putting these on the bill) when the crowd in unison booed and chanted ‘GET OFF’.

With the well-produced imagery of The Enemy’s album cover of train station destination board and my chances to win things from NME, the time soon went before The Enemy appeared opening up with ‘Away From’ here and then perhaps their most catchy track, ’40 Days and 40 Nights’ which for some reason I can’t get out of my head. Next up was ‘Technodanceaphobic’ which by this time the crowd was dancing so hard that the only relief to the heat generated was the pints being thrown from above. ‘Had Enough’ had everyone singing along as did their next single ‘Aggro and Pressure’. The only song that did not make the mark was the following song whose title escapes me, but the riff in the song does, like most their songs, remind me of a different song and in this case I can’t help but think of ‘Common People’ by Pulp [Ed: If you must review NME-sponsored bilge, please don’t insult Pulp while you do it.]. ‘We’ll Live and Die In These Towns’, which holds a striking resemblance to the Style Council, was well-performed and was followed by ‘This Song’ and ‘It’s Not OK’. The fastest encore in the history of music barely gave the audience a chance to catch its breath when they returned with ‘Happy Birthday Jane’ which is not really suited to stage but makes a good album track and they finished off with ‘You’re Not Alone’ which was excellent. The whole evening was superb, although I did not expect it to be. This was equally credited to the crowd as it was to the bands. The whole floor was one giant mosh pit for most of The Enemy and it is nice to see that the kids of today know how to rock.

The Enemy – 40 Days and 40 Nights

The Enemy – We’ll Live and Die in these Towns

Posted by Bricking Chick on 17th October 2007 at 7:50 pm | comments (13)
File under bandwagon jumpers,Gig Reviews,major label wannabes,manufactured rubbish,mp3,Reviews,shitty NME bands,utter tripe.

Gig Review: Brakes, Manchester Club Academy, October 6, 2007

Excellent,,,.

Brakes Live at Club Academy Eamon from Brakes at Club Academy

Eamon Hamilton on the guitar Rock on Brakes!

Brakes – Comma Comma Comma Full Stop

Brakes – Cheney

Posted by Bricking Chick on 9th October 2007 at 7:54 pm | comments (5)
File under brakes,Gig Reviews,Reviews.

Gig-Goer of the Week, Part 7: Brakes, Manchester Club Academy, Oct 6 2007

It’s been a while since I witnessed such clearly idiotic behavior at a gig that it deserved to get the “Gig-Goer of the Week” headline. Last night we went to see Brakes. When they came on stage they announced that they wanted to do something special so they had decided to play through both albums back-to-back. I’d have thought they were joking except Eamon clearly had a copy of their first album, Give Blood, on stage and he kept referring to it to see what was next. Despite this, some young groupie-wannabe in an unfathomably short skirt for a gig* pushed to the front and leaned across the monitors, motioning Eamon to her. He leaned in and she whispered something. His response was, “We’re going to play ‘All Night Disco Party’ when we get to it in 2 songs.” Despite this, she continued to scream for it until it rolled around in the set. The she started screaming for something else. Now, while her enthusiasm was nice to see, why she felt the need to request songs that they were blatantly going to play is beyond me, especially when she should have known exactly where they would be in the set, seeing as how they were playing through both albums, start to finish (without ‘Mobile Communication’, sadly. Why they left that out I will never understand).

Now, hopefully you’re laughing already at this somewhat ridiculous and blatant attempt by a rather silly young thing to get the band to notice her. She wasn’t nearly the most mentally challenged person in the room.

As some of you may know, Brakes have a song called ‘Hi How Are You’ which is directed at irritating hipsters who stand next to you at gigs and talk shit during the quiet songs. The chorus actually goes “Won’t you shuck the fuck up, I’m a-just tryin’ to watch the band!” They played it twice. After this double-rendition, on which the crowd joined in twice, I ended up stood in front of two women who chose to talk loudly through, you guessed it, the next quiet song. To make matters worse, and in a brilliant twist of irony, they were stood behind a young guy wearing a t-shirt which said on the back “Won’t you shuck the fuck up, I’m a-just tryin’ to watch the band!” to which, at the tail end of their noisy and unappreciated conversation, one of them pointed and went “Oh isn’t that T-shirt funny! I love that song!” or something along those lines. If I were bigger and it had actually been a farce, I would have turned around and knocked both their heads together.

*Tip: Girls, don’t wear short skirts if you’re going down the front. When people start to dance in such close quarters, your skirt will ride up and you’ll end up wearing it as a belt, backside and knickers exposed to the world.

Brakes – Hi How Are You

Posted by JustHipper on 7th October 2007 at 4:38 pm | comments (17)
File under brakes,gig etiquette,Gig-goer of the Week,mp3,Rant.