From the car park, a buzz was audible from outside the ‘venue’ as the crowd soaked up the last of the sunshine. It was clear this wasn’t just a reunion for Stillbust but also for many of those in attendance, with warm greetings all around. This is what happens when local legends come back from the dead. To build hype for their headline set the band had handpicked the line up, starting with Rasin Awareness. These three really warmed in to their set and by the end had heads nodding along throughout to their intense, technical take on skate punk. With nods towards the melodic hardcore/skate punk of Phinius Gage, Melon Ball and Satanic Surfers combed with the mature pop punk of Doe and Belvedere, this is a band who revel in the complex but are unafraid of a catchy hook or chorus.

With the audience and room suitably warmed up, Blood Uncle took things up a notch in both volume and intensity. In a room with so many elder members of the DIY scene, this resulted in ear defenders being applied en masse. Their set was a trip through DIY hardcore with obvious nods towards Minor Threat and Black Flag, whose early experimental sound clashed with breakdowns and the occasional sludgy riffs of Going Off or Svalbard. As the short sharp songs fired from the stage the pit was ignited and bodies began to crash into each other at the front. This seemed to spur Blood Uncle on, and their set became more frantic as their pace increased – along with the temperature in the room. As the last notes bounced round the walls, the stage and the pit were a sweaty mess.

After a brief trip outside for more standing and catching up the room filled up for the return of Stillbust. There was no questioning if the audience were ready as they tore through the first few songs at a reckless pace. The crowd instantly went wild with a similarly reckless attitude, the pit swirling around and growing with every note. The breaks between songs provided some much needed respite and moments of emotional chatter, which seemed as important to the crowd as it did to the band. As they clock up the musical nods to fellow hardcore misfits Refused, Blakfish and Meet Me In St Louis it becomes that clear regardless of current trends, this is a band who will always sound different.

As the chaos increases from the stage to the pit the band call for a human pyramid, deflecting the audience from their ever increasing circles to pile their bodies on top of each other until they can touch the tiled ceiling. Every word is screamed back by the intensifying room and, as the final songs are called. it reaches a heat and an excitement level that can only exist in such a small space. People are crowd surfing, there are kids on shoulders in the pit, t-shirts are flying overhead towards the stage and most importantly, everyone is looking after each other. This is a community, not just a bunch of dickheads spin kicking and crowd killing.

For their final, Stillbust create more chaos with another human pyramid that collapses and returns to an endless cycle of crowd surfers. This turns into the band atop the hands of audience members as they play their final notes, being lifted into the air like the heroes they are.

This show was a throwback to a time Gloucestershire still had a strong DIY music scene. Let’s hope this isn’t really the last we’ll see of Stillbust, but the start of something instead.

BEN ADSETT

Photo by Adam Chandler

WORDS: BEN ADSETT / IMAGES: DORY VALENTINE

Jodie Faster

Looking around The Union, there are a lot of sore heads as Jodie Faster explode into life. This feels like a kill or cure moment because their French hardcore/grindcore crossover is loud, brash and unapologetic. Songs fire from the stage at breakneck speed and it feels like the circle pit is never going to be big enough to satisfy the band. In the gaps between these short, sharp bursts of organised chaos, this is a band who use their words very well, from dedications to lost friends to outpourings of love for their scene, and these moments connect the crowd. This is a band who move round a stage like its second nature, constantly crossing paths without ever getting in each other’s way and this adds a touch of class to a beautiful, infernal racket. By the end, as people catch their breath, the room is back on form and ready for another big day of back to back bands.

PkewPkewPkew

With the room ready, PkewPkewPkew bring the fun. Their drinking pop punk songs sound even better when the sun is out, and soon have fists, fingers and beers held in the air from first to last song. Musically, they are well versed and share the focus throughout the set with a very polite stage presence. Part of the charm is their engaging stage patter, winning any undecided audience members over between each song and creates a huge atmosphere by the end of their breathless set.

Boom Boom Racoon

As Boom Boom Racoon take the stage, it’s hard to tell what an acoustic guitar, bass and a trumpet are going to sound like. To be honest, even after they played it’s hard to tell. Every song in the set offers something completely different from Manouche jazz, crust punk, folk, ska and, beyond the musical combos, are engaging throughout. Lyrically, this is a fiercely political experience with opinions on gender, the prison system and sexuality shared within and between songs. The cleverest thing about Boom Boom Racoon is their ability to write songs packed with serious influences, both musically and lyrically, that will have the most reluctant toes tapping along to their upbeat rhythms.

Bangers

After seven years, the expectant atmosphere in The Union for Bangers is electric. As they hit the stage, there is a moment where a sense of relief is replaced by pure excitement and within what seems like seconds, the last chords are played and the band leave the stage. With a set that rapidly tracks a very strong back catalogue, there’s something for every type of fan, and what better way is there to discover a band than through a greatest hits set within this atmosphere. Who knows what’s next for Bangers but if this is goodbye, it was absolutely wonderful.

ONSIND

Label mates ONSIND have a similar backstory and importance, and throw a “Ten Years Of Thatcher’s Death” party on the same stage. This is a very different band from the two piece acoustic act that started the project off over a decade ago. With one singer unable to sing but fortunately able to still play, they drafted in a replacement and what followed felt like a once in a lifetime set. With a last minute change on vocals, the crowd were enlisted to help out and boy did they help out. In a set that closed with an entire room singing ‘Never Trust a Tory’ at the top of their lungs, it is impossible not to leave inspired (and slightly croaky).

Death By Stereo

There are so many legends on the Manchester Punk Festival line up but were they on the Punk O Rama 6? In the case of Death By Stereo, the answer is yes. With decades behind them, this is a band who know what they are doing with a crowd and they held them in the palm of their hands from start to finish. Conducting the pit and encouraging the ever spinning circle to speed up and slow down at their will; all of this whilst also delivering a punishing set of hardcore with the occasional harmonised break before the crushing rhythms take back over.

Lightyear

If you were looking for a bit of chaos, Lightyear’s set complete with human tombola, venue climbing and endless taking the piss out of each other was the place to be. Somehow coming across as a band who have absolutely no idea what is going on, they still manage to play catchy and mood enhancing ska punk to a very high standard. This is a set that was pure chaos but one of the most purely fun things the weekend had to offer.

And with that – a quick snooze before another heavy day of running around Manchester Punk Festival.

Tickets for next years Manchester Punk Fest are available here.

Click the image below to see our Manchester Punk Festival – Saturday Gallery

WORDS: BEN ADSETT / IMAGES: DORY VALENTINE

Cynics

Starting a weekend of back to back bands with a final show is a risky tactic. In a packed room, Cynics are either going to make or break the weekend. Emotions are high as the venue (YES) hits capacity and what follows is a thirty minute outpouring of love for a band who clearly mean a lot to the people in the room. Within moments, the audience are in full voice, intensifying what is already a melancholic set and creating a close sound which can be felt bouncing off the walls and bodies. The delicate moments hit hard and the rousing choruses are infectious, and as the penultimate song ends on the poignant line “we don’t want this to end”, this feeling hangs in the room for a moment. The set closes on a surprising cover of ‘Brimful of Asha’ with the accompaniment of the entire crowd. This finale cleverly diverts to a joyous moment and fittingly waves good bye to a band who some will forever hold dear.

The Human Project

The Human Project take the stage and have the audience entranced within seconds. The clever guitars and razor sharp harmonies contrast with their crushing rhythm section and create a sound that could be scaled up to fill any room. This set feels important to the band and is delivered with a ferocity which is returned by the people at the front who move like a snowball; always increasing in size. The final notes buzz around the room for a moment as breaths are caught before heading to the next musical adventure.

Petrol Girls

The deadly mix of expansive musicianship, deep political dissatisfaction and pure rage makes Petrol Girls set pass by in the blink of an eye. Ren Aldridge expresses concern about performing in jeans rather than the usual lucky sparkly shorts having an effect on the set, but this is forgotten within moments as the entire band are clearly at the top of their game. The vocal fury and sweeping guitars build to a climax which leaves the audience wanting more.

The Slow Death

In yet another full room, The Slow Death are cementing their status as legends of this scene. The expansive sound they create nods towards the decades their career has spanned and the birth and death of musical sub-genres, meaning almost every song in their set is different. This is the kind of live mastery that only exists after years of honing your craft and is appreciated by a core group of fans finger pointing and singing along to every word.

Going Off

Never has a band had a more fitting name than Going Off. Within seconds of them taking the stage, the entire front of The Bread Shed is in motion. With the band hyping the audience up with words of encouragement and a perfectly executed set of beat down riffs, snarling vocals and drumbeats so tight they could be mechanised, the pit seems to be stuck in perpetual motion. This set wasn’t just for the people putting their bodies on the line though, there was plenty to get even the most reluctant heads nodding. With a deserved reputation that has grown over the last year and now puts them within lists of the hottest heavy acts, the pressure was on; yet its clear this is a band who perform best under pressure. By the end everyone leaving the room has a new favourite UK hardcore band, and what’s not to love about this vital and often brutal collection of songs.

Off With Their Heads

This festival likes to celebrate bands that have shaped the scene they work so hard to nurture, and Off With Their Heads and their seminal album ‘Home’ get that treatment today. The record is played in full and played with such infectious passion that the huge cramped crowd feels like a much smaller venue; The Union is vast but everyone is as close to stage as they can be. In a room filled with voices singing along, it’s hard to see ‘Home’ as anything other than a vital release. As the final few tracks ring out, you can hear voices start to crack after an hour of singing along and for a collection of relatively bleak songs, there are a surprising amount of smiles on faces. It’s touching to see a band clearly enjoying their headline set so much and sharing this moment with an adoring crowd.

Big D And The Kids Table

Catching the end of Big D And The Kids Table proved popular as we followed a group of people speed walking to Gorilla and packing in to the venue like sardines. Clearly warmed up after playing at least half a set, the band played a fast and loose selection from their large back catalogue and created a fun atmosphere but somehow fell short on the actual songs. This did not deter an entire crowd who bounced their way through the set and made the concrete floor feel like it was on water.

Knife Club

The night takes a completely different turn as the afterparty starts with Knife Club; it’s almost like we have been invited in to a completely different event. Gone are the smart venues and polished sets – instead there is a sticky floor, that unmistakable smell of a night club and a chaotic thirty minutes of double fronted DIY punk. With a stage packed full of musicians fronted by Andy Davies in heart shaped sunglasses and (briefly) a leopard print coat, it’s the crowd who instigate the chaos. Bodies fly around the room, from the stage and, on occasion from the top of the crowd, with a thud. This is like an invite to a local midweek basement show and it’s an absolutely fitting end to day one at Manchester Punk Festival.

Roll on Day Two.

Tickets for next years Manchester Punk Fest are available here.

Click the image below to see our Manchester Punk Festival – Friday gallery

WORDS: BEN ADSETT / IMAGES: DORY VALENTINE

Cheerbleederz

Whilst others are hunting for Easter Eggs. at MPF we are hunting supergroups. The first of the day are Cheerbleederz and are a much gentler start to the day. With three part harmonies and floaty guitars, they create serene atmosphere in a busy room. This is the kind of set that encourages an audience to immerse themselves in the music and at the end, when heads stop floating, it feels like waking up from a lovely dream.

Hell’s Ditch

In a weekend where we have seen some incredible heavy music, Hell’s Ditch were surprisingly tame – based on the name we were expecting another onslaught. Instead, tuneful pop punk/British rock followed and looking around Gorilla, it felt like this is what people needed on a Sunday afternoon. Despite the singers best efforts, the pit never woke up but from the stage there was enough energy for the whole room. Although there was no circle pit, the appreciation from the audience was very clear.

Cherym

Cherym took things up a notch and with a set of politically driven power pop, they created a party atmosphere. Angular guitars and tight vocal harmonies have to be so precise to not compete with each other, this was not a problem at any point for this three-piece, who’s song writing and performance skills are razor sharp as was their stage patter. Overall, this was a lovely set to experience, and was absolutely impossible not to beam around the room at all the other smiling faces.

Binboy

Another supergroup backs Binboy, the solo project of Thom Weeks (formerly of Gnarwolves and Kasa). With an already extensive discography to pick from, this is a set that will be full of surprises and it’s not a surprise that this is one of the best sets of the weekend. Binboy mould together on stage to create a take on slacker pop that leaves no suggestion that what they are doing is easy. Musically, they are highly talented and when clever vocals and lyrics are added in, the live sets are full of charm. The pink room at YES fits this perfectly, and looking around a full room swaying in time feels somewhat therapeutic.

Melonball

As the third (or fourth for the truly dedicated) day starts to take a toll, Melonball are the perfect wake up call. Their fast and often brash skate punk is balanced out with three part harmonies, and a stage presence and energy that is infectious. The crowd go wild throughout and with every escalation, the energy on the stage goes up until the end where the heat from the pit moves like a wave to the back of the room. This is a take on skate punk that not only follows the origins but also pushes them in exciting new directions.

ME REX

The final supergroup brings Fresh and Happy Accidents together in the form of ME REX; a band with more instruments on stage than members. The jaw dropping musical conclusions are created when all these instruments combine to create delicate and well measured walls of noise. With a backing that could be successful without vocals, adding harmonies, incredibly catchy choruses and those vocal cracks that convey endless emotion, it is clear ME REX are a very special band.

Ithaca

In the heavy stakes, Ithaca saved the best for last and, much like Going Off, prove the smallest vocalists create the most intense noise. With two critically acclaimed albums under their belts, it must be hard to select a relatively short setlist but it’s expertly crafted and has the room instantly on side. Riffs and rhythm drive behind the vocals to create an unrivalled intensity which is balanced by the occasional tender moment. The most tender moments come between songs, when messages of representation and solidarity are applauded and, more importantly, listened to by an engaged audience.

Wonk Unit

There have been so many ‘legends’ on this line up that the fiercely independent Wonk Unit may not be the most famous band on the bill, but in this setting, they are heroes. Their DIY ethos is unquestionable and despite being another band who have been struck down with a scratchy voice, this performance is breathtaking, and not just because of the relentless pace the songs are fired at us. There is something almost hypnotic about watching a band who interact with and around each other on stage; it looks certain that someone is going to get hit with a guitar neck or come crashing through the drum kit, but this band are too experienced and too in tune with each other for this. Their scrappy punk offerings are delivered in short bursts and the sheer number of great songs is staggering. As the final songs hit, it is clear the audience are almost as exhausted as the band who have just torn through over an hour of three minute songs.

Tickets for next years Manchester Punk Fest are available here.

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