Despite being slow to the stables, ‘Dark Hands, Thunderbolts’ is blisteringly fast out of the paddock, bursting to life with opener ‘Montenegro’ – an urgent and signature battle cry of blues, folk, roots and punk. Crazy Arm’s sound has long reached maturity and accomplishment, but it’s clear from this opening track and the towering harmonies and chaotic instrumentation of ‘Blessed & Cursed’ that the band are residing at the height of their talents.

Crazy Arm are firing on all cylinders musically and lyrically throughout, whether they’re sombre (‘Fear Up’) or mustering a manic and anthemic call to arms (‘Brave Starts Here’). The latter is a made for festivals (remember those?) punk rock barn dance, and delivers a stark reminder that positive change in the world very much starts at home.

In an age where capturing short attention spans with playlisted singles and social media reach is often the focus, the crafting of a well formed album is sometimes forgotten – but Crazy Arm have always been fantastic at constructing a body of work.

There’s little or nothing on done by accident or with a “that’ll do” attitude on ‘Dark Hands, Thunderbolts’ – each crescendo and dynamic shift is purposeful and measured (as you may expect from an album four years in the making), particularly where the band release tension excellently (in the brace of interludes ‘Dearborn’ and ‘Paradiso’), let loose entirely (‘Trail of Meds’) or indulge in reflective sway (‘Epicurean Firestorm’). The entire record swirls with foreboding harmonies and towering instrumentation, thick with arrangements that should be the envy of any songwriter worth their salt.

If you’re looking for a record with oceans of depth, boundless energy and a big heart to kick start your year, look no further. Crazy Arm have taken their sweet time with ‘Dark Hands, Thunderbolts’, but it’s more than worth the wait. This is a unique band at their very best, delivering a rich and meaningful howl at the moon just when we all need it.

TOM AYLOTT

The film will look at the genre’s legacy in protest movements, whilst also looking at the decline of live music venues across South West England. It will feature live footage of local bands Crazy Arm, The Bus Station Loonies, and Suck My Culture performing across various Plymouth based venues.

It will be screened on at The Gallery at Plymouth College of Art from 22nd September until 18 November.

Jamie Lenman of the glorious Rueben was on hand to act as the devilishly charming ‘Master of Ceremonies’, witty and playful, it was lovely to see him up on a stage again. He was also sporting a rather marvellous moustache, and as Punktastic knows all too well moustaches always make things more fun!

Ben Marwood’s everyman style of folk opened the evening. Marwood seemed genuinely surprised at the extremely warm welcome he received. Indeed there was a distinct sense that the room had been taken under siege with fans of Marwood’s down-to-earth tunes. The fittingly titled ‘Sing-along’ did what it says on the tin to roaring effect.   The barfly even got a special outing of ‘Tell Avril Lavinge I Never Wanted To Be Her Stupid Boyfriend Anyway’ complete with ‘Sk8ter Boi’ segue.  Mark my words, big things are ahead for Marwood.

After a short interval, Dave Hause of The Loved Ones bounded onto the stage. Despite the fact that he was heckled by a woman drunk out of her mind (and it was only 8pm) his set was full of blue collar charm. One thing that could not be denied is that, man, Hause can sing!  I’ve always felt that the fire and passion in his songs don’t completely translate on his solo record ‘Resolutions’. Thankfully, the songs came across far better live, seething with more energy and melody, than they do on the record. Hause’s set was far more enjoyable than expected and had me singing ‘Time Will Tell’ for days after.

After the release of their excellent recent album ‘Death’, Jim Lockey and The Solemn Sun had suddenly and rather violently jumped upwards on many lists of bands to see live. It is certainly true that the bill offered more surprising and perhaps more polished acts, but for Jim Lockey and The Solemn Sun stole the show this evening. Their reckless exuberance, crazed stage moves and earnest performance which included ‘Boat Song’ sung via an epic crowd invasion, was a real highlight. It was abundantly clear from this small set, the melodic buzz and dissonant guitars of The Solemn Sun that these guys are on the rise.

An almost reverential hush descended upon the barfly, the time had come for the Xtra Special Guest. By this stage the cat had been let out of the bag thanks to Hause, and excitement over Billy Bragg’s imminent set had reached its apex, and Bragg was everything you’d expect from him. During his set he had the ability to come across as both jovial and humorous while simultaneously heaving with righteous anger, and the performance of ‘Scousers Never Buy the Sun’ showed that there was still fire in this weather weary protest singer. While Bragg’s protest songs were rapturously received, it was when he took a step back from his political and social commenting that the power of his songs struck. ‘Greetings to the New Brunette’ was a genuine love song, while ‘A New England’ remains as brilliant as ever. An on stage cameo for Bob Dylan’s ‘Times Are A-Changing’ from hero of the night Frank Turner ended the set, which would by anyone’s standards, be very hard to follow.

Crazy Arm had to follow on from two brilliant sets, though, and fortunately they’re best thing to come out of Devon since afternoon tea. From the moment they took the stage, their effortless mix of folk and stomping rock n’ roll perfectly rounded up an evening of musical highs, and though they had a very tricky task to round off the night, they did so in style.

CLARA CULLEN