It was Thursday, July 17th 2025 in peak unprepared British summertime in Bristol. I (Joe) was working on that day with only one thing on my mind that made me happy, it was Melvins (10) day! The hours dragged but I soon found myself at my favourite place on earth, the Exchange. Everyone at the venue could not stop smiling, while being surrounded by friends in every nook and cranny, the excitement was forever present.
Before the main event though Alex Tobias captured the support Redd Kross (8) who came to the stage with quite a big crowd already in early to watch the California legends of punk rock, they are greeted by warm appreciation and anticipation from this Bristol crowd. Getting stuck in to such classics as Lady InThe Front Row, from their 1993 album Phaseshifter, and lots of newer material like Good Times Propaganda Band, from there 2024 self titled album Redd Kross.
Delivering in stage aura just from the look alone, all dressed in white with spots and splatters of multi colour hippy designs, the brothers of the band, Steve and Jeff McDonald have good banter together on stage and play off each other well between songs, they get good reactions from the crowd between every song. The drums are spot on punk beats that switch to that distinctive Beatles style easy rock and roll beats depending on song, the solos from guitarist Jason Shapiro hit the spot nicely and he does throw some good shapes to entertain the crowd also.
A band that has been plying their trade to punk rock for 46 years now but unless you knew this information you would never have known by watching them for the first time at all. Great opener for Melvins that could and have many of times before headline shows with ease.
Joe
At 9:15 sharp I sprinted into the main room to be greeted by two drum kits on the stage and a space packed full of likeminded degenerates. As the clock hit 9:30, here came the Melvins as they took to the stage, looking nonchalant as ever. Bassist Steven McDonald who was ever the entertainer, joined by drummer duo Dale Crover and Coady Willis, and of course King Buzzo, with a smaller Sideshow Bob haircut compared to when I saw him with Trevor Dunn the previous year.
Then fireworks as Dale and Coady began clanging and banging their drums with all their might into Working The Ditch. Steve had a massive grin as always and Buzz looked focused as they ripped into it. I must say the newer songs like what I had just mentioned and Never Say You’re Sorry work so well amongst their older tunes, they all have the signature grit which sounds like no one else.
It’s Shoved was one of many highlights. I screamed when Steve started playing that wobbly bass line as it's probably my favourite album of theirs, that being Bullhead. It’s more straightforward for them in sense but it’s just so fucking catchy, no wonder why Nirvana ripped it off with Milk It.
A History Of Bad Men was another sight to behold, getting to see Coady perform these songs live and in-person alongside Dale and trading off drum solos was an absolute fever dream. Myself and a lot of other people that I know hold the Melvins/Big Business era in high regard in which this song is a part of. Albums like (A) Senile Animal and Nude With Boots are the best modern day-ish Melvins in my opinion and I keep them very close to my chest, they are a beating heart.
Now I would be a fool not to group these last six songs together as they are the “hits” as far as the Melvins are concerned.
Joe
At 9:15 sharp I sprinted into the main room to be greeted by two drum kits on the stage and a space packed full of likeminded degenerates. As the clock hit 9:30, here came the Melvins as they took to the stage, looking nonchalant as ever. Bassist Steven McDonald who was ever the entertainer, joined by drummer duo Dale Crover and Coady Willis, and of course King Buzzo, with a smaller Sideshow Bob haircut compared to when I saw him with Trevor Dunn the previous year.
Then fireworks as Dale and Coady began clanging and banging their drums with all their might into Working The Ditch. Steve had a massive grin as always and Buzz looked focused as they ripped into it. I must say the newer songs like what I had just mentioned and Never Say You’re Sorry work so well amongst their older tunes, they all have the signature grit which sounds like no one else.
It’s Shoved was one of many highlights. I screamed when Steve started playing that wobbly bass line as it's probably my favourite album of theirs, that being Bullhead. It’s more straightforward for them in sense but it’s just so fucking catchy, no wonder why Nirvana ripped it off with Milk It.
A History Of Bad Men was another sight to behold, getting to see Coady perform these songs live and in-person alongside Dale and trading off drum solos was an absolute fever dream. Myself and a lot of other people that I know hold the Melvins/Big Business era in high regard in which this song is a part of. Albums like (A) Senile Animal and Nude With Boots are the best modern day-ish Melvins in my opinion and I keep them very close to my chest, they are a beating heart.
Now I would be a fool not to group these last six songs together as they are the “hits” as far as the Melvins are concerned.
-Hag Me
-Hog Leg
-Honey Bucket
-Revolve
-Your Blessened
-Night Goat.
The very best that they have to offer, every blood sweat, tear and scream went into it both from the band and the audience. Although no moshing like I’ve experienced at previous gigs of theirs, this I will truly never forget about me. Hag Me was just knackering, it took up half the fucking set and I love every single second of it! I was lifting my arms up, hands clenched in a fist, bellowing the words with the air drums, it was my hymn and the Exchange was my church.
I’m telling you now, only the Melvins can keep a crowd hooked for that long, they lovingly take the piss and we were all there for it, part of the joke. After the deranged Honey Bucket got me spinning around with ecstasy like the Tasmanian Devil, I was a sweaty mess for Revolve but I will never not sing along with that chorus.
Last of all Night Goat, which I think is my favourite track of theirs. With a bass line that repeats in the introduction six times before anything else joins it, lyrics that make no sense and Buzz’s demented yell, it defines all that is hell to normality in one song.
I leave you saying this, Melvins make songs for people who don’t like music. The first time anyone listens to them they always think what the fuck is this wether the like it or hate it and I still find myself asking the same question now. LONG LIVE THOSE PESKY MELVINS!
No comments:
Post a Comment