Despite the proximity of Bristol to South Wales - My home and that of this blog, I am deeply unfamiliar with the city. And yet, tonight’s gig is just a snapshot of what I’ve been missing out on. Albeit one that’s scaled down, from the multi-venue festival that was going to be the second year of Misery Loves Company. SWX reminds me a lot of Cardiff’s great hall, exuding a sense of scale, whilst being deeply intimate. I strike up a conversation with a local who in keeping with the city’s image, gives me a guide to its creative, DIY, and radical spaces. I feel a sense of satisfaction at stepping out of my comfort zone and being in a new place.
That’s an aesthetic which is upheld tonight with ALT BLK ERA (8) powerfully crossing and challenging genre boundaries, from hip hop, to electronic to metal. Despite being newcomers, the duo demonstrates an enormous stage presence, as they channel the righteous anger of their songs into a compelling half-hour of pure, unashamed joy.
Even those crowd members like me, who may not have heard of the band before tonight, are quickly enthralled as they absolutely thrive in their role as a warmup act, whilst standing on their own as a striking addition to tonight’s line-up. “I don’t give a damn if you like it, I’m normally like this” runs the defiant chorus to the band’s final song. At the behest of the performers the crowd chant the words back, middle fingers held aloft, in a show of disobedience towards those who would make us feel ashamed of our identities!
As December Falls (10) take the crown for being the most technically astute act of the night. And yet far from just being incredibly clever musicians, they command a delicate balance of being both emotionally intriguing and sonically pulverising.
That’s an aesthetic which is upheld tonight with ALT BLK ERA (8) powerfully crossing and challenging genre boundaries, from hip hop, to electronic to metal. Despite being newcomers, the duo demonstrates an enormous stage presence, as they channel the righteous anger of their songs into a compelling half-hour of pure, unashamed joy.
Even those crowd members like me, who may not have heard of the band before tonight, are quickly enthralled as they absolutely thrive in their role as a warmup act, whilst standing on their own as a striking addition to tonight’s line-up. “I don’t give a damn if you like it, I’m normally like this” runs the defiant chorus to the band’s final song. At the behest of the performers the crowd chant the words back, middle fingers held aloft, in a show of disobedience towards those who would make us feel ashamed of our identities!
As December Falls (10) take the crown for being the most technically astute act of the night. And yet far from just being incredibly clever musicians, they command a delicate balance of being both emotionally intriguing and sonically pulverising.
You also get a sense that many members of their already swelling and dedicated fanbase are here tonight, as I meet one person who has travelled all the way from London, specifically to see them perform live! In case you need proof of their ability to make an impression on crowds though, look no further than the gigantic circle pits that consume the venue floor for almost every song of their set. They may only have a short amount of time on stage, but they don’t let a second of that time go to waste!
Being perhaps the longest established name on the billing, The Hunna (8) exude a sense of confidence, as they walk on stage. Admittedly, they take longer to excite the crowd in the same way as the other acts, beginning with some of the more electronic-tinged work that has defined their later material. Where the band really lock into a groove however is with the more traditional, anthemic work that makes their first album, and indeed most of their live set, so exhilarating.
Being perhaps the longest established name on the billing, The Hunna (8) exude a sense of confidence, as they walk on stage. Admittedly, they take longer to excite the crowd in the same way as the other acts, beginning with some of the more electronic-tinged work that has defined their later material. Where the band really lock into a groove however is with the more traditional, anthemic work that makes their first album, and indeed most of their live set, so exhilarating.
More than that though, it’s the collective movement and noise of the crowd that causes their performance to become more intense and riveting with time. You quickly get the sense that The Hunna are defined by their live presence, and ability to feed off the excitement of an audience. In a small venue like SWX, the proof of that is made all the more evident.
“Well, that was an emotional rollercoaster” I said to the friend I made at the show, following RØRY (10). Having heard her style of alternative-metal beforehand, I didn’t know what to expect from her live performance. The confessional, visceral outpouring of personal confessions, anxieties, and hopes, both through song and spoken word, transcended my expectation.
“Well, that was an emotional rollercoaster” I said to the friend I made at the show, following RØRY (10). Having heard her style of alternative-metal beforehand, I didn’t know what to expect from her live performance. The confessional, visceral outpouring of personal confessions, anxieties, and hopes, both through song and spoken word, transcended my expectation.
While many artists sing about experiences of loss, addiction, and mental health, not everyone commands them quite so eloquently as Roxanne Emery. Here is someone who has taken control of her own life, her own narrative, and through songs, jokes, stories and audience interaction, has learned to create something deeply positive from those experiences. At nearly 40 years old, she confesses that hers isn’t the likeliest of success stories, as she mocks her appearance, albeit with a self-awareness to indicate that she doesn’t care if anyone thinks its too late for her to pursue music or express herself authentically.
At one point during the show, audience members are invited to raise their arm if they have ever experienced loss. Almost every arm the crowd went up. As RØRY asks each person to (“if you feel comfortable”) embrace the person nearest to them with their arm raised, we are made to feel that our own experiences of adversity, can be overcome in the comfort of friends, and the love of music.
At one point during the show, audience members are invited to raise their arm if they have ever experienced loss. Almost every arm the crowd went up. As RØRY asks each person to (“if you feel comfortable”) embrace the person nearest to them with their arm raised, we are made to feel that our own experiences of adversity, can be overcome in the comfort of friends, and the love of music.
I am someone who is unfamiliar with Bristol. I owe that in large part to a traumatic experience I had there when I was a child. In the few times I’ve been there in the past few months, I’ve made a friend, got a taste for the community, and grown in confidence. Being able to relate to so much of the music tonight, feels like an acceptance of that growth, irrespective of the past!
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