There is a specific, claustrophobic magic to The Holloway when the "Sold Out" sign is taped to the door. With close to a hundred people packed into a space that usually feels like a basement even when it’s empty, the boundary between the stage and the floor simply ceases to exist. It’s the kind of environment where the music isn't just heard; it’s a physical presence that rattles your teeth.
Last Sunday wasn't just a gig; it was a documented riot, a four-band descent into punk, hardcore, and the beautiful, bruised-rib honesty that sits right at the centre of the protest song.
The night ignited with Tethered (8). Now, I’ll stick my hands up here, I wasn’t aware of this lot and couldn’t find much pre-gig but after this I’ll be digging hard to find their stuff. As an introduction to a bill this heavy, they were a masterclass in establishing a pulse.
The night ignited with Tethered (8). Now, I’ll stick my hands up here, I wasn’t aware of this lot and couldn’t find much pre-gig but after this I’ll be digging hard to find their stuff. As an introduction to a bill this heavy, they were a masterclass in establishing a pulse.
They move with a rhythmic persistence that suggests they’ve spent a lot of time internalizing the more abrasive corners of the post-punk lexicon. It was a sharp, high-velocity start that immediately unified the room, proving that even the opening slot at The Holloway can feel like a headlining set if you bring enough grit to the monitors.
The weather shifted toward the "bloody furious" with Grim Harvest (9). This local lot had a bit of a nightmare early on with the bass header and amp connection, but once they sorted the plumbing, they absolutely exploded.
The weather shifted toward the "bloody furious" with Grim Harvest (9). This local lot had a bit of a nightmare early on with the bass header and amp connection, but once they sorted the plumbing, they absolutely exploded.
Their performance was a ritual; the band spent most of the set in a semi-circle facing their drummer, inviting the audience to peek into a private, chaotic ceremony. Sonically, it felt like being beaten up, a savage blend of parched gurgles and blasting riffs. It was unruly, technical, and when they lobbed in the odd cheeky melodic sections, it felt like a brief, desperate gasp for air before the next assault.
The momentum reached a tipping point with Birdwitch (9). Again they were a first for me and as they describe their sound as "Dream Violence," I was hooked. It’s a tag they’ve earned. It’s an emotional melting pot of doomgaze and post-metal that feels like a heavy, distorted ache.
The momentum reached a tipping point with Birdwitch (9). Again they were a first for me and as they describe their sound as "Dream Violence," I was hooked. It’s a tag they’ve earned. It’s an emotional melting pot of doomgaze and post-metal that feels like a heavy, distorted ache.
As a disciple of the original shoegaze blueprint, I loved the way they mashed together pained, introspective melodies with the tectonic weight of sludge. It was a sophisticated bit of songwriting delivered at a heart-attack pace, the kind of set that leaves you feeling like you’ve been through a cleansing fire.
By the time D.C.’s NØ MAN (9) hit the stage, the venue felt like a pressure cooker. This is a band with a serious pedigree, Matt Michel, Pat Broderick, and Kevin Lamiell essentially helped build the foundations of screamo in Majority Rule but Maha Shami is the undisputed heart of the operation. Her presence is a physical jolt.
By the time D.C.’s NØ MAN (9) hit the stage, the venue felt like a pressure cooker. This is a band with a serious pedigree, Matt Michel, Pat Broderick, and Kevin Lamiell essentially helped build the foundations of screamo in Majority Rule but Maha Shami is the undisputed heart of the operation. Her presence is a physical jolt.
As she noted during a brief moment of clarity, this was a night of punk and protest. And we NEED both of these things at the moment. From my point of view the best thing about protest songs is the love that surrounds the rage.
That love was evident, but the rage was a "tornado in your living room." Shami's vocals, particularly on new cuts like Poison Darts are the most vicious of her career, fuelled by the systemic violence she’s witnessed first-hand in Palestine.
That love was evident, but the rage was a "tornado in your living room." Shami's vocals, particularly on new cuts like Poison Darts are the most vicious of her career, fuelled by the systemic violence she’s witnessed first-hand in Palestine.
It’s an alchemizing of the personal and the political that doesn't just ask for your attention; it demands your soul. It’s holding up the “ugly mirror” and making absolutely certain you cannot look away. This is what protest songs with a heavy dose of hardcore look, feel and sound like. The set was a masterstroke of controlled fury, a cathartic inferno that left the audience swamped in a wall of feedback and urban defiance.
It was an exhausting, pained, and utterly professional bit of work. NØ MAN didn't just headline; they provided the definitive proof that the underground is currently operating at a world-class level. They managed to balance a white-hot aggression with a melodic soul, proving that you can scream at the world and still have something beautiful to say.
It was an exhausting, pained, and utterly professional bit of work. NØ MAN didn't just headline; they provided the definitive proof that the underground is currently operating at a world-class level. They managed to balance a white-hot aggression with a melodic soul, proving that you can scream at the world and still have something beautiful to say.
I’ve come away from this gig with a list of back catalogues that need urgent excavation, and a ringing in my ears that feels entirely earned. The abyss might be loud, but at The Holloway, it felt like home.
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