Live Review: WITCH at Meow, Wellington

WITCH NZ Tour poser
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WITCH

w/ The Spectre Collective

Meow, Wellington

Thursday March 14 2024

 

We Intend To Cause Havoc.

What a statement.

The acronym wasn’t part the band name originally, but I appreciate it all the same.

WITCH were a Zambian band in the 1970s. Their music – classed at “Zamrock” – was often psychedelic, groovy, and infectiously fun.

I can’t help but draw parallels between WITCH and Rodriguez. Rodriguez was an American musician who went through life of hardship, little realising that he was somehow a huge star overseas – notably in South Africa. The 2012 documentary Searching for Sugar Man drew attention to his music and revived his music career, resulting in a resurgence of interest and international tours.

Likewise, the 2019 documentary W.I.T.C.H about the band of the same name has revitalized the band, leading them to release their first album in 40 years, and travel the world.

While both WITCH and Rodriguez were sensations in Africa, WITCH were absolutely aware of their stardom. One of my favourite moments in the doco was when they read old newspaper articles about the band, detailing one occasion where fans were so desperate to attend a concert that they ripped the roof off the venue in order to enter. But a variety of factors led to the death of the band. The AIDs epidemic, a shift in interest from rock to disco, and economic and sociopolitical unrest in Zambia all contributed to its demise.

But they’re back now. Fronted by Jagari, with keyboardist Patrick Mwondela from WITCH’s disco era and some new younger band mates from both Zambia and around the world, WITCH have reformed, put out new record Zango, and are bringing Zamrock to the world again.

It’s a great tale. And who doesn’t love an underdog story? In the doco, Jagari compares himself to wine, saying that aging has only improved him. It was time to see if they band lived up to their legend.


Meow was packed. It was hot, and people were excited to be here.

The current iteration of WITCH includes nine members. As mentioned, Jagari and Mwondela are the two established players. They have two on their kinswomen – Hanna Tembo and Theresa Ng’ambi – on backing vocals and the rest of their bandmates come from as far afield as The Netherlands, Germany and America. I especially enjoyed the additional percussion that fleshed out the rhythm section with infectious beats.

Many of them wore wonderful bright clothing. I would have liked to see the entire band dressed to theme in a united front, if not just for the wonderful visual appeal. Tembo and Ng’ambi wore vibrant outfits with bold patterns and danced in unison with their big grins. Jagari, Mwondela and bass player Jacco Gardner all had colourful hats on, the first two with custom hats showing their band name emblazoned on the front, and Gardner’s must be a Zambian style – I’d seen it in the doco as well.

Jagari looked so pleased and at home onstage, clearly reveling in the chance to relive his glory days. the documentary had detailed some of his hardships – seeing many bandmates die young, being falsely accused of a crime that had him stripped of his teaching profession. He was doing hard labour – mining in search of precious gems for a living – when the documentary crew first found him. But now he had his second chance to share his talents and joy with fans from a stage, and this time he gets to travel the world doing it. His nickname is in comparison to The Rolling Stone’s Mick Jagger, and Jagari was known for his wild showmanship and marathon efforts during WITCH’s legendary sets back in their heyday. He may have toned down somewhat throughout the years, but his charm tonight was undeniable.

The thought did cross my mind that WITCH may feel ‘diluted’ from recruiting musicians from around the globe. Is it still authentic Zamrock if only half the band is from Zambia? But honestly, they sounded great, and they introduced many of the songs and shared that the inspirations came from Zambian daily life – phrases and experiences and people that they encounter in their culture. The funniest one was about how Jagari was almost rejected as a son-in-law by his wife’s family because musicians are not seen to have a respected profession in Zambia. How could he be trusted to provide for his family if he is a mere singer?

Another – “Malango” – was a song inspired by matriarchs who share wisdoms like how we can learn from bees. Tembo and Ng’ambi took over from Jagari and led the song, and you could see how their conversing at the beginning of the song was just like how things would be at home.

They drew from through their catalogue, but I’d say the handful of new songs from Zango offered a fresh extra oomph. Perhaps it is because these musicians were the ones that wrote and recorded the album, so they knew that material better? But the set was great throughout. As I mentioned, the venue was very full, and it was clear that some people were longtime fans, with many shouting out requests for their favourite songs between sings.

My favourite moments were when Jagari handed a cowbell out to members of the audience throughout one song, inviting them to contribute by playing how they see fit. Some tried to come up with interesting ostinatos during their turn, and one champion just laid into it like Will Ferrell in the infamous SNL “More Cowbell” skit. I found the crowd interaction so endearing, showing that the music is for everyone to enjoy and participate in. Jagari frequently gave high-fives to the front row attendees throughout the night, and made it very clear how grateful he was to his bandmates during the song “Introduction”. That mood permeated the night. Everyone was happy and thankful for the wonderful music that brings us together.

 

Joseph James

Live Review: Princess Chelsea at Meow, Wellington

Princess Chelsea EVERYTHING IS GOING TO BE ALRIGHT TOUR Poster
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Princess Chelsea – Everything is Going to be Alright Tour

Friday 12 January 2024

Meow, Wellington

w/ Power Nap and Stälker

Power Nap started the night off with synth music that reminded me of 80s music and video game soundtracks. The crowd was still coming in in dribs and drabs, but those in attendance appeared to enjoy it, nodding along to the pumping tunes. Journalist Martyn Pepperell was especially vocal in his approval during a few songs. I don’t usually listen to music like this, but I enjoyed the set.

Power Nap


Stälker are one of my favourite local bands. I remember when I first moved to Wellington as an 18 year old, a band named Gaywyre (later renamed Razorwyre) would consistently put on the best shows at Medusa (now Valhalla), with their ridiculously highly charged powermetal anthems that would pull in audiences that far exceeded the maximum occupancy of the venue. I was beyond stoked to see Chris (guitar) and Nick (drums) return years later with a new band in the same vein: Stälker. It’s fast, grotesque and fun speed metal.

At first they seem like an odd choice, but Princess Chelsea is usually seen sporting a Judas Priest shirt, so the music influence overlap is very apparent. Not to mention that she even wears a Stälker shirt in music videos.

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For the uninitiated: Stälker is an experience and a half. Chris on guitar wears a spandex outfit with a bondage chain and a big Greek afro, and he and Daif (bass and lead vocals) both have excessive studded belts and white hightops. It’s an 80’s metal revival and I’m here for it.

Nick on drums lays down the relentless double bass beats while Daif and Chris walk about the stage shredding and shrieking. They made use of the stage, swapping back and forth as they treated us to riff after riff. Chris ran off stage into the green room a few times and I wondered if he’d broken his guitar and needed to grab a spare, or along those lines. But no, he’d return with fistfuls of beers to distribute to the headbangers lined up in front of the stage barrier. Stälker always play a great set and this time was no different, and even seemed a bit more dynamic than usual, with a few more crowd interaction moments and extended passages.

Stälker Stälker Stälker


Headline act Princess Chelsea was a real change in vibes after Stälker’s assault. Small bunches of flowers were attached to the mic stands, reminding me of that time that I’d seen Faith No More play with thousands of dollars worth of flowers onstage with them. The amps and music stands had sequined fabric draped on them. A large stuffed toy monkey sat atop the bass drum. And there were seven musicians onstage. They all swap instruments on the regular, but duties included guitar, bass, drums, percussion, keyboard, percussion and glockenspiel. And all of them contributed to vocals.

Princess Chelsea herself had short, slicked down hair, with jewels attached under her eyes, dark lipstick, a necklace with tiny skulls on it and a Judas Priest t-shirt. It was as if the Childlike Empress from The Neverending Story had gone goth. She mentioned how she loved having mixed bills with bands that played different styles – which was very obvious tonight. And how she was enjoying touring in Aotearoa, having played Whanganui the night before.

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I’d seen Princess Chelsea play at the Save the b event in Auckland last month. I purely went because I’m a huge Shihad fan and they were playing their first album, Churn in full. But in all honesty, Princess Chelsea’s set was my highlight of the event.

They’d made the most of the stage, employing the use of the huge organ at Auckland Town Hall, giving mad scientist vibes. They had a harpist. The drums sounded huge. There was so much going on. I found myself swept up in the layers of music, thoroughly enjoying the chaos.

Tonight’s set at Meow was still in the same vein. There was still a lot happening, with instruments densely layering to create an immense sound, and the seven members swapping roles frequently. They played their 2022 album Everything Is Going To Be Alright, followed with an encore of a handful of older hits, including covers of artists Disasteradio and David Lynch (the director).

Princess Chelsea Princess Chelsea

The music is hard to categorise. Like Chelsea’s look, a bit cutesy, and a bit dark. Twinkly glockenspiel ostinatos sit alongside scorching guitar feedback. They have loads of percussive items onstage, with one shaker looking like a banana, another being a skull. An odd dichotomy that just seems to work. I’ve been listening to a fair bit of Princess Chelsea’s music lately and I think it’s fair to say that the songs take on a life of their own in a live setting.

One highlight was when Josh lay on the floor with the stuffed monkey for most of the song “In Heaven” – seemingly asleep – before rushing offstage to grab a trumpet, coming back to deliver a fantastic solo to rapturous applause.  Another moment like this was when Simeon broke his guitar neck at one point, getting a bit too into the performance, and had to rush to the green room hoping to find a spare guitar to use as replacement.

I loved the dirgy, oppressive feel of the title track, “Everything is Going to be Alright”, slowly building under eerie organ and throbbing bass notes, before giving way too immense squalling guitar feedback. But the best song was “Monkey Eats Bananas”. The musicians clearly having an absolute blast as they could let loose and have fun playing a silly song that allowed them some spontaneity.

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It was a weird lineup. But somehow it worked. An immensely enjoyable night. Class musicians pushing sonic boundaries and playing odd but excellent music. I never thought I’d be seeing a speed metal band opening for chamber pop act, but I’m sure glad I did.

 

Words and photos by Joseph James

Live Review: Frank Turner at Meow, Wellington

Frank Turner Meow
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Frank Turner (show 2745)

w/ DEE
Meow, Wellington
Monday 27 March 2023

This was an unexpected gig. Counting Crows announced a tour late last year. They’re a band that I’m neutral on. I don’t mind them, but wouldn’t choose to listen to them either. But when Frank Turner was announced as the support act I decided I was going immediately. Part of me winced as I dropped $150 on a ticket so I could see someone play a 30 minute support slot, but hey, money comes and goes, my love for Frank Turner is forever.

So imagine my delight today when I hear that Counting Crows have cancelled their show at Michael Fowler Centre, but Frank Turner has arranged a consolation gig at Meow. My condolences to Counting Crows fans, but that wasn’t the band I wanted to see. And this Meow show was free! I would have happily paid, but I won’t complain. This way I got to see a full Frank set!

I made sure to arrive at Meow early, wanting to avoid the risk of missing out if the venue hit capacity. When I got there around 6.30pm, there was already a queue snaking down the alleyway. We were let inside at 7pm and the venue was close to full at that point.

DEE opened the night with sweet, shimmering folky music. She was glowing under the blue light, with a sparkly sheer shirt and glittery make up. Her music was pretty sleepy, but her voice was stunning and carried plenty of personality. She was clearly chuffed that she’d been called in to open last-minute, but if she was nervous it didn’t show.

Frank Turner came onstage to rapturous applause. I think it’s fair to say that many people were like myself, and actually glad about the turn of events that led to this. Nothing against Counting Crows, but this sure beats only getting a short 30 minute opening set.

Always one to please his loyal fanbase, he touched on eight of his nine albums out to date, as well as playing the title track to his forthcoming album, Undefeated, and an obligatory Counting Crows cover, which made perfect sense. He shared how he grew up on metal and punk music, but learnt to play every song on his sister’s Counting Crows record because the guitar playing was easier to learn than Megadeth solos. 

This is the second time I’ve seen Frank play solo. There were times that it seemed as if something was missing – obviously the music sounds better fully fleshed out by a band. But Frank had us help out, humming lines that would usually feature guitar solos, or clapping where a strong drum beat was needed.

He’s clearly a master at what he does. I guess you can’t help but attain excellence after playing 2744 shows. He knew how to play dynamically, where to invite crowd participation, and had great banter.

I’m always surprised by how much of Frank’s music is shouted – as opposed to sung – in a live context. But this is perfect for a fired up crowd wanting to join in. I’ve listened to these songs hundreds of times and I made sure to belt out the words along with everyone else. The energy was contagious. 

I think one of the things I find most appealing about Frank’s music is that he can articulate feelings that I find incredibly relatable. I remember last time I saw him, he started his set with “Don’t Worry”. And as corny as it sounds, it felt like all the stress I’d been carrying just melted away. I love the fired up songs about the power of punk rock, about rejecting Nazis, about but I also love the sincerity of some of his more vulnerable moments. Tonight, “Get Better” and “Haven’t Been Doing So Well” struck a chord. Frank doesn’t know me at all, but I felt seen, and somehow supported, knowing that I’m not always alone in how I feel. It’s powerful.

And as soppy as it sounds, I think it is because Frank genuinely cares. He’d spent the day working on his pronunciation so that he could say “Aotearoa”. He played the song “Miranda” at special request from a 6 year old fan in attendance. And also mentioned how this song was topical, in light of the recent protests around Nazi anti-feminist figure Posie Parker visiting New Zealand to spread a message of hate.

And he put on this free show for us tonight.

Because he cares about his fans.

I came out of that show feeling revived. I was energised and refreshed and willing to take on the world. Now who’d have thought that after all, something as simple as rock ‘n’ roll would save us all?

 

Joseph James

Live Review: The D4 at San Fran, Wellington

The D4 tour poster
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The D4

w/ Dartz
San Fran, Wellington
Saturday 4 March 2023

It’s awesome to see the rise of Wellington punks Dartz. They’re fast gaining momentum as a band to be reckoned with, especially with the recent release of their debut album, The Band from Wellington, New Zealand.

They are fast witted and forthcoming with the banter, and their songs are relatable, capturing a slice of NZ life. Drinking beers, driving crap cars, living in substandard housing, struggling with the cost of living… These are things that almost everyone in our country has experienced. Somehow they ride the line between being both silly and fun, and authentic.

I especially enjoyed their cover of Deja Voodoo’s “Beers”, which proved fitting within their repertoire. “Dominion Road (Dumpling House)”, a reworking of The Mutton Birds song, also proved endearingly nostalgic, with a breath of fresh life breathed into it.

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The press release for this tour details how The D4 created a world of recklessness and high octane energy, touring the world relentlessly with incredible rock and roll bands. Their big album 6Twenty came out in 2002, so they’ve re-released it as 6Twenty One and given it the vinyl treatment for the twenty-first anniversary, along with this tour.

My first exposure to The D4 was the song “Sake Bomb”, on a CD sampler. I know that I’m showing my age here, but I didn’t have a have clue what Sake Bomb actually was. I thought it may have something to do with warfare. My exposure to alcohol at that stage was limited to the scrumpy, Speights and awful RTDs that we drank at highschool parties. It certainly didn’t extend to Japanese spirits.

I guess that I’m just slightly too young to have known The D4 when they were big. I do remember Jimmy Christmas’ next band Lugar Boa having a strong presence on The Rock radio station and at many gigs during my later teenage years.

I have actually seen them play before, at this same venue in 2018 with The Datsuns. But in all honesty, the only memories I have of that night are reduced to remembering that it was extremely hot, and of being concerned for my friend Conor, who got knocked out during The Datsuns’ set.

Well it’s a shame, but nothing felt especially knockout about tonight’s set. The musicians were all clearly weathered players, but it lacked that feeling of danger or excitement that I’d want from a band who writes so many songs about partying and drinking. They have a history of sharing the stage with Guitar Wolf – one of the most exciting rock bands I can think of. But this just felt pedestrian.

Dion Palmer appeared to put the most into the performance, with a bit more movement and plenty of guitar solos. He really should have been centrestage. “Out of my Head” had a bit more oomph, and the aforementioned “Sake Bomb” was fun – possibly because it was a lot faster and more energetic than many of the other songs.

They finished up with the encore of “Exit to the City”, “Feel Like It” and “Invader Ace”.

All in all it was fine, but lacking the energy that I expected from a band of their reputation. Many bands do anniversary tours these days. One punter was wearing a tour t-shirt from when Shihad played Killjoy and The General Electric albums in full. I remember those being killer gigs. In recent years I’ve seen David Dallas play The Rose Tint, and Jakob play Solace. Both were incredible nights. But sometimes these anniversary tours just feel like stale cash grabs and tarnish treasured memories about music that used to feel vital.

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Words and photos by Joseph James