Live Review with Photos: Peachy Keen Festival, Basin Reserve, Wellington 2021

Peachy Keen Festival Poster
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Peachy Keen Festival

Basin Reserve, Wellington
Saturday 3 April 2021

After a week of truly abysmal weather, Wellington seemingly changed its mind and decided to about turn, blessing us with a beautiful sunny day at the Basin Reserve – ideal for a festival.

Peachy Keen felt different from your usual festival as well. One of the key things that stood out is that every act on the bill were fronted by women [except Sweet Mix Kids, the between-set DJs]. Look at most festival posters and you’ll notice that wāhine are glaringly absent, so this was a super welcome progressive change. It also felt more laid back. Many festivals feel like waster-fests (in NZ at least) with a strong focus on punters getting inebriated. Although alcohol was available for purchase all day, I didn’t notice anyone getting out of hand. It felt like a safer than normal environment – I’d even go so far to say family-friendly, seeing as many children were in attendance as well.

KITA

I love Wellington. Say what you want about the politicians and the wind, but it’s an awesome city to live in. Last week the main street in the CBD was closed off all weekend to accommodate a huge free festival called Cubadupa, which involved a hundreds of bands and artists showing their creative side at the numerous stages and areas that had been built for the festival around the city. I’d seen local trio KITA play on the Sunday, attracting a fair crowd with their hypnotic music.

Thinking back, I used to see drummer Rick Cranson and keyboardist Ed Zuccollo play with Adam Page years ago. They were a wonderful match, very technically proficient and able to improvise and synergise with each other. Now they have Nikita Tu-Bryant at the helm, who has a fantastic voice.

Their music was great for the setting. Enough groove to entice some dancers to the front, and laid back enough to suit the sunny Saturday. Really great stuff, and an awesome start to the day.

*Also, check out their new video clip for “Private Lies” that that released today*

KITA at Peachy Keen KITA at Peachy Keen KITA at Peachy Keen

Chelsea Jade

Chelsea Jade was dressed all in white – a nod to cricket, which is what usually takes place at the Basin Reserve where the festival was being held. Flanked by a backing singer on either side, Jade delivered a polished pop set with choreographed dancing.

I’m out-of-the-loop but clearly Jade’s fans knew what was going on, she had them crouching down during parts of her set. She worked the crowd well, evidenced by the throng of fans all dancing against the barrier. She even invited one girl up onstage to dance, who promptly admitted that she had a crush on Jade. “If you dance well enough I may consider it mutual” Jade laughed.

Chelsea Jade at Peachy Keen Chelsea Jade at Peachy Keen Chelsea Jade at Peachy Keen Chelsea Jade at Peachy Keen Chelsea Jade at Peachy Keen

Paige

I can’t decide if it was laughable or genius (possibly both), but Paige started off her set by covering the Highschool Musical song, which garnered a great reaction. It was a strong start, with instant participation from the crowd and a big sing-along. Her music is fairly laid back so the energy died down a bit, but she’s got a great voice and it was a nice set. I loved the backing visuals too, with bumble bees buzzing around on the screen at the back of the stage.

Paige at Peachy Keen Paige at Peachy Keen Paige at Peachy Keen Paige at Peachy Keen Paige at Peachy Keen

The Beths

The Beths were definitely the act I was most looking forward to seeing today. They’ve been progressing from strength to strength in recent years and always killed it during the handful of times I’ve seen them play live. I consider their recent album Jump Rope Gazers the best release of 2020 and was obviously excited to see them play some of it live again.

Of course they delivered. I’m a rocker – no doubt about it – so it was great to see a full band letting loose. They’re fairly humble about their abilities, but watch guitarist Jonathan Pearce shred and you’ll soon see why they deserved to win so big at the recent Aotearoa Music Awards. And of course frontwoman Liz Stokes was the star, with her unapologetic Kiwi accent shining through.The sound quality was a bit patchy – unfortunately something that is fairly common at outdoor gigs – but this didn’t detract from the set too much. The Beths delivered a set of irresistibly fun and catchy hits. Seriously, check them out if you haven’t listened to them already.

The Beths at Peachy KeenThe Beths at Peachy Keen The Beths at Peachy Keen The Beths at Peachy KeenThe Beths at Peachy Keen The Beths at Peachy Keen

Stellar*

It was a pretty spread demographic attending the fest, split among gender and ages. But looking at the lineup, the promoters were clearly targeting a younger audience. This makes Stellar* an outlier, seeing as most of what they’re known for having happened 20+ years ago.

I’d seen Stellar* open for Shihad in Riwaka (just out of Nelson) on New Years Eve a few years ago. I was shocked at how similar this set was to last time, with singer Boh Runga introducing the songs almost exactly as she had last time I’d seen them play. They should at least be able to mix the banter up so they don’t feel stagnant. The audio mix was also quite bad, noticeably worse than The Beths’ mix had been. The set was fine. I do enjoy their music but it looked like they were struggling to garner much of a reaction from the audience. Stellar* need to work on freshening up if they want to be more than a boomer nostalgia band.

Stellar* at Peachy Keen Stellar* at Peachy Keen Stellar* at Peachy Keen Stellar* at Peachy Keen Stellar* at Peachy Keen Stellar* at Peachy Keen Stellar* at Peachy Keen Stellar* at Peachy Keen

Foley

I’ll admit I hadn’t really heard Foley before today. But they were fun. I always prefer a band over a DJ or backing track, and they were full of energy. I don’t have much more to say, but I enjoyed them.

Foley at Peachy KeenFoley at Peachy KeenFoley at Peachy Keen Foley at Peachy Keen Foley at Peachy Keen

Ladi6

Ladi6 was sliiiick. You can tell that she’s been doing this for a while, because this was a performance in every sense. There were three DJs (?) at the rear, manning decks and a mini drum kit and I’m not sure what. Ladi6 was front and centre, commanding attention. She used Samoan fans as props (and I’m sure to keep her cool – it was hot!), and had dancers dressed in bright orange to either side of her. The dancers were super effective – totally in sync and they really stood out with their orange attire. Peachy Keen was all about feminist representation, and Ladi6 upped the ante by making a point to address cultural inclusiveness as well, with the dancers incorporating Pasifika flags into their routines. I’ve gotta say it was certainly the most professional and polished set of the day, and visually it really stood out.

Ladi6 at Peachy KeenLadi6 at Peachy Keen Ladi6 at Peachy KeenLadi6 at Peachy Keen

Ladyhawke

By contrast, Ladyhawke fell a bit flat. The acts had been running progressively later throughout the day and there was quite a wait before she came on. I don’t know what the cause of this was but I’m guessing it was something to do with soundchecking and set ups? Sweet Mix Kids helped to amp the crowd up during these breaks with their DJ sets but that energy dispersed when Ladyhawke came on.

It was finally dark by this point, making the lights onstage effective, but there was just something missing from this set. A few of the better known singles caused ripples of excitement among fans, but overall it was underwhelming.

Ladyhawke at Peachy Keen Ladyhawke at Peachy Keen Ladyhawke at Peachy Keen Ladyhawke at Peachy Keen Ladyhawke at Peachy KeenLadyhawke at Peachy Keen

Gin Wigmore

Gin Wigmore knows how to party. Brimming with confidence, she showed us a good time. Her band rocked. I’d heard a rumour that one of her guitarists had caught covid on the way to NZ so she’d had to recruit a ring-in, but honestly, you wouldn’t know it. They played flawlessly.

Wigmore also joined in, playing guitar on a few tracks, and thumping the hell out of a floor tom drum towards the end of the set. You could tell she was enjoying herself and it was infectious.

Jason Aalon Butler in the mosh pit during Gin Wigmore's set at Peachy Keen

Jason Aalon Butler in the mosh pit during Gin Wigmore’s set at Peachy Keen

Her husband Jason Butler managed to get on someone’s shoulders in the mosh pit. He stripped of his shirt and beanie and threw it onstage. Security guards quickly flashed their torches at him and made him get down, but Wigmore lapped it up, flirting with him from onstage. “Hey sexy man, I think I’ll marry you and have your babies!” she shouted. “Hmmmm I can smell some weed. I live in LA, where you can have someone deliver it to you in a three piece suit. Not like here in NZ, where you have to go to a dodgy area to pay $20 for something wrapped in aluminum foil. Anyone want to share?” she joked.

Gin Wigmore at Peachy Keen Gin Wigmore at Peachy Keen Gin Wigmore at Peachy Keen Gin Wigmore at Peachy Keen Gin Wigmore at Peachy Keen Gin Wigmore at Peachy Keen Gin Wigmore at Peachy Keen Gin Wigmore at Peachy Keen Gin Wigmore at Peachy Keen Gin Wigmore at Peachy Keen Gin Wigmore at Peachy Keen

Benee

And now for the big act. The stage was noticeably bigger, with some of the clutter from the wings removed to make space. The drums looked formidable, with odd perspex shields set in front (I guess for acoustic mix reasons). Benee was the big draw card that many people had come for.

She came onstage rocking a red puffer jacket and a fluffy bucket hat. And fair enough – it’d been a scorcher earlier on, but there was a definite chill in the air now it was past 10pm. The stage was quite dark despite the lights, and Benee nonchalantly walked from side to side as she sang.

I don’t know if it was forced or is she’s just odd, but Benee was full of quirks. She adopted different accents every time she addressed the crowd. She made animal noises during the pauses between lyrics. At one point she just lay on the floor of the stage as she sang.

I’ll be honest, the appeal was lost on me, but obviously my opinion didn’t matter because thousands of adoring fans were hanging onto every word. Benee’s set started more than an hour later than scheduled, but there was a strict sound curfew  of 11pm, so her set was cut a lot shorter than anticipated.

There was a bit of an outcry over the drastically shortened set, but there’s nothing that could be done.

Benee at Peachy Keen Benee at Peachy Keen Benee at Peachy Keen Benee at Peachy Keen


All in all it was a fantastic day. Thankfully it was sunny. The Basin Reserve was a suitable venue, with plenty of space for a stage and dancing area, as well as surrounding banks for those who just wanted to lay back and soak it all in. Most of the acts played well, although it was possibly a bit ambitious booking so many. Once events like this start falling behind time it can snowball, and it’s a real shame that the two last acts had to cut songs from their sets.

Sure, there were a few teething problems, but overall it was a great success, and it’s very likely that we’ll see another Peachy Keen event in years to come. It had a unique vibe that I hope they can replicate in the future. I wonder if they’ll aim to pull international acts or if they’ll stick to Aotearoa artists, but either way, they deserve congratulations for taking such a progressive stance and making a point of celebrating women in music.

Words and photos by Joseph James

Live Review: Bob Log III and Labretta Suede & The Motel 6

Bob Log III Valahalla
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Bob Log III Labretta Suede Motel 6 poster

Bob Log III

w/ Labretta Suede & The Motel 6

Valhalla, Wellington

Thursday 9 May 2018

Picture – if you will – a venn diagram. This diagram represents most live musical acts. In one circle there are technically proficient bands that you’d see because you can appreciate how well they play (such as an orchestra); and in the other are bands that you wouldn’t usually listen to, but you know they’d put on an awesome show. An example for the latter category is German metallers Rammstein. They sounded damn awful when I saw them play, but their notorious live spectacle of pyrotechnics and stage theatrics makes them an unmissable act.

Obviously there is crossover within this diagram – bands who play well and put on a great show (Iron Maiden being the finest example I’ve come across in both respects), but given the choice, I’ll take the option of a wild spectacle anyday.

Which is why I missed notable punk band Propagandhi last night to see some backwards sounding novelty act from Arizona.

Labretta Suede Valhalla

Labretta Suede Valhalla

Labretta Suede Valhalla

Labretta Suede Valhalla

Bob Log III Valahalla

Labretta Suede Johnny Moondog Valhalla


Opening the night was Labretta Suede & The Motel 6, an NZ band who have made the shift to the States in recent years. Fronted by the larger-than-life Mrs Suede, they offer an entertaining mix that I’d compare to a rockabilly B-52s. Boosting a recent line-up change with a fresh rhythm section, they played a fun set that got the mostly-full venue grooving.

Labretta herself was the centre of attention. She wore a bra and some high waisted shorts that did little to cover much, with a large flower in her hair. She gyrated about the stage, contorting into crazy positions and standing upon the stage rail above the crowd. To her right was her hubby, Johnny Moondog, on guitar, with long hair, sunglasses and a tassled sleeveless shirt. And to her left was the young guitarist, Tweedy Bird – a muscly hulk in a tank top. He copped a lot of flack for being the young one, who hadn’t played in any bands before, but looked like he deserved his spot – experienced or not. Visually, Boots the drummer (of Sticky Filth fame) didn’t appear to fit in with the odd band, but his beats and grooves show that looks can be deceiving.

And then we had the main attraction – Mr Bob Log III.

He waltzed in from the the rear door of the venue, dressed in a sparkly zip-up onepiece – think Elvis impersonator. His identity was a mystery because his face was covered by a motorbike helmet with an old telephone receiver attached [let’s just ignore the fact that we saw him setting up sans-costume before his set, and revel in the mystery]. Throughout the night he complained about his lack of vision due to a dark visor blocking his view, but the reason he wore the helmet is because the telephone worked as a hands-free microphone set up.

He let loose with a rough-and-ready blues number. The sound was a bit murky – probably because some idiot was perched in front of the speakers to take photographs, blocking the sound. [Full disclosure: I’m the idiot]. And the heavy distortion didn’t help. But we didn’t come here for articulate guitar virtuosity, we came to party!

After an introductory song, Log handed out a packet of balloons and asked the audience to inflate them for him. The next song involved him popping said balloons by stomping on them to punctuate points in the song.

And the interactions didn’t stop there. He crowdsurfed in an inflatable dinghy, shouting “FEET FIRST!” as the audience pushed him back onto stage the wrong way. He generously offered everyone free champagne, using a dogbowl and an inflatable duck as drinking vessels.

In a stroke of marketing genius, he invited people up onstage to sit on his knee and take selfies with him to send to their mums as he played. Way to go viral! One oblivious drunk lady came onstage and stepped all over his pedals, interrupting the song. But that just added to the wild charm of the set.

I’ll be honest: virtually all the songs sounded the same. At the start of his set he demonstrated his 8 sounds: the kick drum, tambourine, high chords, low chords, and a few other triggered pedals. The songs all revolved around filthy blue riffs with a slide, heavily muffled vocals, and looped drums that he played through the use of the pedals at his feet.

Log actually changed guitars half way through the set, and I have no idea why. Usually guitarists switch up because they need to change tunings, but he had been tuning his other guitar already, and this one looked exactly the same.

Truth be told, the sound wasn’t amazing. It was hard to tell the songs apart. But it didn’t matter. The place was alive. Everyone was dancing and drinking and hollering and choosing to ignore the fact that it was late on a Thursday night. Bob Log III promised a party, and he sure delivered.

Bob Log III throwing a balloon at Valhalla

Bob Log III Valahalla

Bob Log III Valahalla

Bob Log III crowd surfing in an inflatable Valhalla

Words and photos by Joseph James

Live Review: The Paper Kites at San Fran, Wellington

Paper Kites NZ poster
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The Paper Kites Where You Live Tour

w/ Mountain Boy
San Fran, Wellington
Thursday 28 March 2019

Clearly my effort of watching one YouTube video amounted to inadequate research, because upon arriving at San Fran I noted that the opening act was not a Mountain Boy, or even a Mountain Man, but rather a fully fledged band.

Mountain Boy is the work of Aaron Clarke. My friend Joram told me about how Clarke had undergone a project which involved writing and recording a song every week for one year, in the same vein as Into It. Over It52 Weeks. Clarke’s year-long effort was named Project Sinai – hence the mountain reference. (Mt Sinai is a place of religious significance, most notably where Moses met God and obtained the Ten Commandments.)

Mountain Boy

Mountain Boy

I had anticipated a solo set, but Clarke had obviously recruited a band for live gigs. And they suited their role perfectly, offering moody folk songs that set the scene for the rest of the night. And the rest of the audience appeared to agree, with a solid turnout that you wouldn’t see so early on for a support act. My favourite was the last track, which gradually grew in intensity, with the drummer pounding away on the toms with mallets, before switching to standard drumsticks for an energetic finale.

This softer styled folk music isn’t as loud as most gigs I go to, and I noticed that throughout the night there was usually a lot of conversations happening in the crowd while the bands were playing. It raises an interesting question surrounding the appropriateness of talking during a band’s set. Is it disrespectful? Or does it indicate that the music makes people feel comfortable and familiar. The talking wasn’t loud enough to make the bands hard to hear, but there was a definite murmur that could be heard almost all night.

Mountain Boy

Mountain Boy

It’s funny how surprised I was that The Paper Kites had changed so much over the years, seeing as I’d kept up with them as they’ve released sequential albums. I first saw them a few times when they only had a few EP’s to their name, and stylistically they were a lot different back then. I remember the music switched between kooky indie folk anthems, and fingerpicked love songs, softly cooed for intimate settings.

The more modern material indicated a big shift to a more electric sound. Less cutesy folk numbers, and more searing guitar, albeit still fairly chill. They stood onstage creating murky psychedelic vibes whilst bathed in a rich purple light.

They did play a few throwbacks, like “Arms” and “Bloom” – both from their début EP which had come out a decade ago – but new material like the funked up “Give Me Your Fire, Give Me Your Rain” showed us that evolving sound wise can prove worthwhile.

The Paper Kites

The Paper Kites

Sam Bently is the obvious leader of the band, the key songwriter, and lead singer. But the rest of the band still match him for talent. All of them could sing beautifully, and at a few times throughout the night they formed a semicircle around a microphone and treated us to serene five-part harmonies. I didn’t see much switching between instruments, but if my memory serves me they are all adept at playing different instruments. For example, drummer Josh Bentley came out from behind his kit to play guitar at one point.

Although he seemed quiet at first, Sam proved quite the comedian when he spoke to us. The band chose to play without lighting for one of their more romantic songs. He explained that there were two types of people who came to Paper Kites shows: the lovers and the sad singles. They played that song in the dark to spare the single folk the shame of being seen crying on their own.

It almost felt as if he was breaking the fourth wall, with self-aware humour. He indicated that the band was going off stage, but would return for an encore if we wanted it enough, obviously setting himself up for later in the night.

Paper Kites Whether casting spells with their tender ballads, riding the wave with slow burning songs drenched in guitar effects, or boosting the energy with some upbeat indie singalongs, there is no doubt that The Paper Kites have talent. They’ve come a long way since I first saw them nine years ago, and they show no sign of slowing down anytime soon.

Paper Kites set listWords and photos by Joseph James

WILL NOT FADE’S BEST OF 2018

Ranges dunk!festival 2018
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Ah, the obligatory end of year listicle. They’re always fun. I love reading those written by other people, and comparing their thoughts against my own. My own annual summaries are never too comprehensive, but still a nice opportunity for reflection.

Live music in 2018

Caspian dunk!festival 2018
Caspian at dunk!festival

Caspian at dunk!fest 2018

The best show of the year was Caspian at dunk!festival in Belgium. Hands down. It was incredible. The lights, the music, the sheer intensity was overwhelming. I could barely comprehend it all as it unfolded in front of me. It was obvious that they put a lot of planning into creating a fully immersive experience.

The Ocean dunk!festival 2018
The Ocean at dunk!festival

The Ocean at dunk!fest 2018

One of the other headliners, Berlin’s The Ocean were also stand out. I don’t usually listen to heavy music of that ilk, but they’re coming to play a small metal venue in my hometown of Wellington next year, and there is no way I’m passing up the chance to see such an incredible band again.

The King Brothers Meow
King Brothers at Meow

King Brothers

Like their Japanese peers Guitar Wolf, King Brothers and the Vottones delivered incredible performances, with emphasis on the crazy rock and roll antics. They’ve set the bar high, and I don’t think that I’ll see any act play such a wild or shocking set for a log time

Rhian Sheehan

Rhian Sheehan has been a favourite of mine ever since I first heard Stories From Elsewhere. I’d missed his past few shows, so jumped at the chance to see him play this time. It was just as amazing as I’d hoped, with beautiful visuals added to complement the stunning music.

David Byrne

The Talking Heads frontman played one of the most impressive shows I’ve seen. Not only was the music great, but the choreography, lighting and stage management was outstanding – not to mention his extremely talented band who were all mobile for the entire set as well.

Frank Turner San Fran Wellington
Frank Turner at San Fran

Other highlights include seeing many of my favourite bands: Biffy Clyro, Shihad and Frank Turner (twice!).

 

 

Releases in 2018

I’m surprised at my own favourite releases of 2018. Most of what I listen to falls under the umbrella of rock music, but I’ve found myself branching out and exploring pop, hip-hop, folk etc a lot more this year. 

The Adults. – Haja. Jon Toogood was blown away by the wedding band when he got married in Sudan. He recorded some beats with them, recruited some local talent in New Zealand, and came up with this brilliant collaborative album as a result. I didn’t expect a feminist hip-hop album from NZ’s best rock singer, but it became my most listened-to album of the year. Seeing it played live was also a real treat.

Estere Meow Wellington

Estere with The Aduots at Meow

Amy Shark – Love Monster. What is happening to me? Another favourite album I’ve thrashed this year, and this time it’s pop music! I’ve thrashed Amy Shark’s music so much since discovering her, and had a total blast seeing her live at the Hunter Lounge when she came to Wellington.

Tash Sultana – Flow State. I’m gutted I missed Sultana when she came to Wellington, because this record just oozes with talent. Plodding along with laid back vibes one minute, and melting your face off with guitar shredding the next, Sultana proves her abilities time and time again, playing all the instruments on this ripper of a record.

The Beths – Future Me Hates Me. I discovered The Beths thanks to cartoonist Toby Morris, who designed one of their tour posters. Ironically I missed said tour, but managed to see The Beths play their irresistibly catchy tunes when opening for Bloc Party, and at a Christmas fundraiser in December. They’re blowing up fast, so make sure to see them in intimate settings while you can.

 

Listener at Valhalla
Dan Smith of Listener at Valhalla

Listener – Being Empty, Being Filled. Listener’s latest album rocks hard. It’s a fascinating concept album which explores the lives of inventors and creators. I was stoked to see them live at Valhalla in Wellington, and Dan and Kris even stayed at my apartment whilst holidaying in New Zealand after their tour.

 

Winter Dust – Sense By Erosion. Winter Dust immediately cemented themselves as one of my fave post-rock acts with their last EP, so it was awesome to find that their new album is just as good. And album that I had high hopes for, and my expectations were exceeded.

Toe – Our Latest Number. Same old Toe. This EP is exactly what we need from such a talented band. The only problem is that it’s too short. More please!

Thrice – Palms. I’m slightly bitter about Thrice, who postponed an upcoming Australian tour (that I had tickets to) in favour of supporting Bring Me The Horizon on another tour. That said, there’s no denying how great Palms is. Haunting songs that root themselves deep in your mind. I find myself humming their melodies all the time.

Alien Weaponry

Alien Weaponry in Porirua on Waitangi Day

Alien Weaponry – Tū. I know that I announced Alien Weaponry as the next big thing a while ago, but I never anticipated the level of success they’ve achieved in such a short span of time. This year they’ve released their dubut album, toured Europe and America, and are currently on tour supporting Ministry. We can talk about their age, their culture, and an assortment of other topics, but when you boil it down,Tū is a great album full of furious thrash metal and it’s a blast to listen to at loud volume.

Paper Kites – On The Corner Where You Live. A late addition from my favourite folk act. I don’t think I’ve ever covered Paper Kites on this site, but you really should look them up if you aren’t familiar with them. It starts of with a stunning horn piece, which launches into a well crafted album saturated in feeling. A hazy outing perfect for listening to when you need some down time.

 

Looking to 2019

I’ve already got a lot lined up for next year. There are some great NZ acts playing Wellington over the next few months: Into Orbit, Skinny Hobos, Beastwars and Head Like A Hole, Hiboux.

I’m also travelling to Sydney in February to see Cog (the same weekend that Thrice were supposed to play before postponing that tour). And I’m excited to attend Download fest in Melbourne in March, featuring heavyweights like Ozzy Osbourne, Judas Priest, Alice In Chains and Slayer.

Conclusion

2018 has been a year of up and downs, like any other year. But if I could pick one moment to encapsulate what I want to remember this year by, it is this:

I had just rejoined my dear friends in the band Ranges. I’d travelled for nearly 40 hours to meet them in Belgium, where I would accompany them on their first European tour. I’d taken the longest commercial flight in the world (Auckland – Doha), and that was just one leg of the journey. As you can imagine, I was exhausted and jet lagged, but full of excitement for seeing my friends and exploring a new continent. 

The first show was at Kinky Star in Ghent. Ghent is a wonderful picturesque town with canals, cobblestones, a castle and all sorts of exciting things that you would never see in New Zealand where I live. I’d had a few (strong) Belgium beers, which didn’t help my jet lagged body in the fight against sleep.

Astrodan Kinky Star Ghent
Astrodan in Ghent

Belgian locals Astodan opened. They were awesome. Great guys, great music. Check out their album Ameretat.

Sadly, I didn’t make it through Ranges entire set. But there is one thing stays in my mind when I think back on that show. One of the locals kept shouting “Perfecto!” at the band. It was both hilarious and endearing, the most wholesome heckling ever. The guys from Ranges loved it too.

And that’s what I want to take away from 2018: even when I’m feeling worn out and have to tap out, there is always something small that I can focus on to laugh at and cheer me up.

Perfecto, my friends, perfecto!

p.s. Let me know what you enjoyed reading on Will Not Fade this year! What do you want to see more of? Comment below, or on Twitter or the Facebook page. I’m keen to take on feedback.

Words and photos by Joseph James

Live Review: Living Colour at San Fran, Wellington

Doug Wimbash Living Colour San Fran Wellington
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Living Colour were my stand out band of 2017. I managed to interview drummer Will Calhoun early on in the year (one of the highlights of my blogging career). Their Auckland show at Powerstation was incredible – easily my favourite gig of the year. A few months later, when travelling in America, I was fortunate enough to catch guitarist Vernon Reid put on a Chuck Berry tribute night in New York. And then in September they dropped the awesome new album Shade.

So imagine my pleasure when they announced another tour which included a Wellington date. I would have happily flown up to Auckland again to see them, but managed to save the money on flights and accommodation, and got to see them at a more intimate venue!

Curlys Jewels San Fran Wellington

Curly’s Jewels opened the night with a bang, launching straight into the set with plenty of energy. They’re exactly as I remembered them from when they opened for Skinny Hobos in June, with colourful singer Jel Pollock injecting plenty of character into the show. I noticed that the crunchy guitar tones sounded especially good at times, and should come to the forefront more. There were a few slight hiccups, but they managed to deliver with their brand of fun rock music.


This tour marked the 30th anniversary of Living Colour’s landmark debut album, Vivid. It’s an album that still stands the test of time, both musically and thematically. I remember discussing the political nature of many Living Colour songs during an interview with Calhoun last year, and he suggested that the human rights issues that the band writes about will always need to be fought for – regardless of  which government is in power. Issues like discrimination, racism and gentrification are still just as prevalent in society now as they were decades ago.

And of course, the music is still excellent. It’s fascinating how the songs have evolved as the band have played them over the years – speeding up parts, adding different fills and flourishes, adding and extending some sections, and breaking down other segments. Its only natural that the band would change how they play things over such a period. Heck, in a hilarious recent interview with May The Rock Be With You, guitarist Vernon Reid confessed that he plays completely different solos in different pressings of the same song.

Vernon Reid Living Colour San Fran Wellington

Singer Corey Glover is phenomenal, no doubt about it. He can switch from soul to hip hop to hard rock with ease, and this was most apparent during “(Open Letter) To A Landlord”. He really broke the song down, showing off his impressive vocal range with powerful trilling. The crowd reciprocated towards the end, loudly singing the chorus back at the band. It sounded great.

Vivid was the name of the game, but that didn’t stop the band from visiting other albums. They played two tracks from last year’s Shade: “Freedom of Expression”, and my favourite from the record: “Come On”. It’s a shame that the cover of Biggie’s “Who Shot Ya?” got dropped from the set, because their hard rock interpretation of the hip hop classic is fantastic.

Living Colour San Fran Wellington

Not only did Glover have vocal chops, but good banter too. He had many comical exchanges with Reid throughout the night, the two of them sniping at each other like an old married couple. This is the third time I’ve seen the two of them together on stage, but it’s still just as funny now.

“These are old songs” Glover shared. Reid shot him a look. “No, they are,” Glover continued, “They’re really old and that’s the truth. Some of y’all weren’t even born when these songs came out.” I had a little giggle at that one, seeing that the statement applied to me.

At times it felt like the band verged on overplaying, to the point of doing a disservice to the songs by being too flashy. I guess it’s hard for musicians of that calibre to hold back when they have such talent they can draw upon. But they came here to put on a show, and they sure succeeded in doing so.

My highlight of the set was Doug Wimbash’s bass solo. Wimbash boasted the biggest pedal board I’ve ever seen a bass player use [ironically, master bass player Thundercat has the most minimalist bass pedal setup I’ve noticed]. He dedicated his song to his wife and the lovers in the crowd before launching into sounds I didn’t even think possible from a bass guitar. He created layers using a looping pedal, building it up to an expansive track that swept us away. It was fun to watch too, because he would act out the sounds as he played them, sweeping from side to side as he used his wah pedal, or mouthing the sounds as he accented certain notes.

Doug Wimbash Living Colour San Fran Wellington

Calhoun also had a solo later in the set. You can probably already tell I’m a big fan, but he deserves the praise. First of all: he’s just a fantastic player. He’s all over the kit, tastefully colouring in the sound with all percussive means at his disposal, and throwing in plenty of metal blast beats just to mix things up. Secondly: he’s innovative. He has all manner of weird and wacky custom cymbals, drums and hardware that he helps to design, but his solo takes him beyond drumming when he uses electronic hand drums and modulators. During his solo he took time out from behind the kit to lay down an electronic track with looping pedals, before returning to the drum set to play over the music he’d just formed. A truly next-level musician who thinks beyond the constraints of his instrument.

For the encore, Reid was about to launch into a spiel, but caught himself and just offered: “You’ll know when you hear the guitar line”. Sure enough, he played the recognisable chords to Soundgarden’s “Blow Up The Outside World” and nothing more needed to be said. Chris Cornell’s death impacted rock fans around the world, so this rousing tribute came as no surprise.

It was their second cover of the night, the other being “Memories Can’t Wait”, by CBGB’s contemporaries Talking Heads.

Doug Wimbash Living Colour San Fran Wellington

They finished the night reinforcing just how diverse and able they are, transitioning from the furious thrash metal of “Time’s Up” to the infectious funky call and response of “”What’s Your Favourite Colour?”. Both songs were extremely fun to dance to in their own ways.

I watched the crowd disperse after the show and noticed that a number of notable NZ musicians had been in attendance, such as Rhian Sheehan, Steve Bremner and Jakob drummer Jason Johnston. To me, that’s as good as any indication that Living Colour have got the goods – if some of the best in the game show up for the gig.

And it was damn good. Sure, there were a few technical hitches, but Living Colour are some of the best musicans I could name. I’m still shocked that they came to play a small bar in Wellington, but I’m stoked that they did.

Living Colour Set List San Fran Wellington
The set list. 

Words and photos by Joseph James