Review

“This gig is THE riot” claimed the Last.fm event page, but despite the almighty moshpits for the final two bands, the overriding sense is more of a pilgrimage than a stand-off. The fans are out in force with the venue almost sold out, and by and large the bands don’t disappoint, though they are occasionally hampered by some booming, bass-heavy sound. That’s the Ulster Hall for you – a grand old dame of a venue, but not always suited to cacophonous rock music.

Adebisi Shank

Math-punk trio Adebisi Shank light the fuse at 8pm sharp, too early for many we speak to later in the night, but whose fault is that? As usual, the Wexford lads give it stacks, and spindly guitarist Lar makes full use of the big stage. Bassist Vinny’s usual forays into the crowd are missed, though. Cashier No.9 are a little subdued and their s swaggering indie-rock is a little out of place on the rock-heavy bill, but that’s not to denigrate their performance. The band – now fleshed out to five on stage with the addition of Yakuza’s Ronan Quinn on extra guitar, keys, laptop and percussion (busy man) – choose to ignore ‘To The Death Of Fun’ and the singles ‘42 West Avenue’ and ‘When Jackie Shone’ in favour of a set heavy on material from their as-yet-unreleased debut album. ‘The Lighthouse Will Lead You Out’ and the slow build of ‘Goodbye Friend’ are the picks from a short but sweet set.

LaFaro

LaFaro follow, suited and booted and clearly grasping the nettle. Herb Magee strides out like a man on a mission, and it’s interesting to note the change in the band’s onstage dynamic since he and guitarist brother Dave replaced former bassist Anna Fitzsimmons. Where once there was crackling sexual tension between her and frontman Jonny Black, now we have a bruising, hairy gang of four, with Herb – not Jonny – centre-stage and hyping the crowd. Fortunately, it’s not misplaced bravado, as the band completely rise to the big occasion, and the moshing starts in earnest. Not surprising when they kick off with the snarling ‘Tupenny Nudger’ and keep up the momentum all the way to ‘Leningrad’. In four years of following this band, this has to rank as one of their finest hours.

And So I Watch You From Afar

Finally, after And So I Watch You From Afar reprise their album launch by using The National’s ‘Start A War’ as a tension builder, the quartet stride on and immediately launch into ‘Set Guitars To Kill’. It takes a moment to register what is happening and where we are – and also for the ears to adjust to the initially sludgy sound – but the little specks in the distance are clearly going for it as much as ever. It’s a nicely mixed setlist, too – several tracks from the album, a welcome outing for early highlight ‘The Machine’, two tracks off the new Letters EP (of which ‘S Is For Salamander’ is an absolute monster) and even a tongue-in-cheek cover of ‘Zorba The Greek’ to begin the encore.

The pit…

As worthy of comment as the gig itself, though, is the extraordinary response of the crowd. From the very beginning, it’s Taps Aff time, as dozens if not hundreds of kids (and, let’s be honest, men old enough to know better) throw themselves around the circle pit with barely controlled violence. Mass moshing is pretty silly, but it’s as pure an expression of joy as you can get at a large rock gig, and while ASIWYFA always pull it out of the bag, only at a gig on this scale – with all the attendant lights, visuals and enormous sound – do you get a response like that. It’s quite something to behold. At the album launch in April, I wondered where they could go next after headlining the Mandela Hall. Here’s your answer. The Machine shows no signs of stopping just yet. Chris Jones

Photography by Richard W Crothers. Full gallery here.

Posted on: 27th January 2010

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