The Wonder Years (Koko, 1.2.17)
Off then to Koko for my first gig of the year. It seems to be written into the contract of every touring American pop-punk band that Trash Boat must support them. I don't like their music, I'll never like their music and they're still a poor imitation of The Story So Far. But credit to them for highlighting the issue of the harrassment of women at live shows. It's unacceptable and that's the end of it.
It's unusual for a support act's name to be chanted before they reach the stage, but there are a good many admirers of Pup in the venue tonight. I wouldn't say they were quite my thing, but there's no denying that their brand of punk rock energises the crowd.
This is the first time in a long time that I've felt a gig was ruined by the sound. Koko is a terrible venue on so many level, not least because the sightlines everywhere on the floor are poor. But I can live with that if you get the audio levels right. I attempted to find the sweet spot where it would be less of an issue but got pushed back during the mosh pit in "Local Man Ruins Everything"*.
Consequently these punchy pop-punk songs, terrific and urgent on record, are dulled, with the guitars frequently too low in the mix. When frontman Dan Campbell drops the microphone during "A Song For Patsy Cline", it seems to sum up a disappointing opening 20 minutes. There are sporadic high points. "Cigarettes and Saints", both mournful and furious, is absolutely terrific, whilst "Passing Through A Screen Door" brings everyone in their room on their feet.
The latter features the lyrics "Jesus Christ, I'm 26. All the people I graduated with, all have kids, all have wives, all have people who care if they come home at night. Jesus Christ, did I fuck up?", which continue to resonate strongly with the late twentysomething wastrels in the room. Naming no names.
A solitary encore of crowd pleaser "Came Out Swinging" brings a 70 minute set to an end, the show failing to leave much of an impact on me. Koko is frequently used in the capital, in part because there are few venues between the capacities of one and two thousand. But the next time a band I like announces a show there, I'm going to need to give it some serious thought.
* Very much thumbs up for the Simpsons reference though.
It's unusual for a support act's name to be chanted before they reach the stage, but there are a good many admirers of Pup in the venue tonight. I wouldn't say they were quite my thing, but there's no denying that their brand of punk rock energises the crowd.
This is the first time in a long time that I've felt a gig was ruined by the sound. Koko is a terrible venue on so many level, not least because the sightlines everywhere on the floor are poor. But I can live with that if you get the audio levels right. I attempted to find the sweet spot where it would be less of an issue but got pushed back during the mosh pit in "Local Man Ruins Everything"*.
Consequently these punchy pop-punk songs, terrific and urgent on record, are dulled, with the guitars frequently too low in the mix. When frontman Dan Campbell drops the microphone during "A Song For Patsy Cline", it seems to sum up a disappointing opening 20 minutes. There are sporadic high points. "Cigarettes and Saints", both mournful and furious, is absolutely terrific, whilst "Passing Through A Screen Door" brings everyone in their room on their feet.
The latter features the lyrics "Jesus Christ, I'm 26. All the people I graduated with, all have kids, all have wives, all have people who care if they come home at night. Jesus Christ, did I fuck up?", which continue to resonate strongly with the late twentysomething wastrels in the room. Naming no names.
A solitary encore of crowd pleaser "Came Out Swinging" brings a 70 minute set to an end, the show failing to leave much of an impact on me. Koko is frequently used in the capital, in part because there are few venues between the capacities of one and two thousand. But the next time a band I like announces a show there, I'm going to need to give it some serious thought.
* Very much thumbs up for the Simpsons reference though.
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