Written By: Damian Robinson
The Gig: The Band for Disease Control and Prevention + Support
Venue: Jumpin' Jacks, Newcastle
Should you ever be in need of challenging the belief that punk is more than just speeded up rock music, I would encourage you to watch the first fifteen minutes of Julien Temple's excellent 'Filth and the Fury' documentary - a piece that remains the go-to source for explaining the meaning behind the (best of) punk's hooligan art music and the importance of, simply, getting out of the way and letting the music speak for itself.
Putting on more of a mini punk festival than simply focusing on themselves, The Band for Disease Control and prevention (tbfdcap) brought together a bill consisting of several different punk styles - showcasing that punk was never about uniformity, rather originality.
One man, Weller-influenced Peesh, played a blend of well thought-out, original, acoustic punk that included standout ‘Ballad of the disenfranchised’; full piece Mechanical Mouse Organ played a straighter harder sounding style and London street poet Cherry B provided clever insight through use of wordplay.
Once the support had warmed up the crowd, tbfdcap played ‘Human Versus Devil’ start to finish. Playing a style of music that blends the pop sensibilities of the Buzzcocks’ style of punk with the raw attitude of the Pistols, the five-piece band were able to showcase their considerable musical playing and style. Great punk guitar sounds blended well and formed a well constructed musical platform for frontwoman Marcia Mackman to deliver her unique style of attitude and vocal delivery. Standout tracks of the night ‘Heavy Stone’ and ‘Human Versus Devil’ worked well as a result of the band simply re-creating the controlled violence of their recordings and standing back.
It would be easy to praise the band for a great album and a great live show, they’ve done both, but even bigger praise should be presented to the whole evening and to all participants. This was a great evening for punk, and all it stands for.
Photography by Garry Urwin.