After the sell-out crowd at the Fleece in Bristol were treated to support sets from Call Me Amour and Lowlives, New Years Day then took to the stage. In support of their fourth full length album, Unbreakable, released in April 2019. This could well be a decisive moment in the career of Ash Costello and her troop from Anaheim, California. Garnering, an entry at 45 for third album ‘Malevolence’, on the American billboard chart is no mean feat, and by the sound of new album, they are surely destined for greater things. Especially considering their higher placing in the singles chart for ‘Shut Up’ and ‘Come For Me’.
Opening up with third single, ‘Come For Me’, to raptures from the audience, it’s no surprise that NYD have a fiercely popular following. The opening riff, smashing through the expectant hubbub before Ash Costello, pierces the night with her take-no-prisoners style. Complemented by Nikki Misery on rhythm guitar, Austin Ingerman on lead guitar, Frankie Sil on Bass, with Longineu W. Parsons completing the line-up on drums, this surely is their moment. A whistle-stop tour through the UK, selling out the last venue in the run, will be a great boon for future tours to this country.
It quickly became apparent, though, that there were some significant technical problems, in that no sound was being projected back from the on stage monitors. As such, the band could hear nothing. An obviously distraught and profuse apology followed to the crowd. And after further knob-twiddling it was announced that nothing further could be done. Despite this, there were a few impromptu moments in the only-slightly truncated set for guitarist Austin and drummer Longineu to display their ridiculous talents.
NYD’s take on Pantera’s ‘Fucking Hostile’, was a treat! I find that it is always great when a band can step away from the original sound of the song yet still keep the structure integral. The song sounded fresh and a world away from its’ home.
‘Shut Up’ a definite movement to the heavier side of their sound. The newer material meshing well with obvious crowd favourites in ‘Kill Or Be Killed’, ‘Defame Me’ and ‘Angel Eyes’ from their previous works, New Years Day still plough through their set with aplomb. Certainly, the material plays out incredibly well live and the genial vocalist always engaging the multitude in between songs.
There was no discernible problem with sound being projected out to the crowd and nobody left unhappy. It is clear that this may well be the last chance to see New Years Day in such an intimate gig on the shores. I am very sure that, when they return, they will command much bigger venues.
The Borderline is regarded as a Soho musical institution. The basement venue, originally opened in 1976 in another guise has offered a stage for acts from Britpop to grunge and alt.folk and all points in between but is best known for its focus on alternative rock plus traditional rock and metal acts. It’s small with a capacity of around 275 and it is this limit that allows the crowds to get up close and personal with any band playing here.