Words and Pictures: Adrian Hextall \ MindHex Media
The Black Heart in Camden recently played host to an evening that, while showcasing three undoubtedly entertaining acts, left one pondering the logic behind the billing. The sheer diversity in sound meant that while each band brought their own dedicated energy and likely pleased their specific fans, the overall flow of the night felt like a journey through vastly different musical landscapes, making for a somewhat disjointed experience. However, fortune favours the brave and it’s a certainty that all three artists knew that they may or may not be playing to people there to see them. As such, you take a deep breath, step onto the stage and deliver the goods. An audience might not be yours but you can win it over. How did each of the acts fare..?
Dixie Dix: Acoustic Emo Angst and Raw Talent
First to the stage was Dixie Dix, armed with just an acoustic guitar. True to an emo-centred singer-songwriter approach, Dixie immediately proved that a solo artist and a guitar can deliver raw motion in their songs. It’s an easy opening act for a promoter, a singer and a guitar. It’s not going to break the bank but does it stack up against the flamboyant flamenco punk glam of the headliners?
Dixie’s voice is the secret sauce to the music. The proof in the pudding of a good act with an acoustic guitar as the opening act is “how many people are having a conversation”? With a voice dripping with haunting tones and passionate refrains, the answer was “not many”. It’s often too easy to kind of listen and have a chat and a beer with friends that you’ve come with because the music doesn’t drown out the audience. But when the crowd shuts up and pays attention, you know you’re doing something right.
Modern lyrics, a cynical eye on society, a willing audience, all topped off with a cool Gorillaz’ ‘Clint Eastwood’, expanded with Dixie’s own interpretation and additional lyrics. It got the room singing which was a surprise given Gorillaz wouldn’t typically be in the same sentence as the next two acts on the bill. Ultimately a shrewd move and a welcome start to the evening.
The Outlaw Orchestra: NWOCR Swagger and Country Charm
The evening then took a sharp turn as The Outlaw Orchestra brought their distinct brand of New Wave of Classic Rock (NWOCR) infused country rock to the stage. The genre is the one the headliners push against constantly, seeing their brand of music more in line with punk bands than the current classic rock trend. I’d agree with that diagnosis but that doesn’t mean The Outlaw Orchestra aren’t worth watching because they are. Their energy is and was infectious, with a cheeky almost cheesy charm designed to win over new fans whenever they play. They may not be for everyone, especially those who’ve specifically come for a punk show but the band, fronted by Captain Grinalot, Dave Roux, on guitar and vocals, the band stormed through a set with a carefree groove that undoubtedly turned a few heads, won over a few unbelievers gave us a lot to discuss before the headliners arrived.
Pete Briley can play a spade given half a chance. He moves between instruments like a vegetarian at the salad bar, switching effortlessly between guitar, cigar-box guitar, banjo, and a miniature electric ironing board (or something), each one adding to the band’s overall sound and expanding what they do outside of the not always warranted NWOCR badge.
With slide guitar, jovial humour, great crowd interaction and all of the cotton-picking tunes you could Yee-Haw to on a Saturday afternoon, the band have a lot going for them and whilst an unexpected pairing with the headliners, they nonetheless gave it their all and really warmed the crowd up in advance of the UK’s finest flamenco glam punk band took to the stage.
Gypsy Pistoleros: Up-Tempo Punk Energy and Theatrical Flair
Finally, for a crowd anticipating a more up-tempo, punk-infused experience, the Gypsy Pistoleros took command. Bathed in violet light, the stage was set for their self-styled “Church of the Pistoleros,” set which should have been a chart bothering celebration with the sales numbers some three times those of its predecessor. Sadly, and this was a real kicker… something was afoot at the band’s label and chart sales have been ‘suspended’ or some such terminology whilst the Official UK Charts audits the numbers to make sure they are true and accurate. No suggestion of any wrongdoing by the band but some shade is currently focused on the their label whilst the numbers are reviewed for all recent releases including, as we say, sadly, this one.
The organ and choral intro drew us into the set and the band replete in branded cloaks (available from the band’s site and merch desk) gives the Pistoleros a superb, stylish new look and it is, in my view, a winner. The ever-engaging Gypsy Lee got us all to pray with his rendition of the Lord’s Prayer before the band stormed straight into the title track of their new album. Produced by Dave Draper, that new album really ticks all of the right boxes and as much as I love its predecessor, this is a major step up for the band and deserves to not only be heard but chart highly as well.
If you need convincing, heres’ my review:
Former South of Salem drummer and new Pistolero, Pip Sampson, gives the band some serious oomph behind the kit and the set felt like everything was running at 1.5x normal speed and all for the better. It added an extra layer to the music and could be described as the UK’s best flamenco glam thrash punk band. Which I think is more than fair.
Highlights were almost too many to mention but it’s fair to say that it was a set filled with bangers including ‘Like Tears in the Rain, the epic cover of ‘Livin’ la Vida Loca’, ‘What’s It Like To Be a Girl?’ , ‘Come on Eileen’ the immense ‘Revolution’ and the haunting ‘The Ballad of Tommy Shelby’. I’ve mentioned over half of the songs on offer here and could happily add the rest and note them as highlights because the whole set was turned up to 11 from the off.
With Lee flanked by Kerry White, whose infectious smile and thunderous bass lines won the day, and Shane Sparkz whose gorgeous guitar grooves swirled around us coming at our ears from what seemed like every angle imaginable, the band was a tight, fully charged unit.
‘Come On Eileen’ as you might imagine gave those who knew the band and those who didn’t, the perfect opportunity to come together as one and just dance the night away.
Final Thoughts
While each band delivered a strong performance in its own right, catering well to their individual followings – Dixie Dix with her emo-acoustic confessions, The Outlaw Orchestra with their NWOCR hoedown, and Gypsy Pistoleros with their theatrical punk-glam fiesta – the night did felt a little like three separate gigs rather than one cohesive event. The stark transitions between such different styles made it a curious assortment, forcing all three acts to bring their A-game to win over the crowd as it was never going to be obvious who was there to see which artist. A bit of a head scratcher but thankfully a receptive crowd for the most part and a willingness to push the envelope from all of the bands gave us an event to remember.
Let’s see how the Pistoleros fare at Rebellion Festival later this year. They play on August 9th on the Opera House stage.
https://www.rebellionfestivals.com/line-up
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