Photos and Review by Louise Phillips Music Photography
To say the band John McKay’s Reactor went out with a bang on the final night of their tour at the sold-out Club 229 is like saying the Pope’s a little bit Catholic. They delivered a performance that not only left their die-hard fans screaming for more but also thrilled a whole new, younger audience, cementing the return of a true post-punk pioneer.
Scant Regard Enthral the Crowd with Thrilling Guitar Wizardry
Kicking off the evening was Scant Regard, the high-octane solo project of Will Crewdson (also the lead guitarist for Adam Ant). Scant Regard proved to be the perfect sonic appetizer, treating the crowd to a blend of “cyber punk meets Duane Eddy” with industrial disco beats. Will’s guitar wizardry was a unique hybrid of heavy, beat-laden sci-fi sound which instantly captivated the crowd. Operating solely with his guitar, a backing track, and plenty of swagger, he delivered instrumentals like “Rip Crackaway” and “Fistbump,” making a compelling case for his reputation as a “21st Century Link Wray.”
The Dream Team!
For a veteran of the music industry for more than 40 years, John McKay has proved himself to be a shrewd man, and it’s no surprise that he’s assembled this particular dream team. The current lineup is a testament to his musical intelligence, snapping up incredible talent to deliver his razor-sharp metallic sound live. As expected, John McKay on vocals and guitar is the figurehead of the band. The influential first guitarist for Siouxsie and the Banshees and the pioneer of that iconic, jarring post-punk sound, McKay is an effortlessly cool, sonic driving force who understands exactly what a rhythm section needs to excel. Jen Brown O’Drag, frontwoman of The Priscillas, embraced the role of main vocalist like she was born for the job, her performance nothing short of breathtaking as she commanded the stage with an electrifying, mysterious edge. She’s not a replacement for Siouxsie Sioux, but a continuation, possessing the dark, brooding power of early Siouxsie whilst injecting something entirely new and exciting into every track.
Bass is played by the incredible Billy King, the brains behind punk outfit SHÖPLIFTER, Billy who could quite possibly be the lovechild of Sid Vicious and Chrissie Hynde clearly earned his place on the stage tonight. McKay’s decision to snap him up is perhaps the clearest sign of his savvy. Billy’s bass work is the vital foundation, rock-solid, cool, and dynamic, providing the pulsating, grounding core that allows McKay’s experimental guitar textures to float and soar. On drums is the quite frankly mind-blowing Jola. Known for her work as Adam Ant’s go-to drummer (often part of his celebrated dual-drummer lineup), Jola brings a busy, blur of energy, expertly handling the sometimes unusual, tom-heavy tribal beats with incredible skill and stage presence.
Now whilst the line-up alone was enough the pull the fans in in their droves, lets not forget the music, because it was top-notch and some! In fact, top-notch could be the biggest understatement ever!
The main set was a perfectly balanced mix of influential Banshees tracks, like “Suburban Relapse” and “Placebo Effect”, and the powerful material from McKay’s recently released “lost” album, Sixes and Sevens. The seamless transition between the new and classic material proves the enduring strength of McKay’s songwriting.
Jen prowled the stage with a captivating, almost savage confidence, making the material feel urgent and alive. Her vocal delivery was a dynamic force, full of passion and a deep, intuitive understanding of the punk spirit. The band’s energy, especially for a final night, was electric!
Their set concluded with the unmistakable intro of “Hong Kong Garden,” instantly sending the packed venue into a frenzy. It was a moment of pure, unadulterated musical history, with McKay adding his exceptional touch to the song he helped create.
The Encore and A Playground Twist
The crowd’s roar after “Hong Kong Garden” was deafening, and then it was time for a well-deserved encore! But not in the normal sense as the band weren’t going anywhere! Spotlighting the night’s good humour, vocalist Jen joked with the packed house that the band would have left the stage, but it was so tightly jam-packed with fans that they literally couldn’t get out! The venue’s intimate, sold-out nature had become a joyous logistical problem, and the crowd roared their approval.
The encore itself was an absolute treat, starting with the deep-cut, frantic energy of “Playground Twist” (another classic Banshees track). The band gave it a fresh coat of metallic, driving urgency. The way Billy King’s bass line anchored the chaotic guitar textures of McKay was nothing short of masterful on this track, creating a perfect example of their razor-sharp sound.
They followed this up with a blistering rendition of “Icon,” a powerful original track from the Sixes and Sevens album. It’s a track that encapsulates the current band’s strength: Jola’s relentless, thunderous drumming, McKay’s innovative guitar work that sounds utterly unique, and Jen’s commanding vocal delivery.
The final notes of the show left the audience buzzing, a triumphant testament to the fact that, nearly five decades later, John McKay’s genius remains as relevant and powerful as ever.
As the show came all soon to a close, the audience were buzzing, it was a perfect end to a tour that proves John McKay’s Reactor is not just a legacy act but a vibrant, essential force in modern post-punk!
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