Gig Review :: ‘Twas The Night Before Wembley – Camden Barfly – 12/04/12

© Katie Gedling 2012

“This is the place that was going to hold five awesome acts and two-hundred Xtra Mile loyalists?”

Twas the night before Wembley and…something, something, something. I was going to try and be really clever and come up with alternative words to that classic poem to introduce this review, but I tried and it really wasn’t good. On the contrary, Twas The Night Before Wembley was pretty awesome, and a perfect way to pre-empt what is bound to go down as one of the best gigs of the year.

This was my first Barfly experience, so to say I was surprised to see the size of the place is an understatement. I mean I didn’t expect it to be huge, but this place looked like any other pub. This is the place that was going to hold five awesome acts and two-hundred Xtra Mile loyalists? We were certainly in for an intimate show then! Doors opened and the crowd flooded in, the room a’buzz with talk of who the special guest might be.

Shortly after, Ben Marwood kicked the night off and was met with a rapturous applause. Having toured with Frank Turner last year, the crowd certainly knew who Ben was, and the singalongs began immediately. Fan favourite, ‘Singalong’ seemed to go down the best, with the entire room in fine voice for Marwood’s irony-filled anthem. ‘Tell Avril Lavigne I Never Wanted To Be Her Stupid Boyfriend Anyway’ was also met with a brilliant response, but maybe that’s what you get when you throw the chorus to ‘Sk8r Boi’ into the middle of your song? He said that’d be the last time he did that…somehow I don’t think it will be.

Marwood left the stage and the crowd was suitably warmed up when Jamie Lenman announced that Dave Hause would be up next. The former Reuben frontman was a perfect master of ceremonies, cracking jokes and seemingly having a good time. Though I couldn’t help wonder how many of those crammed into the Barfly even knew who he was besides “that bloke with the tache who’s got a suit on” (yes, that’s a direct quote).

Having flown into London just a few hours before, a jetlagged-looking Dave Hause was up next. The Loved Ones frontman played a blinder, though it felt like many in the room didn’t know who he was. The majority of his set was taken from Resolutions and the crowd seemed into it, with a fair few singing along. He even threw a ‘Pretty Good Year’ – a Loved Ones song – into the mix, but even those who were singing along before didn’t seem to know what it was. So that was a shame, but Dave himself was awesome as always and in good spirits. He took time out to joke with one member of the audience, though I don’t know if they quite got it.

Jim Lockey and The Solemn Sun soon followed. Hot on the heels of their new record, it seemed like the crowd was a little more into it. Hearing songs from Death in a live environment was amazing, and really helped to solidify how far that band has come since their last release. A few songs from Atlases made it into the set, and it was great to hear how well they worked in conjunction with those new tracks. They played hard and may have even won over the few that had not yet been subjected to the Jim Lockey and The Solemn Sun experience.

Like I said, there was all this talk of a special guest playing the Barfly that night, and it seemed many had decided that this guest would be Frank Turner. Granted, that’s a valid assumption to make. After all, he is Xtra Mile’s biggest act. However, when you look at it logically, Turner playing a set at The Barfly was pretty unlikely given the importance of what he was due to undertake in less than twenty-four hours time. So when it was revealed that Billy Bragg was the special guest, more than a few in attendance headed for the door.

Even with a drop in attendees the room was still packed when ‘Uncle Bill’ started playing. The set was comprised mostly of hits, with ‘Scousers Never Buy The Sun’ being the only new track played the whole set. This is what people want though, and Billy knows that. ‘To Have And To Have Not’ was a definite highlight of the set, but you can’t beat ‘A New England’ when it comes to awesome set closers. The crowd shouted for an encore, and an encore we got. Bragg returned to the stage with a guest of his own. Unsurprisingly Mr Turner was in attendance, so the two of them belted out a cover of Dylan’s ‘The Times They Are A Changing’, something that sent those who’d headed elsewhere in disappointment charging into the room.

Four down and one to go. So far the night had been a massive success, now it was time for Crazy Arm. As a massive fan of these guys I know they can tear the roof off a venue like The Barfly with ease. And they did. But like Dave Hause’s set, it seemed the crowd really wasn’t into it. After a night of folk punk and acoustic tunes, many seemed to think Crazy Arm were a little too much. The atmosphere was less intense, but the band were not. They were as tight as ever and absolutely killed it. It was nice to hear ‘Little Boats’ being thrown into the set again after a long absence and some of their older songs sound amazing with the additional instrumentation. The band closed the set with a cover of Springsteen’s ‘Born To Run’. And though it seemed to get the crowd going a bit, the intensity of a Crazy Arm headline show just wasn’t there.

With that I headed back downstairs, unable to speak having completely blown my voice out shouting along with Crazy Arm. All in all it was a great night, and a fantastic way for Xtra Mile to showcase the talent they have on their label. I couldn’t think of a better way to prepare for Wembley either.

Album Review :: Jim Lockey & The Solemn Sun – Death

“It takes what was there and improves on it but, at the same time, it doesn’t lose any of what made you fall in love with the band in the first place.”

I was first introduced to Jim Lockey & The Solemn sun a few years back at Lexapalooza, and I’ve been a fan ever since. Their, self proclaimed, “country without the ‘O'” tunes have been a constant for me since that fateful day, so I was pretty excited to finally get my hands on the lads’ latest effort. And I was right to be excited, because Death is absolutely awesome (wow, that was a weird sentence to write), albeit a bit of a departure from what they’ve done before.

Granted, it starts off pretty similar, the soft strumming of an acoustic guitar and Jim’s soothing vocals opening up the album on ‘England’s Dead’. This softness last’s about a minute before being pushed aside by the wail of an electric guitar and the crash of cymbals, a force that continues throughout. It’s a more powerful record that’s for sure, with the boys edging towards quite a punk sound on occasion. Shit, they’ve even got a twenty-second song in ‘Sail Me Down The River’ – it doesn’t get much more punk than that!

This new found power has made The Solemn Sun even more integral when it comes to how this record sounds. I’m not saying they didn’t play a key role on Atlases, but those songs always felt lead by Jim’s acoustic and that the band were there just to provide subtle backing. On Death the band is vital. Without the band (in one form or another) some of these songs just wouldn’t be the same. In a way it reminds me of, label mate, Frank Turner’s Poetry Of The Deed: There are still tracks like those found on the last record – ‘Our Fathers’ stands out as the perfect example of Jim really carrying a song (and doing it well, I might add) – but for the most part, the band is really an integral part of the listening experience. That comes as no surprise, when you find out who was sat behind the desk.

Producer extraordinaire, Pete Miles really knows how to bring the best out of an already great band. The man has produced some of the best records in ‘alternative’ music (to use a catch all term) in recent years – including, my favourite record of last year, Great Cynics’ Don’t Need Much and, the absolutely amazing, Born To Ruin by Crazy Arm – so having him work with guys as talented as this feels like a match made in musical heaven. It’s really paid off too as, not only does it sound powerful, it sounds slick too. That’s not to say that it doesn’t get a little rough in spots, but it’s easy to give those a pass when the record is so good overall.

Death does everything a good second album should. It takes what was there and improves on it but, at the same time, it doesn’t lose any of what made you fall in love with the band in the first place. It still feels like a folk record, albeit one that comes out and hits you in the face, the lyrics are still poignant and the songs are as good as, if not better than, those that came before.

Trust me, you can expect big things from these guys in the future.

Video :: Apologies, I Have None – ‘Clapton Pond’

Apologies, I Have None have a new record coming out really soon, and it’s shaping up really well. Having already released ’60 Miles’ earlier in the year, the London-based band have just debuted another new song. ‘Clapton Pond’ is a massive tune – which is totally indicative of the band’s previous work – and the video is an absolute masterpiece. Shot by Julian G. Harding and starring Sam Russo, it feels more like a short film than a music video and is deserving of all the praise it’s getting.

Apologies, I Have None head out on a short UK tour with Crazy Arm and Great Cynics on February 29th, and are playing a few dates with, acclaimed country singer/songwriter, Austin Lucas. Shortly after, the band will embark on the release tour for, debut album, London. This is followed by a few dates with Touche Amore and Pianos Become The Teeth.

  • White Rabbit, Plymouth – Feb 29th w/Austin Lucas
  • Croft, Bristol – March 1st w/Austin Lucas
  • The Hydrant, Brighton – March 2nd
  • Firebug, Leicester – March 3rd
  • Fighting Cocks, Kingston – March 4th
  • Karma Cafe, Norwich – March 5th
  • ManchFESTer II – Kraak Gallery, Manchester – March 17th w/Above Them, Sam Russo, Calvinball, Great Cynics + more!
  • The Central, Newcastle – March 18th
  • Santiagos, Leeeds – March 19th
  • The Flapper, Birmingham – March 20th
  • The Edge Of The Wedge, Portsmouth – March 21st
  • The Old Blue Last, London – March 22nd w/Sam Russo + ‘Special Guests’
  • Thekla, Bristol – March 26th w/Touche Amore + Pianos Become The Teeth
  • Sound Control, Manchester – March 27th w/Touche Amore + Pianos Become The Teeth
  • XOYO, London – March 28th w/Touche Amore + Pianos Become The Teeth

Gig Review :: Against Me! (w/ Crazy Arm) – The Cockpit, Leeds – 18/11/11

Tom Gabel of Against Me! - © 2011 Emma Stone Photography

“In short, it was a punk rock show…”

It’s been a while since I’d been to The Cockpit for a gig. The last time was for The Lawrence Arms and the sound sucked. It probably didn’t help that the sound guy kept walking away from the desk, and that the desk itself rolled away every so often. Let’s just say I wasn’t hoping for the best gig-going experience I’d ever have, but maybe it wouldn’t be so bad as to ruin seeing two of my favourite bands on one night.

After the disappointment of Against Me! pulling out of their 2010 UK tour, it was great to see that messieurs Gabel and co were down to make things up. Not only did they bring the Crazy Arm boys out on tour with them but, in a rare moment of on-stage banter, Tom Gabel took time out to apologise to fans who were excited to see them last year. They didn’t half make it up to us either but, before all of that, it was time for Crazy Arm to set the bar for Florida’s finest.

Following a great performance from Middle Finger Salute, Crazy Arm took to the stage with one intention; to tear the roof off The Cockpit. Opening up with ‘Blind Summit’, the band was met by a rapturous response from the crowd, something that continued throughout their short stint on stage. Setlist mainstays like ‘Still To Keep’ and ‘Broken By The Wheel’ were as well received as ever, an army of fans singing every word. Powerful political anthem, ‘Song Of Choice’ proved to be my highlight of the set, the unity displayed during ‘Tribes’ coming a close second. As the band closed out their set it became apparent that there was a bunch more Crazy Arm devotees in that crowd than before they started, and rightly so!

After a short break in proceedings, Against Me! took to the stage and were relentless from beginning to end. I’ve never seen a band play as hard as they did that night. Stopping once for the aforementioned apology, they remained tight up until the end. The crowd didn’t relent either. From the start of the first track, it was utter chaos. There were limbs flying everywhere, people crowd surfing (which didn’t seem to take with the ‘cool’ section of the crowd) and people jumping from the amps. In short, it was a punk rock show and anyone disputing the punk credentials of Against Me! needs their head testing. I screamed my way through ‘Walking Is Still Honest’, and was glad to hear a good amount of older material mixed in with newer tracks like ‘Russian Spies’ and ‘High Pressure Low’.

I walked away from this gig covered in sweat – both my own and that of other people – with bruises on my legs and back, cuts on my hands and a throat that felt like someone had taken a sander to it. It was just what I expected, and it was brilliant. I live for gigs like that, and it was one of the best I’ve seen all year. And you know what? The sound was fantastic!

Against Me! are now out on tour in support of Frank Turner. How’s he going to follow them? I have no idea.

Podcast :: UTB #28: “This Review Is Totally Based On Opinion”

“…and I’ve been insulting as fuck” – Ian Critchley

After a month of absence the Under The Bridge podcast is back, baby! Did you miss us? I know you did. After The Stone Roses reformed last week, we decided to talk about the ‘reunification’ of bands: The ones that did it well, the ones that didn’t and the ones we’d really like to see happen. Music this week is ‘tribal’, in some sense at least. Ian found an old CD and that’s how it began.

We probably should have played a bit of STEPS or The Stone Roses, perhaps even a bit of Take That. Instead, music this week comes from: Crazy Arm, A Tribe Called Quest, Frankie Goes To Hollywood and…The World Wide Message Society. Y’know, because that’s how we roll: 80’s cheese, awesome British punk, old school hip-hop and bad religious…something.

Go on, have a listen -or- Subscribe on iTunes

Under The Bridge #28: “This Review Is Totally Based On Opinion” (right click to download)

Album Review :: Crazy Arm – Union City Breath

“…Passion-filled, politically-driven, and unlike anything I’ve heard out of the UK punk scene”

Whilst most bands struggle with that ‘difficult second album’, with a debut like Born To Ruin, it was always going to be that much harder for Crazy Arm. Just how do you follow up one of the best records released in years? Union City Breath, that’s how.

Opening with a wave of guitar that wouldn’t feel out of place on a Mastodon record, I wondered what I might be in for, but It wasn’t long before the slow, heavy, distorted, riff gave way and the slight notion of doubt disappeared. It became clear the guys had started where they left off and, as the album progressed, the fast paced guitars, fantastic vocals, and relentless pounding of drums worked in unison to create a sound that was unmistakably Crazy Arm. Not only that, but they’ve managed to improve on it, introducing more instrumentation and a second vocalist in the form of Vicky Butterfield. Resting on their laurels is something this band just don’t do.

Having kicked off with all the intensity of one of their live shows, it looked like a case of whiplash might be on the cards for anyone who dared listen to the record. That wasn’t to be as, like its predecessor, Union City Breath doesn’t need to go at a hundred miles an hour to be intense. Sure, the frantic guitars and crashing of cymbals help, but the lyrics play as big a role in this record’s power as how hard the band play. How do they do that? Let’s just say, if you don’t like your music with a political agenda, you’re going to have to look elsewhere.

Attacks on right wing politics are a staple Union City Breath, but that’s not to say that the messages aren’t, for the most part, subtle. Like on Born To Ruin, the lyrics are fairly nuanced, with the majority of the band’s beliefs being expressed through clever use of metaphor. Though they’re not afraid of ruffling a few feathers either, and openly attack their opposition on a number of occasions. Though ‘The Right Wing Never Sleeps’ is one that sticks out  immediately, ‘Song Of Choice’ is where the message comes to the forefront. The slightly updated version of the Peggy Seeger original, makes mention of the British National Party (and leader Nick Griffin) and the English Defence League in this impassioned song against racism – “Nazi scumbags must never take command/the BNP will never get to rule my land” is a line that particularly stands out, and there’s no message clearer than that.

Union City Breath is passion-filled, politically-driven, and unlike anything I’ve heard out of the UK punk scene since their last outing. What these guys do is so different from the majority of bands out there, and not just on a lyrical level. There’s no band out there, to my knowledge, that can go from doing a fast-paced punk song, to a folk song and then combine the two genres seamlessly. That’s not to say that the band, or this album, is perfect. There were times when some of the stuff on here fell a little flat and the lyrics might not have been up to scratch (the opening of ‘Charnel House Blues’ in particular). Whilst it might not be everyone’s cup of tea, Union City Breath is one of the most interesting thought provoking albums of 2011, and one of my personal favourites.

Interview :: The Xcerts

“You don’t want to write a record about being on the road.” – Murray Macleod (The Xcerts)

Before their show with Taking Back Sunday in Manchester, I caught up with Murray and Jordan from The Xcerts to talk a little about the tour, playing to an audience of Charlie Simpson fans, any future recordings and what one man from Plymouth did for twenty quid. You also get a deep discussion about fishing (thank god we’re retiring that question soon).

Anthony Barlow: Hey guys, how’s it going?

Murray Macleod: It’s good.

AB: So, you’re on tour with Taking Back Sunday. How has that been?

MM: Good so far. We’ve only played one show, but it was in our homeland. It was in Glasgow and we were pretty blown away by the response. There was a lot of people singing along, which is kind of unusual for us when we’re supporting a band. Taking Back Sunday were phenomenal last night and they are some of the nicest guys we’ve ever played with. That’s always a plus.

AB: Yeah, that’s always good. How did the tour come about?

Jordan Smith: Well, there’s kind of a Long Island connection: We did our record in Long Island last year, the guy that produced it is good buddies with them from way back and they got to hearing our record. Adam liked it.

MM: I think, at the same time our producer played it to them, one of their best friends, who we had met when we were in New York, also was plugging us to the band. So i think they were getting it from two different people in New York saying “take this band out on tour.” And then, from what we gather, Adam Lazzara bought our record, which is bizarre.

JS: We’re still so pensive about saying it, because it doesn’t seem real. He owns our record and he listens to it. It’s in his collection.

AB: That’s got to be pretty cool?

JS: Very cool.

MM: It feels weird talking about it. He was talking about us on stage and we were looking up listening to him talk about our band. It was like: “What is going on?”

AB: Do you think you guys are received well by the Taking Back Sunday crowd then?

MM: I think so. I don’t think we sound like Taking Back Sunday, but there’s definitely similarities, I think. There’s a lot of common ground there, from what they’re into and what we’re into. I think, from the crowd’s perspective, we’re probably not too far away, as a support band, from what they do. But it varies, in Nottingham it was a cold crowd. And I don’t think they warmed to us all that much. But we played in London and Glasgow with them and both of those shows were great. I don’t know, it’s a tough one. Depends on a lot of things, I guess.

AB: No one asking you to play Reuben covers then? *laughs*

MM: No

AB: *laughs* Just me then. You’ve been on some pretty big tours this year, the Charlie Simpson tour being the last one. It must have been hard on you guys dealing with that kind of crowd.

JS: They are an interesting crowd. Especially as Charlie has a lot to deal with anyway from fans of his previous incarnations and everybody’s at the show. There’s people there who’ve just heard the record, and people who know him as Charlie Simpson. To go up and face that kind of crowd, especially considering that none of them had ever heard of us before, definitely.

AB: You guys played acoustic for that tour too.

MM: Yeah, it was kind of stripped down. I mean, we had electric guitar and some drums and percussion, but it was nice to tour like that. It was a lot more laid back for us, not that we stress about full band shows, but we really want to play as well as we can every single night to whoever.

JS: There’s a lot more to worry about with full band shows.

MM: Yeah, on that one we were relaxed, which was nice. It felt weird, it kinda felt more like a holiday.

JS: It was casual.

MM: Yeah, it was casual.

JS: There was no gear. It was a really easy load in. It was good. We really got into it after two or three shows.

AB: Has it affected your fanbase being on these tours?

MM: Yeah, the Charlie tour was a resounding success, in fact. It was bizarre. We couldn’t really gauge it on stage, it was weird. I did a lot more talking on that tour. On our own sets or these shows I barely talk, because I just want to make noise. On the Charlie tour we did a lot more talking and a lot more interacting with people, which was really interesting for us. And we could only really gauge it by how many records we were selling at the end of the night. But we spoke to a lot of people, a lot of people have joined us on the social networks and that’s really the only big tour we’ve done this year. So it’s weird. We did the Rocksound tour, a headline tour, and Fu Manchu in Europe, but it’s weird that that was a big tour for us and we weren’t even doing what we usually do.

AB: You say that, but would you have rather done that tour as full band?

MM: No

JS: With respect for Charlie and what he’s doing, to come on as full band and blow the roof off the place before he comes on and plays his really sweet, Bright Eyes sounding, acoustic music would have been a little inappropriate.

AB: You could have totally stolen the show.

JS: Yes. We could have.

MM: Only because of noise voice.

JS: Yeah, decibels.

AB: *laughs* You’ve said you’ve seen an increase in people interacting with you online and buying the record, do you think these people will now be expecting a new full length from you or something along those lines?

MM: I don’t know. I think the people who are just getting into us are probably excited about the fact that we have two records out.

JS: Yeah, they can go back and get into both of them.

MM: It’s seems like, from what people have said to us, they’re just excited to be getting into us now.

JS: It’s more the hardcore fans that are badgering us for new stuff.

AB: Well, you’ve released the cover of ‘Drinking In LA’. Is that the new direction? Is drinking in LA just de rigueur for you now?

JS: *laughs*

MM: Basically, we’re re-releasing our song ‘Slackerpop’ and we recorded four tracks stripped down, like we did for the Charlie tour, because a lot of people who didn’t see us on that tour were asking about it. So, basically, when you buy the flexidisc of the single, you get a code to download four stripped down tunes. As an incentive to get people’s email addresses we decided to do a cover and that one came up, and we’re all big fans of that song, and we thought we could do a pretty cool cover of it.

JS: It’s a cool song, despite the kinda nihilistic lyrics and stuff.

MM: The guy raps in the verses, so I didn’t have to rap.

JS: You rap.

MM: I do rap.

AB: You should totally rap.

JS: He’s got mad rhymes.

MM: We did contemplate it. The first take I just had a microphone, and we did it pretty raw, and I was like “should I rap?” I was like no “sing it”.

AB: *laughs* I’m disappointed you didn’t rap now. Aside from that you did release the EP in March, any plans for something like that again?

MM: No. We’re going to release this single, and then we’re going to be touring until the end of the year, with that. Then we’ve got some plans to keep touring in the new year and then we’re going to make another record.

JS: We’ll do the same as last time, just do it whenever we find the space.

MM: The first record lasted, basically, going on a year. This seems like it’s going to last longer, which is cool, because it’s going to give us time for the new stuff. When we went out to the States for the second record we kind of had bits and bobs and loose ends with us. I think this time we want to make sure every song is perfect.

JS: It’s better for you, because it’s such a classic scenario for a band that’s just on the road all the time. When they finish touring they have to record their album there and then, so they try to write songs on the road and maybe that’s why you get shoddy second records, or whatever, because a band has toured to death. They’ve got to rush out ten songs or whatever.

MM: You don’t want to write a record about being on the road.

JS: Yeah, no one wants a road record.

AB: Speaking of writing records on the road, you’ve got this new single coming out and you’ve been saying how your fanbase has grown so me, my colleague and Geoff Rickly from Thursday were wondering if we could get bands to donate a percentage of their profits from releases towards a Chuck Ragan fishing show.

JS: *laughs*

MM: Geoff Rickly?

JS: He wants Chuck Ragan to have his own fishing show?

AB: He said it was “his dream”.

JS: How much are we talking?

AB: Whatever you want.

MM: You’re going to be hard pressed to find a band with any record profits *laughs*. I would love to see Chuck Ragan on my telly talking about fishing.

Interview :: Darren Johns (Crazy Arm)

© 2011 Neil Oliver

“…I eat chips, I’m half way there” – Darren Johns (Crazy Arm)

Crazy Arm embarked on their first acoustic tour last week, and seemed pretty nervous about it. Manchester would be the first time the band had played like this outside of Plymouth, but we had faith they could pull it off (they totally did, by the way!). We managed to catch up with Darren to talk about, Union City Breath, the recent UK riots, and we also show you that you should really think about your target demographic when asking questions.

Single Review :: Crazy Arm – Tribes

“…I can’t wait to hear what the Crazy Arm boys have in store for us in September.”

I’ve made it pretty clear in the past that Born To Ruin is one of my favorite albums in a long time. Crazy Arm’s brand of gruff, melodic, political punk was a breath of fresh air and I’ve been hooked ever since. The guys are gearing up for the release of their second album and, if ‘Tribes’ (and previous single ‘Ambertown’) is anything to go by, Union City Breath will be another top notch release from the Plymouth-based band.

Like a lot of Crazy Arm’s material, ‘Tribes’ is a very socially conscious track. The line: “I don’t want to live in a fucked up world” opens up the song and perfectly captures the message the band are trying to spread. It’s a track that deals, primarily, with equality and promotes the idea that, no matter what sex or race a person might be, they have rights. It encourages morality, but manages to stray away from feeling overly preachy. When a song has such a clear message that can be hard to avoid and can often feel like it’s been laid on a bit too thick. That isn’t the case here. Musically, it’s everything you’d expect from a Crazy Arm song. The rabble-rousing track is driven by awesome, forceful, guitar playing and kept together by the solid rhythm section. The drums are particularly prevalent, but that’s no bad thing. The changes in pace are fantastic and, coupled with Darren’s fantastic vocal range, really help to drive the message of the track home.

The quality continues with the B-side. ‘Help For Heroines’ relies heavily on the the roots punk/country punk sound that differentiates Crazy Arm from the rest of the bands in the current UK scene. That being said, it doesn’t lay off on the intensity. It’s still fast paced and best played at full volume. If this is the quality of tracks that were cut from Union City Breath, I can’t wait to hear what the Crazy Arm boys have in store for us in September.

You can’t go wrong here – Two great tracks from a great band. Buy the single, go to the shows and support them any way you can. The band head off on their first ever UK acoustic tour later this month, with Cory Branan and Sam Russo. Following that, they’ll be touring across Europe with Against Me!, on their headline shows, in November. There’s details of their future touring plans here.

Podcast :: Under The Bridge #23: Who The Fuck Is Dave Smith?!

“I would absolutely not do it with Davey Havok” – Chris Farren

Everyone knows that Under The Bridge is “the podcast Chris Farren hates most”, so it was quite a surprise when he agreed to come back on the show. Of his own free will, no less. Moon & Back Music’s, Cara Moore joined our Floridian friend to complete this week’s line up. Though we did get Kieran Kelly (of Moving North and Throwing Stuff) on the phone to talk about the upcoming Crazy Arm/Cory Branan/Sam Russo tour. There was also a rap battle…

Go on, have a listen…

Under The Bridge #23: Who The Fuck Is Dave Smith?! (download/stream or subscribe on iTunes)

Music – William Shatner

  • Common People
  • Has Been
  • The Real Slim Shady
  • I Can’t Get Behind That (Feat. Henry Rollins)


  • Against Me! and Emily Barker & The Red Clay Halo to support Frank Turner
  • Hot Water Music sign to Rise Records
  • Horrible Crowes preview new track
  • Morrissey talks label troubles
  • Brendan Kelly is making a new record
  • Muppet movie soundtrack to contain: Alkaline Trio, Atreyu, Ok Go and Weezer
  • Jim Ward to compile EP’s for a new full-length
  • Crazy Arm new single coming August 1st. Touring with Sam Russo and Cory Branan.


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