STONE THE CROWZ – Protest Songs 85 – 86 LP

STONE THE CROWZ – PROTEST SONGS 85 – 86 Clear Vinyl LP and CD, Overground Records – Over148LP. Released 2015

Stone the Crowz - Protest Songs 85 - 86

Stone The Crowz – Protest Songs 85 – 86

Stone The Crowz vocalist Trevor Speed asks at the beginning of ‘Suffer Little Children’ “Sometimes when I’m alone I think I’m the only who thinks this way. Well am I?”. Back in 85/86 when these songs were recorded he was far from alone in his thoughts. Anarcho punk – a fusion of ideas, music, direct action, art and yes, even an anti fashion fashion, was still captivating large swathes of angry and disaffected people both in the UK and abroad. Stone The Crowz arrived when the movement was already on the wane from it’s peak during 1980 to ’84 but its end was never really fully realised and its influence and ideas are still very much with us today. As a result of arriving somewhat late they missed out on a proper dedicated release and instead only appeared on their own demo tapes along with with several tracks on compilations. This beautifully simple package gives them the outing they deserve: a Crass influenced identikit sleeve complete with black line drawings, clear vinyl LP, a CD with all the lyrics reproduced along with band photos and C60 cassette covers.

The first five songs on the record sound wonderfully fresh even after 30 years. They stand up well against the bands that influenced them. Vocally they remind me of Exitstance and musically there are nods to Flux of Pink Indians and Icons of Filth. That’s no bad thing, these were all amongst the best the movement had to offer. Lyrically its standard fare for the time. Killing animals is wrong, religion is wrong and the Police are…well, if you’re reading this you no doubt already know the score. From track 6 onwards the sounds not so clear but still good for the time and you get a sense in amongst all the songs that are on offer here that if the Mortarhate or Crass labels had put out a full release by the band it would have been a stone cold classic of the genre. Stone The Crowz capture the sound of pure rage against the injustice of it all. Guitars are abrasive and urgent, drumming is driving and solid and just as importantly – completely lacking of some of the biscuit tin plodding of other bands of the time. So thirty years on the band get the release they warranted and its just great. So how about a gig too?


Jimmy Cauty’s Model Village – The Aftermath Dislocation Principle ‘New Bedford Rising’. America Street, London SE1. 19th November 2015 – 28th January 2016. 

Covering over one square mile of scale territory Jimmy Cauty’s ‘model village’ attraction depicts a world where only the authorities remain in place having cleansed everyone else. I first saw it in person at Banksy’s Dismaland show in Weston Super Mare where access was open to all to freely walk around it. That quickly changed after some of the tiny figures were stolen and it ended up behind a wire fence. In its new location, underneath the arches in America Street south of the river in London, it’s even harder to view. Now access has been limited to small circular viewing holes cut into the black sheeting that surrounds the work along with a step ladder to provide a more comprehensive aerial view. If this process continues the next time its exhibited we’ll just be issued with a postcard of the landscape outside the event. Oddly though the new viewing arrangements work well. Peering through the small openings restricts your view and cuts out the background clutter of the room. You feel like you are spying down on the scene, perhaps from the window of a tower block. Maybe you survived the cleansing and are watching from your hidden vantage point.

Through the peephole – you can just catch sight of Banksy’s ‘Rude Copper’ image in the window of this tower block.

Cauty has had a long running fixation with the Police – think right back to his work with  the chart topping outfits of The JAM’s, The Timelords and the KLF and their utilisation of Cauty’s American Police car (called Ford Timelord and credited with writing the Timelords songs). Their gatecrashing Brit Awards performance stage set back in ’92 also only featured a solitary flashing blue Police light. (along with the delights of Extreme Noise Terror).  There’s other references here too. Back in the day when he was in the KLF their videos featured extensive model landscapes (3AM eternal) and even graffiti covered miniature trains (Last Train To Trancentral). So this huge landscape can maybe be seen as more of evolution of his ideas – but on a breathtakingly colossal scale. He’s not stopping yet though, there is a whole new part being formed….  

Behind another fence work is underway on new components to further extend the Model Village literally to new heights – New Bedford is under construction.

Another reference to Cauty’s previous musical career – a modern day pyramid rising up.

A gold block being put into place by a crane atop the pyramid.

Another new scene sees masses of Police Officers all at sea.

It has to be said that the new viewing restrictions make taking photos something of a challenge so here’s a few more images from when I saw the whole thing clearly when it was on display at Dismaland.

The model features many individual scenes in its vast landscape

This Wickerman funeral pyre reference was a particular standout.

Black Metal church burning

New Bedford Rising can be viewed in Southwark until 28th January 2016


HECK / POLT HER GEIST / THECITYISOURS Wednesday 11th November at The Horn, St Albans.

I caught Heck earlier in the year, back when they were called Baby Godzilla and before the legal overtures that made them change their name to their current moniker.  Part of what I liked about them, asides from their chaotic but committed performance was the fact that when they finished I didn’t actually have much idea what I’d just witnessed. So a return visit was on the cards and with London swiftly sold out a jaunt to St Albans was my next best bet.

Thecityisours at The Horn, St Albans

The Horn is a decent venue, set up nicely at the back of the pub but putting on gigs consistently enough to have its own PA and lights. TheCityIsOurs are taking the stage as I walk in  and kick off as they mean to go on. Machine gun drum beats, vocals that alternate between the tuneful to screams of rage while the music starts, stops and starts again constantly keeping you on your toes as to just where its headed next. The band sound destined for bigger venues but its a long slog out of here. Still they seem to be enjoying the ride and get the crowd on side.

Up and at ’em – Polt Her Geist

Polt Her Geist – caught in a mosh

Polt Her Geist set up on stage with a TV displaying static stage centre. It’s removed without explanation just as the burgundy clad band take to the boards and start up. In many ways they are similar to the opening act, stop start rhythms, complicated timing sequences, screamed vocals but they also have enough of their own style. With a singer not afraid of going berserk and a rock solid drumbeat the guitarist and bassist thrash out an at times discordant sound. Yet put it all together and it works. A bit of a theme for tonight. When the singer finishes one song crouched on the floor rocking backwards and forwards and repeating one line again and again its done with the kind of attitude and abandonment thats hard to fake.

An unusual shot of Heck, chiefly because it includes all four members roughly in the same space – a pretty uncommon experience as the night would prove.

Heck have a couple of tough acts to follow then – not that it phases them in the least. They start things off with a true cacophony of sound. Mike stands, guitars, even guitarists are all launched into the crowd. It’s instant chaos that only notches up the gears as the band truly hit their stride as second song ‘A Great Idea Bastardised’ arrives. Arms are flailing everywhere, crowds are split and then slam back into each other yet somewhere in the middle of it all are two whirlwinds on the guitar climbing and leaping off everything. Including me at one point as when the singer got bored of playing on top of the bar counter he just put his foot on my shoulder and used it to propel himself forwards back into the crowd. Gear gets left all over the shop – a guitar is just thrust into the arms of a kid who looks astonished to suddenly be part of the band whilst its owner is hoisted above heads by the crowd. Elsewhere parts of the drum kit end up on the dancefloor and another member of the audience is left looking after the mic for long sections of the set. How do they manage to keep it altogether and get through their songs? I can’t tell you but drums and bass keep it moving along and there’s usually at least one of the guitars going. Technical or musical perfection it may not be but entertainment wise its off the scale. Heck take the frenzy that most bands reserve for their final song but apply it to their entire gig. Music as an experience – and no I still don’t have much idea of what I have witnessed by the end – but it sure was fun!

More photos below….

A band called Heck

Heck, lit by halogen lamps they’d set up themselves.

Proper battered that guitar

Monitor or launchpad?

A band whose amps are stuck on notch 11. Cheers Heck!

Find Heck here

KILLING JOKE, at the Academy, Oxford

KILLING JOKE Friday October 30th at the Academy, Oxford

Been a while since I’ve made the journey over to Oxford for a gig. It seems further than it actually is so when I saw this late addition to Killing Joke’s tour schedule I decided to take the plunge and rekindle my acquaintance with the city and catch the industrial music pioneers in a smaller venue than London’s cavernous Roundhouse.

So on the plus side tonight’s venus is that more intimate gig but there are, for me, two big problems – the lighting and the sound. The band have pretty much zero front of house lighting so appear largely as silhouettes for much of the gig. Yes I get that this might be deliberate but it would have been nice to be able to see singer Jaz’s facial expression from time to time. And then there’s the sound. Maybe it was where I was standing but it was so, so bass heavy and muffled making it hard to pick out much in the way of detail. So already this wasn’t going to be an absolute classic night.

This is Killing Joke bur based on the lighting you might just have to take my word for that….

With that out of the way it’s time for to say what was right.

First off the material off their new LP ‘Pylon’ is fantastic. It’s an album chock full of power and hard hitting lyrics and it works brilliantly live. Set favourite for me was ‘New Cold War’ with its simple and memorable hook but all the new songs slotted into the set effortlessly with not a duffer amongst them. And there was time for the old favourites too, the band kicking off with ‘The Wait’, then running through the classics – an atmospheric ‘Requiem’, a mechanical barking ‘Eighties’, a savage ‘Pssyche” and their crossover masterpiece ‘Love Like Blood’. They build ‘The Beautiful Dead’ patiently, tip toeing through the beginning before Big Paul’s drums come crashing in. It’s something else to see this classic line up smashing it out of the park, they’re all here – Geordie, Youth, Big Paul and Jaz. So lighting and sound aside there’s more than enough on show to make my trip to the city of dreaming spires a worthwhile visit, –  especially as I managed to get a copy of the new album signed by all the band. Chuffed with that and with a 10pm finish I was back home on the sofa by 11pm – unheard of before tonight!


R.I.P. Dickie Hammond

Sad to hear that Dickie Hammond, guitarist with HDQ, Leatherface, The Jones and many other bands recently passed away. My condolences go out to his friends and family.

HDQ first came to my attention with their self titled 12″ on Endangered Musik. I contacted the band at the time for an interview for my zine Crisispoint and we set up a gig at the Wlilliam Morris club in Wimbledon London. It was the first time I’d booked a band from out of town. The story of that night is told in their liner notes on their Boss Tuneage re-release of their ‘You Suck’ album. I remember Golly and Dickie staying round my mate Lee’s house (RIP Wombat) and they were such good company. From there I booked the band again for a gig at the Robey with The Instigators and Oi Polloi, another great night and asked them to appear on the EP that came out with Crisispoint and Polka Slam zines joint issue. They had a unique sound in the UK at this time, Hammonds guitar wizardry really set the band apart with fast intricate picking and an eye for more melodic tunes than most – check Grey World on ‘You Suck’ as an example. They were pushing boundaries and continued to do so through their other albums ‘Sinking’ and ‘Soul Finder’ before splitting. Dickie went on to play a key role in Leatherface and many other bands but for me it was his work in The Jones that recaptured that HDQ spirit. I was lucky enough to see a reformed HDQ play in Camden last year too and he was once again on fine form.

It’s a line from The Jones song ‘Wilton Road’ that makes me remember him today – “Im not here to make up numbers”. He most certainly wasn’t. He had an influence on many, many people and has left behind a great body of work that will ensure he continues to do so. R.I.P. Dickie Hammond.

Dickie Hammond with HDQ at a Birmingham all dayer.

Check these releases out for an appreciation on how Hammond moved UK hardcore and punk through to a more melodic and progressive sound.


THE EXPLOITED / DISCHARGE / THE DEFECTS Saturday October 24th at the Forum, London

First off apologies to In Evil Hour and Paranoid Visions – I wanted to see both bands but sometimes life just doesn’t work out that way. Some other time and soon I hope. So this review is of just three of the groups on the bill – all heavyweights of eighties punk – the Top Of The Pops performing, early eighties punk defining ‘Punks Not Dead’ Exploited, a resurgent and re-energised Discharge and those loveable Belfast rogues The Defects.

Arriving at the venue is like being transported back in time to those multi band punk shenanigans at London’s Lyceum Ballroom before it opted to stage The Lion King. There’s a higher leather, bristles studs and mohican count tonight compared to your average London gig and they’re all here to see some proper UK82 stalwarts. Lowest on the bill of the three are Northern Ireland’s original spiky tops The Defects. Fronted by the charismatic and affable Buck Defect their set is littered with a surprising amount of melodic and danceable anthems. Recent offerings such as ‘Hill Street’ sidle up nicely to older outpourings such as ‘Metal Walls’. For a band with such a small back catalogue they have a hell of a lot of memorable songs including their title track off their debut LP ‘Defective Breakdown’. Entertaining throughout, a fine set under their belts they make way for the next act, a relentless onslaught of noise in comparison.

Discharge split opinion at the time with their ‘noise not music’ mantra but the subsequent decades have shown that their original output has gone down as genre defining, spawning countless hard edged, boundary pushing bands over the years from the thrash metal scene to grind core. This is the first time I’ve seen them since Wasted Life’s ex Jeff Janiak took over from Rat (The Varukers) on vocal duties and its immediately apparent he’s a tailor made frontman for the band. Constantly pacing, jumping and prowling around the stage with an urgent vocal style he is the perfect compliment to an upgraded front of house line up which sees original members Tezz, Rainy and Bones reunited once more. The sound is deafening as it should be. Down the front its a physical presence, an incessant drone, like 50 Lancasters flying overhead on a night raid. Anything Discharge have lost in movement they’ve more than made up for in their now colossal sound. From opener ‘Hear Nothing, See Nothing, Say Nothing’ its a sledgehammer of a set all the way through to the piledriver that is ‘Decontrol’. Wattie and his cohorts have a tough act to follow.

Wattie laying in to Henry Rollins

‘Lets Start A War’ kicks things off with real snarling intent and it soon becomes clear that recent more metallic offerings are taking a back seat tonight as a real crop of eighties punk classics are on the menu. Era defining ‘UK82’ always sounds urgent and fresh, whilst ‘Army Life’ takes proceedings right back to the very beginning of the bands career. Wattie keeps his feuds alive by dedicating ‘Fuck The USA’ to Jello Biafra, Henry Rollins and Green Day’ before tempering that statement with a comment that it’s just his “personal opinion”. The rest of his band are having fun regardless, playing up to the singers accusation that they’re too metal by riffing the opening bars of Slayer’s ‘Reign In Blood’ and Aerosmith’s ‘Walk This Way’. Yes there is plenty of metal flair but ‘Fuck The System’ and ‘Beat The Bastards’ are essentially a punk “fuck you” at heart. The Exploited divide opinions but for fans there was much to enjoy tonight, a menace laden ‘Troops Of Tomorrow’, the inevitable ‘Dead Cities’, ‘Punks Not Dead’ and ‘Dogs Of War’ and the traditional ‘Sex and Violence’ singalong on stage. Surprisingly it’s set closer ‘Was It Me’, a song I was previously unfamiliar with, that leaves the biggest impression. Impassioned, bleak and displaying a rare glimpse of thoughtfulness and introspection its an unusual exit leaving a haunting feeling hanging over the venue as the band leave the stage.


SLEAFORD MODS / STEVE IGNORANT’s SLICE OF LIFE / MARK WYNN Friday 2nd October at the Forum, Kentish Town, London

Well this feels a bit different. Two weeks ago I was watching Sleaford Mods play to a lucky few in Banksy’s Dismaland and yet tonight I’m pushing my way through crowds of fans in Kentish Town standing outside pubs breaking into chants of “Sleaford Mods”. How will something so minimalist that works so well for 200 people translate to 2000 people?

Inside the venue Yorkshire eccentric Mark Wynn is taking to the stage. With a chair, a box, a laptop and a tiara he walks on to a sea of mild indifference, Ten minutes later its a different story as the front begins to fill up captivated by his off the wall observations, frankly ridiculous rock’n’roll parody dancing and strutting and a decent line in songs about the lady in Age Concern -“This ones called ‘She Fancies Me That One In Age Concern’. It’s about how she fancies me, that one in Age Concern”. Madcap half hour yes, but very, very entertaining. Even the bouncers are laughing.

Steve Ignorant’s Slice of Life ensemble look frankly overstaffed compared to the other acts on show tonight with a guitarist, bassist and piano player joining him on stage to provide the melodic backing to his frequently heartfelt and forcefully articulated observations. Older, wiser but no less concerned about the state of the world Ignorant is much more confident tonight than when I last saw his band in Kingston’s Fighting Cocks venue. There’s proper anger here coupled with humour and a little self deprecation. The years in Crass have been completely left behind now and his brave experiment in working with a new collection of musicians seems to be working out. Decent but not yet essential.

Steve Ignorant’s Slice of Life

Sleaford Mods arrive on stage carrying all their gear with them. That, in effect, is some of the rider (water for vocalist Jason Williamson and beer for beats creator Andrew Fearn), a rucksack containing a laptop, power lead and audio cable and…well that’s it really until their nod to a stage set – an electric fan called Darren makes an appearance midway. How the hell is this supposed to keep a couple of thousand people entertained for the next hour? The band launch into the title track of their recently released ‘Key Markets’ album and it all becomes obvious. We’re transfixed by the sight of Andrew gently rocking back and forth to the beats, checking his phone and swigging from a bottle while Jason … well he just completely captivates in a manner so rare that all doubts about whether tonight would work get destroyed by the time the second song starts. There’s real anthems here. ‘Jobseeker’ and ‘Jolly Fucker’ see the bouncers dealing with crowd surfing whilst slower numbers like recent plodding single ‘Tarantula Deadly Cargo’ show the variety on offer. Sleaford Mods have ingredient X in bucket loads and they’re only just realising it. This gig feels like a watershed moment for them. Years of getting nowhere and then they’re headlining the Forum as part of a nationwide tour. They know things are changing but they’re wise enough to know it can all evaporate as quickly. So when Jason screams “We fucking love you Forum” it sounds genuine despite his frequent references to this all being a job. And in set closer ‘Tweet, Tweet, Tweet’ we finally hear him singing – he nails his lines perfectly before exiting the stage. Sleaford Mods had conquered the Forum. So with their job done, whats next?

Watch Sleaford Mods ‘Tied Up In Nottz’ at the Forum






Opened up for a few tours recently as part of London Transport Museum’s Hidden London programme Clapham South is one of eight Second World War purpose built deep level civilian shelters. I joined the first trip down the long flight of stairs into a little bit of history, a subterranean world that offered protection from the bombs above.

You’ve probably seen the pictures of Londoners on the platforms of London Underground stations sheltering from the German Luftwaffe’s Blitz. The reality of these images was that some of the stations were not really that deep and in some instances, in particular at Bank, there were large scale losses of life when they suffered direct hits. The answer to the publics clamour for more secure shelters was to excavate by hand ten new complexes 30 metres below ground with a capacity to accommodate 100,000 people. Two were abandoned early on but the other eight were completed in 1942. They were each connected to a Tube station alongside either the Northern or Central lines and they are still there today in Belsize Park, Camden Town, Goodge Street, Chancery Lane, Stockwell, Clapham Common, Clapham North and Clapham South.

Since the end of the war they have largely remained closed to the public opening briefly for a few special events such as being used as a home for foreign school children visiting the Festival of Britain in 1951 and the arrival of the Empire Windrush carrying migrants from former British colonies in 1948. The last time they were used as large scale accommodation was back in 1956 where after a fire broke out in a dormitory being used to billet soldiers the powers that be decided a similar incident could result in a significant loss of life and withdrew them from use.

Whilst many of the original fixtures and fittings have been removed a good guide and a bit of imagination brings these tunnels to life. Have a look through these photos to get an idea of what life must have been like several storeys underground.

Descending down the 180 or so steps from street level to the shelter below. During the Second World War this journey would have been made in the early evening with bedding and whatever was needed for the night before having to be back up and out by 7am the next morning.

Entering the tunnels there are signs left over from their use in the early 50’s providing directions to the accommodation areas and the facilities available.

With half a mile of tunnels the shelter could hold thousands of people during wartime but it was never filled to its capacity. Entry was by ticket only and with no air conditioning, no ban on smoking it must have been a pretty uncomfortable experience.

Not available for use at the time of my visit this tunnel provided a direct connection to the nearby Clapham South tube station on the Northern Line of the London Underground network.

Where steel sections were used to construct the tunnels clues are present as to those who were responsible – LPTB in this case refers to the London Passenger Transport Board  that was in existence from 1933 to 1948.

The tunnel was constructed during the war when materials were scarce which maybe explains why materials left over from the pre LPTB days when the London Electric Railway was in existence have been used in one particular section.

Accommodation was sparse and very limited in space. Time was passed playing games and I’d imagine it was pretty difficult to catch a good nights sleep.

The tunnels have been used for storing data archived from companies but have recently been cleared out and cleaned up. The basic bed structures still fill many of the tunnels.

Perhaps due to it being repurposed several times over its life there are actually very few real relics from its original use other than the structure itself.

It has been used for human habitation again since the war, for demobbed soldiers, for the Windrush generation and even for foreign children visiting the Festival Of Britain. Some graffiti survives in perfect condition due to the lack of bleaching sunlight.



ANTI PASTI, CHRON GEN, THE DEFECTS, INFA RIOT Saturday 19th September 2015 at The Flag, Watford

You know it’s hard enough trying to decide the order these four bands appear in the headline above let alone choosing the running times for this gig. They’re all capable of headlining on their own. So I went with alphabetical (a cop out I know) while the organisers of this ‘Best Of UK82’ show opted for the tried and tested ‘names out of a hat’ method of choosing the batting order.

It seems far too early when Belfast’s The Defects hit the stage. In essence there are no support bands and we’re straight into a bunch of classics off their 1981 Defective Breakdown album. Their debut contains more than its fair share of anthems – check ‘We Don’t Care’, ’20th Century’, “Metal Walls’ and, well, basically the rest of the whole damn record. More recent work sounds just as good and they really get the crowd going during ‘Brutality’ with its fist pumping chorus of ‘SS RUC’. Brilliant start to the evening but over too soon.

The Defects

Taking second slot are Anti Pasti. Like all the bands on the bill tonight they really hit their stride with their debut album (The Last Call) then struggled with direction for their follow up releases in the eighties. So its unsurprising that old favourites from their early career provide the backbone to their set but everything sounds so different. Reason being is that original singer Martin Roper has left the band and replacement Gez has much more of a bark. It’s a little weird at first but after a while I get used to him and start really enjoying both their new material (the set list includes no less than eight new numbers) alongside well known classics including ‘Call The Army I’m Alive’, ‘Another Dead Soldier’ and the inevitable but very welcome ‘No Government’. Yes, Anti Pasti are a different beast now but its good to see a 30 plus year old band not content to rest on just the old standards and trying out something new.

Anti Pasti

Infa Riot’s run of singles and an LP on Secret back in the 80’s were some of the defining moments of the UK82 era. By their second album on Panache, however, they’d dropped the ‘Riot’ and become the Infa’s with a mellower sound. Since reforming in 2011 they’ve stuck to their original harder sound, tonight opening with their excellent cover of the Girlschool classic ‘Emergency’. Running through a slew of classics including ‘Power’, ‘Riot Riot’, ‘Still Out Of Order’ and ‘The Winner’ singer Lee Wilson was on form chatting with the crowd and putting all of his energy into every line.

Infa Riot

Last up were Chron Gen, one of the more melodic outfits of the time and the only one who still play songs off their later eighties output.  You can maybe tell that Glynn Barber is also used to performing solo – somehow referring to the crowd as ‘ladies and gentlemen’ seems a little over polite for this evening – but in this incarnation the band really connect all the same. The flange filled intro to ‘Puppets Of War’ builds magnificently and the thoughtful anthem ‘Outlaw’ sounds fresh and heartfelt even after 30 years. The band also play ‘Pretend’ from their follow up ‘Nowhere to Run” LP. It’s a beautiful song full of care for someone where love just doesn’t work anymore if it ever did. Amazing to think this was just one full length record away from the rather more basic ‘You Make Me Spew’. Chron Gen evolved quickly and all they produced had its merit in its own way. Tonight they pick the best out of all of this from ‘Behind Closed Doors’ to their own version of ‘Jet Boy Jet Girl’.  The fact that three decades have passed since these bands first arrived seems impossible. We’re all older yes, but surely this was never meant to work outside of its time zone? And yet it does. Organisers Watford Punk Collective pulled off a real coup tonight, one that will live long in the memory in both the audience and the bands minds alike.

Chron Gen



SLEAFORD MODS Friday 18th September at Dismaland, Weston Super Mare

The video for Sleaford Mods current single ‘Tarantua Deadly Cargo’ sees them wandering round a particularly bleak seaside resort set firmly in the reality of an area that relies on a few good days of sunshine a year for its money. So its fitting they are here tonight to play Dismaland in Weston Super Mare. The town itself is actually far more pleasant than most coastal towns which rely on ‘attractions’ to draw in visitors but the duo also blend in perfectly with the dark themes of Banksy’s Bemusement Park.

I’d arrived in the town earlier in the day to have a last look around Dismaland which I’ve covered extensively elsewhere. Walking back to my car between leaving the exhibit and the evening event I could hear Sleaford Mods soundcheck from what must have been a good half a mile away. The air was laden with Jason’s expletives even from this distance. Might be in for a few complaints from the locals later then!

As I’ve seen and reported on Sleaford Mods a couple of times recently I thought I’d hand over to the Caught In The Crossfire blog guys at this point for an alternative view of the whole day. You can find that here and I’ll leave you with just a few photos from the night.