Christopher Owens πŸŽ΅ It’s been a while.


August 2019, to be precise.

But a few things had happened, meaning that the greatest band in the world must soundtrack these events with the apocalyptic juggernaut of their music. So, a little tour was arranged. 

Although circumstances beyond anyone’s control forced me to miss Leeds and London, I am grateful I was able to see Killing Joke at least three times on this trek.

Let’s discuss the set.
 

Setlist Highlights

The evergreen UK top 20 hit ‘Love Like Blood’ opened all three shows. Acting as a commemoration for those who lives were cut short due to pandemics, wars, and riots, it still has immense power in its restraint, almost ethereal atmosphere as it soars to a mighty chorus.

A one-two punch of ‘Wardance’ and ‘Fall of Because’ confront us with the reality that what we are witnessing is the greatest band in the world flexing their muscles on material that is over 40 years old and still scarily relevant in this day and age.

The live debut of ‘Honour the Fire’ brings a change of pace to proceedings, going in a more thoughtful and celebratory mode as Jaz recounts his wishes and his thankfulness for what he has. It’s a shimmering, mellow number that builds to a mighty chorus, feeling more akin to a prayer than a song. Later on, it was swapped out for ‘I Am the Virus’, a 2015 number that has grown in notoriety over the past few years and which always bulldozed a live crowd.

Marking the 40th anniversary of Revelations, ‘The Pandys are Coming’ and ‘We Have Joy’ get their first airings in years. The inventive, ponderous drums and minimal bass lines make for an angular, uneasy listen, and Jaz’s hectoring vocals over both suggest more occult forces at work.

Going back to 1979, the dubby disco dissonance of ‘Turn to Red’ will forever remain a highlight in the set, while new song ‘Lord of Chaos’, although employing a similar rhythm to ‘I Am the Virus’, has a chorus that perfectly encapsulates the times all too well.

‘Mathematics of Chaos’ was always a tricky one to pull off, but Big Paul is magnificent on drums, while Geordie’s four note riff really is casually apocalyptic. I have to admit a feeling of utter catharsis bellowing along to the lines:

 A state of eternal conflict is all I have found/We build a wall that is made of tears/Watch the house fall down/And at the end of my life . . .  All shall be well/All is as it was always meant to be.

The triple whammy of ‘The Death and Resurrection Show’, ‘Total Invasion’ and ‘Loose Cannon’ are, without question, the most punishing part of the set. All from the 2003 self-titled LP, they are slow, heavy and metallic, steamrolling the listener in the same vein as a tank.

Closer ‘Pandemonium’ acts as a reaffirmation of life itself, with an optimistic outlook and a soaring energy that releases endorphins into the body as a respite from the brutality of most of the set.

Thanks to Stu Bird for the use of the photo
The Gigs

o2 Academy, Bristol (31/03/22)

With the recent antics involving the Colston statue and a long history of anarchist squatting in the St. Paul’s area, this was an apt location to begin the three-day sojourn to see Killing Joke. There’s an odd, but somewhat intoxicating, vibe about the place due to the mix of ye olde English style architecture and the modernist atrocities that dominate the city centre.

Although the band gave it their all, it was clear early on that Jaz and Geordie were struggling with the on-stage monitors (with Geordie repeatedly beckoning to roadie extraordinaire, Diamond Dave), while Youth and Big Paul (whose birthday it was) powered on. As a result, there was an uncomfortable vibe in the air, but that merely added extra vitriol to the Joke’s relentless attack. Plus, hearing ‘Honour the Fire’ live was a moment I’d been waiting quite a while for. And it did not disappoint.

Thanks to Nigel Wallbank for the use of the photo

o2 Academy, Liverpool (01/04/22)

My 25th time seeing the band, in the venue where I first saw them in October 2005.

Liverpool is very much a city seemingly comfortable straddling between the past and the present, with the universities dominating parts of the city and the nightlife a mix of faded, old world glamour done Blackpool style and the various gastro pubs that compete for attention. All integrated seamlessly.

Sound wise, everything was clear and concise. The band were clearly glad to be back in the town, with Youth giving a shout out to the likes of Julian Cope and Bill Drummond, and there was something indescribable in the air, which manifested itself whenever ‘Pleasures of the Flesh’ was played as part of the encore; it was played once at the start of the tour but dropped afterwards. A song I’ve never been keen on, live it is a revelation.

Thanks to Graeme Sweetapple for the use of the photo

o2 Institute, Birmingham (02/04/22)

The home of Sabbath, Priest, Napalm Death, GBH and The Nightingales, Birmingham is certainly an interesting place, as the collage of late 60's architecture and modern buildings that are more glass than substance seems to leave a doomy, gloomy air hanging over the city, but this is contrasted by the vibrant multiculturalism on display, which gives me a bit of hope and optimism for the future. Although that shopping centre still looks like shit though.

Easily the best show out of the three, Birmingham has always been a city that gets the band’s music and tonight was no exception as the crowd went ballistic from the first note, with ‘Turn to Red’ in particular sounding utterly abrasive and discordant. And there was another nice surprise as ‘Change’ came out of nowhere to be featured in the encore.


Conclusions

Since forming in 1978, Killing Joke are the standard by which all other forms of art must be measured against. Men in their 60's shouldn't be this angry or intense. But they are. And for good reason. For Killing Joke, music is not a pleasure principle but a mode of expression at the decadence on show and an attempt to unlock the hidden mysteries of the world. As Jaz Coleman said in 1991:

…I don't see it as that important to go out of your way for the acquisition of wealth. You don't take a lot of money with you when you go. When we die, we take fuck all except our memories. Human beings only live 70 years if they're lucky, and it's the quality, not the length, of life that matters. For me, the most outstanding achievements of Killing Joke are that we've managed to have a fantastic life, fulfil our dreams, go to places we dreamed about going to, met the most fantastic individuals and had same of the most fantastic moments of our lives through the incredible intensity of the emotion onstage.

And I concur with those sentiments.

⏩ Christopher Owens was a reviewer for Metal Ireland and finds time to study the history and inherent contradictions of Ireland. He is currently the TPQ Friday columnist.

Killing Joke πŸ₯ Honour The Fire 🎡 2022 Travelogue

Christopher Owens πŸŽ΅ It’s been a while.


August 2019, to be precise.

But a few things had happened, meaning that the greatest band in the world must soundtrack these events with the apocalyptic juggernaut of their music. So, a little tour was arranged. 

Although circumstances beyond anyone’s control forced me to miss Leeds and London, I am grateful I was able to see Killing Joke at least three times on this trek.

Let’s discuss the set.
 

Setlist Highlights

The evergreen UK top 20 hit ‘Love Like Blood’ opened all three shows. Acting as a commemoration for those who lives were cut short due to pandemics, wars, and riots, it still has immense power in its restraint, almost ethereal atmosphere as it soars to a mighty chorus.

A one-two punch of ‘Wardance’ and ‘Fall of Because’ confront us with the reality that what we are witnessing is the greatest band in the world flexing their muscles on material that is over 40 years old and still scarily relevant in this day and age.

The live debut of ‘Honour the Fire’ brings a change of pace to proceedings, going in a more thoughtful and celebratory mode as Jaz recounts his wishes and his thankfulness for what he has. It’s a shimmering, mellow number that builds to a mighty chorus, feeling more akin to a prayer than a song. Later on, it was swapped out for ‘I Am the Virus’, a 2015 number that has grown in notoriety over the past few years and which always bulldozed a live crowd.

Marking the 40th anniversary of Revelations, ‘The Pandys are Coming’ and ‘We Have Joy’ get their first airings in years. The inventive, ponderous drums and minimal bass lines make for an angular, uneasy listen, and Jaz’s hectoring vocals over both suggest more occult forces at work.

Going back to 1979, the dubby disco dissonance of ‘Turn to Red’ will forever remain a highlight in the set, while new song ‘Lord of Chaos’, although employing a similar rhythm to ‘I Am the Virus’, has a chorus that perfectly encapsulates the times all too well.

‘Mathematics of Chaos’ was always a tricky one to pull off, but Big Paul is magnificent on drums, while Geordie’s four note riff really is casually apocalyptic. I have to admit a feeling of utter catharsis bellowing along to the lines:

 A state of eternal conflict is all I have found/We build a wall that is made of tears/Watch the house fall down/And at the end of my life . . .  All shall be well/All is as it was always meant to be.

The triple whammy of ‘The Death and Resurrection Show’, ‘Total Invasion’ and ‘Loose Cannon’ are, without question, the most punishing part of the set. All from the 2003 self-titled LP, they are slow, heavy and metallic, steamrolling the listener in the same vein as a tank.

Closer ‘Pandemonium’ acts as a reaffirmation of life itself, with an optimistic outlook and a soaring energy that releases endorphins into the body as a respite from the brutality of most of the set.

Thanks to Stu Bird for the use of the photo
The Gigs

o2 Academy, Bristol (31/03/22)

With the recent antics involving the Colston statue and a long history of anarchist squatting in the St. Paul’s area, this was an apt location to begin the three-day sojourn to see Killing Joke. There’s an odd, but somewhat intoxicating, vibe about the place due to the mix of ye olde English style architecture and the modernist atrocities that dominate the city centre.

Although the band gave it their all, it was clear early on that Jaz and Geordie were struggling with the on-stage monitors (with Geordie repeatedly beckoning to roadie extraordinaire, Diamond Dave), while Youth and Big Paul (whose birthday it was) powered on. As a result, there was an uncomfortable vibe in the air, but that merely added extra vitriol to the Joke’s relentless attack. Plus, hearing ‘Honour the Fire’ live was a moment I’d been waiting quite a while for. And it did not disappoint.

Thanks to Nigel Wallbank for the use of the photo

o2 Academy, Liverpool (01/04/22)

My 25th time seeing the band, in the venue where I first saw them in October 2005.

Liverpool is very much a city seemingly comfortable straddling between the past and the present, with the universities dominating parts of the city and the nightlife a mix of faded, old world glamour done Blackpool style and the various gastro pubs that compete for attention. All integrated seamlessly.

Sound wise, everything was clear and concise. The band were clearly glad to be back in the town, with Youth giving a shout out to the likes of Julian Cope and Bill Drummond, and there was something indescribable in the air, which manifested itself whenever ‘Pleasures of the Flesh’ was played as part of the encore; it was played once at the start of the tour but dropped afterwards. A song I’ve never been keen on, live it is a revelation.

Thanks to Graeme Sweetapple for the use of the photo

o2 Institute, Birmingham (02/04/22)

The home of Sabbath, Priest, Napalm Death, GBH and The Nightingales, Birmingham is certainly an interesting place, as the collage of late 60's architecture and modern buildings that are more glass than substance seems to leave a doomy, gloomy air hanging over the city, but this is contrasted by the vibrant multiculturalism on display, which gives me a bit of hope and optimism for the future. Although that shopping centre still looks like shit though.

Easily the best show out of the three, Birmingham has always been a city that gets the band’s music and tonight was no exception as the crowd went ballistic from the first note, with ‘Turn to Red’ in particular sounding utterly abrasive and discordant. And there was another nice surprise as ‘Change’ came out of nowhere to be featured in the encore.


Conclusions

Since forming in 1978, Killing Joke are the standard by which all other forms of art must be measured against. Men in their 60's shouldn't be this angry or intense. But they are. And for good reason. For Killing Joke, music is not a pleasure principle but a mode of expression at the decadence on show and an attempt to unlock the hidden mysteries of the world. As Jaz Coleman said in 1991:

…I don't see it as that important to go out of your way for the acquisition of wealth. You don't take a lot of money with you when you go. When we die, we take fuck all except our memories. Human beings only live 70 years if they're lucky, and it's the quality, not the length, of life that matters. For me, the most outstanding achievements of Killing Joke are that we've managed to have a fantastic life, fulfil our dreams, go to places we dreamed about going to, met the most fantastic individuals and had same of the most fantastic moments of our lives through the incredible intensity of the emotion onstage.

And I concur with those sentiments.

⏩ Christopher Owens was a reviewer for Metal Ireland and finds time to study the history and inherent contradictions of Ireland. He is currently the TPQ Friday columnist.

12 comments:

  1. Well I have been a metal fan for thirty years or more. Closer to forty actually and I've never listened to Killing Joke. My only awareness of them was Metallica's cover version of 'The Wait'. Investigate I must.

    ReplyDelete
    Replies
    1. That's the spirit!

      I'd recommend Killing Joke (2003), Pandemonium and Killing Joke (1980) as starting points.

      Delete
  2. I often wonder what Frankie's take on your musical world is Christopher. He seems to be the one other person who is more than prepared to stray off the beaten path.
    I was reading this and thinking of the unexplored. You referring to the greatest band in the world and me never having heard of them other than through you.
    As ever, a fine piece to have on TPQ.

    ReplyDelete
  3. I listened to some Killing Joke after reading this - I can see the appeal

    ReplyDelete
  4. The documentary on the band can be viewed for free on YouTube:

    https://www.youtube.com/watch?v=JaZ0iL4uia4&t=8092s

    ReplyDelete
  5. Paul JPMN writes:

    Hello Christopher. I am unable to post on the PQ website. I have my old Google account but a new computer and the two don't seem to sync! Here's what I tried to post in response:
    Thanks for this Christopher. I only caught the Hammersmith show which I thought was the best I have seen them for quite a while. Despite tickets still available on the day the venue was packed. I did my usual walking to and from home to see them with an air of anticipation on the way and some reflection on the way back. When I got home I ordered the Revelations CD online (I had it years ago and only really know what was side one which I love). This month 40 years ago Empire Song was released and referenced at the time by the music press in relation to the Falklands war which began this month 40 years ago too. Geordie was also indicating problems with his monitor at Hammersmith right from the beginning of the set and a number of people down in front of the stage were indicating to him that we could not hear him at all - that got sorted very quickly thankfully. Bristol is an uncomfortable mix of perhaps the best Georgian architecture in England the some of the worst brutalist post war ugliness. It took a pounding from the Luftwaffe in the war and the revolutionary architects and town planners later took advantage to create greyness. I have not been in Birmingham since the late 90 and yes, a lot of the 60s brutalism is being replaced with glass. It seemed to me like a city where it was decided in the 60s that the car was the future and people would have their walking routes under and over the roadways. There is still a lot of undeveloped land in the centre as well and some very old Peaky Blinder streets. Interesting that Birmingham the home of heavy sounds was the show you reckoned to be the best.
    PS. It was Big Paul’s pounding - both his power and the solid bottom end drum sound that most impressed me at Hammersmith on Saturday.

    ReplyDelete
  6. Hey Christopher check out the Australian band The Chats. Kids from Brisbane I think, bit of Australian Punk. Pretty good.

    ReplyDelete
    Replies
    1. Steve R,

      The Chats are a great band, as well as Amyl and the Sniffers (fellow Aussies). Also worth pointing out that the recently deceased Chris Bailey (of Aussie punk legends The Saints) was a Belfast man.

      Delete
  7. Anthony with Christopher's music I have heard it all before. My big brother was a long haired hippy in the 80's. I hung around with punks in Corn Market. He is passionate about his music but he needs to broaden ............Very lazy writing saying Killing Joke are the greatest band in the world.. Had he'd have said in his opinion or he thinks they are..I'd let it slide. I thought it was very poor in simply saying they are the best.

    Arguably the most influential group in rock/pop was The Blue Moon Boys. The five singles they cut in Sun Records in Memphis '54/'55 changed popular music and influenced just about anyone who Christopher or a boy named Sue cares to mention.

    Gavin.....

    Put down your long haired music for a while and Google Pat Hare. He was a a blues guitarist and played metal long before the term was coined in the same Memphis studio that not only The Blue Moon Boys cut their first records but also Johnny Cash, Jerry Lee Lewis, Carl Perkins..Roy Orbinson, Howlin Wolf, BB King...Ike Turner. If you are interested in guitar players then look no further than Danny Gatton or search online what Stevie Vai thought about Danny... Most metal heads swear by Eddie Van as being the best shredder in the world. You tube 'Alice Cooper ask Glen Campbell to show Eddie Van how to shred...'

    Stevie....The Chats are wannbes...I checked them out and wasn't impressed.


    Paul JPMN ...Best gig I seen in Hammersmith Odeon was Charlie Feathers...

    In time honoured fashion quillers I'm going to listen to the hillbilly Shakespeare (Hank Williams)....

    ReplyDelete
    Replies
    1. Frankie - when you write as well as Christopher you can afford to do it effortlessly - not to be mistaken with lazy. I find nothing wrong with him saying Killing Joke is the Best Band in the world - it is clearly just an opinion, which he is relaxed with others dissenting from. In conversation we don't preface what we say with "in my opinion". It would only become an issue if he objected to others having a different opinion. You are not going to get that with Christopher.

      Delete
    2. Frankie,

      Well I think something may be missed with how you perceive The Chats. If you know the rich Australian musical library you can tell they are just taking the piss. ( Like the band TISM (This Is Serious Ma)It's in this light I like them. No airs or graces.

      Delete
  8. Have any Aussie music fans ever heard My Pal by GOD?

    Flawless song:

    https://m.youtube.com/watch?v=_vPSdG1jU2g

    ReplyDelete