There was an entire gang of Thrash Hits writers and photographers at the London stopover of The Chariot’s recent UK tour, but we’ve left it to Tomas Doyle to describe how last Monday night in Camden went down, and trusted the lens of Ben Gibson to show you how it did in full technicolour glory.
Six things we learned when we watched The Chariot in London:
- This is a scene gig, very very scene. It’s a bit like being inside Look Book and I’m pretty sure you’d be able to see a few of tonights attendees on isanyoneup.com if you looked hard enough. Up and coming UK tykes, The Eyes of Traitor, are set the unenviable task of making this crowd of well dressed, heavily inked teens pay some attention and do so admirably. Jack Delaney is a vicious little fucker and whilst his vocals don’t quite live up to the expectations set by last year’s excellentBreathless, he stomps the stage like a man possessed whilst his band whip up a crunching downtuned frenzy. Tonight they lacked the rise and fall which made their recent recorded output so enjoyable, but there remains more than enough venom to impress.
- By stark contrast, it is remarkable that they still make bands like My Children My Bride anymore. They stomp on having clearly spent the previous nights of the tour reading the Ladybird Big Book of Dull Mid-Western Metalcore Cliches. Introducing songs in your tough guy shouty voice, throwing the horns, and asking “where tha two steppas at?” are sure ways to put off an audience savvy enough to understand that this kind on nonsense is well past its sell by date. By the time the band declare that this is the best night of the tour so far for them, you can sense London’s urge commiserate the rest of the country for what they must have borne witness to.
- As The Chariot line-check there is a palpable sense of excitement in the room, it has been a while since they have hit these shores and they are a band who inspire feverish loyalty. It isn’t hard to see why the band’s latest album, Long Live, is a searing piece of what you could broadly describe as metallic hardcore fury but which in truth confounds categorisation and pigeon-holing. They are a delightfully weird band who evidently revel in delivering the chaotic and unexpected.
- Chaos is, indeed, the only word that you could use to describe the opening moments of The Chariot’s set. Bodies fly both on and off stage as the bands cornerstone (and only original member) Josh Scogin insructs a ravenous crowd to take the stage and his microphone. The Underworld pays him back double and there is wall to wall mayhem which leaves you with the feeling that the set could implode at any second.
- Yet on stage, the master of the lunacy is not Scogin but rather bass player Jon Kindler, who puts on an utterly astonishing performance. Totally lost and immersed in the sledghammer blows his band mates are inflicting upon Camden he flips his instrument in the air as if it were weightless before throwing it to the ground and finally into the crowd before joining it in a joyous stage-dive.
- There is a euphoric reception for US spokenword maestro, Dan Smith of Listener, who joings The Chariot for a stirring rendition of his guest-spot in ‘David de la Hoz’, a track which only serves to underline that this is a band who eschew the templates of what you would expect from a typical ‘metal’ or ‘hardcore’ band. When The Chariot do eventually break all their shit, he returns for a beautiful version of ‘Wooden Heart’ from his own latest album. Closing by deconstructing David Kennedy’s drum kit on stage piece by piece this is a mesmeric performance, ferocious, off kilter and shot through with an organic and honest feel which is hard to come by these days.