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It is no secret that this question was on many fans' minds. But after an electric Dublin gig featuring members of bands like The Mary Wallopers and Fontaines DC, fans knew that they were in for a treat. The concert, even before any music started, felt like a celebration. The gig (and subsequent tour) celebrate the 40th anniversary of the album ‘Rum, Sodomy and the Lash’ - playing the album as well as a collection of other hits. Brixton Academy on the 3rd of May was raucous with a gleeful nostalgic energy. Pogues fans young and old gathered to honour the album that means so much to them and the man who made it what it was.
A party from the get-go the pre-show playlist was filled with post-punk like Wire and XTC to Irish folk classics. The crowd loudly sang along as if the acts themselves were on stage. But soon enough the first act took the stage to an excited buzz. Stick In The Wheel began their set with an entrancing autotuned siren song ‘Crystal Tears’ courtesy of lead singer Nicola Kearey. The ethereal doom of the lingering vocal contrasts deliciously with the slick-tongued folk of ‘The Cramp’. The driving drums as well as Ian Carter’s full and hypnotising guitar tones blend together to create a fresh and experimental take on London folk - one that enraptured the audience. The song's lyrics create interesting sound patterns that swirl around hypnotically within the songs. Hailing from East London, the band’s music reflects the city’s complexities and the bleak lyrics of songs contrasted with Kearey’s dry wit in her speeches expertly captures the depictions of London within their music.
As the crowd waited patiently for The Pogues to take to the stage, they were once again thoroughly entertained by the pre-show playlist. People were cheering after each song, clearly ready and raring to go. The room belted out The Boomtown Rats’ iconic ‘I Don’t Like Mondays’, coming together in fun exaltation as they passed the minutes till the bands’ anticipated arrival.
On the stage was a projected ship-in-a-bottle - referencing the album - and the instruments were backed by a series of LED strip lights. A simple yet effective setup that allows for the crowd to focus on the performance; it eliminates any flashy distractions. One by one the members of the extended lineup of The Pogues began to file on to stage - much to the joy of the crowd, who’s yells and screams drowned out the instrumental that backed the entrance. They launched into ‘The Sick Bed of Cúchulainn’, I watched from the balcony as the crowd became a turbulent sea of bodies moving to the sound. After the first song frontman and tin whistle player Spider Stacy took the time to introduce each member of the band onstage, making sure each of them were afforded appropriate applause. As the concert progressed, he would often stop to introduce new faces or stress the importance of old ones. The band, dressed in black and white, appeared like an orchestra. The black tie dress code an interesting contrast to the jaunty folk of the music - but it worked tremendously. Members of the band were styled by designer Gus Sharpe, flowing cutout skirt suits and lace-adorned suits inspired by ballroom provided a subversive take on the traditional - much like the bands music.
What was unmistakable was the energy of the band being one that is having the time of their life on stage. It was infectious. Stacy often stopping to exclaim things along the lines of “oh fuck me, this is fun.” From an elevated view, I watched as members danced with each other, with themselves, and with the audience. One particularly tender moment saw harpist and vocalist Iona Zajac waltz with vocalist John Francis Flynn, laughing as they spun. Accordion player James Fearnley entered the stage skipping and jumping, and did not stay still for the majority of the show; he often ran to the front of the stage, gleefully wielding his instrument towards the crowd, who showered him with affection. The infectious movement spread to the crowd, who it seems were struck with the dancing plague; the balcony were hardly sat down.
The crowd was perhaps one of the loudest I had ever had the pleasure of hearing. No song went by quietly. As the opening lines of ‘Dirty Old Town’ rang out the room was filled wall to wall with the sounds of the riotous choir. It was emotional; The Pogues and Shane MacGowan’s legacy living on within the lives of the audience. In fact, the question of who shall be frontman need not be a question anymore. It was answered by the strength of the audience's passion, as well as the carousel of vocalists who seemed nothing short of delighted to be a part of it all. It often seems cliche to say, but in this case it felt like the band and audience were family - united by their shared adoration for the music they have created, grown up with, and passed down. The blanket of emotion that shrouded the show was entirely endearing. You couldn’t help but feel like you were in the right place at the right time.
The band closed with the song that can’t only be described as an absolute belter - ‘Sally Maclennane’. It was a party, the whole crowd moving with the band. The music was guttural, hitting every member of the audience square in the face - but they were absolutely not complaining.
The Pogues are currently on tour and if my experience is anything to go by, it is not to be missed. Tickets can be found here.
Eylem Boz
@itwslv
