Live Review: Sugar Hill Gang / Lucille Crew @ The Barby, Tel Aviv [30th August 2016]

Once every so often, you will hear a name of an artist or band that you never expected would come to Israel. Sometimes it's because of the band being quite underground and for a niche market. Other times it's because the artist is so big and legendary that you don't imagine them coming to such a small country. And then there are those who are not only big and legendary...but that you didn't even know were still performing!
 As a part of their first ever European tour in over a decade, tonight sees the arrival of hip hop legends, The Sugar Hill Gang, to Tel Aviv's Barby club. Surprised by many people asking me "who?" when I mentioned I was going to see them, all it took was quoting the first line of Rapper's Delight to rectify that problem. Despite being on the same night of the release show for local queens of the underground Deaf Chonky, I could not miss the opportunity to see what The Sugar Hill Gang had to offer.

Lucille Crew

  With the Barby at about half its capacity by this point, the night starts off with opening act Lucille Crew. I have seen the name a lot on social media. I don't know much detail about the band, but they are an Israeli hip hop band, or groove collective, as they prefer to classify themselves. Despite hearing the odd song or two, which I was impressed by, I hadn't really paid them much attention. I had heard positive feedback from quite a few friends; tonight I get to see it for myself.

  Being a full NINE piece band, things already look promising as soon as they arrive on stage. I'm normally pleased if there is at least one horn player, so seeing a saxophonist, trombonist and trumpeter on stage is more than joyous. The band walk on to a "bring da motherfucking ruckus" playback (Wu Tang Clan). This makes me think that what we're about to witness to heavy as hell gangster rap. Unfortunately, it isn't but it's still damn good!
  Playing music that reminds me of Ozomatli, The Roots and Fun Lovin Criminals, Lucille Crew rightly deserve the "groove collective" label. Mixing both latin and Middle Eastern rhythms with an old school hip hop style, there's a lot of focus on groove. They seem to already have some fans in the audience, who dance and sing along to the likes of What The Hell, Big City and the horn-stab-tastic (should be a word..) Bounce.   Rapper Rebel Sun and vocalist Gal De Paz work great together. His Jurassic 5/Roots style delivery and her haunting vocals, that lie somewhere between Paloma Faith and Beth Gibbons (Portishead), compliment each other well. It's interesting to point out that the lyrical content, especially where the rapping is concerned, is actually quite sexually explicit and adult at times, although it all somehow manages to come across as so innocent and family friendly. The band altogether are fun and seem like a genuinely tight family unit. I was pleasantly surprised.

4/5

Intermission 

I don't normally talk about what goes on in between sets at a show. This is normally because nothing happens apart from some songs being played over the PA and the setting up for the next act. Tonight is different. Being a hip hop show, there are some b-boys in the house who just can't keep themselves from busting a move. A dance circle ensues and practically becomes an extra warm up act on its own. There still isn't a lot of people here by this point, at least not as many as I would expect for what I consider quite a major event. Those who are here are making good use of the time and the good music.

Sugar Hill Gang

The dancing dies down as sounds start coming from the stage. The band's Dj, Rob Temple, is stood by his decks and introduces the MCs. As original Sugar Hill Gang members the gigantic Wonder Mike and the suave looking Master Gee arrive on stage accompanied by the pimped-out Hen Dogg, all heads face towards the stage and cheering begins. The legendary rappers immediately showcase their decades experience as entertainers, interacting with the crowd from the start. They might be using clichés like "Let's tear the roof off" and "Do you guys know how to party?" but it would be more surprising if they weren't. 

 

  As the band go through a sprinkling of their own material, including classic track 8th Wonder, Fast Lane, La La Song (their collaborative house track with Bobby Sinclair) and a new song or two, they are met with smiles and a bit of boogying. However, a majority of the band's set is made up of half-covers of classic hip hop and r'n'b/motown/soul tracks. The Message naturally goes down quite well, as does a wonderful medley of r'n'b classics like Best Of My Love, ABC and "...Sex Machine". 

 

  Having already explained to the audience about their early days playing house parties and the club circuit, the band actually take to playing instruments. These guys don't just attempt to play, but they have some proper musical chops. As well as Master Gee proving that he has rhythm on the drums and Wonder Mike surprising us with his impressive finger work on the bass, it is Dj Temple who, after being in the shadows for the first half of the set, suddenly shows that he too has some pipes on him, as he takes on lead vocal duties while also playing keyboard. The band basically transport themselves to a practice room, having a bit of freestyle funk jam, touching upon the Crazy In Love/Are You My Woman lick as well as breaking into a little bit of the MJ classic, Billie Jean.

 Leaving the instruments behind, the gang get back to their 3 MCs and 1 Dj setup. As well as mentioning how great it is to perform under the Sugar Hill Gang name after all the controversy (check out the documentary "I Want My Name Back"), saying how much they've enjoyed being in Israel and how great the food is, the band also give thanks to their influences and everyone who has helped them along the way. This leads to another short cover of Purple Rain in honour of the late Prince. As sweet as this is, it's not until the legendary Jump Around horns start playing that everyone really starts..well...jumping! As the place goes nuts, the band suddenly slides into the classic Apache and is later followed by Sugar Hill's signature tune Rapper's Delight. Let's be honest...these two tracks are why most people are here tonight. They could just do these two tracks on repeat and the crowd would be happy. Apache brought on a dance craze made even more popular by The Fresh Prince of Bel Air and Rapper's Delight is forever considered the first song to bring rap and sampling to the US. They are both long standing party anthems and they have the same effect here tonight. The band even return to the instruments during Rapper's Delight, showing that they can actually play the Chic sample on their own.

Wrapping things off returning for an encore of random funk jamming, it seems as though Sugar Hill Gang really want to continue the party. Unfortunately, I think most of the crowd had already lost interest as soon as they realised they weren't going to do Rapper's Delight again. It is a bit of a let down that not enough people have come out to witness these legends reunited for such a special tour, but it hasn't seemed to have bothered them, persevering  and giving it all they've got and just a whole lot of LOVE.

4/5

All photos courtesy of Raz Mor

Live Review: Betzefer/Sinnery @ Barby, Tel Aviv [17th August 2016]

As a youngster growing up in the UK, I didn't come across many Israeli bands when flicking through magazines and the TV channels. Useless ID came up now and again and Rabies Caste was on a compilation CD. However, it was the band Betzefer that I was the most aware of when doing street teaming for the famous Roadrunner Records. They had really hit the big time getting signed to them over in Europe, although I was somehow less interested at the time and never got into them.
Now, the band are back with new frontman, Aharon Ragoza (Shredhead), and new material. To celebrate their return, many metallers across the country have come together at the Barby, Tel Aviv for their comeback show; their first show in 3 years.

Sinnery

Sinnery are one of those bands whose name I've seen posted around town and on Facebook but whom I still hadn't seen. I think I assumed, based on other Israeli bands, that they might be the same as the others and not interest me. Boy, I was wrong!
  I enter the Barby just as the band finish their first song. That one song on its own makes me realise that these guys are different. The band are set up with the drummer on the side of the stage instead of the drum platform, leaving all members stood in a line. This immediately makes their performance more intimate. As the band play on with their Pantera-meets-Sodom style thrash, they do it professionally and effortlessly. Whereas some metal bands act like parodies of the genre, overdoing the theatrics and on stage banter, Sinnery, especially guitarist and lead singer Alon, do it more casually. There's still the requests for a circle pit, fist pumping, an attempted wall of death and general hype phrases, but it somehow seems more necessary.
  The music itself has just the right mix of straight forward old school thrash with added elements of groove and even progressive bits. As I watch and listen to them, I actually felt like I was watching a touring band. If they haven't done so already, they are definitely going to do well overseas.


4/5

Betzefer

On to the main act. With the Barby pretty full by now, Israeli metal legends Betzefer (a version of the word Beit Sefer - "school") arrive on stage to the playback of Eminem's Without Me. This is apt due to the "Guess who's back" line, signifying the band's return. As the crowd cheers and applauds, the band start off with brand new track, Never Been Away, the video of which has already been doing the rounds online. The song's sentiment makes it a good opener for a "comeback show". The band certainly have the stage presence and talent that proves they haven't lost it. Even new frontman, Aharon, seems to have filled the position effortlessly, comfortably taking control of the song and the crowd. Those already familiar with the track are bopping their heads away and joining in a little bit, but it's on next song, Running Against, where things really get going. Coming from their debut full length and only Roadrunner album, Down Low, we start to see some pit action and many people singing along. Although sounding a lot like Hatebreed, zooming along in a hardcore style into a crushing chorus, this is still classic Betzefer. 

The music just keeps flowing, with the band playing the bouncy Copkiller (not a Body Count cover) and the hard hitting Cash. Aharon gets into the spirit of things by spitting and chucking some water onto the crowd (cliché, but metallers love it!) before announcing "FUCKIN' ROCK N ROLL, BAYBEHH!" A mental pit ensues for Fuckin' Rock N Roll, with one failed stage dive from one of the show-goers. He basically just fell in between people. Nice try, though.

We eventually get some interaction as Aharon addresses the crowd. He praises opening act Sinnery whom he tries to point out from the crowd. After realising they're not actually there, he jokes about them being a shit band. You got to love friendly banter! The show then continues with two brand new tracks, Light Away and Hand In Hand To Hell, before someone dressed as Satan, all red with horns and in a suit smoking a cigar, comes on stage. This cleverly leads into one of the bands more sleazy, Southern metal number, The Devil Went Down To The Holy Land from the album of the same name. The song itself and the theatrics work together perfectly, making it an excellent performance. Whoever was dressed as the devil played him pretty laid back and cool but still pretty menacing, throwing his cigar into the crowd at the end. I'm sure that's considered a fire hazard, isn't it?

The band stay with the last album, playing the head banging Sledgehammer (not a Peter Gabriel cover) and thrashy Suicide Hotline pt 2, before Aharon remarks that this is his first proper live show with Betzefer and thanks both the band and former singer, Avital (now in OSOG, which I was totally unaware of before.) After two new songs, Crash and Truck Leaking Gasoline, drummer Roey is left on stage for a bit of a drum solo. It's not the best or most creative solo I've ever witnessed, but anyone who has the strength to do that while having already beaten your heart out on the kit for almost an hour gets my respect. The solo leads into an instrumental jam before they jump into one of the band's earliest tracks, Buddah. You can tell it's an older track as it has a more nu-metal vibe compared to the rest of their repertoire.

After playing Cannibal, the heaviest, most death metal-like track of the night, and the brooding Black Inside, Aharon introduces an audience member who has come from Sweden, apparently especially to see them. That's hardcore! The guy gets the opportunity to stage dive at the start of Doomsday, which sees the place bouncing and joining in on the chorus. The band then finishes the night off with 2 classic tracks from Down Low, Early Grave and the album's title track. At this point, an extra pit has opened up in the back half of the dance floor and things just look amazing from where I am standing.

For my first time seeing Betzefer, I am certainly impressed. The material, both old and new, might not be anything original compared to other bands, with it all floating in between the likes of Hatebreed, Pantera and Hell Yeah!, but it's still enjoyable. Aharon even has a Phil Anselmo look and presence about him. Because of his work with Shredhead and having duetted with Betzefer in the past, he took to his new role like a duck to water. Anyone who didn't know he was a new singer would easily mistake him for someone who has been there from the start. That's a good sign! I wish them all the best of luck from here on in.

4/5

Photos courtesy of Sharon Shapira

Live Review: Jim Adkins (Jimmy Eat World)/ Yotam Ben Horin @ Barby, Tel Aviv [31st August 2015]

Tonight sees me at Tel Aviv's Barby Club, one of the main venues for big acts just below stadium status, to see an acoustic set by Jimmy Eat World's Jim Adkins. Although only properly getting into Jimmy Eat World's back catalogue recently, I decided that this would be too much of an opportunity to miss out on.

Yotam Ben Horin

   Due to not expecting the show to start on time and having to come to the Barby straight after work, I end up missing a good percentage of Useless Id's Yotam's acoustic set. I walk in to the sounds of Yotam's calming soothing vocals and gentle strumming to find the rock venue transformed into a vegas night club, with people seated around circular tables under the Barby's huge chandelier. I have a feeling that the set itself was not too different to that of a few days ago at the Not On Tour show (see review). However, there is less of the local punk scene here tonight, besides Useless ID bandmates and some who may have liked the band "back in the day". There's not as much singing along to hits such as Blood Pressure and Symptoms but there is still a good response and enthusiastic cheers as Yotam screams "Take, take, TAAAKE" during Blood Pressure. There's basically no-one else more perfect to support the solo outing of a popular band's front man than that of a local popular band's front man. I am pretty sure they are both equally honoured.

4/5

Jim Adkins

   I'm not going to lie. Despite knowing the big hits from the Bleed American era, I pretty much overlooked Jimmy Eat World all these years. I didn't even realise that they were active a lot longer before that album. I tried to brush up on their material for tonight's show, but theirs so much it was impossible. Instead, I come into this show with an open mind as if I am watching a new act.
   As Jim Adkins graces the stage, he is greeted by a warm welcome from the surprisingly small turnout. Jim is a very presentable man and comes out onto the stage looking and behaving very refined. His set starts with what seems to be a new track no-one really knows, Love Don't Wait. The beautiful ballad helps to set the scene that this tonight is going to be something special. Despite being a new song for many, his strong vocals encourage cheering from the crowd as he reaches high notes.
    After some polite words, Jim continues his set with a good deal of oldies from 1999's Clarity, as well as a few songs from 2004's Futures, 2007's Chase This Light and their last album, 2013's Damage. There seems to be some old school Jimmy fans dotted around the room, cheering when they recognise intros and singing along to a good number of the songs, but the crowd in general just seem to be pleasantly and quietly enjoying the sultry tones of all the songs played tonight.
   Due to having done a bit of homework and listened mainly to Clarity prior to the show, I recognised the infectious On A Sunday and the sub-pop-like Lucky Denver Mint, which has people joining in on the "You're not bigger than this.." chorus as Jim joyfully strums away. Other songs that catch my attention include the song that is played in between the aforementioned oldies, Please Say No, Damage and You Were Good, all of which happen to be from the Damage album. Where both Please Say No and Damage are quite emotionally intense, You Were Good is bittersweet, being a tale of lost love sung over a bouncy melody. These three acoustic versions alone proved to me that I definitely need to give that record a listen. Sounds like it must be a great break-up album.

   Among the Jimmy Eat World classic, Jim also plays brand new songs and covers, some of which he previously released through his "weekly single series" online. Hell and Get Right have more of that rocking Jimmy Eat World vibe whereas I Will Go is more reminiscent of 60s pop rock like Sunny Afternoon (The Kinks). The crowd get excited when hearing covers like Cyndi Lauper's Girls Just Wanna Have Fun (originally by Robert Hazard) and Only Girl (In The World) by Rihanna. I'm personally all for men covering songs by women and vice versa and it seems to also satisfy many others here tonight. He also plays some really old covers that go over my head, such as The Book Of Love (The Magnetic Fields), Make The World Go Away (Hank Cochran) and Give Me A Sweetheart (The Everly Brothers), but he still plays them with precision and gusto. He also plays Beautiful Is, which is a Jimmy Eat World b-side from the Chase This Light era. It sounds just as sweet and beautiful acoustically as it does on the original recording.
   The sing-alongs start up again as Jim plays Big Casino from Chase This Light, with the crowd joining in on the "Get up!" back up vocals, The Authority Song from Bleed American and Work from Futures. Personally, I wasn't expecting him to play anything from Bleed American, judging by what I had read on setlist.fm (more homework that I did.) Not only did he play The Authority Song but he then treated us all to what has to be the most famous Jimmy Eat World song there is; The Middle. As you'd imagine, this had people, especially the young women, up on their feet clapping and singing along. Let's face it, it's impossible not to enjoy this song. It would have been nice to have heard Your House or The Sweetness from the same albums, as those two are perfect for acoustic renditions. The fact he even played The Middle at all is a nice enough surprise.
 
  Although originally not knowing what to think of seeing an acoustic set of songs I am not all too familiar with, Jim Adkins deserved a much bigger audience tonight as it was definitely worth going. Hopefully, anyone who came here tonight just to hear The Middle also absorbed his writing brilliance and were then compelled to look through the band's back catalogue. His solo work is also impressive but I'm not too sure if it's anything I'd want to strictly follow. This was definitely a show for Jimmy Eat World super fans but anyone who appreciates when structured songs and a faultless performance, he is worth checking out.

4/5

Live Review: Republica @ The Barby, Tel Aviv [11th December 2014]

A few months back, I had a few days listening to and watching videos of bands and songs I used to love as a kid or in my teens. I was just suddenly in the mood for hearing bands like London pop-rockers "A", British rocking dance act Apollo 440, Scottish electro-pop punk trio Bis and one of my favourite ever bands Reef. Living in Israel, I had to get used to the fact that there are some bands I might never get to see out here. I then see an event posted for a band name that I hadn't heard in quite some time. I actually had to make sure I wasn't imagining things. It turns out that 90s British electro pop act Republica, of all acts, were actually coming to Israel....of all places. I was typing on Facebook in capitals for about half a week when I found that out. I was deadly excited for a bunch of reasons. Firstly, I love it when a British band comes here. Secondly, I love it when a British band I actually like comes here. Thirdly, I love watching bands from yesteryear...so this was a fantastic combination of everything. I already saw Republica around 4-5 years at the O2 in Islington, London. That was also a reunion tour and I really wasn't expecting them this time around to ever come here. 
Coming into one of Tel Aviv's most well known music venues, The Barby, just a little while after open doors, there is only a handful of people here as DJs from Tel Aviv's most popular Brit Pop line, Bigmouth, are spinning tracks by bands like The Libertines, The Futureheads, Franz Ferdinand and The Smiths. It helped set the mood for the night as slowly but surely, more people started to flow in. As the Dj set grounded down to quite a sudden halt, everyone knew this meant only one thing....

Republica

As the band, consisting of original members keyboardist Tim (Dorney), guitarist Jonny (Male) and now including drummer Conor (Lawrence), ascend the stage, the crowd begins to gather and we all know that the legendary Saffron is following closely behind. She then appears and she's barely changed; hairstyle practically the same as when they started around 2 decades ago. The band kick off the night with their second ever single Bloke. I love this track and its "I'm gonna take you on" refrain, so this was a very good start for me. Saffron seems in good spirits and is really rocking out. The rest of the band, on the other hand, seem as though this is just a normal day at practice; turning up in very plain clothing and barely smiling. Looking around the venue from my spot in the corner of the balcony, I can see some people familiar with the song bouncing and singing along. I can't help but think that maybe the rest here tonight are just here for the obvious hits on repeat. 
As the set goes on, the band plays their other singles Rush Hour With Love, Drop Dead Gorgeous and, of course, Ready To Go. The latter two especially get the venue heaving. Almost everybody is bobbing up and down, probably in the same way that they did when they first heard those songs all those years ago. If anything, the songs actually sound a bit heavier than they once did. For Drop Dead Gorgeous, the band have added an epic sounding breakdown at the end. Drummer Conor is rocking a nice slow groove; even has him nodding his head a bit more than before. Ready To Go just sounds amazing. They warm the crowd up with a pre-recorded acapella intro and then have everyone in a frenzy as Jonny plays that unmistakable riff. 

The band also play some older tracks from both the self titled album (Picture Me, Out Of The Darkness, Holly) and second album Speed Ballads (Try Everything, Millennium). There seemed to be a handful of people who knew some of these songs too. These are all new to me but sounded great, especially Try Everything and Millennium. Try Everything is a bit of slow 80s sounding rock number, a bit reminiscent of acts like Toyah, T'Pau and even Heart, just with a slightly more electronic vibe. I can see that some people aren't quite into it, but I was really liking it. The more I thought about it, I never noticed before how similar Saffron's singing style is to that of Toyah (Wilcox). Which is a good thing...
The band delight us with new and more recent tracks. Titular track of last year's EP Christian Obey starts off sounding almost like a Lacuna Coil song, with Conor's heavy hitting drums and Tim's choir synth, but then leads into being a bit of a dark electro pop number. Two very new songs, German Accent and Hallelujah, also get played. Hallelujah gets a great reaction, with its joyous uptempo vibe and "I saw you there....Hallelujah!" chorus getting into everyone's head and singing along. If this song gets released as a single and doesn't regain the band recognition then there is not enough people in this world who understand what makes a great song. 
There were times during some songs where I felt that the pre-programmed beats were not actually in synch with the drums and generally with the rest of the band. Luckily, they were kind of quiet anyway, but as a drummer, it bothered me a bit. That aside, it was really Saffron who made this whole performance worthwhile with her energetic performance, captivating voice, great crowd interaction and, of course, sex appeal. I can't help but feel that the rest of the band is just along for the ride as they seemed less enthusiastic. They could have just been tired, I guess.
Saffron continuously tells the crowd how much she loves us and how great a time they've had in Israel. She also thanks everyone involved in the show and all the fans. When they return for their encore, Saffron only very briefly gets political. She tells us how some people sent her hate mail for wanting to come to Israel but it didn't discourage her. She doesn't judge a country by its government; for that I applauded in agreement. 
For a band who are allegedly trying to brush off the "nostalgia" tag, I find it weird that they repeat both Drop Dead Gorgeous and Ready To Go for their encore. Everyone is still loving it. Due to the age range and amount of people here, there is a similar feel to some sort of high school reunion about 15 years on. Saffron ends the night with an incredibly heart-felt "Toda raba! Toda raba!" which has everyone even more in love with her. Over all, this show was not just a trip down memory lane but has hopefully shown people that Republica still have what it takes. 
4/5

Photos come courtesy of Yuval Erel. Check out his blog here. 

Live Review: Useless ID 20th Anniversary Show @ The Barby, Tel Aviv [4th December 2014]

Useless ID (+ guests)

Man Alive

Kids Insane

Tonight is a special night. This massive show at Tel Aviv's major rock concert venue, The Barby, is the setting for the celebration of Useless ID's 20 years of existence in one way or another. It is expecting to be an absolutely massive turn out. As I walk into the venue, I notice that they've opened a whole section of the venue with an extra bar which is normally curtained off. Is it really expected to overflow tonight?

Kids Insane

Shows in Israel have a reputation for never starting on time. If an event says it starts at 21:00, it's most likely to start at around 22:00 or later. Tonight, however, hardcore freedom fighters Kids Insane were scheduled to be on by 21:00 and they decide to go on almost a little bit prematurely. Didn't matter to me. I got there in perfect amount of time to say hi to the guys before they scuttled on stage. It was a bit too early for other gig goers, as there was only a splattering of people there, including a handful of people who actually know the band, some curious onlookers and a few already wankered who just want to push-mosh.
Already being a fan of the band, I discarded my writing duties and started dancing from the get go with first song Don't Need This from their All Over album. The song is a great starter to the set and a song that I personally relate to. They speak about the self-righteousness of the religious and how someone non-religious can feel belittled. The cry of "I'M ONLY FUCKING HUMAN!" is heavily poignant and has me (and possibly others) staring up at the ceiling and screaming it with all the breath I could muster.
The band then power through the rest of their set with frantic energy and buckets of sweat. Singer Corey knows how to work a crowd and is not put off when more arrive. If anything, it makes him better! He's running around from side to side, shoving the mic into the crowd, standing on monitors and just generally OWNING THE STAGE! I find it hard to actually hear his voice from time to time tonight. I don't think it bothered many others; those who know the words were singing themselves, anyway. Regular crowd pleasers Same Shit, Different Scene and Story of a Lonely Street have both fans and those familiar with the videos going crazy and singing along. Newer tracks from the Frustrated EP, such as Frustrated, Poisoned and tonight's set closer 28/12/2012, receive a more mixed reception....but give 'em time. I loved the fact I was able to get my "groove on" to their classics such as Fix It and Spread It All Over tonight. KI never really seem to disappoint. They have that obvious Black Flag influence in their performances despite having a more early Comeback Kid sound and even a hint of Fugazi in places. It all works fabulously, as their growing success in Europe and the UK is proving.
Their next show is what they're calling a "Pop Up Shop/Exhibition/Live Music" show at Koro on 25th December. So a christmas party, I guess! the show will feature artwork by Alon Bonder (dunno), Djing by Mad Appel (dunno), an acoustic set by HaAchim Zabari (The Zabari Brothers - mentalists!) and, of course, full set by Kids Insane.
4/5

Man Alive

After a bit of a natter with some friends and some new acquaintances, including a German volunteer and an American on a Masa program, I decide to get back to work for the next act. I go up to the balcony, stage left, and find a spot to rest my notepad and with a perfect view of both the stage and the crowd. As Man Alive, these faces that I don't recognise, arrive on stage, there is a warm welcome from the crowd. Like Useless ID, Man Alive have been around for quite some time and, due to their support from Useless ID, have toured fairly extensively in the past. In recent years, they have been fairly quiet gig-wise and do the odd local show here and there.
They start off with Laugh Along from their last album that came out last year, A Light Goes On. It's a nice happy track that gets some of the crowd joining in on the Mumford and Sons style "Hey" parts. As nice as this song is and as well as they are playing it, first impression is that they seem pretty static. Maybe they're just warming up. I'll give them the benefit of the doubt.  

Photo by Useless ID

As the set goes on, the band plays a good amount of the newer material such as titular track sing-along A Light Goes On, the catchy Over and Done (possibly my favourite off the record), the sway-inducing A Can And A String and the emotional but still heavy hitting From The Inside. The new material still gets a great reaction from the crowd as much as older tracks such as Give Me A Sign and the fast paced Catch Phrases, Slogans and Chants. There are times when some of the girls near me on the balcony are having a bit of a boogie and people in the "pit" were jumping about push-pitting, so the music itself is definitely having the desired effect tonight. There were some songs that made me want to stage dive from the balcony where I was....I then decided against it. 
The previously mentioned "static performance" did not really improve. The band had some interaction with the crowd, giving their thanks to Useless for all their help over the years, but I just didn't get that feeling they were as into the show as the crowd was.  

3.5/5

Useless ID

And now to the birthday boys!! Useless ID are greeted by fans with an almost "heroes' welcome". The band arrive on stage to the chantings of "USELESS! USELESS!" This could have been for the band or they could have been pissed off about something. Haha.... Probably not that. All 4 members of the band, Yotam (vocals/bass), Ishay (guitar/backing), Guy (guitar/backing) and Gideon (drums) all seem ready and raring to go. Yotam's looking the most "punk" that I've seen him in a while, wearing a sleeveless denim jacket with band patches such as 7 Seconds and other smaller ones. (I couldn't make out what they were from where I stood). 
By now, the Barby was utterly full to the brim. Everything is frantic and energetic from the get go as the band begin their part of the evening with classic track State of Fear. The crowd are squashed in like sardines in a can, but still manage to jump about, start the odd circle here and there and sing along. Not only does the song have catchy "woah oh oh" parts that stick in your head until you die, the "I don't want to be a part of it anyway" line of the chorus rings true to so many of the people here tonight who never were/do not want to be associated with the army and do not agree with war. This is definitely one of their best ever songs, so I can't help but feel that playing this first was "blowing their load" too early.
As tonight celebrates the band's 20 years of existence, they have made sure to pack tonight's setlist with as many songs from their back catalogue as possible, up to and including last album Symptoms. Almost every song they play tonight has people singing along. Symptom's main hit song Before It Kills has all band members properly rocking out. Yotam stands legs wide apart, attacking the bass like it ate his last Oreo. (I wanted to say "Rolo", but that's a very British reference so I opted for something more international). As Ishay frantically headbangs like a bobble head on a bumpy road, Guy flails around the stage, whipping his curly locks back and forth, strumming along like his life depended on it. Drummer Gideon is holding it all together perfectly, spinning his sticks whenever possible....again! Show-off or showman? Who cares?! A blonde wig/hair extensions suddenly flies onto the stage. Not entirely sure where that came from or why it was thrown but it added to the craziness of the performance. The pop punk classic Turn Up The Stereo has everyone jumping, singing and clapping along as soon as the easily recognisable riff kicked in. Girls standing near me scream in excitement...I guess Useless ID are their One Direction. This is one of those songs that even pop punk fans around must know, due to the music video having had a bit of airplay back in the day. Songs like Manic Depression and At Least I Tried created stage diving and push pits galore. Because their albums vary in style, when watching Useless ID live, you hear elements of Ataris style emo pop punk and the more aggressive fast paced vibes of Rise Against. Guy and Ishay's backing vocals are not always clear in most songs, but that does not seem to put off the crowd. 

Photo by David Rosen 

Tonight, we have a couple of guests joining the band on the stage. Corey from Kids Insane returns to sing on probably the oldest and most hardcore song in the set, Is It Right. Corey has taken a bit of time to relax and gain his breath back since his set and is on total form; roaming about the stage, standing on monitors and energetically singing directly to the crowd. Another guest further into the set is Israeli legend Rami Fortis. I'm starting to get to know a bit more about him, especially since this performance. He is considered a forefather of Israeli punk rock/new wave. Tonight, the band back him up on his classics Hatul HaMifletzet (The Monster Cat??) and Red MeAl Masach HaTelevizia Sheli (Get Off Of My TV Screen). I hadn't heard these songs before and was incredibly impressed by how catchy they were and really enjoyed seeing the crowd members who knew the songs singing and dancing along. Both sides must be feeling honoured; Fortis for being invited to perform his own songs with them and the band themselves for the fact that he agreed and has graced them with his presence (or the other way round, maybe?) There is a chant going around; "FORTIS MESHUGGAH" (Fortis is crazy). This is incredibly apt as he is an absolute nutter on stage. Looking a bit like Phil Collins if he was a physics professor, Fortis dances about on stage like a rhythmless drunk uncle at a wedding. He is incredibly fun to watch. His vocals were not always audible but everything else made up for it. 
The pace softens down a little as the band comes off stage, leaving only Yotam for an acoustic set. Yotam plays a couple of songs including Blood Pressure. He's having to almost instruct the crowd NOT to sing certain parts yet. It's another great song from the band's repertoire that people can't help but sing along to. Yotam shows off his singing prowess more by holding a long note on "TAKE, TAKE, TAAAAAAAKE". This gets a well deserved cheer and applause from the entire venue. When the band returns to the stage, they play a few more classics before inviting Fortis back on to help them out with covering Blitzkrieg Bop. A punk show isn't a punk show until everyone is going "Hey Ho! Let's Go!" Every time a band does this, it's as if to say "This is why we do this." 
Useless ID's whole performance tonight was compelling. There may have been the odd bum note and there was an incident where the floor tom fell over, which was easily rectified, but everyone soldiered on and they gave the people what they wanted. The sad thing is....what happens now? Yotam is off to try and make it in the states as a solo artist. This could leave them to having just a fewer shows throughout the year than previously, but I hope that the band will still go to the states to tour and that Yotam will make his way back here from time to time to tour with them. 
4.5/5