JAN WOOLF applauds the necessarily subversive character of the Palestinian poster in Britain
Polly skate on with infectious abandon
Skating Polly in full swing at The Lexington, London
MARTIN GRAHAM welcomes a comprehensive history of the national debt, while regretting that it is neither up to date, nor has a class-based analysis
SYLVIA HIKINS is bowled over by a wonderful show that both entertains and educates
JOHN HAWKINS welcomes the straight-talking condemnation of genocide by a queer Jewish environmental journalist
TOMASZ PIERSCIONEK relishes a detailed history of the battles, manoeuvres and tactics that defeated fascism
MARIA DUARTE recommends an exposure of the state violence used against pro-Palestine protests in the US
CHRIS SEARLE urges you to hear the US saxophonist Joe McPhee on livestream tonight
Skating Polly
The Lexington, London
MIXING melody with cacophony, poetic lyrics and lots of attitude Skating Polly are making loud and in-your-face antsy rock with a twist.
Formed back in 2009 by stepsisters Kelli Mayo – then just nine years old — and Peyton Bighorse (aged 14), and augmented by brother Kurtis Mayo since 2017, Oklahoma’s Skating Polly have built not only a big back catalogue but also a reputation for sizzling live shows; they don’t disappoint.
Terming their style Ugly Pop, the music combines punk, indie and a pop edge that brings to mind the best of L7, Hole and The Pixies mixed in with a more commonplace Taylor Swift tunefulness.
From the get go it’s full of energy.
Launching into Queen for a Day, the focus is on Kelli (who has only just turned 22) before switching across to Peyton and back while Kurtis drums nonchalantly and effortlessly helping all come together.
Louder in Outer Space follows, with vocals and guitar playing off and with each other, there’s harmonies aplenty and a signature style that is derivative of classic 1980s American alt-rock but a sound they make their own.
As the set continues, they are revelling in their influences, but taking them forward. Kelli is getting ever more animated – her expressive gurning gives the audience licence to let rip and they do.
The set is refreshed by the band switching instruments on multiple occasions.
Further highlights include Nothing More Than a Body and Hail Mary, with the band touching on the issues of anger, abuse and awe.
The set ends with They’re Cheap (I’m Free) a whirling maelstrom of musical malevolence and wonder with Kelli wailing while rocking and kicking out, Kurtis attacking his guitar with a drumstick and Peyton holding it all together on drums.
A quick encore – that echoes the best of Nirvana – while also being suitably Skating Polly, brings a close to a show that should be filling stadiums.
There is top talent here, one that deserves a wider audience that can truly appreciate the wonderful and awesome world that Skating Polly inhabit.
Currently touring - for dates visit: skatingpolly.com/tour.
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