JAN WOOLF applauds the necessarily subversive character of the Palestinian poster in Britain
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Exploding cocktails
MIK SABIERS admires a band that delivers short, sharp shocks to the system
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
The Molotovs
Scala, London
★★★★
THEY supported the Sex Pistols at the Royal Albert Hall, opened for Blondie at Cardiff Castle, received a seal of approval from Paul Weller, are veterans of hundreds of live shows, yet we‘re talking about two teenage siblings who‘ve only just released their debut single. The Molotovs have just rounded off a short almost sold-out action-packed tour that has left the audience crying More More More — night after night.
But while that may actually be the title of the aforesaid debut single, played both at the start and end of the 16 song set, by the end of the night it also rings true.
The Molotovs‘ message is clear. From tickets for the show which have differential pricing — namely, discounted for those aged 25 and under which does help bring in a younger crowd — to songs that deliver short, sharp shocks to the system.
The band‘s approach to music is simple, effective and a little repetitive, but with enough variation to keep the audience occupied. As well as the single, Newsflash and Popstar stand out as good tunes.
There are a couple of covers added to the mix — a great version of the Housemartins‘ Happy Hour in particular — but in the main it is lead singer Mathew Cartlidge’s voice and guitar, backed by older sister Issey’s bass that gets across a message of believing in yourself and challenging authority.
There’s a strong smattering of The Jam, elements of The Undertones, a little of The Libertines’ joi de vivre and a lot of effort. It all comes together in a explosive mix that not only gets toes tapping, but the room rocking.
Issy is a joy to watch, for herself and the music flowing through her, as she prowls the stage, pounds her instrument and let’s rip. Mathew seems more staid and stuck in position, although a lot of that is down to taking on the vast majority of singing duties.
This is a confident band, well-crafted in their approach, wearing their hearts and their influences on their sleeve, and all the better for it. As for the future, there is definitely more more more to come.
Tour ended.
