There is a strange dichotomy that exists when I’m dealing with my mental health that means when I get overwhelmed with anxiety and depression, the first things that fall off the radar are the things that bring me joy, keep me grounded and give me a focus. I end up fixating all my energy on negativity, overthinking and becoming selfishly insular and uncommunicative, and I start to spiral and break before I realise what is going on. I’ve really struggled to keep on top of things for probably the last 2 years now, but with some support from therapy which, along the way, opened up some raw wounds but also allowed me to have some closure, I really believe that I’m starting to feel as if for the first time in a long time, I finally recognise who I am and can take back control again.
Clearly, one of the things that just came to an abrupt halt was writing, hence this is the first time I’ve put a post up on The Ginger Quiff since February. With my writing, I’ve also set myself a personal challenge of finally finishing writing my novel, which I started writing nearly 30 years ago now, by the end of the year, and then try to get it published…
Anyway, enough about me, but there is a certain serendipitous twist of fate that the first band I’m back writing about has the word “guilt” in it’s name, a word my therapist pointed out was one that I constantly repeated during initial sessions. On the eve of the release of their second album, Their King of Comedy, I reflected with an element of embarrassment that, despite writing about Middle Class Guilt since their eponymous 2021 EP, this is the first time I’ve managed to see the band live. I’m pleased to report, like all good things, it was well worth the wait.
Before the main event, there were two support acts to enjoy, with both bands demonstrating a leaning towards early 80’s post punk, as do Middle Class Guilt to be fair. First up it was Glasgow based supergroup of sorts featuring members of the great and good of Scottish alternative music. This was only the second time I’ve managed to catch Normal Service live, the last time being supporting Slime City in the Art School. There sound is hard to define, with the jagged post punk references I mentioned blended with twangy guitars with a nod to Afrobeat, and with flute and saxophone for an added unique soundscape. Highlights of the set included the title track of their EP, Song for Swinging Lovers, along with the strident and powerful instrumental Staten island, and I can’t not mention their tribute to Geoff Gapes (with plenty of cowbells but alas no budgies). Newcastle based Smuj followed with a more hard edged often manic NYC post punk sound, kind of James Chance meets Josef K/Fire Engines, I marked them down as a band to investigate more, highlights from their set included Indulgence and Brainbombs.
Middle Class Guilt are one of those bands who are exquisitely hard to pigeonhole, with the sextet who have roots in both Shetland and Glasgow taking their influence from a mix of traditional Shetland folk music, traditions and tales, and mixing it with a range of genres, from jolting and lacerating post punk through to full throttle rowdy funk. Their approach often rejects the traditional verse/chorus/verse method of song-writing and in doing so they create fascinating multi-layered and compellingly complex arrangements. The bands set had me transfixed throughout, constantly swivelling my head watching each member of the band bringing their own personalities into the music and the performance. This ranged from the agitated and jittery perpetual motion and unique vocal intonations of frontman Joseph, through the vibrant and animated Viking-esque bass player Declan, and then the whirling dervish at the back, Kieran on drums. Meanwhile out front Joanne displayed a laidback coolness personified on keys, and guitarists Patrick and Fraser cut some axe hero shapes, including Fraser’s distinctively unique style with poses that occasionally channel Wilko Johnson.
The set flew by in what felt like a flash, such was the captivating nature of and engagement with the music. There was so much going on with the multitude of sounds and the intense energy coming from frontman Joseph, who was like a man possessed. I was scared to take my eyes or ears from the performance in case I missed anything, from nimble and inventive musical nuances or clever wordplay. This was a perfectly formed set that never once dipped in energy or fervour throughout, leavingt no stone unturned with their choice songs, not just playing songs from the new album, but from across their catalogue. Early single, The Man Who Knew The Origin Pt 1 made an appearance early in the set, followed by a brand new track, so new that it was listed on the setlist as “new song” and Joanne and Joseph tackled a traditional Shetland folk song, Bonnie Tammie Scolla. It was hard to pick out highlights from the extraordinary set but in the true nature of keeping your best to last with their final triumvirate being a faultless take on my personal favourite of their three singles that preceded the album, Skald, a boisterously raucous Old Feet (from The Committee album) and their set closer the brilliant Stomach Sunk
This was a triumphant set announcing the arrival of a raffishly exuberant new album.
Music | Middle Class Guilt – Facebook – Instagram
Welcome back Mr Quiff! Superb writing, as ever. My only issue is that, your reviews are always so enthusiastic, I am left kicking myself that I missed the gig! More power to your elbow, and ink to your pen.