Home Gigs DIRTY HONEY ‘CALIFORNIA DREAMIN’ 2023 EUROPEAN TOUR THE BODEGA, NOTTINGHAM

DIRTY HONEY ‘CALIFORNIA DREAMIN’ 2023 EUROPEAN TOUR THE BODEGA, NOTTINGHAM

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Review & Photography by Manny Manson for MPM

After a late start out to Nottingham I eventually get parked up and to the venue in time for the doors opening. I manage to get my pass and up the stairs behind an uber fan, we’re the first two to climb the stairs to the tiny venue, so have the pick of were to go.

There is no pit at the Bodega so the shin high stage is open to the cut and thrust of the crowd if they chose too enthusiastic. Getting a spot front and Centre it’s a case of waiting 45minutes for the support band to come and entertain us.

Hailing from South Wales ‘The Himalayas’ hit the subtly lit stage on time. Their kit is set up in front of ‘Dirty Honey’s’ so what little room there is, is dramatically reduced. Drummer, James Goulbourn and Bassist Louis Heaps bookend the stage with Joe Williams, Vox and guitar and Mike Griffiths are the cream and jam in this Victoria sandwich. Which a thudding beat laid down on the simple one up one down drum kit, the rasping guitars kick in full of angry fuzz and distortion. These guys mean business, looking at the pedal boards of the two guitars I think I counted just shy of thirty boxes of electronic delights, that’s some serious gear.

The opening song, ‘Leave This Place’ is an eye opener to this young band’s sound. To be honest until tonight I’d not heard of them, my loss as they have a youthful energy and confidence that comes over in spades. The dark brooding driving beat pushes this one along as singer Joe Williams delivers the slow moody lyric a steady opener but it already has Bassist Louis Heaps locked in and grooving, his eyes closed, and a smile that is contagious as I now find myself smiling at his enjoyment of playing live. Sadly, a speaker stack obstructs his view by most of the crowd in tonight.

The faster ‘Alone’ follows on quickly, this, a single previously dropped in 2022 is full of heavy riffs of distortion, a crushing bass rumbles on as Louis continues to be in his happy place. Mike Griffiths helps out on the vocals when he’s not rattling the strings, all dark and dirty.

Pulling shapes, they manage to move about in the tight restricted stage. I’d like to see them in a larger venue with a bit more room. The lead guitar comes across very low in the mix, in fact at times watching Mike playing he is lost behind a wall of destructive fuzz. I’m hoping it is more to do with my position in the venue than the overall mix. Judging by the cheers it seems to be going down well.

Joe takes a moment to introduce the band to the crowd, he goes on to mention that “tonight is their first show in Nottingham, what a pleasure it is”. A bit of banter from the girls at the front has Joe saying “you guys are going to make me blush, this is our new single” ‘Into The trap’. This is another dark distorted tune, plenty of cymbal crashes splash out as the song moves on. The staccato riffs during the verse break the sound up momentarily before the wall of sound smashes you firmly in the jaw. Looking around the crowd are enjoying this one, heads are down hands are up, we are having a good time!

Another from 2022 follows on after a shout out to Dirty Honey. The ride gets a whipping as this bouncy number slams out. The lighting has improved and we get to see the band a bit clearer. Joe is staring out as he sings along, standing to the side, his foot on a wedge he riffs out. Mike Griffiths is back and forth to his mic as he adds a bit of light to the dark of the tune.

The debut album due for release in May gets a plug, called ‘Hell to Here’, out in May, as ‘Somebody Else’ from it is introduced. It kicks off with a restrained beat and a choral harmonic which let’s rip with a crashing cymbal fusillade. A steady down strum pulses along as an almost organ sound weaves and swells amidst it all. A steady increase in ‘friction’ builds towards the end where my old ears hear a ‘recorder’ being played in the mix, those sneaky pedal boards have a few tricks inside their cases.

‘Darkest before Dawn’ follows on, still full of the bands trade mark distortion, but this one has a more melodic vibe, cruising along with its lyrics being clouded by the onslaught of a gargantuan cymbal attack. The breakdown is full of distortion and thundering percussion, lovely. Goulbourn is hidden in the corner but he’s making sure we notice him as he thuds and flams away. This receives a great cheer from the crowd when it finishes. Joe explains that this next song has had 34million streams on Spotify. He thanks the crowd who have streamed it. Chatting with the band I’m told tonight’s set is made up from the tracks on the new album, all except this one, I thought it would have been included due to its popularity on Spotify. Oh yes, it’s ‘Thank God I’m Not You’.

The set finishes with ‘From Hell to Here’. A screaming fizzing guitar, full of old school police siren effects, brings this one alive. Sadly, probably due to my position once again, the vocals appear low in the mix, the guitars and drums drowning out Joes voice at times. It’s a thundering track that duly romps along. Make no mistake this band has a solid sound that punches hard. With a thank you from Joe the band go into a breakdown outro, ‘gangster’s paradise’ is slamming out, full of dirty anger, James riffs a couple of Beatles type ‘Come together’ tom-tom rolls, as the number concludes, lovely, a great bit of fun to the track.

So having never seen the band before I can honestly say that this is yet another support band that I have thoroughly enjoyed. With a sound, that at times brought bands like ‘Rival Sons’ and ‘Royal Blood’ to mind, it was authentic and right on the money. It’s great to see this music style developing and becoming more popular with the fans. Tonight, has again shown that it certainly pays to get there and watch the guys who are first on, there is a considerable amount of talent around who needs the support. Well done a great band and one to watch out for in the future.

The Himalayas are

Joe Williams – Lead Vocals and Rhythm Guitar, Mike Griffiths – Lead Guitar, Louis Heaps – Bass Guitar (and smiles), James Goulbourn – Drums.

A 40minute set followed by a 25minute re shuffle of the stage. I tell Mike, as he’s clearing his kit away, that it’s nice to see a Tom Morello Whammy pedal being used, as he picks up his metre long pedal board, he tells me he’s a Morello fan, wanted the pedal and now he’s got it he’s going to use it, good man!

With a bit more room now cleared on stage we have a bit of space for Mark LaBelle to swing his mic stand around. Those who have seen Dirty Honey before will know what I mean. The venue has swollen to capacity as more fans have ventured in for the headliners. The gig was sold out in very short notice and it’s a surprise that it didn’t get bumped to the slightly bigger Rescue Rooms across town. It’s very apparent that Dirty Honey are too big a band for this apparently 220 capacity main room.

The lights dim and new guy Jayden Bean slides behind the drum kit. John Notto and Justin Smolian slink on to the stage to great cheers, from the boys as well as the girls. They throw some shapes as the opening number, the 2021 single ‘Gypsy’ with is driving beat, slams out. At the same time, hat wearing frontman Mark LaBelle hits the stage, microphone in hand, he’s on it.

This is classic L.A. Sleaze. Notto’s guitar is deliberately dirty as Smolians bass is rolling along like thunder. He’s stood like a young Glenn Hughes; his playing is percussive and pulverising. Bean on the kit is having a work out as he flies around the skins behind frontman LaBelle, who is getting up close and personal with all of us on the front.

The crowd are loving the energy as the band get warmed up with this belter of a tune. It’s no surprise that Dirty Honey, having only formed in L.A. when Notto followed his dream of creating a band that was in the Guns and Roses theme, back in 2017, have gotten such a huge following so quickly. They are confident on stage, in fact the swagger delivered would be on par with Robinson and Tyler, two bands that come to mind immediately, such is the confidence in the quartet.

The talent in the band oozes as they explode into ‘Break You’ from the 2019 E.P. (this was later released along-side the L.P. as a double offering). This is a stomping tune with a great intro riff, full of rumbling bass. LaBelle’s vocals are impish, as he patrols the stage, whilst Notto scorches out a solid solo. Smolians bass thunders away, as LaBelle threatens to “Break You”.

Notto’s deft finger work has the fret board on fire as they bring the song to a finish. ‘Heartbreaker’ is up next. This tune is full of dirty riffs and a catchy chorus, it instantly has the crowd around me singing along. Originally on the 2019 E.P. it has had a make-over and appeared as a single in early 2023 as Heartbreaker 2.0 a crowd favourite for sure. LaBelle’s screams going into Notto’s solo makes for a stand out point in the song.

The three front men swoop around each other, the ego’s long gone as they work as a tight unit, Smolian smoulders on the bass as Notto soars like an eagle waiting to swoop, this is happening along-side LaBelle the bastard love child of Chris Robinson and Steven Tyler, as he turns up the heat in the vocal department, Jayden in the engine room is thundering in his drum delivery, his smile is ever present as he swings those sticks around the kit with the precision of a surgeon.

‘Heartbreaker’ finished and with ‘The Wire’ we have another single from 2021, this continues the sleaze by the boat load as we carry on and slide into the slightly middle eastern intro to ‘Scars’, another from the 2019 E.P. This has proven to be another crowd favourite as it’s followed up with ‘Tied Up’ yet another single and again on the debut L.P. it’s hard to imagine but the band have only one long player to date, as each song is a ‘banger’.

The fun on stage is evident as they push on with ‘Last Child’ an Aerosmith cover from the 1976 ‘Rocks’ album, a track that is said to be a favourite of GnR guitarist the legendary Slash. Interestingly the song was partly written by Brad Whitford who gets to play the solo Live in place of Perry. This is given due respect with scorching highs in both guitar and LaBelle’s stunning vocal range. Whitford would be proud of Notto’s deft finger work during the solo.

The self-named debut album gets another visit with ‘No Warning’ full of hard-hitting drums and a tight riff, book ending a stunning vocal, helping this on to romp along. The band are smiling at each other obviously enjoying the feeling that being able to pay live for a living is indeed living the dream. The melodic ’Down the Road’ slows the pace momentarily. LaBelle’s voice is raspy and dirty as he laments this tune from 2019. The swirling solo is tasteful, Notto really is a player and a half. His L.P. is tasteful as he strokes his way through this great bluesy tune with fistfuls of fat neck sounding pick up. One of my favourites of the set.

So, what do we have next, oh my god a new song, ‘Ride On’ proves that the band are no one album pony. Scooping low down LaBelle winds himself up as he prepares to deliver. Smolian has his hair swinging as this one belts out. LaBelle, once again, hits the mic holding pose as Notto lets fly on the fret board, all the while the drums and bass crashing around him.

A great new song which is leaving the crowd wanting more… Which they get in the form of the second cover of the night, a stripped back version of Princes ‘Let’s Go Crazy’ from the 1984 album Purple Rain. This has been given the Dirty Honey treatment, full of the trademark licks but played as a slower blues laced ballad. It works, well it has to be said. Notto kills the outro solo.

This gives LaBelle time to get crazy as he’s now climbed on top of the speaker stack as ‘California Dreamin’ is sung out, he’s trying not to bang his head on the ducting running over head as he does so. This was yet another single from 2021, it’s full of dirty groove deliciousness which slinks its way throughout its entirety, Notto’s guitar is once again on fire as the bass and drums yet again provide a thundering bookend around it.

A great tune, which leads us into yet another of the 2021 barrage of singles, this time it’s the toxic relationship banger ‘Another Time’ full of addiction and compulsion. A music video which starts with gangster molls doing a shooting breaks you into this ballad-esque tune about control and abusive relationships. Again, the band unites to pull off a solid blues laden ballad. LaBelle’s voce is triumphant as the song ebbs and flows, interspersed with licks and runs from Notto. They certainly know how to pen a great tune or two.

‘When I’m Gone’ finishes the set off. It was originally a single from the 2019 E.P. It was also the first single dropped from the re-issued Album/E.P. release. It’s a pacy number to finish on. The vocal is vital and the guitar cruel as the song takes off with its rousing sing along hook. The chops are flying from Notto’s fingers. The bass is rumbling and hard hitting as it pulses into your chest. The band are on fire and clearly loving the crowd’s response. Hair is flying, horns are being thrust into the air as this plays out with a scorching bit of guitar!

No Dirty Honey gig is complete without the banger of a track that is ‘Rolling 7’s’. This is a treat as it’s usually played as an Encore, but tonight they have played straight through, with LaBelle now up on the bar top. This is another from the 2019 E.P. and what a sleazy masterpiece it is. This laid down the foundation of what D.H. is all about. LaBelle has proven once again that he has the pipes and the band have the talent to take them further. With them playing a new song it shows that there’s plenty more to offer, and a fan base eager for to receive it.

Dirty Honey are

Mark LaBelle – Vocals, John Notto – Guitar, Justin Smolian – Bass Guitar, Jayden Bean – Drums.

It’s a tight venue with what seems most of Nottingham squeezed inside. I’d previously moved to the back to enjoy the vibe and to make a quick getaway, I have 15 minutes left on my parking when the band offer their thanks which is reciprocated by the eager crowd. As the furore dies and fans once again head for the merch, I’m down the stairs and away into the Saturday night maelstrom of scantily clad girls and drunk boys wandering around the streets having a great night out.

As I drive home, I ponder the evenings events. This four piece from L.A. are destined to great things, to have built up such a solid reputation and fan base having only released an E.P. and a debut album is remarkable. The raw talent in the band is phenomenal. Comparisons can’t help to be made with Aerosmith and the like, but they have a uniqueness that is hard to pinpoint. I’m sure there will be plenty of phone videos of LaBelle’s climbing antics out there on the interweb’s for all to see in the coming days.

They will do well but I guess many of us will be saddened by that, because at the moment you can enjoy the closeness of the band only inches away, and that has to be part of the magic. If you like your Rock on Sleazy side, laced with a Southern Rock bluesy vibe, full of scorching guitar and great hooks then get the album and get to a show, it’s worth twice the ticket price…honestly!

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