Review by Gary Spiller for MPM
The English Riveria in springtime, a steely wind blusters off the English Channel whipping up white horses on the drab, clouded waters of The ‘Bay, belying Torquay’s generally mild microclimate. The waterfront palm trees huddle together in the sorely misplaced expectancy of a collective shelter whilst ’12 Angry Men’ set about whatever is irking them with an afternoon matinee performance in the far more clement surroundings of the Princess Theatre.
Dotted about are touches of the art deco splendour that would, no doubt, pleased, and perhaps inspired, the eye of prolific Torquay-born crime novelist Agatha Christie. Sadly, though the present-day resort has befallen harder times, blighted by a negativity that the ‘Queen of Crime’ would find challenging to recognise. The socioeconomics have even left the ‘Kiss me quick’ seaside days ebbing away, and the fictitious 70s hotelier Basil Fawlty would discover himself further enraged for sure.
Even Peter Cook’s – like Christie hailing from hereabouts – once beloved Torquay United mirror the town’s misfortunes. Having slumped out of the topflight for a second, and final, time a decade ago ‘The Gulls’ went into administration just a couple of days previous with their sixth-tier status in question. Shorn of ten points, teetering in a perilous uncertainty just a couple of points above relegation.
Jolting in a more cheering divergence I grapple with the coveted comedic environs that bore such joyous anagrammatic delights as “Flowery Twats” – incidentally, the only occasion of the twelve in which the entirety of letters was utilised in the criminally short run of Fawlty Towers – leads me to cogitation of these evening’s possibilities. ‘Brisk radar nabs’ and ‘Loathe of sums’ for starters or, perhaps ‘Bar drains bark’ and ‘Fleas mosh out’. You choose.
The reason we’re down on the South Coast? A hometown show, a sold-out event, and the opening night of a UK tour – the rock n’ roll equivalent of the perfect footballing hat-trick. Celebrating, in advance, the release of his fifth album and first for new label Earache Records, Kris Barras, having departed Mascot Label Group his home of nigh on six years, is in continued determined form.
So much so he’s bringing heavyweight gothic horror metallers South Of Salem as special guests for the entire eight dates of this tour. It’s a brave, brave outfit that takes such a strong support out on the road with themselves, but such is Mr. Barras’s own assurance that such a manoeuvre is a strategic act of genius.
With their recently released gem of a sophomore long-player ‘Death Of The Party’ Bournemouth-based wrecking-ball quintet South Of Salem has opened the door upon an expansive future; what lies ahead for this high-voltage five-piece is, naturally, very much in their hands and grey matter. What is important is the very tangible evolution and veering direction that they are undertaking and the wide variance of possibilities that lie on the freeway ahead.
Deathly shadows stalk corridors hallowed, exulted devilments afoot as the band assemble, heralded by the arcane calling of their intro. Bassist Dee Aldwell, hand raised, acknowledges the already sizeable Foundry crowd as heads stage left. Behind him charismatic frontman Joey Draper bounces into position ahead of colleagues James Clarke (drums), and partners in six-string Kodi Kasper and Denis Sheriff.
There is no doubt that the band’s collective accelerator has been firmly pressed through the floor as flecks of Scandinavian speed metal are emergent within opening charge ‘Vultures’. The gothic elements are retained as they raise a middle finger to all those that once bullied and harassed in time past and now, sensing the band’s success, want a slice of the action. “You didn’t want me at my worst, so you can’t have me at my best” snarls Draper. There’s a touch of symphonic herein, another demonstration of the potential augmentation at hand. The Foundry loves it!
As with the album running order so the esoteric tones of ‘Static’ follows, the feeding frenzy continues unabated. Out front Kasper and Aldwell work the crowd as Sheriff prowls about Clarke’s kit. The hints of Nordic styled metal shine through, rays of light piercing crepuscular midnights.
A brace of numbers from debut lp ‘The Sinner Takes It All’ race along the highway; ‘Let Us Prey’ follows Draper’s enquiry “Torquay have you got some energy for us?” Kasper, up on a stage-front platform, rallies the crowd further as the track’s intro cackles and thunders. With a half century of shades of red the reign of terror commences full scream ahead. A huge response is elicited.
Spirit fingers are raised for ‘Made To Be Mine’ in, now, time-honoured manner. Draper noting “You guys got it!” as Aldwell’s bass ruminates. The ‘six feet under romance’ stirs the emotions and renders apart Torquay limb from limb ascending to a concluding crescendo.
The raven blackness of ‘Hellbound Heart’ furthers the noir metallic drive; this in the humblest of my opinions is crying out to entwine for a crystalline female vocal complementing Draper’s deliciously coarse strains. Think Amaranthe and you’ll hopefully engage with a vision that will lift an already ascendant number even higher.
The muscle of ‘Left For Dead’ roars off the starting grid. Kasper, caught in the spotlight, sings to the balcony to his right. Brusque in its predatoriness ‘Cold Day In Hell’ barks and bares its incisors. Sheriff’s coruscant solo shimmers vividly as Draper rages about fear, blood, and tears.
The doom-laden ‘Jet Black Eyes’, Salem’s latest single, with Kasper and Sheriff’s searing charges seeking colour from the blackness. Contagion is at the maximum level as a high bar is raised atop the Foundry’s roof. In a quickfire 40 minutes SOS have set afire Torquay and demonstrated why they are considered one of the very hottest elements roaring out of the grassroots scene. With festivals as variant as Swansea’s Station 18 right through to Winterstorm via this summer’s Steelhouse, Bloodstock and Maid Of Stone much awaits.
Truly a gauntlet has been cast by this evening’s special guests; it will take a fully worthy headliner to soar over this bar. South Of Salem have brought, and shown, their A-Game, it’s now time to see if the Kris Barras Band can do the very same. Not long back from a special Rockpalast show in Bonn, Germany – a path trodden in recent years by fellow Earache labelmates Massive Wagons, Those Damn Crows, and Scarlet Rebels – Kris and his strongarm hard-rocking cohorts are up for the challenge.
A palpable energy crackles vibrantly, rising borne of eager expectation as set-time encroaches ever closer. A rammed to the brim Foundry fills every square inch to witness Torquay’s finest in raw and bleeding hometown action, shooting from the hip and laying waste to the English Riveria. In a move most inspired the atmosphere is furthered with the application of Tenacious D’s ‘Tribute’ across the PA engages, and focuses, the gathered ensemble prior to a darkening of lights leaving just a few blue spots ‘feathering’ the venue’s interior.
With an ‘explosion’ of lights and smoke the quartet storm the stage with Barras exclaiming “It’s fucking good to be back!” – in a venue he once fought in and some 28 months since we celebrate ‘Kris-mas’ with him. The ferocity of ‘Who Needs Enemies’ pummels the senses. Although a familiar friend it feels ramped up and all the better for it.
Barely a track in and we’ve received evidence enough that Kris has been working hard at expanding his vocal talents; stronger and wider ranging going from strength to strength. I’m not alone in these thoughts, over at Devils Gate Media my fellow journalist (and good mate) Rob Wilkins noted the very same in his review.
A southerly bound nighttime freight train ‘Unbreakable’ is the first of five tracks off the forthcoming ‘Halo Effect’; the soon to be released studio offering on Earache Records that the gathering ensemble were treated to in its entirety shortly following the opening of doors. It’s from the heart, a sincerity one cannot teach; like the blues, itself, it’s something with which you are born.
Via a rumbling cascade of Billy Hammett’s percussive kit ‘Dead Horses’ a stampeding herd, breathing fire naturally, tears through the venue leaving doors bursting off their hinges. It’s going to be that sort of a night for sure. Expect a large bill for structural damage to land in the inbox shortly! Yet another KBB classic notched up, a direction parallel to that of the forthcoming release is sensed.
Much polish has been applied to an already quality product but the diligence shines brightly. ‘Tween tracks are populated with atmospheric segues that serve to elevate the atmosphere never once relenting in their captivating grasp. The anthemic ‘Savages’ takes over the charge. The crowd response is raucous and resonant of that Steelhouse ’21 reaction to ‘My Parade’. The hi-energy low-end from ever-hyper bassist Frazer Kerslake and Hammett envelops the mercurial Josiah Manning’s sparking fretwork.
With more than a dash of 60s Cream ‘These Voices’ enthrals exhibiting the softer side of proceedings. It’s a gentler stampede with an AOR fringe bringing variance upon its wings. Flames shoot skywards as Barras urges the crowd into action with ‘Hourglass’; Kerslake’s six-string rhythmic bass emits seismic waves. “We’re in with a chance of making the UK Top 10!” Barras excitedly informs – Earache Records have a habit of succeeding in this respect.
Latest single ‘Secrets’ follows and there’s no denying the heavier course that is being navigated. Arching backwards, eyes firmly shut, Barras quite literally makes his guitar sing. ‘Devil You Know’ is as resounding as ever with Barras cutting a rock n’ roll preacher’s figure as engages, “Fuck yeah!” he salutes.
‘Wake Me When It’s Over’ is genuinely heartfelt, spellbinding in its lead of the anointed towards testifying. Manning stepping over to keys, stage left, is the sole accompaniment to Barras whose six-stringing reminds me of the late, great Gary Moore herein.
However, one simply doesn’t play the blues, one has the BLUES. Thus, with the ever emotional ‘Watching Over Me’, if any of us required reminding, Barras et al demonstrate they retain a nucleus of all things Blues. As ever a befitting tribute to the frontman’s father this track never fails to hit the emotions.
With a raw intro ‘Fall To Fly’ steers towards Those Damn Crows territory prior to a ‘Ignite (Light It Up)’ conflagrant to the very core. Extended it’s highly coruscant in its nature. Atop a large Welsh hill, in 2021, several thousand festivalgoers stole the show as they spontaneously burst into ‘My Parade’ resulting in the mid-track stoppage to hand the baton off the stage. A spinetingling moment never to be forgotten.
A couple of years on and Barras has regained the baton and utilises this volcanic track as a rallying call for his fans, his people. Quite literally parting the Torquay crowd with the warning “You don’t want Barras bollocks in your face!” he jumps into the space made. At complete ease, in the very middle of the action, he consummately works the crowd. The adoration is clear and totally deserved.
With the Foundry baying loudly “We want more” the band emerges for the inevitable encore with Barras vociferating “Alright you buggers! We’ll give you one more!” And what a ‘one more’ it is! ‘Hail Mary’ is the ultimate show-stopping rocking paean. It’s Barras’s hallmark track, a tale of high hopes carried along empty roads and, as ever, a complete crowd-pleaser. Barras conducts the ‘congregation’ one last time in emphatic chorus. Detonation a final moment as KBB take the evening following a photo-finish.
Photography by Kelly Spiller for MPM
