Review by Gary Spiller for MPM
Nestled opposite Newport’s Corn Exchange, close to the city’s railway station, is Le Pub. A community owned art space it’s housed in the striking, red-bricked former offices of the South Wales Argus.
Having previously operated close by on Clarence Place the venue, facing operational difficulties, relocated from its home of over two decades to its current premises. Aided by a team of volunteers this is a success story with the restart catalysed with a new chapter as a community interest company with vital assistance from the City Council.
With its prominent position on the vibrant High Street, a bustling night entertainment hub, Le Pub goes from strength to strength and with its culturally diversified core ethos is the perfect venue to host this evening’s gig. There’s a message to be delivered tonight, one that isn’t overbearing or forced down one’s neck; this is a message that, whilst determined, is far from forceful and one that thoroughly deserves to be listened to and processed. The nucleus of the message is one of identity. Being proud of who oneself is, being true to oneself and, ultimately being oneself. We’re all human after all and possess feelings and emotions.
Tonight’s headliners, London-based Hawxx, have been on the radar for a while now as a must-see live act, having come highly recommended from several colleagues at Metal Planet Music. They are clear and concise in what they stand for describing themselves, on their official website, thus “As a feminist band, we want our music to embody feral sisterhood. To be the thread that binds us together in love and rage, holding women and our queer community at its core. Our shows are the place where this message comes alive, both on stage and within the beautiful community we have built.”
The 21st century is, in some respects, a far more accepting place that the one I grew up, as a teenager, during the 1980s. It would, of course, be extremely naive to suggest that prejudice has been eliminated but the LGBTQIA+ community now have a voice. One that is worth listening to, the first important step towards wider acceptance. Looking backwards, 40 years ago, homophobia was rife, but the seeds of acknowledgement had been planted. Nowadays the Pride flag is hoisted with precisely that, pride in a symbol of hope.
Opening up the proceedings this evening is Bristol’s GorZ, self-branded a Queer Punk Band, on their official Instagram page, this is a five-piece with a strong identity and an equal strength in delivery of their particular memorandum. Having opened for Hawxx on the first date of their tour, in their hometown Louisianna venue, GorZ are a good match.
There is far more than immediately meets the eye with this outfit from the psyched-up, seemingly improvised, intro courtesy of vocalist Abyss and lead guitarist Rat through to the dying notes of set-closing ‘Taxes To Torment’ thus waltzes the outerworldly.
‘With Sin’ embraces an experimental fusion; dark stoner psychedelia ascends into a fuzzed up protopunk that rattled about the late 60s. Abyss gets up close and personal within a few minutes, out into the crowd as far as the mic cable will permit them.
Tormented souls rise and strike forth in the Iggy-fringed old school hardcore punker ‘5 Finger Discount’. Raging and slamming riffs to they go out of fashion Rat merrily attacks their pedalboard housed on a battered skateboard.
Promising post-set sweaty hugs Abyss intros ‘Vomit’ which is brought in by rhythm guitarist Kit with daubs of Nirvana, Rat eyes the timing afore joining into an elevated rage. Nu-metal angst collides headlong with The Stooges in a meteorological untethering of demonic forces that reject the manipulation of predatory influences.
There’s undeniable, and rightful, pride in their identities – collective and individual – with the hi-energy ‘Mother Said’ paralleling The Lambrini Girls in part. Sadly, the band’s somewhat feral mascot couldn’t make it for the midnight kinetics of ‘Housefly’ with the band travelling across to South Wales via train. The gathering crowd are engaged with the wrecking ball approach, slipping alongside with ease.
The slinky, turbulent dynamo ‘Punk Panther’ sees drummer Kalysa and bassist Angel combine for some funky beats amidst a thunderous downpouring. ‘My Vagina’ delivers the firmest of messages; one informing that choice of gender id requires respect if I’ve got my understanding correct.
‘Taxes To Torment’ ploughs a buzzsawing furrow along with an energetic defiant groove to conclude a near 40 minutes the like of which I’ve not witnessed before. It’s pugnacious without the provocation, a short sharp detonation of catharsis that is commendable, one which I can only describe as a wondrously chaotic theatrical fusion of Mother Vulture and Lambrini Girls.
Collapsing on to Le Pub’s floor, afront the venue’s compact stage, in a ball of writhing bodies and limbs the four components of the tempestuous maelstrom otherwise known as Hawxx bring their 40-minute-long sonic assault to what they think is a climatic finale with powerhouse despatch of ‘Be That Whore’. South Wales, however, has different ideas baying noisily for ‘One more song!”
Snatching her mic from its stand expressive vocalist Anna, with a knowing glint in her eyes and a broad smile, relents with a deliberately understated, yet triumphant, “Ok.” Eight tracks previous at 15 minutes past the eighth hour of the post meridiem Hawxx had set foot upon the stage to a sinuous ‘Disneyfied’ intro tape and gathered about Jess’s drum kit, with backs to the crowd, blast into the polished punk despatch of ‘Embrace The Ugly’.
Sharp precision harmonies shine right from the very off, continuing to do so throughout the entirety of their set, atop a furiously jabbing pugilistic output. Pouring every last ounce into their combined craft Hawxx hurricane right into the tight-as-you-like ‘Bite (Holiness in Fuck)’. A true league of nations – Wales, England, Italy, and Greece – this hard-hitting quartet are a delightful blend of punk and the newer chapter of metal.
Delivering the pointed perspective upon male violence ‘Death Makes Sisters Of Us All’ provides much food for thought in a damburst flood of punk edged in a dark ethereal grunge; think Elastica melded with Evanescence. There’s a resonant depth to this track and coupled with an infectious blend its message is most ably delivered.
Bass-driven with a sonic riffage ‘Death Of Silence’ heralds the arrival of dark clouds upon the horizon, a storm gathers before its final approach. A gothic moment – vocal harmonies devoid of any instrumentation – is serenely beautiful. As is the moment Anna and Hannah, on their knees, gently touch foreheads as the track outros.
There can be no doubt of the quality of musicianship on offer. With a touch of Sabbath prowling about ‘Soulbreaking Machines’ rumbles as sirens wail at the fullness of the moon. “We are the waves dragged into the sea, No one can hear our scream” sings Anna.
Dark and brooding ‘Dogma’ blazes across tormented skies with a ghostly undertow doing its bidding pulling all and sundry into the catacombs with a beguiling howl. The spirits continue apace in ‘Fathertongue’ with the cloisters rallying to the cry of the underworld in this 21st century metaller that leads into ‘Be That Whore’.
The public gets what the public wants in the form of flames of ‘Blunt’; poltergeist metal possessing touches of Garbage in a seething cauldron that brings the veritable roof down. Make no mistake about it Hawxx are an incredibly tight outfit, one that flies fearlessly a refreshing saviour from the humdrum of conformity. Blending old school metal and punk with the latter-day offerings of the genres Hawxx have taken to the wing.
Photography by Kelly Spiller for MPM
