Review & Photography by Phil Rozier for MPM
Margate is a Kent seaside town blending classic charm with a vibrant contemporary culture, featuring golden sands, the famous Dreamland amusement park, and the Turner Contemporary art gallery. Once a traditional holiday resort, it has undergone regeneration, now offering a mix of vintage shops, innovative restaurants, and lively bars alongside its historic attractions.
This is what Google tells me anyway. In the 30 yrs I’ve spent rocking out, and the probable hundreds of venues I’ve been fortunate enough to experience, I’d never taken the A2 artery of Kent to its’ near Eastern tip, to experience the delights of the ‘the famous Dreamland amusement park’.
To be fair, there was golden sands. And, on a sunny Saturday afternoon the beach was busy. A mixture of locals, tourists, BBQs, Harley Davidson drive-bys, and bustling bar frontages open for the drinkers to bask in the UK bank holiday weather. On falling into (literally, Kent council make note of the uneven paving slabs out front), a jam-packed pub, I was quite surprised at the 6 deep queues to get to the bar. I shouldn’t have been surprised, because in just 30 mins time, a few hundred yards away, the doors to the famous Dreamland would be opening to welcome the start of an evening of 70’s celebration. An era that suited historical Margate perfectly. And dare I say it, the anti-establishments punk generation also appeared well at home in the aging infrastructure, collapsing fire escapes and graffitied walls. Tartan trousers, an abundance of safety pins, mo-hawk haircuts, and DM boots were the call of the day. Was it 2025, or were we still in 1977? I was about to find out.
On entering Dreamland, I smiled mistrustingly at the vintage style timber framework of the roller coaster, the large Ferris wheel and the odd amusement ride here and there that was still operable. Like the fairground opening scene of ‘The Lost Boys’, I felt quite at home. Walking a little further, and I was actually quite taken back at what I had entered. An open arena area, with an aging and yet perfectly sized stage, a circular standing ground, ample bars and food stalls, and what I am assuming is the famous ‘Dreamland’ lettering, echoing that of the Hollywood hills that spans the raised earth bank at the rear of the venue.
Already full, the 6500-capacity audience obviously preferred the beer inside the containment of the amusement park, compared to taking their chances in Margate town. And it wasn’t long before I experienced why. Casually, but with a degree of confidence, Steve Diggle sauntered onto stage, accompanied by band mates Mani, Danni and Chris to belt out some classic Buzzcocks numbers.
A brief set of just 6 or 7 songs didn’t disappoint. Loud, raw, and basic. Not too many bells and whistles, this was I’m guessing a pretty good representation of late 70’s punk. Telecasters, drums, amps, skintight jeans and white teddy boy shoes.
What’s not to like!? The band clearly still have a strong fan base, as the ‘whoah whoahs’ and the choruses were belted out by everyone either on the stage or in the crowd. Privileged enough to be able to take a few pics from the pit, I can’t ignore the sound either.
Choosing not to go for ear protection, as I want my organs to be vibrated by the raucous noise of punk, I might have made a mistake! 3 songs in and I can barely hear ‘Ever Fallen in Love’.
A brief interlude whilst the stage is reset, and the sun begins to set behind the VIP elevated bar at the rear of the park. Having never seen The Stranglers before, I was keen to hear some of those classic tunes played live.
It’s rare that a band, that’s been playing songs written over 50 years ago, is still ‘intact’ in the ‘as was’ format. The current line up does a great job in performing these well-loved numbers, with attitude and poise.
They don’t push it to create something it isn’t, and neither do they try to ‘make it their own’. In this instance, they rocked up, played 13 songs and left the crowd with a sense of nostalgic joy, but also one of youthful remembrance.
It was a joy, a party. It was 6000 people having a drink in the sunshine, enjoying some live music. It was a great way to spend a bank holiday Saturday.
One of the joys of a special event such as this, is the quality of the full line up. These 3 bands were all of an era, where a movement was underway. A movement of distrust, anger and lack of hope plagued the general public, and the government were directly in the firing line. These bands created a way for the masses to have a voice and feel part of something. Unity by common cause, led by guitars and attitude. And I dig that, especially in today’s world. Have we really come that far in 50 years?
Fuck it, who cares if we have, or haven’t, as right now I’m in the pit as Frank Carter stands just inches in front of me and Steve Jones Les Paul rips through my ears with ‘Holiday in the Sun’. Despite the band’s maturity, they play through the track effortlessly, to a mesmerised crowd. Probably 30 seconds into it, and I’m getting shoved by the crowd as they dive over the barriers, crowd surf, shout, sing, and chuck beers into the air. Whether you were there first time round in the 70’s, or whether your parents are now taking you to see these iconic tracks being played live, you are experiencing a piece of history.
With a track barely longer than 4 minutes, it does not take long to fly through ‘I’m a Lazy Sod’ and ‘New York’. With Paul Cook steady on the tubs, both Glen and Steve admirably keep the chords coming. The colourful pink and yellow Marshalls faithfully recreate the noise from the spit covered bars of London (so I’ve been told!).
I was lucky enough to see the Sex Pistols with Frank Carter earlier this year at the Royal Albert Hall. I think Frank is probably the best front man they could have chosen. His cheeky east end accent, combined with 110% punk attitude is awesome to be part of. I say be part of, as he now, fully immersed into the band, is also fully immersed into the crowd. During ‘Pretty Vacant’, described by Carter himself as the best punk song in the world, Carter tries to ‘crowd walk’. Akin to Crocodile Dundee walking along the shoulders of the commuters in the latter part of the film, Frank effortless drifts left and right over the crowd, whilst still holding a pretty good note. That said, during this particular gig, his usual balance was lost for a bit, as was he, as the crowd appeared to swallow him up, before spitting him back out with the help of security some moments later.
By far from a distraction, the behaviour of Carter holds the audience together and fully committed and engaged. The more Carter performs, the more the crowd responds. It’s like a one-man punk rock theatre show, with a Sex Pistols soundtrack, played by the original band. And it’s fucking awesome!
‘Silly Thing’, ‘Problems’, ‘No Fun’ just fly bay. I’m lost in the front of the crowd, somewhere between that huge fella in the front row, to the gang of teens behind me. Deciding to try and take a break from the heat and sweat of the mosh, I’ve got some air from a little way back, just in time to watch ‘God Save the Queen’. Amazing Union Jack and Queen imagery animate the huge back drop screens, and the crowd is still massively activated.
From the rear bank of the park, it’s like the crowd are ‘pistol powered’, lulling into a stationary rest between tracks before being activated once again by the penetrating punk volume. It’s quite the view from the elevated vantage point.
Whilst brief in length, the set list doesn’t seem short, or at all rushed. If anything, it feels just how it should be. Not for the faint hearted, and not for the fans who wish there to be a lull in the middle for a toilet break. This is 14 or so, 3-minute punk songs. They’re rough, damagingly loud, and bursting with attitude.
None more so than the sets finale. With Carter expressing clear amounts of aggression, balanced by the ‘uber cool’ Glen Matlock rumbling along with the bass, it’s a true classic track to end a wonderful night of great genre influencing music.
The Margate Dreamland Summer Series has been a set of varied artists, from multiple genres over the years. The venue is a perfect size, allowing decent views from all areas (especially the upper VIP area, it’s worth paying the extra!). Like Stonedead, Call of the Wild, or other similar ‘modern-ish’ festivals, they’re gaining traction and popularity.
Live music is better than it’s ever been, especially with modern PA systems and big screens making the atmosphere even more appealing.
I hope next years events are equally as well stocked, as I know 6000 people who will be straight back in 2026.
