NOAH AND THE LONERS + BEFORE/AFTER – THE HOPE & RUIN, BRIGHTON 20.6.23
Formed by Jeremy Corbyn in 2021, The Peace & Justice Project is striving for social and economic justice, peace and human rights. It aims to “connect people, communities and organisations through events and discussions on vital issues such as climate action, new economics and refugee protection.” One of its campaigns is ‘Music For The Many’, which “works with organisations, trade unions and supporters to promote and secure the long-term futures of music venues as community assets and support people from marginalised communities in accessing opportunities in the creative industry.”
Tonight we’re at the Hope & Ruin in Brighton, a grassroots music venue itself recently under threat due to a proposed residential development across the road. The event, billed as ‘Music For The Many On Tour’, features speakers from various local campaigning groups, and will be opened and closed by performances from two young bands from the local area. There’s a good-sized crowd gathered in anticipation, impressively diverse in terms of age and appearance.
First onstage are Before/After, a Brighton-based four-piece who are still a relatively new band, their debut gig being at The Green Door Store back in February. They certainly seem to have hit the ground running, with a string of support slots including shows in London and Norfolk. What is immediately apparent is the quality of musicianship the individual players bring, and the imaginative and expansive use to which it’s being put.
In broad musical terms, it’s a lively sort of guitar-based alternative rock, but there’s a lot going on, with marked changes of rhythm and mood. Hints of prog and psych veer into angular art-punk, and there’s plenty of shouty energy too. Ben is centre stage, giving it stacks of passion on lead vocals and some vigorously rhythmic strumming on a Jazzmaster guitar. The fringe of a shock of brown hair completely obscures his eyes. House right, James is demonstrating some particularly tasty lead work on a white Strat. His band T-shirt (Psychedelic Porn Crumpets) reflects the strong hint of a psych influence in his playing. Meanwhile, the rhythm section present as emissaries from the milieu of art-punk. Bassist Ted has a retro look with curly hair, specs, a smoking jacket and a classic Rickenbacker 4001. He’s tall, slim, and energetically animated. Drummer Ethan lays down complex but powerful rhythms, and has adopted the strikingly imposing and uncomfortably impractical style-statement of drumming in a balaclava ski-mask.
‘Slipping Away’ is the current single and it’s a cracker, with a languid vocal hook sliding fluidly between the jolting rhythm of the verses. Howls of lead, tumbling flurries of bass, and scudding drum fills embellish the shifting dynamics, and there’s a glowering build on a dramatically intense middle section.
There’s no written setlist, and some of the compositions are too new to even have titles. I specialise in mishearing lyrics, but I think the bellowed hook of what is introduced as the next single is ‘Paint Your Love’. Whatever it’s called, I’ll look forward to the recording, as this is another varied and satisfying piece with plenty to appreciate. It’s lively and urgent, with a tricky-sounding stabbed rhythm. Bassist Ted is getting well into his performance, running on the spot and firing off deft scissor kicks. During an ascending bridge the lead guitar and vocal go full Hendrix, leading into a very effective shouted “back and forth” dual vocal between Ben and masked drummer Ethan.
Next up, following some onstage discussion, is a piece referred to as ‘The Shoegaze One’. That description was doubtless inspired by the floaty intro of what turns out to be a suite of different sections, contrasting the dreamy and the urgent. The intro is briefly reprised, and there’s a huge crescendo of stabs that turns out to be a false ending. The more I hear of this band, the more impressed I am.
“This next one doesn’t really have a name yet,” Ben confides. “Come up with one yourself.” A moody start of guitar chords and a plaintive-sounding vocal line builds powerfully before morphing into a much more angular rhythm. It’s content-dense, with all sorts of things popping up: little shimmies of surfy tremolo guitar, and an absolutely wonderful bass break, bubbling on the high frets.
The final number has been named, and its splendid moniker is ‘Impetus Of The Mind’. Everything but the kitchen sink goes into this one, with thudding kick drum, super-fast strumming and wailing lead; stops, stabs, fills and screams. At one point we break into a punky riff that sounds like a distant relative of ‘Babylon’s Burning’. The drummer, dressed for armed robbery, contributes a vibey semi-spoken vocal over an insistent groove, and Ben is kneeling down, playing his effects pedals. There’s a big ending, of course, with plenty of showboating opportunity, and this is eagerly seized by James who is shredding with his guitar behind his head. It’s an epic conclusion to a truly satisfying set.
Before/After:
Ben – vocals, guitar
James – guitar, vocals
Ted – bass, vocals
Ethan – drums, vocals
Before/After setlist:
‘The Powers Are Powerless’, ‘Slipping Away’, ‘Paint Your Love’, ‘The Shoegaze One’, Unnamed New Song, ‘Impetus Of The Mind’
We’re here to review the music, but the main focus of the event is to provide a platform for speakers from local campaign groups whose aims align with the goals of the main project. Personally, I find it heartwarming to hear people with so much passion for making a better world and, as always, there are plenty of issues that need attention. Sam, the charismatic young campaign leader for Music For The Many, acts as a rabble-rousing compère, introducing the various speakers. In this environment, of course, they are largely preaching to the converted, and the crowd are warm and supportive.
We hear from Col from the University of Brighton Solidarity Group, who are fighting job cuts among the academic staff. There’s a massive cheer as she recounts how her fellow students occupied the Vice Chancellor’s offices on the top floor of the Cockcroft Building on the Moulsecoomb Campus. An impassioned speech from Toby, one of the lecturers affected, underlines the need for direct action. Next we hear from Clare from Sussex Defend The NHS, a group who support and stand with striking health workers. She puts their case very eloquently, in a quiet and calm way. They are making a banner, as part of a ‘National Threads of Survival’ project, to display on 5th July, which is the 75th Anniversary of the founding of the NHS. Russell from the Brighton Branch of Solidarity With Palestine, has some harrowing tales of atrocities from the West Bank. Sadly, this is an issue that never seems to go away. I remember hearing similar speeches at gigs at my local Labour Club, thirty years ago. Finally, we have Ivy and Beth from the Anti Raids Group, who are passionate about migrant solidarity. Their Brighton group provides practical support and advocacy for those targeted in immigration raids on homes and workplaces.
To round off the evening we have a set from Noah And The Loners, a particularly dynamic and exciting four-piece playing what I would describe as classic, old-school punk rock, i.e. the sort with catchy tunes. “If you’re good enough, you’re old enough,” the saying goes, and this mob had a deal with Marshall Records before they’d even turned 18. Our publication has been championing the band since the editor first caught them playing in Hove last November, and if the explosion of energy of opener ‘Crash Landing’ is anything to go by, we won’t be changing that position any time soon.
You won’t be surprised to learn that Noah is the lead singer, bounding around like a jumping jack in a leather jacket that looks cool but is clearly a bit warm for the prevailing conditions. House right is bassist Amber, with heavy riffing, but more lightly attired in a vest top and hippy trousers. House left, guitarist Joseph thrashes a black Telecaster. He’s gone for a classic rock look tonight, with floppy hair and a fringed suede jacket that I doubt will stay on for long either. The vocalist is not the lone Noah, as he has a namesake behind the kit, giving the toms a vigorous pounding on the staccato stabs of the chorus. Drummer Noah sports a T-shirt with the iconic Jamie Reid sleeve design for the Sex Pistols’ ‘God Save The Queen’.
‘Crash Landing’ culminates in a big swirl of phase, and some admirably adept lead work from Joseph, whose long fingers traverse the fretboard like a hyperactive spider.
“Give it up for all the brilliant f*cking speakers that we’ve had tonight,” implores vocalist Noah, to a huge cheer. “This next one’s called ‘Just Kids’, and it’s about how f*cked the education system is at the moment.” It certainly is, although you can’t fault the musical education these young players must have had. They are brimming with confidence and well-nurtured talent. A ‘Janie Jones’ style beat and a massive plectrum slide launch another manically energetic number, and they have all the tricks, contrasting intricate riffing with urgent thrash, and super-tight stops and stabs. Noah spits the vocals with righteous indignation and furious anger.
‘Inferno’ is about the current climate crisis, and Noah needs to alleviate his own local warming by discarding the leather. “It’s f*cking hot and sweaty in here,” he notes. “Let’s get it worse!” The song launches with rapidly thudding kick drum and a deftly executed rhythm guitar pattern.
The intensity is maintained as we move on through the set. ‘Teenage Tragedy’ is brisk pop-punk with some nice hooks. There’s an interesting rhythm on floor tom and snare for the more expansive ‘Gravity’, which builds to a massive stabbed playout. The cymbals are just relying on gravity to keep them on the stands, but the ride cymbal is hit with sufficient force to send it tumbling earthwards. I like the damped guitar chug of ‘Pressure’, and ‘Hell Of A Day’ is announced as being the next single.
Part of Music For The Many’s remit is to support marginalised communities getting opportunities within the creative sector. Noah is vociferous about the difficulties he faces as a trans man, and this is powerfully expressed in the urgent ‘Real Boys’. He’s leaning into the crowd to deliver the message up close and personal. ‘You Make Me (Fall Apart)’ has an interesting vibe, accentuated by some relatively delicate drumming on the rims, although the vocal retains the customary snarl. There’s a massive build, leading into a section of impassioned backing vocals by Amber.
This fine set concludes with the driving riff and punchy vocal of previous single ‘Protest Anger’, which is my cue to stop taking notes and find some space to have a proper dance. There are more dramatic percussive stabs, and some fantastic high-velocity riffing from Joseph. Noah wants the crowd to do a get-down-and-jump-back-up, festival style, and we are all very happy to comply. There’s a huge cheer at the clattering conclusion, and loud calls for an encore. That’s handy, as there’s still a Sex Pistols cover in the locker. It’s the classic single depicted on the drummer’s T-shirt, now updated to ‘God Save The King’. You know exactly what it sounds like, so suffice to say it’s executed with all the passion and skill that we’ve come to expect from this exciting young band. An absolute joy!
Noah And The Loners:
Noah Lonergan – vocals, guitar
Amber Welsh – bass, vocals
Joseph Boyle – guitar, vocals
Noah Riley – drums
Noah And The Loners setlist:
‘Crash Landing’, ‘Just Kids’, ‘Inferno’, ‘Teenage Tragedy’, ‘Pressure’, ‘Hell Of A Day’, ‘Real Boys’, ‘You Make Me (Fall Apart)’, ‘Protest Anger’ (encore) ‘God Save The King’ (Sex Pistols cover, originally ‘God Save The Queen’)
www.instagram.com/noahandtheloners
It’s been an interesting evening, with two enormously promising young bands delivering spectacularly impressive sets. The format may all seem a bit retro, with the ‘old Labour’ speeches and the 1970s-inspired music, but after many years of right-wing government and a wealth divide that seems to be growing at an alarming rate, maybe its moment has come. To quote Henry Rollins:
“This is not a time to be dismayed, this is punk rock time. This is what Joe Strummer trained you for.”
