RUTS DC – THE PRINCE ALBERT, BRIGHTON 10.7.24
Of all the bands to originate from the new wave of the late 1970s, Ruts DC are one of the most interesting and exciting still active. Their recorded output and well-attended live shows are of consistently high quality, so the prospect of seeing them play a stripped-down, mainly acoustic show in the intimate setting of Brighton’s The Prince Albert is intriguing and very appealing indeed.
Formed as The Ruts in 1977, their 1979 debut album ‘The Crack’ is widely regarded as a classic of the genre, its urgently punky energy and politically charged lyrics enhanced by contrasting reggae and dub influences. Following the untimely death of singer Malcolm Owen in 1980, the band continued as Ruts DC (an abbreviation of the musical term “da capo”, meaning “back to the beginning”) before splitting in 1983. The band reformed in 2007 to play a benefit concert for original guitarist Paul Fox who had been diagnosed with cancer and sadly died later that year. With the addition of guitarist Leigh Heggarty, bassist John ‘Segs’ Jennings and drummer Dave Ruffy continue to write and release new material.
Inspired by the popularity of stripped-back performances at London’s 12 Bar Club and on the acoustic stage at Rebellion Music Festival, the band has released three albums of material from their back catalogue, re-recorded in a mostly acoustic format. The latest, ‘ELECTRacoustic Vol 3’ was released on 5th July 2024 and includes a brand new number, ‘Bound In Blood’. Tonight’s sold-out show is the second night of a 15-date tour to promote the album. As we queue up the stairs to get into the live room, the pub downstairs is absolutely buzzing with patrons crowded around TV screens. There’s the small matter of the England football team’s Euro 2024 semi-final taking place at the same time.
“Things are going well in football world,” announces Segs, as the band takes the stage shortly after 8:30pm. “Either you’re not fans… or you like us more,” he quips, to a general chuckle of appreciation. They commence the first of two sets with ‘Music Must Destroy’, the title track of a 2016 album. The three players are seated in a line across the stage. Leigh is house left, the signal from his Gibson electro-acoustic routed through a small bank of effects. Drummer Ruffy is centre stage and particularly well-lit, using brushes to play a minimalist kit of snare, hi-hit and a Gretsch kick drum. House right, lead vocalist Segs, usually the bassist, starts on a Guild acoustic 6-string.
Much as I’m used to hearing this material at full volume and full tilt, the stripped-back format is wonderfully effective, affording space for the songwriting to really shine and adding emphasis to the power of the lyrics. It helps, of course, that all three players are superb musicians with decades of experience. The groove is exquisite, and the opener’s chant-along outro of “we are not your property” concludes to a rousing cheer.
The cosy and relaxed setting seems conducive to plenty of chat and anecdotes between numbers. ‘Too Much’ is introduced as being about departed bandmates Malcolm and Paul. Its lyric concludes with a nod to ‘Virginia Plain’ by arty glam pioneers Roxy Music, prompting Segs to recount how he first heard that single in a record shop listening booth. This in turn morphs into a discussion about different brands of rolling tobacco.
The marvellously catchy ‘Kill The Pain’ elicits an enthusiastic singalong, Ruffy generating an infectious rhythm with busy brush work whilst Leigh’s chiming lead riffs dance over the top. I’m inspired to have a bit of a dance myself. Classic single ‘West One’ loses none of its emotive power in this format. The plaintive descending arpeggios send shivers down my spine, and it’s hard to believe that Leigh’s blinding solo is being played on an acoustic. Ruffy switches to sticks to facilitate rim shots and appropriate reggae fills for the vibey ‘Love In Vain’. A humorous accompanying anecdote suggests that Elvis Costello was initially impressed by the brass sound on the original recording, but then dismayed to find it was achieved by simple mouth music.
‘X Ray Joy’ is jangly and expansive, and seems to work particularly well in this form. Dave Ruffy regales us with a tale of growing up in the challenging circumstances of a large, single-parent family. Apparently, some of his brothers were at last night’s show in Walthamstow. He takes the lead vocal for the insistent shuffle of ‘Walk Or Run’, and at the end gets a big hug from Segs for his trouble.
“In this time of all-inclusivity…a lot of people ain’t included,” notes Segs, introducing the brooding ‘Born Innocent’, its refrain of “Hate nobody… hurt nobody…harm nobody” bolstered by an impressive backing from the crowd. The thoughtful jangle of ‘Soft City Lights’ gives way to the punky urgency of ‘Something That I Said’, and the first set concludes with ‘Bound In Blood’, a new song on the current album. Segs touchingly dedicates it to his partner Tara Rez. It’s a vibey and moving piece. Leigh has switched to a cherry red Gibson semi-acoustic, and the guitar solo really wails.
After a short break to get a drink and check on the progress of the football, we’re back for the second set. Segs has switched to a red Gibson SG electric bass, its chugging throb nicely underpinning Leigh’s sparkling lead work. An anecdote about 1970s hashish that came with a “PLO” stamp introduces ‘Dope For Guns’, bristling with lyrical vitriol, bubbling bass and offbeat guitar stabs.
I’m impressed by the haunting progression of ‘Poison Games’, its lyrical theme being about political lies. A musing on the new Labour government sparks some reminiscing about pipe-puffing Labour leader Harold Wilson. Ruffy impresses everyone by remembering that the former Prime Minister favoured a Gannex Mac. The roots reggae of ‘Jah War’ has me lost in its rhythm, though I suspect my lumbering skank probably feels better than it looks. The crowd obliges with another zealous chant-along to the lolloping groove of ‘Human Punk’, and the set closing romp through classic singles ‘Staring At The Rude Boys’ and ‘Babylon’s Burning’ unleashes something very close to an acoustic mosh pit.
In The Albert, leaving the stage for the dressing room means battling your way through the crowd, so the band members sensibly take the encore as read and just play three more songs. Segs switches back to the acoustic 6-string for ‘Pretty Lunatics’, explaining that the title referred to the “hideous politician” called Priti. Debut single ‘In A Rut’ gets a predictably rapturous reception from the delighted crowd, and round off a brilliant evening’s entertainment with the breathlessly urgent ‘Criminal Mind’, its rapid riffing propelled relentlessly by manically shuffling snare. “I do it for the kicks, and it’s a habit that sticks.”
If anyone here had any doubts about whether this band’s cherished catalogue would work in an acoustic format, those uncertainties should have been utterly dispelled by these two superbly executed sets. It’s been a thoroughly entertaining evening. Better still, a quick check of the phone reveals that England have progressed to the final of Euro 2024. Result!
Ruts DC:
Segs Jennings – vocals/acoustic guitar/electric bass
Dave Ruffy – drums/percussion/vocals
Leigh Heggarty – acoustic guitar/electric guitar/vocals
Ruts DC setlists:
(All feature on ‘ELECTRacoustic’ Volumes 1 – 3. Previous releases are listed)
Set One:
‘Music Must Destroy’ (from ‘Music Must Destroy’ album, 2016)
‘Too Much’ (from ‘Counterculture?’ album, 2022)
‘Kill The Pain’ (from ‘Music Must Destroy’ album, 2016)
‘West One’ (single, as The Ruts, 1980)
‘Love In Vain’ (from ‘Grin & Bear It’ compilation, as The Ruts, 1980)
‘X Ray Joy’ (from ‘Counterculture?’ album, 2022)
‘Walk Or Run’ (from ‘Animal Now’ album, 1981)
‘Born Innocent’ (from ‘Counterculture?’ album, 2022)
‘Soft City Lights’ (from ‘Music Must Destroy’ album, 2016)
‘Something That I Said’ (from ‘The Crack’ album as The Ruts, 1979)
‘Bound In Blood’ (new, from ‘ELECTRacoustic Volume 3’, 2024)
Set Two:
‘Vox Teardrop’ (from ‘Music Must Destroy’ album, 2016)
‘Dope For Guns’ (from ‘The Crack’ album, as The Ruts, 1979)
‘Secret Soldiers’ (from ‘Grin & Bear It’ compilation, as The Ruts, 1980)
‘Poison Games’ (from ‘Counterculture?’ album, 2022)
‘Jah War’ (from ‘The Crack’ album, as The Ruts, 1979)
‘Human Punk’ (from ‘The Crack’ album, as The Ruts, 1979)
‘Staring At The Rude Boys’ (single, as The Ruts, 1980)
‘Babylon’s Burning’ (from ‘The Crack’ album, as The Ruts, 1979)
(encore)
‘Pretty Lunatics’ (from ‘Counterculture?’ album, 2022)
‘In A Rut’ (single, as The Ruts, 1979)
‘Criminal Mind’ (from ‘The Crack’ album, as The Ruts, 1979)
