THE COURETTES + THE PRISCILLAS – THE HOPE & RUIN, BRIGHTON 23.4.25
Before the amps were fired up, fans and bandmates of The Courettes and The Priscillas gathered downstairs at The Hope & Ruin, fuelling up on the pre-show essentials: pints and grub. After some lively chatter (and a bit of digestion), we began migrating upstairs, ready for The Priscillas’ 8:30 sharp arrival on stage.
Dressed in a riot of clashing colours, heavy makeup, and unapologetic hairstyles, the band oozed a chaotic punky coolness. Frontwoman Jenny Drag embraced the look with a head-to-toe full faux-leather bodysuit, Siouxsie Sioux inspired hair, and a vibrant red lip, an unmistakable nod to 80’s goth chic. Their sound equally fierce: a heavy blast of power-pop-infused garage punk that demanded attention.
Their opener, ‘(All The Way To) Holloway’ delivered punchy, rhythmic vocals to a half-asleep audience, who offered little more than a few polite head-bops at this early stage. Momentum started to build a few songs in, particularly with ‘The Dream’, a track that featured melodic vocals over a pop-driven rhythms created by the band. It felt like the sort of track that could easily slip onto the soundtrack of a late 90’s or early 2000’s teen-flick, the angsty energy blending with catchy guitars and rapid drums that pertain to this style. The song is actually a dedication to the passing of Pete Shelley, the former member of popular early punk band Buzzcocks, honouring his decades-long friendship with Jenny Drag. You can certainly hear a Buzzcocks’ influence throughout their sound.
Stage presence ramped up on the fourth track ‘Fly In My Drink’ which rolled out of the lingering reverb from the previous song. Striking chords from (guitarist) Valkyrie and crashing symbols from (drummer) Jola launched the track While Jenny Drag seized the moment, posing front and centre, reaching towards the camera and crowd, soaking in her spotlight under the lens. Valkyrie and (bassist) Taylor performed powerful backing vocals and screams, adding more punch into the performance. Drummer Jola’s performance was consistently impressive with undeniable rhythm and speed. Her outfit was an equal standout, with turquoise eye makeup and a flowery lace bonnet.
The energy built even further during ‘Outta Your Mind’. Again, Jenny elevated on the blocks centre stage, elevating the tension with the crowd. Valkyrie and Taylor jam out together, while Jenny hops off the blocks to wade into the crowd delivering a fan/friend a hug. Valkyrie answers with an impressive guitar riff, culminating in a final, triumphant leg-kick from Jenny.
However, the tightness falters slightly during the next track, ‘Plastic’, where confusion about the starting point threw the band momentarily off balance. The bassline punched through regardless, although perhaps more notably, since Jenny’s mic had disconnected from its cable, unbeknownst to her. Staying true to punk’s messy, unpolished spirit, they powered through. Lyrically, ‘Plastic’ discussed the impacts of the overconsumption of plastic under capitalism – although appearing somewhat ironic given Jenny’s synthetic choice of attire.
These politically charged streak and on-the-nose lyrics continued on tracks ‘Technology’ and ‘Angela’. The former discussed issues with the invasive reach of modern tech, while ‘Angela’ paid tribute to the nationwide campaign ‘Ask For Angela’, aimed at protecting people from predatory behaviour in nightlife spaces. However, the themes felt a little underdeveloped and veered into cliché territory, offering an outdated conversation on topics that a 2025 audience has heard handled more thoughtfully elsewhere, something pop-punk is often guilty of.
The set closed with a burst of energy, beginning with a piercing intro riff and culminating in all band members singing in unison. They were a compelling watch, blending similarities with X-Ray Spex with a sound equally reminiscent of Veruca Salt.
The Priscillas:
Jenny Drag – lead vocals, tambourine
Valkyrie – guitars, backing vocals
Taylor – bass, backing vocals
Jola – drums
The Priscillas setlist:
‘(All The Way To) Holloway’ (from 2009 ‘10,000 Volts’ album)
‘Very, Very Mysterious’ (unreleased)
‘The Dream’ (a 2024 single)
‘Fly In My Drink’ (from 2009 ‘10,000 Volts’ album)
‘TfL Chris Didn’t Know Liberace Was Gay’ (unreleased)
‘Outta Your Mind’ (unreleased)
‘Y.O.Y.’ (from 2009 ‘10,000 Volts’ album)
‘Plastic’ (a 2024 single)
‘Technology’ (unreleased)
‘Angela’ (a 2023 single)
The Courettes made a humble entrance, weaving through the crowd before taking the stage. Duo Flavia Couri and Martin Couri lingered among us just minutes before their 9:30 start time, with Flavia repeatedly checking her phone, waiting for her moment to shine. They kicked things off with their most popular track (according to Spotify), ‘You Woo Me’, a catchy, infectious tune with repetitive vocals that made it easy for the crowd to sing along, regardless of their familiarity with the band. From the get-go the crowd was receptive and open, with one particularly enthusiastic attendee already enthusiastically jumping up and down.
The Danish-Brazilian duo are incredibly talented, both musically and as performers. Martin effortlessly charming the crowd and Flavia captivating the audience with her energy and playful charisma.
They dive right into ‘The Boy I Love’ from the first song, keeping momentum alive. Flavia hyped up the room, climbing onto the blocks, locking eyes with the audience, and thrashing her hair from side to side. Before launching into ‘California’ they paused briefly to introduce themselves: “Coming all the way from Denmark and Brazil to bring you sounds of California.” True to their word, this track carried a distinct The Beach Boys-esque pop spirit, delivering sunny, buoyant sounds and pure fun. The song’s breakdown featured soft, isolated vocals before the duo launched back into the upbeat rhythm.
By the fifth track ‘Until You’re Mine’, the crowd had started to find their groove amongst the 60’s style sounds – heads were bopping, hips were swaying. This track offered a darker, more cinematic sound, at times evoking the moody feel of a Bond film score. A heavier, slower guitar riff paired with hypnotic; rhythmic drums created a spellbinding atmosphere that lingered in the room.
The band took a moment to thank the crowd and the city of Brighton, before Flavia dedicated the next song to a “Sexy Drummer”, a nod to her husband Martin on the drums. The pair reportedly met while Martin was touring in Brazil, bonding over their shared love for music and 60’s culture, before relocating to Denmark and getting married.
Between tracks Martin consistently works the crowd, introducing each with the flair of a 60’s pirate radio presenter. This is most poignant during ‘Trash Can Honey’ where he got carried away with talking about “motherf*ckers”, an entertaining bit that whipped the crowd into spirits before launching into the emotionally charged track about being unjustly wronged, a feeling many could relate to.
We are then invited to join in on a call-and-response on ‘Tough Like That’ with the non-verbal call coming from Martin’s drum kit. Flavia rocked out into the crowd, throwing punchy, shouty vocals over the lively beat.
A peak performance is delivered on ‘Boom! Dynamite’, the pair opening the track: “Is everyone feeling alright?…I’m feeling like dynamite!” before jumping into fast paced drums and guitar. Another call-and response number, it thrived on simple, catchy, repetitive lyrics. Flavia performs a captivating guitar solo before splitting the crowd and commanding everyone to crouch down. We obey, crouching low, awaiting the signal to jump back up. Most crowd members give a somewhat restrained bounce, with most being well past their teenage gigging years. One fan, presumably the same who’d been enthusiastically jumping earlier, threw himself into it, leaping a head above the crowd, lost in the moment.
During their last song before the encore ‘Hop The Twig’, women are invited to join go-go dancing on stage. Awkwardly, no one took them up on the offer, but Martin and Flavia kept the mood high, pushing through with their characteristic energy. The track is punchy and minimal, and with much like their other songs, featuring minimal lyrics and guitar styles reminiscent of early Beatles recordings.
Before closing, they promise they’ll be back next year, finishing the main set with a standout drum solo from Martin.
The night concludes with ‘SHAKE!’ starting with a ‘Taxman’ style guitar riff. By now, everyone in the crowd is ‘shaking’ along, The pair visibly having equal fun rocking out as a couple before coming to the crowd for some well-deserved adoration. They wrapped up the set with the same jingles that were playing before ‘You Woo Me’ earlier.
As a fan of 60’s music, I had a great time. While The Courettes might not be destined for the mainstream charts anytime soon, their energy, dedication and hard work make it clear why their audience will only continue to grow beyond these stages.
The Courettes:
Flavia Couri – guitar and vocals
Martin Couri – drums and vocals
The Courettes setlist:
‘You Woo Me’ (from 2024 ‘The Soul Of… The Fabulous Courettes’ album)
‘The Boy I Love’ (from 2023 ‘Boom! Dynamite – An introduction To The Fabulous Courettes’ album)
‘California’ (from 2024 ‘The Soul Of… The Fabulous Courettes’ album)
‘Boom Boom Boom’ (from 2024 ‘The Soul Of… The Fabulous Courettes’ album)
‘Until You’re Mine’ (from 2021 ‘Back In Mono’ album)
‘Keep Dancing’ (from 2024 ‘The Soul Of… The Fabulous Courettes’ album)
‘Trash Can Honey’ (from 2021 ‘Back In Mono’ album)
‘Want You! Like A Cigarette’ (from 2023 ‘Boom! Dynamite – An introduction To The Fabulous Courettes’ album)
‘Night Time (The Boy Of Mine)’ (from 2023 ‘Boom! Dynamite – An introduction To The Fabulous Courettes’ album)
‘Tough Like That’ (from 2023 ‘Back In Mono B-Sides & Outtakes’ album)
‘Better Without You’ (from 2024 ‘The Soul Of… The Fabulous Courettes’ album)
‘Boom! Dynamite’ (from 2023 ‘Boom! Dynamite – An introduction To The Fabulous Courettes’ album)
‘Misfits & Freaks’ (from 2023 ‘Boom! Dynamite – An introduction To The Fabulous Courettes’ album)
‘Won’t Let You Go’ (from 2021 ‘Back In Mono’ album)
‘Hop The Twig’ (from 2023 ‘Boom! Dynamite – An introduction To The Fabulous Courettes’ album)
(encore)
‘Shake!’ (from 2024 ‘The Soul Of… The Fabulous Courettes’ album)
Rocking review! Great read