Live Review: The Subways

Oran Mor – 26/03/2015

The Subways are the sort of band you see seven times and still leave every one of their gigs drunk from noise and talent, after a night brimming with passion. With almost ten years since the release of their first album Young for Eternity, which graced high-school talent favourite ‘Rock ‘N’ Roll Queen,’ the trio embarked on a tour to test out their self-titled fourth album.

Starting the night were the growly, crazy-eyed, pot fanatics Dune Rats – who rightfully name themselves the ‘Hyperactive Stoner’ C U Next Tuesdays. Equipped with shorts unsuitable for the rain, long-sleeved tees under short sleeved tees, tatty shoulder length hair and backwards snapbacks, the entire band was straight out of ‘Tony Hawk’s Pro Skater’ for the PS2. Their lyrics and chat were completely unintelligible apart from their simple song dedication: “This one’s for bongs.” A wonderfully original start.

Right on time Charlotte Cooper bounces onstage, bass in hand. With shocking pink hair that only fuels our inevitable crush that we’ve nursed for nearly a decade, she pounds right into ‘We Don’t Need Money To Have a Good Time.’ Billy Lunn, vocalist and lead guitarist, bounds onstage with drummer Josh and delivers us equal amounts of ferocity, wide grins, and sheer fucking noise.

By song two Lunn partakes in envious drum-kit gymnastics with ‘I’m in Love and It’s Burning in My Soul,’ which proves an excellent introduction to their brand spanking new album. And by song three, the circle pits begin with ‘Shake Shake’ – an old favourite. It’s now when Lunn admits to having had a tattoo and haircut that day in true Glaswegian fashion, only to respond to the ecstatic crowd with such euphoria of being loved.

The Subways hold an irreplicable presence. The whole band thank the crowd after every single song, with words saturated with true respect and devotion, and the crowd respond by chanting every single word right back. The crowd were in for an odd surprise though when Lunn demanded the room to their knees in ‘Celebrity,’ even he and Cooper joined by playing their instruments from the ground. Then, as the chorus climaxed the entire room jumped to their feet and the circle pits got bigger, rowdier, and louder. It’s clear to see why the band focused on their heavier numbers, and avoided the down-beat mellow classics like ‘Strawberry Blonde’ off album two.

It is so refreshing to see that this band oozes gratitude. After an already lengthy career and a completely dedicated fan-base, The Subways deliver raw honesty and the ability to consistently impress. This band couldn’t give a shit if you don’t know who they are, I just feel sorry for you that you haven’t experienced a real music hangover.

[Emmie Harrison – @emmieeharrison]

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