I’m so glad I got one of the last 20 tickets for Napalm Death in Manchester last night. Even though I didn’t stop to see Barney and the boys, or Brujeria, the two bands I saw made it more than worthwhile.
I bailed early so I could get a train to and from the city from my town to save on more short drives and extortionate parking fees. In hindsight though I’m glad I left when I did for a couple of reasons.
The main reason is the venue. I’ve only seen four shows there and they’ve all been since October last year. Considering I try and get to Manchester on train as much as I can the Rebellion Club is that little bit too far out to walk back to the station without missing a healthy chunk of the headliners set.
The three shows prior to last night have been nowhere near to its noted 400 capacity so they were relatively comfortable. Last nights sold out show was beyond comfortable. The assembled throng of metallers were packed in tight for the first two bands. I’d hate to think what it was like come 10pm when Napalm Death had a full head of steam.
The layout of the place doesn’t help either. The interior is shaped like an offset T with the stage along the horizontal. Looking towards the stage from the vertical your view is obstructed the further you go back so everyone crams in to the front portion. That area also incorporates the entrance and access to the smoking area on one side and the bar and toilets opposite. All the footfall has to traverse that space. It’s definitely not pleasant and almost claustrophobic.
The local promoter used to use Sound Control, a better laid out venue and half the distance from the station. For some reason shows of this stature have relocated to here. More consideration will have to be given in the future to which shows I attend if there is another option to Rebellion.
Power Trip graced a Manchester stage for the first time in four years and they were on another level last night. They relished their time on the compact stage and seemed much more at home. They had a superb crowd in front of them and there was no barrier so we had a few stage divers, but less than I’d anticipated. For a band influenced by the thrash scene it was weird to see so many metal elitists and purists vacating the room for forty minutes. Too many people paying attention to musical tags.
As I didn’t get around to posting about the Birmingham grindcore pioneers here’s Suffer the Children from their third album Harmony Corruption. It was the first time they’d recorded outside of England when they entered the famous Morrisound Studios in Tampa with producer Scott Burns. The album vered towards a death metal sound and had a more polished finish, and the Tampa connection was a foothold for the band over in the States.