Search Results for: Lagwagon

Search Archives Only

DS Festival Review: Slam Dunk Festival (North)

In 2001, I moved to the Northern English city of Leeds, in part because of the live music venue, The Cockpit. This small venue put on all my favourite bands of the time, and had a long history of putting on great live music. I worked in another venue in the city on weekends, so […]

In 2001, I moved to the Northern English city of Leeds, in part because of the live music venue, The Cockpit. This small venue put on all my favourite bands of the time, and had a long history of putting on great live music. I worked in another venue in the city on weekends, so Tuesday night was my big night out, and Tuesday nights were Slam Dunk at The Cockpit. A solid mix of ska punk, pop punk, emo, rock, metal and whatever else alternative kids were listening to in the early 2000’s. 

So here I am, 21 years later. The Cockpit has long since shut down and whilst the Slam Dunk Club Night plays on at its new home, the Key Club, it’s the festival that I am at today. Now held across two cities with more than 50 bands, across five stages, things have really grown from that two room sweaty Tuesday night under a railway arch.

The lineup covers a wide range of punk and alternative music, but because I’m old and stuck in my ways, I’m mostly staying at the Dickies stage, which is the main stage this year, hosting The Suicide Machines, The Bronx, Hot Water Music, The Vandals, Streetlight Manifesto, Pennywise, The Interrupters, The Dropkick Murphy’s and headliners Sum 41. 

I’d originally bought tickets on the basis that Rancid were headlining, but they pulled out for undisclosed reasons. Then support from the Mighty Mighty Bosstones collapsed along with the band. Things were looking bleak, and I actually looked into selling my ticket, only to have two of my close friends and original Slam Dunk allies to buy tickets, so it was to be a big day out for us old guys.

The venue for the festival is Temple Newsam House. For further personal historic links, this was the site of the first music festival I ever went to (V98), and a big part of my musical taste was formed in these park lands. The benefit of this location for me is that it is close to home, the downside is that it still takes an hour and a half to get in, as traffic is not well managed and everything is already getting expensive (£10 to park in a field, £10 for a bus), I’d planned to ride my bike to the event, but for three of us, that didn’t make much sense.

Inside the arena, the stages are far enough apart that there is little noise mix from bands and practicalities like bars, toilets and food concessions are plentiful, the addition of a separate “real ale” bar was a pleasant surprise, and I managed to spend an impressive amount in this tent after and before every band. The tent also provides some welcome shade from the unexpected sun that I was totally unprepared for!

So, on to the music…

Hot Water Music, a band that I’ve discovered backwards through Chuck Ragan’s solo work, come out impassioned and full of energy, although the crowd are a little flat with it being an early set. Despite this we get a solid effort from the band, though possibly things are held back a little by a lack of catchy hooks and sing along choruses in the songs performed. Finishing with “Trusty Chords” gets the crowd interested from hearing a song they know. Whether they know the song from Epitaph‘s Punk-o-Rama compilation, or it’s just a favourite is hard to say, but in a pre-internet world, compilations from Independent punk labels are how a lot of us discovered new bands, especially those that didn’t tour the small northern venues like the Cockpit!

A quick trip to the bar revealed the sound of Punk Rock Factory carrying on the wind from the Rock Sound Stage. I was familiar with the band from their Youtube videos of punked up, harmonized pop covers, and as a father of small children, I found myself singing along to “Let It Go”, whilst appropriately stood at a urinal. If I have to play Disney songs on long journeys, then at least they can have crushing guitars as well, and hopefully, like some kind of gateway drug, this leads my kids down the path of home made tattoos and living in a van (or some other punk cliché).

The Vandals took to the stage with a not too reassuring “We’ll do our best”, and whilst I appreciate their honesty and openness, first song “Café 405”, is out of time and out of tune. 

Three songs in, things are starting to tighten up, “People That Are Going To Hell” gets people moving a little, but on the whole, the crowd remain static. “And Now We Dance” raises the energy, “The New You” keeps it going, but there’s just not enough there to hold the attention of the majority of the crowd. My friends desert me to hit the real ale bar, I hate myself for giving up on the mighty Vandals, but cold beer and the Cancer Bats on the Jagermeister stage lure me away. I’m not massively familiar with the Cancer Bats, but the wall of noise, that I could feel through the ground and see vibrating through my pint has led me to listen to more of their back catalogue.

I had a dream the night before Slam Dunk that I took all my family to see Streetlight Manifesto, but instead of their usual set list, they played a really challenging, four hour Jazz set, stopping only to enjoy a sit down meal, where they served soup from tea pots. I was trying desperately to convince my family that really, they’re a great band, whilst simultaneously enjoying the weird spectacle. 

Fortunately, there’s no Jazz today as Streetlight Manifesto, a later addition to the bill, take to the stage. There’s a clear sense of excitement in the crowd as the eight piece tear through classic hits “We Will Fall Together” and “The Three Of Us” along with lesser known tracks with a level of energy normally reserved for headline shows. The crowd sings along, dances, moshes; it’s a perfect blend of everything you want on a summers day. The only slight letdown is Tomas Kalnoky shouting “this is the big finish!” and then promptly not playing “Keasbey Nights.” I get the reasons, and I support them in letting go of a song that doesn’t really represent the band, but for many in the crowd it’s the song they came to hear and there’s visible confusion as the band leave the stage, though encores aren’t really a thing at 16:30 on a festival stage are they?

I last saw Pennywise in 1999. So its been a while. Late last year I read Jim Lindberg’s book “Punk Rock Dad,” which renewed my interest in the band, so I’m excited to see this set, and if the number of Pennywise T-shirts I’m seeing are anything to go by, so are the crowd.

From the get go, the band are on full attack. There’s no sign of age in the band and the crowd are loving it. Covers of AC/DC’s “TNT” and “Breed” by Nirvana continues the energy. Early songs “Pennywise” and “Society” lead to Lindberg lamenting to having been “doing this for thirty years,” but it’s not slowing them down. 

The crowd holds middle fingers aloft for “Fuck Authority,” and whilst it feels cheesy, a load of middle aged men swearing at the sky, its kind of cathartic, and hey, it’s a great song! Who doesn’t enjoy feeling like an angry teenager (teenagers maybe?).

A cover of “Stand By Me,” which closed 1992 album Wild Card/ A Word From The ‘Wise surprised me, as I was certain it was Lagwagon, so I learned something important today if nothing else. 

Set closer “Bro-Hymn” has exactly the effect you’d expect. Huge “wooahs” from the crowd, that epic bass riff and impassioned singing along. Obviously it’s a great song, but I think it hits harder now, after the last few years and I think everyone can take some strength from this song and apply it to someone they’ve lost.

The Interrupters carry a strange position in my mind. I love their songs, they’re great live, but there’s just something not quite right. Something doesn’t sit right with me, and I hate myself for being so negative, but its all a bit too clean cut for me. Like it’s the soundtrack to Disney film where some hopelessly good looking, talented young people form a ska punk band and take over the world with a weird crusty mentor behind them (Called Tim?).

Opener “Take Back the Power” feels stronger than normal. Maybe its that they’re more established, or maybe my cynicism is fading? Either way I enjoy it for what it is, well polished, perfectly-performed ska pop-punk. 

Ignoring a weird segue about how they all used to bathe together… “She got arrested” gets a great crowd sing along, and is probably my favourite of their songs, not least as it was my introduction to the band back in 2017 and a great example of the quality story telling in the lyrics of some of their songs.

A cover medley of “Keep ‘Em Separated”/ “Linoleum”/ “Ruby Soho” gets the crowd going before surprise high point for me, a cover of Bad Religion‘s “Sorrow,” which goes down well with the crowd (For reference Bad Religion played Slam Dunk in 2019, as did the Interrupters).

The band finishes with “She’s Kerosene,” keeping the party going, the crowd moving and generally capturing the moment nicely. People are drunk, its sunny, the people want to dance and the Interrupters deliver.

The Dropkick Murphys take to a stage with a full length riser, done out to look like a stone wall, but there is a notable absence. Al Barr, it is announced, has stayed home to care for his sick mother. Ken Casey steps up for lead vocal duties and the evening begins with the sound of bagpipes on the cool evening breeze. 

“State of Massachusetts” gets the kind of crowd reaction you’d expect from a classic pop hit or a song about Yorkshire, such passion for such a challenging subject is strange, but hey, it’s a great song and the drunk, bouncy, dancey crowd are loving it.

“Barroom Hero” is introduced as the first song the band ever wrote, which is a bit of trivia I didn’t know, but I remember it from way back in the 90s, so I guess that makes sense. The crowd offer weak “Oi! Oi! Oi!” effort which is a disappointment, maybe the crowd aren’t as au fait with shouting Oi! as I’d like? Though I accept my drive to shout “Oi!” is probably higher than most.

The slip up begins with the instruction to sing along to the 1937 hit “I’ve Still Got Ninety-Nine” by the Monroe Brothers, which although an undeniably good song, probably isn’t too familiar to the crowd today. On the upside, we’re promised an acoustic album in September, which is one to look out for. Whether it’s new material or reimagined classics has not been confirmed, but hopefully there will be an associated tour.

“Rose Tattoo” brings the sing along from the crowd, but lacks the momentum to get the crowd moving. This is exacerbated by the big screen showing bored, static faces in the crowd for the first time. Fortunately, “I’m Shipping Up To Boston” brings the party back before the end of the set. I’ve never seen such passion for a missing wooden leg, as the crowd goes nuts, with crowd surfers from all directions riding above the waves of the crowd. All parties appear to have legs intact, so that’s good.

Headliners Sum-41 were a bit of a quandary for me. The first album was an important soundtrack to my late teens/ early 20s and I saw them play in Leeds twice in 2002, but I haven’t listened to their music since Does This Look Infected from the same year.

A bit of pre-show research suggested they have had seven further releases, including 2019s Order In Decline, but in the spirit of openness, I’ve not felt inspired to check these out.

The band come out to a stage with blood-soaked Marshall speaker cabinets, a giant skull, jets of fire and “Motivation” from the first album, All Killer, No Filler. More people than I expected are really into it, though competition with Deaf Havana and the Nova Twins is limited and the other stages have closed.

The stage is set for a night of big rock and I’d like to say I invested more effort into rediscovering Sum 41, but too much sun, too much beer and a designated driver who wanted to beat the traffic meant we made an early exit.

Post a Comment

Your email address will not be published.

Dying Scene Record Radar: New punk vinyl releases & reissues (Descendents, Rancid, Joe Strummer & more)

Hello, loyal readers! Thank you for joining us for this week’s edition of the Dying Scene Record Radar, where we cover all things in the world of punk rock vinyl. Kick off your shoes and make yourself at home, because it’s time to run through this week’s releases. I hope you’re feeling spendy, because there’s […]

Hello, loyal readers! Thank you for joining us for this week’s edition of the Dying Scene Record Radar, where we cover all things in the world of punk rock vinyl. Kick off your shoes and make yourself at home, because it’s time to run through this week’s releases. I hope you’re feeling spendy, because there’s a lot of good stuff that might find its way into your record collection. Let’s get into it!

Up first, we’ve got 1-2-3-4 Go! Records with another killer exclusive pressing of a classic record. This time it’s the DescendentsEverything Sucks, limited to 1,000 hand numbered copies on blue vinyl. This will be available on their webstore Friday, August 5th at 8am Pacific (11am Eastern). Join 1-2-3-4 Go!’s mailing list to be among the first to know when it goes up.

Rancid‘s Let’s Go is getting repressed, this time as a red and black splatter LP. It’s limited to 1,000 copies, and is only available from Newbury Comics. Head over here to get your hands on this one.

Brooklyn Vegan has an exclusive green 2xLP pressing of Social Distortion‘s Hard Times and Nursery Rhymes up to pre-order on their webstore. It’s limited to 300 copies and the color is pretty cool. Not a huge Social D fan myself, but this album’s alright. Also, if you join Brooklyn Vegan’s mailing list, you’ll get 10% off your order! Very nice.

Asian Man Records has brand new pressings of two classic Alkaline Trio LPs available right now. These new variants of Goddamnit and Maybe I’ll Catch Fire are limited to 1,000 copies each. Head on over to Asian Man’s webstore to order.

It’s been a long time coming but No Trigger has finally announced a follow-up to their fantastic sophomore album Tycoon. The new record’s called Dr. Album, and it’s being released next month on Red Scare. Check out the first single below, and pre-order the LP here.

Power pop singer/songwriter Geoff Palmer has re-recorded Dee Dee Ramone’s “rap” album Standing In The Spotlight. The first single, his cover of “Emergency” (my favorite song off the record), can be heard below. Stardumb Records is releasing this on vinyl; head over here to pre-order it.

The Mugwumps just released a new live album, recorded at Italy’s premiere punk festival Punk Rock Raduno in 2021. Check it out below – it kicks ass! My fellow Americans can get this here; our European friends can buy it here.

Mom’s Basement Records has announced their upcoming Queers tribute compilation God Save The Queers Vol.2 will be available to pre-order this Friday, July 29th, at Noon Eastern. Head over to their webstore to grab your copy. Canadians can get this one from Insipid Records, and our Bri’ish mates will wanna hit up Council-Pop Records.

Hardcore punk supergroup OFF! has announced a new record! Free LSD is the band’s first new studio album in eight years. They’re describing it as “a heavy punk industrial free jazz soundtrack recording”. Watch the music video for the first single “War Above Los Angeles” below, and pre-order the record here. There’s also an orange variant available from Brooklyn Vegan.

Making their second Record Radar appearance in three weeks, it’s the Dropkick Murphys with a Newbury Comics Exclusive variant of their upcoming album This Machine Still Kills Fascists. This one’s due out on September 30th, it’s limited to 500 copies on red vinyl, and you can pre-order it here.

British punk pioneers The Vibrators have announced their final album Fall Into the Sky will be released on August 12th through Cleopatra Records. Listen to the first single below, and pre-order the record on pink or blue vinyl here.

Santa Cruz pop-punks Too Bad Eugene just announced their first new album in 20 years! Distance is due out September 14th on People of Punk Rock Records. Listen to the title track below, and pre-order the record here.

Italy’s Radiation Records has reissued two LPs from Los Angeles punk veterans The Generators: 2005’s The Winter of Discontent, and 2007’s The Great Divide. Get ’em here. These are available in the US through Merchbar, too, but the price after shipping is basically the same as importing from Italy.

A decade after the downfall of The Clash, frontman Joe Strummer would spend the last three years of his life making new music with his band The Mescaleros. A box set compiling the band’s three albums and a bonus LP of demos, outtakes, rarities, has been announced. This is due out on September 16th, and can be pre-ordered here. These records go for $100+ each on the resale market, so this is actually a pretty great deal.

Reminder! If you are attending SBAM FestBrackrock Festival, or Punk Rock Holiday over the next few weeks, Fat Wreck Chords is going to have exclusive new variants of a shitload of records at their merch booth. Titles include Lagwagon‘s Hoss, Strung Out‘s Suburban Teenage Wasteland Blues, the new Face to Face album, and many others. These European festivals are the only place in the entire world these will be available. Check out Fat’s Instagram for more info.

Canadian friends, check out Forbidden Beat! They’re a punk distro that always has good shit going up on their Instagram page, at very good prices. They also seem to be the only place in North America with copies of the new Screeching Weasel LP in stock, so if you’re looking for that, hit ’em up!

Now that all the new and upcoming releases have been covered, I thought I’d share what I’ve been listening to lately! I saw my favorite band Less Than Jake for the 19th(?) time last week, so I’ve been on a LTJ kick lately. I got Losers, Kings, And Things We Don’t Understand at a show in Orlando back in… 2012? And this red pressing of See The Light was one of two Christmas variants limited to 100 copies. It had been a while since I listened to either of these, so I gave them a few spins.

That’s all, folks! Thanks as always for tuning in to the Dying Scene Record Radar. If there’s anything we missed (highly likely), or if you want to let everyone know about a new/upcoming vinyl release you’re excited about, send us a message on Facebook or Instagram, and we’ll look into it. Enjoy your weekend, don’t blow too much money on spinny discs. See ya next week!

*Wanna catch up on all of our Record Radar posts? Yype “Record Radar” in the search bar at the top of the page!

Post a Comment

Your email address will not be published.

Joey Cape

Joey Cape is an American singer and musician. Active since 1989, the Caper is best known as the frontman of California punk band Lagwagon.


Lagwagon is an American punk rock band originally from Goleta, California, just outside Santa Barbara. They formed in 1989, went on hiatus in 2000, and reunited several times over the years. Their name comes from the band’s tour van, which can be seen on the back cover of their 1994 album Trashed.

Lagwagon announce rescheduled Japan shows

Lagwagon have announced rescheduled dates for Japan. The shows were originally supposed to be held in 2020 but due to the ongoing COVID-19 pandemic they will now be held in 2023. Any previously purchased tickets are valid for the new dates. Lagwagon are currently on on tour in the US and released Railer in 2019. Check out the dates below.

Me First and the Gimme Gimmes

Me First and the Gimme Gimmes are a punk supergroup cover band, formed in San Francisco in 1995. The band’s rotating lineup has featured members of NOFX, Lagwagon, No Use for a Name, and the Ramones, among others.

Tours: Lagwagon postpone UK tour

Lagwagon has postponed their UK tour, scheduled to start Sunday in London. They issued the following statement: Lagwagon regrets to announce that we will not be able to make our upcoming U.K. shows. Our singer Joey has experienced ongoing issues with his voice. As fucked up as this sounds, after years of being unable to tour (due to a pandemic), we cannot continue. We are going to have to postpone the U.K. shows and allow Joey to return home to meet with his doctors. We promise we will make amends and most certainly return as soon as we can reschedule. We will do our very best to make tomorrow's final performance in Hamburg happen before we fly home – please sing extra loud with us!