Salute The Underground! Priests, Live in London

19 October 2017, 17:25 | Written by Luke Cartledge

(Live)

(Priests)

It’s really not my place to project my political convictions onto tonight’s show (at the risk of sounding painfully apologetic or over-earnest, I am a white male after all), but I will say this: tonight’s show feels particularly significant, coming as it does at a time in which the arts have been shaken by an appallingly extensive list of cases of sexual assault or harassment that seems to grow longer and more atrocious by the day. And that’s not some glib, “yeah this was cool because women are in good bands too duh” remark; genuinely inclusive, progressive DIY music and art events, of which tonight is a shining example, are emblematic of an increasingly vital creative and political underground, where harsh truths and timely protests can be expressed, honed and sharpened, ready to break through into the mainstream social consciousness (tonight’s promoters, Upset The Rhythm, deserve a nod for their consistent contribution to said underground).

Tonight’s dual support acts, Downtown Boys and Big Joanie, set the tone admirably; both turn in urgent, eloquent performances, which culminate in one member of the latter joining the former for their final song. Neither are preachy or sanctimonious, but neither feel it is necessary to play down or obscure their beliefs, and both leave a lasting impression. By the time Priests take to the stage, their audience is intellectually and physically primed to wholly engage with their songs. And what songs they are. Nothing Feels Natural, their LP from earlier this year, was one of the most accomplished, immediate punk debuts this writer had heard for a considerable time, and live, these tracks are even more visceral. From the opening face-slap of “Appropriate” to the composed, sinuous “Lelia 20”, each aspect of Priests’ deceptively multi-faceted sound is showcased beautifully here. They’re phenomenally tight, muscular players, whose mastery of their songs only adds a necessary weight rather than sanding down their rougher edges. By the time they close with the LP’s title track, many in the audience are beside themselves.

Above all though, this is a fantastically humane performance, expressing familiar fears and exasperations through songwriting that is as accessible as it is relentless. And that’s the key here: Priests are really fucking good, yet never intimidatingly so. Like Downtown Boys and Big Joanie, they make everyone in the room feel as if they could be up there doing the same. In times like these, such combinations of brilliance and openness grow ever more important.