The Virginmarys have spent the last few weeks on a guerrilla run of dates across the UK as they get ready to undertake a massive tour supporting The Sisters of Mercy in Europe before heading back for the UK leg. Hitting the North with Bathgate, the South with Southampton and everywhere between, the matinee at Stoke-on-Trent’s Eleven is the final stop. It’s a strange experience to have a headline gig on a Sunday afternoon but it means once the final chord has rung out and the final drum has been hit, you can head back home in time for Heartbeat!
Along for the ride today (and a few other shows on this run) is MuddiBrooke. Having finally caught them supporting the guys last year in Birmingham, it’s already a foregone conclusion that this is a great match. As well as slots at SOS Fest, Bloodstock, opening for Black Star Riders among other shows we’ve witnessed, it’s fair to say they’re on a hell of a tear right now and seizing the momentum they’ve built. Which thankfully translates to the performance. And on the subject of momentum, they hammer through the majority of Lunacy before digging into the newer material. With “Liverpool Guy” taking the traditional honour of opening the show, the assembled audience have their interest piqued by the blend of alt rock and grunge. It’s heavy enough to match this afternoon’s headliners with a fair amount of heft and grit in big, chunky chords but similarly accessible enough to welcome in people who don’t usually listen to the grungier end of the spectrum.
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But what becomes apparent very early on is the Derbyshire trio are on one today, intent on making their last show with The Virginmarys until December one to remember for both the audience and themselves. Battering through newer songs, “Cellar” is dark and disturbing which even has a hint of metal to it, “Float” blends psych and shoegaze tones together as well as a breakdown Queens of the Stone Age would envy whilst “ADHD” is frantic and manic, a great segue from Lunacy’s “Straitjacket”. There’s very little banter and instead they let the music do the talking – Brooke twists her voice into new screams to make the songs edgier, Anna Melidone’s bass work growls and thunders in equal measure and locks in well with drummer Morgan Pettigrew who gives one of the most intense performances I’ve seen from him yet. And if their set supporting Black Star Riders was their best, this eclipses it.
Fully recovered from the King of Conflict tenth anniversary shows and back to a duo, The Virginmarys are getting themselves prepared for one of their biggest tours ever. Unsurprisingly, they hit the ground running for a career-spanning set, kicking it off with “The Meds”. It’s a perfect number to kick things off and shows off what a powerhouse duo they are. Blending an aggressive and bright melody with big, bold drums and lyrics which deal with the dissatisfaction of the trappings of modern living, from a band that can pull from so many genres, this has them more in their punk edge.
Much like their performances for the last couple of years, most, if not all, of their eras are covered with pre-King of Conflict songs like “1000 Times”, a handful from King of Conflict itself, Divides, Sitting Ducks, Northern Sun Sessions and their post-lockdown material all make up what is essentially a “best of” set, as if they’re getting all of them ready for later this month to bring the best of the best when they play across numerous countries.
The groove-laden “Dead Man’s Shoes” has people dancing with its raw, razor-sharp riff whilst the classic-sounding “Devil Keeps Coming” with its own swing towards the end of the set is the last bit of respite afforded before the final seven pile on the intensity and double down with every song to the end. It’s a set full of their trademark intensity and authenticity with Ally Dickaty (guitar/vocals) and Danny Dolan (drums) giving every last ounce of energy they have on what has been a busy few weeks for them. There’s no signs of fatigue despite having played less than 24 hours previously in Hull and play the eighteen-strong setlist like it’s the first time they’ve done it.
Ally bounces on the balls of his feet, as if sizing up the microphone which he practically throws himself into at times to deliver impassioned throaty vocals as well as vocal chord-shredding screams. Likewise, his guitar licks flow from him like turning on a tap and his interstitials between songs to give Danny a quick breather are quirky and playful but show an undercurrent of skill. Meanwhile, Danny is his usual self, taking his characteristic standing position for the start of “Running For My Life” and “Portrait of Red”. He gives a fervent performance on “Where Are You Now?”, balancing grace and finesse with breakneck speed. His stripped back kit is effective and he’s able to show how versatile a drummer he is simply by using the bell and surface of his cymbals, using a ship’s bell or hitting the kit with the “wrong” end of the drumsticks.
With songs like the thrashy and borderline feral “Lies Lies Lies”, “Free to Do Whatever They Say” and “You’re a Killer”, the band take aim at injustice, hypocrisy and disproportionate fairness (such as wealth and opportunities). The call out the suppression and exploitation of people and the notion of living in a post-truth society. Meanwhile, “Lost Weekend”, “Devil Keeps Coming”, and “Where Are You Now” are loaded with anguish, the melody itself a reflection of the experience of the now-distant lockdowns. There’s also the swing of “Look Out For My Brother” which also offers solidarity and is dedicated to Azda who is back after missing the first couple of weeks of dates (but was ably substituted by Ally and Danny’s friend, Phil).
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As “Just a Ride” and “Bang Bang Bang” close out the set, they forego an encore (more bands should do this), saving two of their most popular cuts for the finale, allowing the crowd to respond accordingly. There’s a lot of love shared between the band and audience and as someone who saw them multiple times over the last few weeks, or even if you’ve only seen them once, their authenticity bleeds from them. In an industry which is built and thrives on artificiality, The Virginmarys cut through it all with a raw and rare truth. Consistently delivering a thrilling live show that is built solely on music which will resonate regardless of sub-genre interests, ignoring trends and fads, they remain the best band on the UK circuit.
Photos by Gabi Kowal
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