Cockney Rejects, GBH, Peter and the Test Tube Babies, Random Hand, The Meffs, Meryl Streek, Dirt Box Disco, Riskee and the Ridicule, et Voodoo Radio

Oi Oi OI! It's the cockney rejects!

Pioneers of the Oi music genre, and therefore massively influential in the breakthrough of the punk scene. Formed in 1978, in 1980 this band hit the charts with an almighty slap. They shook the streets of London and became widely recognised punk stars. They've charted 10 rowdy ruffian albums and still today they are touring with their immensely successful live performances. They are brutal in their lyrics, aggressively chanting at the audience, boisterously parading the stage and transporting the crowd back in time to the working class 80's.

Nothing beats a classic rock and roll gig. But specifically punk, the Cockney Rejects put on a ruthlessly savage attack as a show. Of course their gigs wouldn't go down the same without their biggest hit thrown at you. Cockney Rejects are widely established due to their dedication and homage to their favourite football team West Ham United. The band wrote a number one hit called 'I'm forever blowing bubbles,' and devoted it to their football team. Now the song is amplified out before the start of every home fixture held at Upton Park, West Ham's home stadium, and is sang with such passion from the home crowd that it strikes fear into opposing fans and teams and it's all thanks to the Cocnkey Rejects. The band are full of punk history and are still one of the best punk bands to see live today.

GBH formed way back in 1978 and are considered to be pioneers of English street punk. Although Colin Abrahall and his bandmates are not quite as reckless onstage as they were in their origins, they still have a strong following in the UK, Europe and the States and for anyone who is a fan of the 70's punk revolution, it's a great opportunity to catch a juggernaut still performing live.
Described as a cult classic due to the fact the band never had any commercial hits with either albums or singles, the four musicians swagger around stage as if it were still 1978 and they were 35 years younger. The raspy tones of 'Sick Boy' hardly change through the years and they still pack venues with their pure punk sound, which has not really changed throughout their long discography either.
Audiences are still devout and intently chant back the lyrics to some of the oldest material such as 'Big Women' and encore opener 'Maniac'. The sense of rebellion may not be as appropriate in 2014, yet for the experience of anarchy and the soundtrack to match it, GBH are a solid bet to see that in the modern day.

First heard them sitting on a bed with a girl that looked like something out of Alien Sex Fiend and thought they were not my cup of tea (shall we say).

I've seen them Live a few times now. They put on a show - music-wise they can only be described as 'Slick'. They know how to play - technically they are awesome. Taking my daughter to see them in Kentish Town because she's in music and they are just...professional. Great band.

Errrr...of course, Cock Sparrer are on....

My first time seeing Dirt box disco.
From buying the ticket to attending the support acts changed and that change for me made it the best night at a gig I have been to.
First up Trigger McPoopshute who,s album I already own were so much better live .
Next up was Knock off who were added late on after the original band split.I wanted to see them as I had heard a bit in spotify and liked it.They too were amazing and I look forward to seeing them again in August 18 .
The the main event Dirt Box Disco 8th birthday.The time they were onstage felt over as quick as it started .Thats not to say it was a short set but it was so fast paced it felt over too soon .They blasted out the great songs and everyone sang along .I look forward to the next time which I think is april .

Dear Listener, we’re in charge; not you. Riskee & the Ridicule smash through the speakers on their latest offering, Blame Culture, to tell us in no uncertain terms that they have something to say and we’re going to effing listen. This is the Kent quartet’s newest release, following up their 2014 critically-acclaimed debut, Dawn Of The Dog.

An awful lot has changed since the band’s first album and these guys aren’t afraid to tell you quite how aware of this they are. They don’t care if their ferocity intimidates you; as Riskee tells us on “Molotov Cocktails”, “I never got into this game to be liked for my words.”

While the UK continued to reel from the result of the EU referendum, the band had already acted on it, with Blame Culture ready for release on 6th January. The band’s understanding of the wider cultural, ideological and political challenges ahead led them to share “Colours”, the spoken word piece nestled between tracks 10 and 11, on the day of the Women’s March, following Trump’s inauguration. Riskee & the Ridicule know that now is the time to stand up and fight the numerous poisons breeding in Western society.

Awareness of the current socio-political landscape aside, Blame Culture is crammed with grime-punk bangers that can’t fail to make Dear Listener jump up and dance. Riskee (Scott Picking) has a determined sharpness of tone, cynical and sarcastic, akin to Scroobius Pip. On “Banger” he’s not worried about whether future challenges will be overcome, “We won’t make do with what we’ve got cos what we ain’t got we will get. No sweat.”

Blame Culture’s upbeat punk, and at times even venturing into indie-disco, mix should eliminate the band’s concerns on “Drown” about whether they are commercially relevant. This album moves genres forward and even generates fresh ones, soldering sharp-tongued quips on to a well-oiled rhythm and guitar section (Jimbo Aglony, guitar, David Thomas, bass and Matt Verrell, drums). There’s just a hint of teenage angst about Blame Culture, and something almost pointing towards the 10 Things I Hate About You era. Neither of these are bad things, this is angst for grown-ups. Let’s face it; that’s pretty much where we’re all at right now.

There’s no filler on this album, with tracks like “Running on Air” and “Hipster” carrying instant anthems. Riskee & the Ridicule also aren’t afraid to move into slightly darker soundscapes with “Backwords” and “Daddy’s Boots,” pushing more of the lyrical content, favouring wordplay and dense wordscapes, instead of trying to have you sing along. These guys are feeling positive about their future, despite the current outlook, and they’re inviting the world to join them as they tell us on “Party,” “If life throws you a curve ball then make it a learning curve.”

As the results of the US election were announced, some of us joked about battening down the hatches and sitting the next four years out. After all, by then the effects of Brexit would be laid out for all to see. Others saw the fear and devastation of those whose rights are jeopardised, and reminded us how lucky we are. The wisest warned us that the only way out of this mess is to stop assuming sense prevails and called us to action. Thank goodness Riskee & the Ridicule are here to lead the way. After all, as they demand on “Nobody Likes Us”, “You don’t tell us when we’re finished/We tell you lot when we’re finished.”