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Live Review: Deez Nuts – Camden Underworld – 24/11/13

Was this hardcore show as raucous and out of control as you’d expect it to be? Yes. Yes, it was – click through for details

Band: Deez Nuts
Support: Relentless, Obey The Brave, Stray From The Path
Venue: Camden Underworld
Date: 24/11/13

You motherfuckers make me feel like it’s a Saturday night.

It’s not a Saturday night. It’s 10.30pm on a Sunday, and presumably most of the people in this raucous, sweaty congregation of Deez Nuts fans have places they’re supposed to be in the morning. You’d never know it from looking at them, though.

The Underworld’s been alive with stage dives and high fives since the doors opened over three hours ago, and the night hasn’t even reached its climax yet.

JJ Peters has just returned to the stage for the band’s encore, and he’s clearly impressed by the level of passion in the room tonight – especially given what an anti-social day of the week it is.

Flashback to three hours ago and Sydney hardcore outfit RELENTLESS had just taken to the stage to get everybody warmed up for the night ahead. After this tour’s stint in Europe, they seemed very glad to be back in front of an English speaking audience, and delivered a solid set, packed with strong grooves and tight beatdowns.

Next, Obey The Brave kept up the momentum with their own brand of US hardcore. It’s wasn’t long before the night’s first stage diver launched his sweaty carcass into the sea of dancers below – which, it turns out, was a very much a sign of things to come. By the time ex-Despised Icon vocalist Alex Erian bellowed “Get yourself in the pit, represent your scene: this one’s called ‘Get Real’,” people were throwing themselves from the stage thick and fast.

Then, like a thundering, sonic behemoth, Stray From The Path delivered the first real spectacle of the night. Guitarist Tom Williams stole the show, deftly recreating the band’s R.A.T.M.-inspired sound on-record through sheer effects pedal wizardry, dexterously using his loop pedal to recreate several parts simultaneously. Guest vocalists joined the ensemble throughout the set, during ‘Radio’, and for set-closer ‘Bring It Back To The Streets’ – which saw RELENTLESSTrent Baldock return to the stage. After an incredible set, you got the impression some people could’ve gone home happy – their ferocious performance alone was well worth the price of a ticket into the venue tonight.

But the show wasn’t over yet, and when Deez Nuts took to the stage and launched into ‘Shot After Shot’ they reminded everyone why they were top of the bill. Their music is MADE to be played live, and as they ran through their 18-song set the whole room bellowed along – singing the “woahs” in DTD, chanting about being loyal to the scene in ‘Stay True’, and joining in with the unashamedly misogynistic chorus of ‘Sex Sells’.

Steadily, the trickle of stage invasions swelled to something more like a stampede as the guys ran through even more of their newer material. Musically, the Melbourne quartet stepped everything up a notch on their third full-length, and track like ‘Bout It’ and ‘Popular Demand’ were delivered with clinical precision.

Now that the (much hated) stage barrier has been removed, there was little to stop wave after wave of divers from storming the stage. At times it was like watching lemmings flinging themselves from a cliff, and long before Deez Nuts reached the end of set-closed ‘Tonight We’re Gonna Party Like There’s No Tomorrow’ one guy had to be carried to safety after landing on his face, and another was dragged ominously behind the black stage-side curtain by security.

And after all that, the guys left the stage. It had the desired effect, and soon the crowd was chanting “Deez Nuts, Deez Nuts…” After a couple of minutes they were back – and here was are, ready for one last dance.

Peters starts: “I’ve got my band of brothers/And we’re taking it to the streets/If we don’t wake up tomorrow/It’s ‘coz we drink till dawn, we ‘aint trying to sleep,” and for three minutes more, we danced and sang like none of us had to be up for work in the morning.


Reviewer: Solomon Radley

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