Thursday nights aren’t supposed to matter.
They’re supposed to hold a place as the awkward middle child of the week. Sitting in that dismal mid-point between Thursday’s work day, but Friday still feels like a distant echo.
The vast majority of the British public spend them cooking dinners, working out and trying to catch an early night. However, once a month those of us who have been blessed by the palm of rock ‘n’ rolls hand embark on a hallow journey to a pub in the heart of Camden, casting Thursday night traditions aside.
Packed into a commuter train from Southampton to London, I’m joined by a sea of glum faces, suits and laptop bags.
As I sit (If I’m lucky) with my AirPods tuned into the sound of that nights entertainment, the mind meanders to a few hours time. Now a veteran of these events, I know where I’ll be standing. Wedged between the bar and the pack of familiar faces. From a reviewers standpoint, it’s the perfect place to capture the sound without being too close to the speakers.
I know what I’ll order. “A pint of coke please mate”. I work close enough to the station to leave my car there. Besides, a sober review is a better review, right?
The Good Mixer will be packed with the same faces, music lovers and pub regulars. Someone will recommend a new artist to listen to (Usually Mr Steve), and they’ll usually be in the crowd.
That’s the great thing about these nights. Curiosity is rewarded. Mr Steve compiles extravagant and ambitious lineups, and you leave talking about a band you’ve never seen before.
In a secret addition to July’s show, frontman of Southampton post-punk band Plastersun, Fergus McLean opened proceedings with an acoustic set. Sticking with the Hampshire theme, alt-rock four-piece December Magazine made the journey from the South-coast.
Indie three-piece Modern Syndicate were next to take to the stage with a set packed full of indie melodies and jangle pop. Post-punk band Screens ended the night with their debut headline performance and an energetic set to match.
Mr Steve took his usual stance behind the mic, armed with his now infamous hat, glasses and scarf combination. Thanking the adoring fans and friends he’s made along the way, he swiftly took his position by the bar to make way for Fergus McLean.
Joined today by producer on acoustic guitar, Phil Wilks, McLean worked his way through a short set of original hits. The set included two new songs, more on them coming soon.
Having previously played a Mr Steve show with the full band, the acoustic format allowed the Plastersun tracks space to breathe in the historic room. Usually packed with melodies, bass and drums, this was traded for the intricate eccentricities in his performative movements, as his powerful voice commanded all attention. All whilst stood behind the tallest mic stand I’ve ever seen.
Next up, Gosport band December Magazine played to their first ever London crowd. Previously sharing a bill with Plastersun, they were ready for what the capital city crowd had in store for them. Their psyche-infused rock ‘n’ roll sound was packed to the brim with swirling, atmospheric guitar solos, driving basslines and a pounding drumbeat.
Their set was immediate, and brimming with high-octane energy throughout. Their unpolished, kinetic sound is perfect for a venue like The Good Mixer. Breaking a string didn’t deter them from ripping through their set and giving the Camden faithfuls exactly what they turned out for. Good time rock ‘n’ roll.
Modern Syndicate arrived on the stage with a sharp, mod-revival look, attitude and sound. Hearing their first couple of songs, I leant to into Mr Steve’s ear to exclaim their similarities to historic mod favourites The Who.
The tight, melodic guitar hooks are matched with snappy rhythm sections. The British Invasion jangle sound paired with a mod revival swagger to produce pure adrenaline. The songs were fast and snappy, similar to their witty quips between hits, but the razor sharp riffs and driving backbeat certainly got the crowd going.
I’ve never seen a bass player continue to play whilst sliding through the legs of his frontman before, but it’s certainly etched into my memory now. The full set was a perfect example of relentless power pop, with all the attitude and swagger to match.
This left the nights headliners, Screens. Frontman Joe Capaldi is certainly the focal point of this band. He has a magnetic-yet-unpredictable presence behind a microphone. He effortlessly teams post-punk, barking vocals with melodically-charged hooks.
The heavy-hitting blend of post-punk revival moves seamlessly between brooding, atmospheric builds and cathartic, explosive climaxes. Behind Capaldi, the rhythm section holds everything in line with tight, driving backbeats.
Although it was only a short headline set, Screens offered a real sense of driving the momentum forward during their show. Capaldi didn’t just pace the around the stage, he perused and prowled all corner of the little space provided on The Good Mixer floor.
As they rounded off their set, All restraint had left the room. Band and crowd joined in unison to sway and bounce. Their catchy guitar hooks had cut through the notorious walls, leaving the room in no doubt that they’re one of the rawest live acts on the London circuit currently.
Every time I leave The Good Mixer, I’m telling myself I’ll get the earlier train next time. It never works. Nights like these aren’t just about seeing four live sets. It’s about a community and a crowd coming together to remember that grassroots music is still alive.
Somewhere in London, on a mundane Thursday evening, someone is playing the best set of their life to a crowd of 50. But those 50 will bang the grassroots drum to anyone who’ll listen for at least another week.
That’s what a Mr Steve crowd offers.
Written by Brad Halcrow for The Songbird HQ
All photo’s by Carolynzik+