One must wonder what Jim Beam is welcoming us to? Are they welcoming us back from the lockdown hangover? Welcoming us back to bands being able to play again? Welcoming us to wide-ranging line-ups? Whatever it is, it’s exciting to watch.
There has also been much deliberation within the Pretoria alternative scene about the sound in Railways’ open theatre, with bands and patrons alike complaining about how erratic the acoustics can be. Tonight, however the sound is on point. It’s loud, balanced and focused and people are trickling into the theatre by the time the first act soundchecks.
The opening act is Sun Xa Experiment. Dressed in full body paint resembling ancient African war paint, their opening track is a slow burn. Based on the faces of the predominantly white crowd, it’s lost in translation for some. However, when they break into traditional a verse/chorus style, their haunting presence is felt. Their front woman Buyisiwe Njoko is radiantly controlled and strong. “When your heart says yes, you allow great things to happen,” she says to a now invested small crowd. It’s hard to pinpoint their sound–it’s a melting pot of BCUC and Tool–but it works.
Up next comes two-piece outfit Make-overs–they take to the stage with a ferocity that is impossible to ignore. The drummer and guitarist ooze angst from the moment the first punishingly loud note is played. This is garage rock grunge madness. Their vocals are stripped of melody and to the point. It’s unbearable not to chant along to lines like, “We own the future, so you better be afraid.” For fans of Nirvana and Hellcats alike.
When I catch up with Andre Kriel, guitarist from the Black Cat Bones, he smiles mischievously and says, “We are in for some trouble. A bit of good trouble.” One expects nothing less.
But the Bones have changed, they have matured. Their opening montage proves their musical prowess. They have swopped their brutal roaring rock and roll sound for heartfelt blues, and the crowd appreciates it. The age gap in the audience is now vast. First year varsity girls rubbing shoulders with the after-work crowd who should be at home with their wives and children.
Midway through the set a bottle of Jim Beam is distributed Cajun-style to the audience and it’s fitting, while The Bones are like a punch to the gut, a reminder that alternative music is alive and well.
In his first show in Gauteng in over a year, PHFAT take to the stage and it’s not quite there. It takes a full song for him to settle in and the crowd interaction feels forced at times. Vocalist Mike Zietsman starts moving more and actually performing and the now-full theatre gives back some energy. They play some new material which is well received, but one can’t help but feel they used this gig as a practice for more shows to come.
Whatever Jim Beam is welcoming us to is authentic and decent and the crowd is left with a sense of inclusion. The nerves over such a vast-ranging line-up have long since dissipated in the bottom of a bottle of Jim. Long may these sessions last.
All pics courtesy of Christelle Duvenhage.
