- Music
- 20 Oct 05
John Peel Tribute Night at the Hub, Dublin
A fitting tribute to the late John Peel, showcasing an impressive collection of diverse bands, all of whom featured on the legendary broadcaster’s show at some stage – a testament to the Radio 1 DJ’s tireless promotion of new music.
Tonight was a fitting tribute to the late John Peel, showcasing an impressive collection of diverse bands, all of whom featured on the legendary broadcaster’s show at some stage – a testament to the Radio 1 DJ’s tireless promotion of new music. The evening kicked off with a superb performance by House Of Mexico, whose bewitching brand of angular guitar-pop set feet tapping among the enthusiastic crowd. A particular highlight was the brilliant closing cover of Gene Clark’s ‘Elevator Operator’, which segued flawlessly from ‘60s psych-pop to an awesome ‘I Am The Resurrection’-style dance-rock groove.
Next up were energetic three-piece Female Hercules, whose thumping, bluesy brand of punk puts one in mind of Black Rebel Motorcycle Club. ‘In With The Out Crowd’ was an early highlight, its corrosive riffing and wry, outsider-chic lyrics proving a particularly potent mix.
From there, a ferocious Wire cover and a scalding rendition of ‘I Start Counting’ brought the set to an explosive close, the songs brimming with the vigour and aggression that so often comes with the power-trio format.
Which brought us to Smiths-u-like, '80s torch-pop merchants Hey Paulette – tonight playing their first gig together in 13 years! While ‘You’re Gonna Miss Me’ recalls Morrissey and Marr at their songwriting zenith, it’s not all indie jingle-jangle a-go-go, as the excellent ‘Happy To Be Here’ amply demonstrated. Starting out with a one-two drumbeat that pays homage to ‘Be My Baby’, it eventually slid, ‘Take Me Out’ style, into Strokes-style bouncy guitar-pop. Think ‘Someday’ with a Phil Spector beat. They saved the best until last, however, with the final track, ‘Ceremony’, building from a ringing, dreamy intro to an all-out sonic assault, which featured some remarkably dextrous, Keith Moon-like drumming.
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