Taylor Johnson arrives for a heavy night of rock at one of the Cellar Bar's final gigs before the rather legendary venue calls it a day.
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The night was kicked off in style as special guests Car Chase City took to the stage. Their infectious enthusiasm and boundless energy acted as the perfect introduction to the evening, getting the audience on their feet immediately. Highlights of an uptempo set came during the Blink 182 styled 'Home', that had the band at their full frontal best, standing on amps, diving around the stage and headbanging as if their lives depended on it. As the song blasted along to it's distortion heavy conclusion, two members of the audience ran on stage and proceeded to hoist the lead singer and bassist in the air, triumphantly shirking any and all safety regulations in the name of rock and roll. It was the kind of thing that only the Cellar Bar can produce and the audience were loving every second of it.
Next on the bill was Belfast's most exciting alternative rock act Those Ghosts. Blasting through a tight and polished set, the Strabane lads turned out potential hit, after potential hit, with tracks such as 'Enemies' sounding like a classic, just waiting to make it's appearance on a Fifa soundtrack. Towards the end of the set they unleashed 'Evelyn', the jewel in the crown, cleverly dedicating it to The Cellar Bar's dedicated punters in the process. The highlight of the set came in the shape of the beautifully articulate 'Not Waiting For The End'. Set to a melancholic back drop of arpeggio guitar, the relatively new track is quite possibly the best song the band have written in their short time. If they continue to create songs of that quality and honesty the future could be incredibly bright for Those Ghosts.
This was followed by Dog Will Hunt, a guitar driven three piece who describe their sound as 'heavy dance funk'. This unusual combination of rhythmic grooves, high tempo, upbeat riffs and angry screamed vocals got a fantastic reception, as well as creating a colourful and perplexing contrast. If Dog Will Hunt's manifesto was to get people dancing, create a mini, but by no means less committed mosh pit and play very, very loudly, then it was no doubt mission accomplished. A fantastic relationship with the audience and natural stage presence added a personal touch to a watertight set.
This paved the way for The Big Grizzly, an energetic, punk, metal three piece with an electronic edge. The band came storming out of the blocks, ripping straight into their set with all the passion of a band about to play Wembly. This was made all the more remarkable by the fact that, the bands drummer (Sean O'Neill) was unable to play last minute, leaving their unique blend of distorted-metal without a drummer. Yet, just as the band were about to kick off Car Chase City's Phillip Crean made the brave decision to step in. It meant having to completely change the gigs setlist, yet, it worked brilliantly. Charming and witty, Bill Woods bass playing and vocals never faltered, despite claims that a virus had left his throat 'Away with the fairies'. 'Get Loud' particularly stood out, as Anthony Captains frantic guitar work encapsulating an exhilarating performance. A high octane set, The Big Grizzly turned a potential disaster into a memorable performance.
As the night progressed into the early hours it was finally time for headliners, The Rupture Dogs. With an audience already fully committed to the Rupture Dogs cause, there was no pressure on the band and thankfully that's just how they played. It was a trademark set from the Belfast veterans, at times engaging, at times tumultuous, but always captivating. The enthusiastic crowd thrived off every syllable, as the band eased into proceedings effortlessly. The gig descended, understandably into madness towards the end of proceedings and as the final riff echoed out around the tiny venue, you couldn't help but feel the beginning of the end couldn't have got off to a better start.
Taylor Johnson
