Devil's Gate Music
Related Articles
9 shows in 9 days is a slog for any band, throw the small matter of a transatlantic flight into the equation, and it makes the schedule that the bubblegum punk/pop punk pairing of The Dollyrots and Don’t Panic are facing over the next week or so all the more daunting. Especially spare a thought for Don’t Panic bassist Zach Falkow, though, as he might have made it to the UK, but his suitcase didn’t, and tonight on show 1 of 9, he is sporting a fresh outfit purchased that day. Who said rock and roll was glamourous?
Manchester-based – but Welsh-born – raconteur Danny Gruff is acting as tour support on this jaunt. A fantastic name for someone who describes himself as “An angry Welshman”. Solo acoustic supporting acts are the norm on the circuit at the moment, and Danny is perfect for this format. He is funny and charming, has great stories to share with his material, and most importantly, he is loud enough to drown out anyone chatting at the bar. Tonight, the volume is not needed as, for once, most in attendance are giving the support act their full attention. With his latest album, ‘The Circus Is In Town’, tucked under his arm, Gruff makes the most of his allotted time and leaves with far more followers than he had when he first took to the stage. Job done.
Having originally toured the UK together in February 2023, this is a reunion that anyone who caught one of those shows would have seen coming. With the Bowling For Soup connection between both bands being so prominent, it’s all one big family affair. First up are Pennsylvania punkers Don’t Panic with a 60-minute set that flies past in the blink of an eye.
Anthony Paesano counts the band in on set opener ‘Dark Horse’, and any signs of jetlag evaporate as guitarists Ted Felicetti and AJ Larsen set out to ensure that those at the back of the room can still make the pair out on the floor-level stage. Heaps of synchronised guitar playing, and jumping and pogoing like their lives depended on it, it’s almost like they are auditioning for ‘Crank 3: The Punk Years’, vocalist/guitarist Felicetti already has the Jason Statham trademark short barnet and glint in his eyes: just needs the moves.
‘Regret is a Terrible Roommate’ quickly follows on with barely a pause for breath, and it’s fascinating watching Felicetti make eye contact with everybody that he can as he performs. Ever-smiling, he is having a blast as the band plows into the ultra-catchy ‘Woe I’, which features a drumbeat from Anthony Paesano that is to die for, especially impressive considering, as Paesano points out a short time later, he has been playing perched on a broken drum seat. Give that man the MVP Award, and not just for his Hitman Hart t-shirt.
Banter between songs is plentiful, with observations about caber-tossing and dogging bringing the most chuckles. And the relaxed, friendly atmosphere emanating from the stage is infectious, as everyone seems to be smiling as the band bolts from one banger to another. ‘Watership Down’ (a Jared Reddick co-write) and a gorgeous run-through of ‘Consequence Be Damned’ are standout moments, as are a killer cover of Cyndi Lauper’s ‘Time After Time’ where Kelly Ogden from The Dollyrots joins the band as she does on the studio version, and the closing pair of ‘The Long Way’ (with Felicetti pointing out that although he dies in the video, he does his best impression of Bernie Lomax from the ‘Weekend at Bernies’ movies) and a glorious live version of ‘Fall of 99’.
So much fun packed into an hour that it should be prescribed to the nation daily.
Even with technical difficulties that delay the start of the set by 20 minutes or so, meaning that a handful of songs have to be dropped from the set, The Dollyrots still pack more certified bangers into their abridged 50-minute set than most bands have in their career. The ludicrously infectious ‘Everything’, for instance, at other shows by other bands, would be an encore. Tonight, though, it lands casually as the second song. One of those defining moments that showcases everything (sorry, not intended) that makes The Dollyrots so goddam irresistable. Easy to sing along to, it makes body parts move that other songs cannot reach, and it just makes the audience feel good about life for a fleeting moment. The Bangles or The Go-Go’s with louder guitars and more attitude? Maybe yeah, but it is bubblegum pop/punk at its very best. Speaking of bubblegum, yes, Kelly, we did see the gum falling out of your mouth, and you observing the 5-second rule by picking it up and popping it back in your mouth. Because you put your finger up to your mouth in a shsssh kinda way though, we won’t tell anyone. It will remain a secret between you and everyone, front stage left.
Ably assisted by Simon on the drums (scarily looking like Malcolm Tucker on his night off, and taking out his anger by battering a drum kit into submission), the pair of Kelly on bass and vocals, and her partner-in-crime, Luis Cabezas, on guitar and vocals, are a joy to watch. If some brainiac could bottle the sheer joie de vivre that fuels this pair, then they would be set for life.
Technical issues will not hold them back or slow them down. And like Jared Reddick and Bowling For Soup, they do enjoy communicating with an audience. So much so that any form of barrier (real or imaginary) between them and the audience goes up in a puff of smoke as soon as they start to perform. They have a couple of kids together, but tonight they aren’t allowed in the venue because as Kelly points out before a live version of ‘Night Owl’ that is way snottier than the studio version, “Scotland has some very strict liquor laws….even worse than the south of America!” and adds “That is fricking weird, guys.” before correcting herself “I mean FUCKING weird, it’s an all-adult show so there are no kids, obviously!”.
‘I Know How to Party’ is still the same blast as it was 6 years ago, when the rather special ‘Daydream Explosion’ album provided some much-needed colour to an otherwise drab world. ‘Alligator’ is more recent, and thanks to the wooh-wooh backing vocals and power chords from Luis, it is still rattling around the psyche some days later. As is the fun cover of Melanie’s 1971 classic ‘Brand New Key’, which is preceded by Kelly stating that this was the song that she used to love to play when she was learning to drive; this tale segues into the confession that the car didn’t have a backseat, so if Kelly and Luis wanted to get jiggy ‘wit it then they had to use her Dads boat that was parked in the driveway. Not your average show, where it is the band and the audience, a show by The Dollyrots is more like a group of friends taking the piss out of each other like only good friends can.
Ending on a riotous version of ‘Because I’m Awesome’ (will this stone-cold floor-filler honestly celebrate its 20th anniversary in 2 years?), this could have been a night where, because of the technical difficulties, it could have been a disaster. Many other bands would have thrown a wobbler and gone back and destroyed the dressing room. But The Dollyrots aren’t built that way, and instead put on a show that left their fans smiling from ear to ear for days on end.
Catch this excellent value-for-money bill on one of the remaining dates:
April 28th – Nottingham – Bodega (Tickets)
April 29th – Birmingham – Asylum 2 (Tickets)
April 30th – Swansea – The Bunkhouse (Tickets)
May 1st – Southampton – The Joiners (Tickets)
May 2nd – Milton Keynes – Craufurd Arms (Tickets)
May 3rd – Leeds – Key Club (Tickets)
Review – Dave
