As the temperature soars in ol’ Blighty it’s that time of the year again to board the Psychobilly Airways flight to Barcelona for the thirty second annual Psychobilly Meeting in Santa Susanna. Day one of this five-day marathon begins with a walk down to Santa Susanna station to catch the coach to La Siesta, the venue for the event, perched on the top of a hillside on the outskirts of the town. I am delighted to say that the air-conditioning inside the venue is functioning more effectively than when I last made my pilgrimage to the European Psychobilly Mecca two years ago. 

First on the bill for tonight’s Wrecking Queens themed night were all-female band the Radiactivas. Essentially a punk band, this combo got the festival off to a sure-footed start with a Ramones-eque aesthetic that certainly got one’s foot tapping along. 

Next on the bill were the excellent Smell of Female, who, as the name suggests, are a Cramps’ covers band. From the ‘Most Exaled Potentate of Love’ and ‘You’ve Got Good Taste’ from the Smell of Female album through ‘What’s Inside A Girl?’ from A Date With Elvis via ‘Let’s Get Fucked Up’ from Flamejob, this stellar band did not put a foot wrong, invoking the ghost of Lux Interior and the memory of Poison Ivy to a tee. If you hadn’t been fortunate enough to see the original band play, then I would be very happy to recommend Smell of Female as an approximation of the sound that the originators of our genre delineated. Of course, no-one can encapsulate the maniacal front man quite like King Lux, but as a second-best, this lot are not a bad place to start.

This takes us to Ro and the Skullboys, a Spanish band hat I had the pleasure of seeing play Santi’s Beach Bar a few years ago. Led by the charismatic Ro, this band brought plenty of attitude to their own particular blend of Psychobilly. With cover versions like ‘Tainted Love’ alongside plenty of original material the band puts in a very solid performance that endears them to the assembled. 

Closing the show this evening are the titans of Eurobilly, the effortless purveyors of cool, all the way from Zurich, Switzerland, the Hillbilly Moon Explosion. Opening their set with ‘Back In Time’ the eponymous track from last year’s superb album, the band gets things under way with a grooving masterpiece that segueways delightfully into the slightly left-field wonder of ‘In Space’. Tonight’s set is a veritable profusion of greatest hits dispensed with considerable aplomb. Band leader, bassist and vocalist, Oliver Baroni has made an artform of stagecraft, a case in point being his rendition of ‘I live In My Head’ which exudes groove. Alongside Mr Baroni is the incomparable Emanuela Hutter, whose searing ethereal vocals deliver a je ne sais pas that is absent from all the other bands on the scene and indeed the planet. She is particularly masterful on self-penned ‘Queen of Hearts’, ‘Reno’ and the wonderfully melodic ‘1979’. Duncan James, a man who just a week earlier was hopitalised, and who was touch-and-go for this festival is on absolutely stellar form. His guitar lines are gems of conception and execution and he lifts every song that he plays on. Drummer Silvain Petite is the very definition of a drummer’s drummer, never over-playing, but delivering groove after groove with a sense of effortless superiority. And of course, ‘that song’ brings to the stage one Mark Phillips for a heart-warming rendition of ‘My Love For Evermore’. The final song, the Ronnettes’ ‘Baby I Love You’ is a perfect salute to all that this band brings to e scene: absolute professionalism, consummate musicianship, and a stage presence second to one-one. This may well be the best rock and roll band in the world.

Day two got off to a good start with old school Psychobilly thanks to Three From Hell. Then it was time for a band that played at the Psychobilly Meeting, but quite some years ago, they have also been keeping quite a low-profile on the British gig front since the departure of the band’s guitarist Callum Houston for his new life in France. However, the band has received new impetus since main-man of the Rocker Covers Kris Passmore joined slap-bassist and vocalist Joe Grogan and drummer Tom Lord. To cut to the chase, the band is now back up and running and, as this performance so ably depicts, is firing on all cylinders. All of the classics from ‘Cheryline’, ‘The Wasted’, ‘Won’t Back Down’, ‘Never Get Me’ and ‘Dancefloor of Death’ are present and correct. This evening’s performance does much to illustrate what a phenomenal rock and roll band the Johnny’s are and quite how sorely missed they have been on the live circuit. Would it be too much to hope for a new album in the not, too distant future? It is after all, only eleven years since Dead Transmission was released. 

From one superb band to another, next it was the turn of those French marvels the Astro Zombies. Clearly drawing on surf and psychobilly, this band has a sound all of its own and also now has quite the catalogue of its own material. Having said this my favourite track of theirs remains the band’s imperious cover version of ‘Bang Bang’. Bobbi is a fine guitarist who is also possessed of a fine set of lungs. On the drums is the gallic behemoth Gaybeul Gauldi who approaches his drumming duties in an entirely different way to his Demented day duties, it really is so impressive, it is like he is two entirely different drummers. The line-up, completed by original slap bassist Blondo, is very fresh and dynamic. Theirs is a superb set.

To the penultimate act of Day two, it is those Irish loons the Klingonz. I say it every time that I review the band, but it is quite true to say that the Klingonz are the epitome of a Marmite band. There are those for whom the klowns are just too fast, hard and punky and lacking in billy. Whllst there are those for whom these are the very qualities that appeal. There can be no doubting that Titch is a charismatic front man, and with the fire-breathing, sword swallowing Shakes, there is always something to catch the eye. Cover versions of the Dead Kennedy’s ‘Too Drunk To Fuck’ and the Stray Cats’ ‘How Long You Wanna Live Anyway’ sit comfortably alongside ‘Oompaloompa’ and ‘Desructabotz’ in a set hat is high on energy and thin on subtlety.

To the final band of Day Two and we have a treat in store: it is the Long Tall Texans with the added bonus of saxophonist Paul Mummery who featured with the band in the 1990s, in particular, on the Aces and Eights album. Songs like ‘Notice Me’, ‘Border Radio’, ‘Innocent Look’ and ‘Bloody’ all sound absolutely stellar with the sax. Of course, the set, as a whole, is as tight as a vice with Laurence Hawkins immaculate guitar playing complementing the outrageously gifted slap-bass playing of main man Mark Carew. The cameo performed by Mark’s son Reggie who, along with his young friend, danced across the stage raising their middle fingers as the band played ‘What Part of Fuck Off Don’t You Understand?’ merely gilded the band’s lily.

Day Three got off to an impressive start with a band that I last saw play at the Bedlam Breakout festival where they impressed me with their old school Psychobilly sounds. The Graveyard Mutants, as the name suggests, are inspired by the 1980s sounds of the Meteors. ‘I’m a Loser’ and ‘The Other Side of Midnight’ demonstrate a sharp appreciation of the billy side of things, whilst covers of the Cramps’ ‘What’s Inside a Girl?’ and the Meteors’ ‘Graveyard Stomp’ and ‘Mutant Rock’ underline the psycho sensibilities of the band. This is a fine set.

Next to the stage is a band that has worked wonders in the past few years having emerged from the dying embers of thee Waltons. With their signature dual drummer combo occupying the centre of the stage and flanked on one side by slap bass and harmonica and on the other by cigar box guitar and vocals, this five-piece produce the most wonderful racket imaginable. Thee Scarecrows AKA play a bluesy concoction that gets the place really jumping. Playing songs such as ‘Fungus Among Us’, ‘If I Only Had A Brain’ and the quite sublime ‘Empty My Sack’, the band demonstrates a grasp of humour that is matched only by its musical prowess. They are a peculiarly British phenomenon is the same way that the Carry On team and Chas n’ Dave were and, as such, can be deemed a national treasure.

Next up were Mark Burke’s the Phantom Rockers. It seems as though it is quite some years since I last saw this band play live and thy have been slimmed down to a three-piece. This hasn’t affected the power of the band one iota though as it storms through a set of largely self-written Psychobilly gems.

The mighty Polecats had been drafted in as an eleventh-hour replacement act. This is music to my ears as north London’s finest happen to be one of my favourite acts. Built upon the rock -solid rhythm section of John Buck on drums and the bassist’s double bassist Phil Polecat, the band also boasts one of the very finest guitarists in rockabilly in Boz Boorer and one of the best front men in the whole scene in Tim Polecat. As usual, the band explodes onto the stage with its cover of Bowie’ ‘John I’m Only Dancing’ before morphing into ‘Big Green Car’ which sees Tim seemingly stumble over the words. I have never seen this happen before and it seems to have had the result of shocking the band into an otherwise faultless set. ‘Crepe Soul’ the band’s latest recording fits into the set delightfully with its fond reminiscences about the 1970s and of course, ‘Little Pig’ with audience participation goes down a treat, as does the Cavan cover, ‘She’s the One to Blame’. The encore sees long-time Polecats’ fan and occasional bassist, Steve Whitehouse, join Tim on vocals for ‘Marie Celeste’. Which leaves time only for ‘Rockabilly Guy’ – another superb performance.

The Ricochets take to the stage next with a great rockin’ set that sees Dave, Sam, Steve and Ginger turning back the years. ‘Rockin’ in the Graveyard’ is a gem of a track and does much to ignite the passion of the assembled. ‘Migraine’ is, however, the track that really elevates the performance. It has been a joy to behold that this band, that is so central to the genesis of the scene, has been able to perform at the Psychobilly Meeting once more.

Frenzy headline the third day of the festival and their set is everything that you might hope that it would be. It is fast and furious, but also very fine musically. As one might have expected after having played together for so long, the band is extremely tight. Opening its set with ‘Robot Riot’ before playing my favourite Frenzy song ‘Clockwork Toy’ the set continues to build and build with classics like ‘Misdemeanour’ and ‘I See Red’ which sees Steve doing his Freddie Mercury-style call and response vocals. It is evident to all that Steve thoroughly enjoys what he is doing and that is infectious. In short, the band goes down very well indeed.

Day Four was the one day that I made it to the beach bar and had the very great pleasure of seeing the Deltas play, for what is quite remarkably the first time at the Psychobilly Meeting. Their set was really quite fantastic. Captain Pat Marvel resplendent in red trousers, leopard print shirt and neck scarf looking every inch the dandy was in his element unleashing firey riff after riff with such gusto that he sometimes left the stage with dynamic kicks. Newish drummer Ronnie clad in a sailor outfit appears absolutely settled in the band, she is undoubtedly a good addition to the band. Kev Magee, wearing a grass hula skirt, is utterly dependable and capable on the slap bass and Stevie Bongo is the maestro on vocals. Playing material from across the band’s 40 plus years including gems such as ‘Raging Sea’, ‘Boogie Train, ‘Good Time Guide’, ‘Spellbound’, ‘Boogie Disease’ as well as the track written for Cavan, ‘Empty Chair’, the band dispenses all of these with wonderful panache making this one of the standout performances of the festival.

The first band on in the evening session was Finnish band Wanton who had a good old school Psychobilly sound with a vocalist who had that slightly goth/death metal quality to his voice. The band was good and played an enjoyable set. Exactly the same can be said of Rockin Bones the band that followed them to the stage.

Next up were Peter Sandorff’s superb Hola Ghost replete with mariachi brass section. The band is wonderfully evocative and epic in its arrangements and echoes this with stage outfits including sombreros and embroidered jackets that conjure up images of 19^th century Mexico. ‘Django’ is perhaps my personal favourite song in the band’s repertoire though I am extremely excited by the prospect of a new album that Peter announced this evening.

CM Wolf and the Backbones were next to the stage and it was the first time that I had seen Mr Moinichen since his split from the Delta Bombers. I was, it is fair to say, very impressed. Chris has assembled a very able group of musicians that allow his talent to shine. Much of the material is that of the Delta Bombers so it is should not be so surprising that I was so taken with the band. ‘Pressure and Time’ and ‘The Wolf’ stand out as particularly memorable renditions.

The Quakes were next and put on a show of nuanced sophistication blending psychobilly with new wave. Paul Roman is a terrific songwriter and with Juan Carlos on drums and Wesley Hinshaw on bass, he has assembled a fine band. They can also rock too. Theirs was an entirely enjoyable set.

To the headline act, the one and only Demented Are Go. Gone are the days when it was rather pot-luck as to which Mark Phillips would turn up. Now you are pretty much guaranteed a terrific performance – and so it was tonight. Mark has also assembled a terrific band around him: starting at the back with Gaybeul Gauldi, one of the very finest drummers on the scene, on bass Grischa who is exceptionally talented, and on guitar the mercurial Holger who fires off riffs with impeccable accuracy. The band powers through forty years of genius songwriting with ‘One Sharp Knife’ and ‘Country Woman’ standing out as particular favourites, but you could have picked any. The mighty Sparky prowls the stage, bends double and produces the most extraordinary vocal technique that I have ever heard. He really is a one off!

To the final evening of the festival at La Siesta. The Psychonauts got the evening off to a good start. Though I confess to being a little surprised by the guitarist who didn’t play one solo as far as I am aware, favouring instead a technique whereby he strummed chords with a slightly more staccato technique where one might ordinarily expect a solo to be.

Swedish band the Nevrotix took to the stage next and really impressed with their distinctive tight sound. The vocals are delivered in a very calm fashion that also betray a certain inner sinisterness. ‘Paranoid’ and ‘Nervous Beat’ stand out as particular favourites. However, it was when the special guest was announced that things were really elevated to another level. Guitar supremo of the Test Pilots, Anton Eriksson is a simply phenomenal guitarist. Describing what he does on the neck of his telecaster is simply beyond me, suffice to say that he is all over it and he embellishes the four tracks on which he played with the most extraordinary melodic lines imaginable. ‘Moon Monster’ was transformed into one of the best songs that I have ever heard. I fear that these words fail to convey my love of Anton’s playing, but I shall simply say that seeing these four songs was worth the ticket price alone.

Tasked with the unenviable task of following the Nevrotix was Gorilla. Having seen this Hungarian trio at the Psychobilly Meeting before I knew that this was a serious outfit. And so it proved, with the band drawing upon material from across its three albums demonstrating what superb musicians they are. It is a little surprising that the band hasn’t recorded any material since Flamenco Death in 2003. I would love to see them produce a new album and perhaps appear at the Bedlam Breakout festival.

Next to the stage was Restless. Three more impressive musicians you would struggle to find: starting with Ben Cooper on drums who is the most ridiculously talented yet restrained drummer around, always prioritising what is right for the song rather than showcasing his prowess, on bass Mr. Paul Harman who in addition to being an incredibly rhythmic player just seems blessed with an innate musicality, while lead singer ad guitarist Mark Harman really needs no introduction he is the master of the telecaster and arguably the finest rockabilly guitarist in the world. Mark is blessed with incredible speed and agility around the neck of his telecaster which alongside years and years of practice results in a joyous profusion of musicality. This is evident from first song ‘It’s A Scam’ to last ‘Edge On You’. It is, however, on a cover song, ‘All By Myself’, a Johnny Burnette classic, that Mark’s magic particularly shines through when he plays the simple melody but embellishes it with country bends and then slips effortlessly into the solo from ‘Train Kept a Rolling’. It is a real pleasure to see such masters at work.

Which leaves just one band to close the festival and that is King Kurt. Appearing in vicar outfit Smeg is on typically mischievous form as he leads his troops through ‘Road to Rack n’ Ruin’, ‘She’s As Hairy’, and ‘Wreck A Party Rock’ just to get the party started. There is no relenting for the duration of an hour long set of classic after classic King Kurt gems. There may only be Smeg and John Reddington surviving from the first real incarnation of the band, but they certainly still know what they’re doing and the addition of a keyboard player to their ranks demonstrates that they are still willing to innovate. Moreover, as performers you really cannot fault the band; they always provide top quality performance.

This has been a marathon week of psychobilly and with one exception I confined my exertions to the evening session. I am conscious that, in doing so, I missed out on some terrific band including Galloping Dick and, of course, the wonderful Zipheads. Unfortunately, health concerns preclude the full-on punishing schedule of yester-year but five consecutive nights seeing the full roster of bands is still not bad going. There have been many highlights as I hope that I have illustrated in this, comparatively, brief review. If you were there, I’m sure that you have your own favourites that might well differ from mine, but if you weren’t there, I encourage you warmly to go and give it a try next year – I suspect that you may enjoy yourself.

Nick Kemp

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