The Blue Rogues

The Studio at Gorilla, tucked under the Oxford Road station, shouts industrial chic with its railway arched front and lightbulb sign. A stage cuts into the room, our setting for the night.

Damsens twist onto the stage, their branches wrap around their guitars and microphones, their leaves intertwine with drumsticks and picks, the tree’s fruit not yet ripe. The whine of their guitars awakens the room from its hibernation. The eerie call of ‘Year of the Fawn’ creeps across The Studio. A switch is flicked, the singer screams into his mic, his hands moving a mile a second, the guitarist replicating his speed, the bassist striking his instrument with such haste that his strap snaps, forcing him to his knees to keep control. Their set continues with passionate aggression, the 3 suited men writhe against their instruments as they thrash across the stage. The drummer, pinned behind his apparatus, heavily striking his drums causing a tsunami of sound. Not one eye is visible, long black hair drapes over the faces of each musician, flicks and falls back upon microphones. The guitarist, in a frenzy, drops multiple picks about the floor, drawing a new one from his back pocket each time. ‘Beer Muscles’ and ‘Job Seekers’ smash through the room and the 4-piece band terminate their set with ‘Snapchat Will Be the End of Humanity’ and a lengthy instrumental finale, the drummer slumping over his kit. The damson fruit ripe for consuming.

Like second nature ‘Welcome to Paradise’ strutted its way into the instruments of Bad Penny. The 4 men stand as strong pillars of music throughout their set; the singer dons a pair of sunglasses for the dark, red-lit room. ‘Heartbreaker’ gives a soft country blues vibe to the proceedings; the singer’s hand runs along the neck of his guitar. The band flow through an armoury of songs. ‘Dear Liza’ is plucked from their arsenal. The photographer’s camera flashes, throwing bursts of bright blue light across the red room, illuminating band and audience alike. Finally, ‘Love Thy Neighbour’ is played - an ode to togetherness - stirring the crowd to sway back and forth: a fitting final flourish.

John shoots a cheeky smile to Sam; The Blue Rogues kick off their set with the self-penned ‘Ballacrye’. Benji goes ballistic on the drums, his sticks an extension of his very arms. Sam, from the shadows, his hands dashing from bass string to bass string. John scrunches his face as he sings. ‘Cut My Hair’ begins as John flicks his bandana-adorned locks and struts about the stage. ‘Ecstasy Unearthed’, another original, kicks off. Benji removes his jumper to give him the freedom of a rolling wave moving across his drumkit, his glasses fly off as he crashes his sticks against his cymbals. Destiny betides the trio, another cover, this time it’s ‘Along the Watchtower’. John channels his inner Hendrix and rolls into the crowd, his fingers rippling against his guitar strings. He turns towards the drumkit, sinks to his knees, still playing, an act of worship to Benji’s wall of sound. The set ends with ‘Lost Man’s Speech’ such energy emanates from the 3-piece band as their time in the red spotlight ceases. The surge has broken, the waves of music no longer lap at your ears, the instruments are packed away, the ocean settles at The Studio, Gorilla.