There is nothing as unappealing as leaving the house after dark on a cold, wet Tuesday night in October. But down by the river, contained within the expanse of Bristol’s Marble Factory, the embers of a very special night were beginning to glow and beckon us into the bowels of the city.
We had been told how good the US collective Brass Against is live. We had been told it’s a show you simply must experience in person, but nothing could have prepared us for the 90-minute wall of sound that came crashing down on us. Forty-eight hours later, and we are still in a state of disbelief.
Individually gifted, collectively unparalleled.
The rotating selection of musicians and vocalists, renowned for their unique brassed-up covers of heavyweight rock classics with a political edge, has just released a new album that drops some original brass bombshells in amongst their irresistibly unique reimaginings.
The anticipation amongst the crowd peaked as the house lights dropped, and silhouettes of large instruments formed amongst the shadows on stage, occasionally revealing a glint of brass from the sparse stray lights in the main hall.
Then, as if someone has lit a stick of dynamite and thrown it from stage left, Liza Colby emerges in a swirl of flowing dreads and fast-handed tambourine shakes. We were underway in the most glorious fashion, with Liza leading the army of musicians, including collective founder Brad Hammonds on guitar, as we traverse an evocative blend of big band sound, jazz, rock, and hip-hop.
The fusion is unique, powerful, and empowering. Liza’s performance doesn’t politely ask for your attention; it demands it. Incredible renditions of Rage Against The Machine’s call-to-arms anthem “Killing In The Name” and Audioslave’s “Gasoline” elicit fists in the air from those watching.
Before we have time to catch a breath, Liza is gone, only to be replaced on vocals by the astonishing Cunio. A Warlock, a dark wizard that casts a trance-like spell over the audience with an incredibly intense performance. That prickles the senses as he locks eyes with the front row with a stare that penetrates the soul and vocals that shake the bones.
It is awe-inspiring stuff and sets the tone for what feels like two gigs in one. The brass army is the only constant as the two vocalists duel and swap throughout the set.
The strength of this group is in its collective nature, and it’s great to see each of the ultra-talented musicians given the opportunity to step out of the shadows and have their chance to shine in the spotlight, just like the “Seven Nation Army” that the band impeccably covers and blends with “Pusherman.”
Marble Factory was built for nights like this, with its top-level sound systems allowing the big band sound to resonate outward and fill every molecule of unoccupied space.
Brass Against finishes off with AC/DC’s “Back In Black,” and just like that, the stage indeed goes back into black, and we are left feeling angry, inspired, and ready for change. Mission accomplished, Brass Against. Mission accomplished.
@thebristolnomad / @bristolnomad_gigphotography
Role: Photographer / Reviewer / Interviewer
Chief, the one that bugs the team for team for their reviews and images. Creator and founder of The Bristol Gig Guide. Can usually be found swamped in admin or getting cramp kneeling at the front of a gig.
Available for: Gig Shoots, Gig Reviews, Photo Shoots, Album and Single cover shoots, Videography work, Interviews and Touring
First attended gig: Republica, circa 1996.
First gig shot: Hands Off Gretel, at The Louisiana!
Dream gig: Huge metalhead and my ultimate dream gig would be shooting my heroes Slipknot at a huge stadium gig, or as festival headliners. And to experience shooting a headline tour outside the UK
