LIVE REVIEW: Phil Campbell and the Bastard Sons, Florence Black, The Outlaw Orchestra | Craufurd Arms, Milton Keynes | 15/11/21
2020 saw many a negative event happen, but one event that didn’t fall into that category was the release of We’re the Bastards, Phil Campbell and the Bastard Sons’ second full-length release. The demon spawn of years though also took away the Welsh quintet's ability to tour the record, which they finally got to do this month. Still brimming from their blazing set at this year's Bloodstock Festival, Phil Campbell and his band of bastard sons raised hell within the confines of Milton Keynes’ Craufurd Arms.
The Outlaw Orchestra
Before the lights could illuminate the familial five-piece though, the beams first offered a platform for Southern UK rockers The Outlaw Orchestra. Having no entrance is an entrance in itself, the attitude and swagger evident as the power trio hammered into ‘See You In Hell’ following the close lead of ‘Banjo’ Pete Briley, in place of what would usually be a bassist. The Outlaw Orchestra quickly proved themselves worthy to be pictured as a ‘heavy metal western’, as the banjo danced tauntingly around David Roux’s power chords and Ryan Smith’s battering drums, the urge to both headbang and hoedown overwhelming. Briley impressed onlookers with switching between banjos, lap steels, electric ukuleles, and a Peavy power slide. As a generally fun, quirky, and entertaining trio, the set could certainly have done without the awkward and tasteless sexist commentary between songs, as Roux continued to share anecdotes of comparing his wife to a dog, a prostitute, and throwing her in the boot of his car as punishment for taking too long to change a tire. None of which were imperative to the origins of the songs.
Photo Credit: Georgia Brittain
Score: 6/10
Florence Black
Both talent and respect quickly returned to the stage as fellow Welsh heavy rockers Florence Black proved just why they’re the ones to watch right now, having received well-deserved hype and rave reviews for their debut album The Weight of the World. Guitar feedback confirmed things were about to get heavier, the air suddenly having grown thick and stuffy as hairs still managed to stand on end in the humidity. Opening with ‘The Deep End’, the groove of Jordan Evans’ bass shook the walls as drinks trembled with the same fear as an oncoming t-rex, rivalled by frontman and guitarist Tristan Thomas’ perfectly balanced bravado and guitar solos galore. The Merthyr Tydfil trio ended with an ear-splitting and neck-breaking version of Budgie’s ‘Breadfan’, proving that they’re their roots and so much more.
Photo Credit: Georgia Brittain
Score: 8/10
Phil Campbell and the Bastard Sons
‘We’re the Bastards’ was made for a live setting, even more so to be a set opener. The call and response needed from the audience ensured immediate crowd participation, and if the opening bands hadn’t done their job of warming the crowd up for whatever reason, this song definitely does the trick in a heartbeat. Matching sleeveless blue denim jackets reaffirmed the brotherly bond between the Campbell camp consisting of bassist Tyla Campbell, drummer Dane Campbell, and guitarist Todd Campbell, including newly adopted brother and frontman Joel Peters, who could’ve just as easily been mistaken for blood.
The only member not wearing his custom Bastard jacket was the alpha male Phil Campbell, subtly asserting his dominance and leadership over the group both in apparel and choice of accessories, sporting a guitar strap that labelled him the ‘Welsh Wanker’. Despite a new arsenal of songs, the setlist was heavily sprinkled with Motörhead throwbacks from ‘Rock Out’ to ‘Ace of Spades’, to ‘Going to Brazil’ and ‘Silver Machine’. Covers of ‘Born to Raise Hell’ still do the job of bringing 50-something dad rockers to their feet, partying like it’s still 1979.
Dusting-off tracks from both their debut Age of Absurdity and its follow-up, ‘Bite My Tongue’, ‘Son of a Gun’, Ringleader’, and ‘Big Mouth’ all got their cobwebs well and truly blown. Within the encore, the slower, heavy nature of ‘Dark Days’ emphasised the lyrics “different time, different place// different shoes, but I’m walking the same,” as another brutal and tough year draws to a close. Reverting back to their true form as Peters channeled the cheeky nature of Lemmy by grabbing his own crotch, Phil Campbell and the Bastard Sons closed the night with Motorhead’s ‘Killed by Death’, hinting that that may have been the only way to get them off the stage after their four-track encore.
The sweat seeping through the back of four denim jackets and one black t-shirt proved just how much of an energised and old-school performance the band give night after night. Skills and talent that’ve been meticulously honed through years of a musically nurtured home come to fruition and reveal once again that your band mates really are more like family.
Photo Credit: Georgia Brittain
Score: 9/10
Phil Campbell and the Bastard Sons