Words by Alice Edy / photos by Marcus Maschwitz

The King Blues – The Only Reason I Scream and Shout is ’cause I Care So Much…

April 27th 1987: I was born, pink, slimy and screaming, somewhere in Johannesburg, in the depths of apartheid South Africa.

April 27th 2010: I stood in the crowd at the Shepherd’s Bush Empire, alone and far away from home – in cold London Town, not knowing what to expect from some band calling themselves The King Blues…

Before the band played, they had invited the mother of an ‘alternative’ girl (that’s code for goth/punk/individual) to speak about how her daughter was attacked and murdered, for no reason except that she looked different – she was perceived as ‘The Other’, and therefore a threat. Her killers were not interested in her insides, only intimidated because her exterior did not match their own … After this, the band and some guest speakers also spoke to the audience, raising political issues focusing on the then-upcoming election. Introspection often brings with it uncomfortable truths (god-forbid that we should have to face our own indifference); so let’s be honest, ‘deep shit’ is not the best party-starter…which is why I respect TKB all the more for doing it. Most bands are far more concerned with their own rock-star image and the success of their show, (one big artistic-pseudo-punk-wank), that they do not want to risk actually challenging their fans, or engaging them in political/social debate of any kind. Also, most audiences don’t like the inconvenience of having to form their own opinions, and would far rather have another drink, and let someone else worry about irrelevant issues like government policy, and pesky things like human rights (or the lack thereof). It takes balls to speak, but it takes as much courage, I think, to really listen. Tonight, this band and their crowd were on form.

When The King Blues started playing, it was one of the best shows I have seen in a long time – a chaotic, crazy (but tight) blur of Ska-Punk-Rock-Reggae-with-MCing (…shit, I don’t know genres – it seems strangely ironic to start compartmentalising them). The set was a plain backdrop with the band’s name across some buildings; down-to-earth and unpretentious – like the music. Their lyrics, however, were complex, fast, funny, intelligent, and inspiring. The KB played in that elusive space between self-expression and self-destruction… they make you want to run into the streets and start a revolution, to riot and to march, and to change the world – yet, somehow, in a way that doesn’t hurt anyone. They are fighting for Love. You forget that outside that room such things as ‘bad people’ exist; it seems impossible to imagine that anyone is capable of cruelty. I could only see happy, positive faces, all shouting their hearts out, strangers dancing together, and on everybody’s lips the same desperate, simple, overwhelming plea: ‘Why don’t we just stop being assholes to each other?’ In perhaps the best example of this seemingly incongruous union of violence and kindness, the singer asked the crowd to sing along that ‘it’ felt like a head-butt… I didn’t know what ‘it’ was – and was expecting a song about some kind of brutality – so what followed came as a total shock; a kiss. The entire show served as a reminder that yes, giving a shit hurts, but never as much as apathy. Our hope is what keeps us alive; that last bit of fight…because it’s when you stop caring that you truly have nothing left.

Leading up to 1994 , from Trafalgar Square to Soweto, regular people, like you and me, were rioting for the future of a nation without Technicolor. People fought and many died; there were innumerable ‘disappearances’ during detention, people ‘fell’ out of buildings during questioning, and Nelson Mandela spent 27 years in prison, so that people could stop living like 2nd class human beings, and we could finally live in a country where nobody gives a fuck about your Pantone. He became President, and freed both the oppressed, as well as their oppressors. It’s still a work in progress, but the worst is long over, thanks to so many people who never gave up fighting for what is right, and never lost their love in the face of an ugly world. 16 years later, it is April 27th, and somewhere that I call home, right at the bottom of Africa, it is Freedom Day. Somewhere in London, there is also a celebration of that emancipation. The King Blues play music that is a fitting tribute to such ideas because their voice is not retrospective – they speak about principles that are alive, both political and personal, thereby adding fuel to the fire. They sing about Liberty in the present-tense.

Where do I fit in? 23 years later I’m still screaming – and tonight night it was along with a band who unknowingly played the best tribute to The Struggle that I have ever heard. Thank you.

Setlist: Intro, Blood, Landlord, Headbutt, Music Man, Kissing Frogs, I Got Love, Everything Happens For A Reason, Streets, Out of Luck, Lampost, My Boulder, Holiday, Bonkers, Save The World, Poems, Taking Over

Support: The King Blues, Rolo Tomassi

Words by Ryan Cooper / Photo’s by Daniel Gray

Its 6:45 and the occupants of the queue that snakes around the makeshift metal barriers outside the front of the Apollo don’t seem as happy as you would expect from a mass of people about to experience a night of superb British musical talent with a finale from a band voted best live band over the past few years. The reason for this lack of enthusiasm becomes clear when chants of ‘why are we waiting?’ become frequent. The venue website and the tickets for this event show that doors open at 6pm, but seeing as it is now approaching 7pm I can see why no-one is very pleased. Finally, over an hour after doors were meant to open, everyone cheers as thought they are already inside and Enter Shikari have just came onto the stage, but this roar just shows how relieved they are that they can finally get inside. The moment the security have checked their tickets, people shoot through the doors like racehorses out of their posts. It seems that there are 3 main places that people want to be at this very moment, and they head for these locations with such urgency that you would be led to believe that their lives depended upon it. Many of these people head straight for the merch stall to grab their t-shirts before the rest of the mob get a chance to strip the stall clear, while others rush towards the bar for a much needed drink after queuing in the frosty temperatures outside. The remainder of the people sprint towards the stage to secure their places at the front. As people are still pouring in through the main doors, the houselights dim and a small level of cheers erupt as the night finally gets under way.

With only a handful of people inside the venue I feel sorry for the lame reception that Rolo Tomassi will receive for their performance tonight. Joe Nicholson walks onto the stage, guitar in hand, and takes a position on the edge of the stage and plays a few notes. From these few opening notes that echo from the speakers, you would expect that Rolo Tomassi are a band that play radio friendly indie music. When the rest of the band filter onto the gigantic stage you still wouldn’t be forced from this mindset. As vocalist Eva Spence wanders from the rear of the stage slowly and gently she addresses the gathering of people in front of her in such a quiet and shy voice that if you couldn’t see her, you’d expect that it was a 5 year old girl on the microphone. Without warning the band erupt into what has been described as punk jazz, hardcore techno and synth driven mathcore. From the shocked expression on everyone’s faces it is clear that this was unexpected and this look sticks as if their faces had turned to stone. The only instances that this look changes, even if it is only slightly, is when they nervously turn to their friends to exchange the looks of utter shock and confusion.

Even if the music they play isn’t to everyone’s liking, it sounds incredibly technical as Edward Dutton looks like he is having some sort of fit hammering out the irregular and unusual beats on the drums that these songs contain. Joe Nicholson’s hands fire up and down the fret board of his guitar with such speed that his fingers become a mere blur. Though the biggest surprise is provided courtesy of Eva Spence as she unleashes her beastly scream which does an amazing job at making the music sound more ferocious and gnarly. Eva sounds possessed as she screams, growls and shrieks into the microphone while throwing herself around the stage, taking advantage of how spacious it is. During the odd occasion that she isn’t attempting to disintegrate the microphone with her monstrous voice, she glides around the stage gracefully like a ballet dancer, before then apparently standing on a wasp as she jumps on the spot going red in the face screaming her lungs out. The song then comes to an abrupt end which causes the crowd to pause momentarily before clapping politely. It seems that no-one truly knows how to react or how to take this band. The applause seems to be out of respect rather than the fact that the audience like what they hear due to the lack of smiles and cheery faces. Eva once again becomes the sweet shy sounding girl that wandered onto the stage a few minutes before as she thanks everyone for coming down early to see them. Then she transforms from Dr Jekyll to Mr Hyde once more as she launches herself into the next few songs, ‘Abraxas’ being one of these. The songs that Rolo Tomassi play tonight are often short but extremely heavy and fast paced and at some times are very psychedelic. At some times though, it does become rather too technical as the various instruments stop having their own effect and become a blur of noise. It is understandable that nobody seems to be able to pigeon-hole them to a certain genre. At times it sounds very much like they have made up songs from samples of classic Nintendo games like Super Mario. As they rocket their way through their 30 minute set-time it seems that they have managed to convert a few of the original doubters, although personally I’m still not a lover of their music but I can appreciate the skill and talent involved. But whether you love them or hate them, there is a fair chance that you will be hearing a lot more from them this year as they’ve already had slots at both Download and Sonisphere festivals and are sure to be playing more shows soon.

There is a political feel about tonight which is enforced by the presence of the ‘Love Music, Hate Racism’ stall which aims to increase awareness of racism and also offers merch for sale to help fund their organisation. The King Blues are an extremely political band who are definitely not afraid to say how they feel, having joined many marches and protests in London. Thankfully for us, they chose to put these feelings into the form of music because The King Blues do this amazingly. They bounce out onto the stage looking extremely happy to be here and with the accompanying roar of cheers and applause it’s clear that the crowd feel the same. They instantly power their way through ‘Lets hang the Landlord’ getting the whole crowd moving. This song is upbeat and is as infectious as swine flu. Itch sings as he tells his autobiographical story of his teenage years growing up as a punk living in hostels around London. It’s no wonder that this is a band that once played a free gig to people who could only gain entry into the venue if they purchased a copy of The Big Issue from a homeless person. Itch knows how it feels to be in that position and it is heart-warming to see him helping others. They play ‘I Got Love’ with so much happiness on their faces, this band seems so genuine and it’s obvious that they mean every word they sing and every note they play. Their songs have an unearthly ability to make me smile when I hear them and it seems I’m not the only one as i glance around and see smiles on faces everywhere like a room full of children unwrapping their presents on Christmas morning. In between songs, itch speaks to the audience with such passion that you can’t help but take in every word that he utters. He preaches about how everyone has the power to stand up against the government and highlights the escalating levels of racism occurring all around the UK. He says he sees the main issue being the BNP and their attempt to claim power, so Itch does what he does best and makes his point clear for everyone to hear , closing his mini-speech by urging anyone who feels the same to show how unwelcome the BNP are. What follows is a deafening roar of ‘F*** OFF BNP’, point made then and clearly shared by all 5000 people here tonight.

The appeal that the King Blues have is mainly down to the diversity of their music. What they do, and they do extremely well it must be said, is play soulful acoustic ska with a punk rock attitude. These guys are undoubtedly influenced by the likes of The Clash and Minor Threat and this can be noticed in many of their tracks. Next they blast into ‘My Boulder’ which sees all four members of Enter Shikari join them on stage to help with vocals, but it seems all Rob Rolfe (Enter Shikari drummer) wants to do is dance around the stage like a drunk lunatic, which is incredibly funny to watch and builds the ever growing excitement that is brewing for when Enter Shikari hit the stage later tonight. With the members of Enter Shikari taking care of vocals, Itch takes his chance to get up close and personal with his newly devoted fans as he dives onto the barrier almost being dragged into the abyss of the Apollo floor area. After losing his baseball cap before somehow retrieving it from the grasps of the many stray hands he finally climbs back onto the stage, intact, which is a relief to his band mates as they clearly want to finish this show with a whole front man. Itch informs everyone that they are now about to play them a brand new song and that he would like some help with the chorus which goes “when she kissed me it felt like a head butt”, the song unsurprisingly is called ‘Head butt’. After he makes sure that these words are programmed into our heads they begin playing and without fail the chorus is sung like a huge punk rock choir. Itch smiles, enjoying every moment as he has the crowd eating out of his hands. If this is the quality of songs that The King Blues are currently writing for their new record then we are in for a treat come release date. ‘The Streets Are Ours’ is a favourite of mine from their latest album, so I was over the moon when they started playing this as amazingly as they did. The high point being when Itch picks up his Ukulele and the band go into carnival mode. What follows is over a minute of musical delight which reminisces the sounds of Notting Hill Carnival, as steel drums and whistles take me away to a hot summers day on the streets watching the carnival pass by before slamming back to the realisation that it’s a freezing night in the middle of February and I’m indoors. With only minutes left before the King Blues will unfortunately have to leave, they erupt into an extraordinary cover of Dizzee Rascal’s ‘Bonkers’ that they recorded for Radio 1 last year. They took hold of this overplayed track and made it their own. The King Blues perform this song in such a genius way that it makes the hairs on my body stand up. It’s Amazing! Even the few that have never listened to King Blues before sing back every word and it would appear that they’ve earnt a load more fans tonight. Disappointment fills the air as they announce that this will be their last song, but what a song it is. The title track from latest album ‘Save The World, Get The Girl’ contains what is their most political and memorable line “going to war to prevent war is the most stupid thing I ever heard”. As they leave the stage I’m left longing for more. Hopefully they’ll return soon so I can get my next King Blues fix, because I’m already having withdrawal symptoms.

The anticipation is unreal as the 5000 strong audience of this practically sold out show flock from the bar and secure their positions in front of the stage. Some decide to stay out of the danger zone, which is anywhere but the very far back at an Enter Shikari gig. Some however fight their way through human obstacles to get that little bit closer to their heroes. The houselights dim but the sheer amount of glow sticks worn by excited teenagers keep the place reasonably lit with an ominous multicoloured glow. As the intro ‘Common Dreads’ booms from the speakers, people do their best to stay on their feet as the crowd surges, which is not being helped by the fact that the floor slopes down towards the stage. Stage lights which appear to be stolen from the Las Vegas strip illuminate the entire venue as LED lights spell out words such as “unite” as the voices in the intro repeat “we must unite” over and over. Then the moment everyone has been waiting for, some queuing for hours in freezing temperatures, as Rob Rolfe, Chris Batten, Liam Clewlow and Rou Reynolds explode onto the stage smashing straight into the electronic/metal mash ‘Solidarity’. What an entrance! They sound on top form as they create ultimate carnage with their enjoyable mix of heavy metal sound with electronic and post hardcore sounds. The lights accompany the intensity of the band and from the opening minutes there is no doubt that tonight will be a show to be remembered for a very long time. Without a break, they storm straight into ‘Step Up’. No one stands still as the crowd becomes a rough sea with brave audience members, some would call them nutters, surfing over the top trying to get to the barrier. Many don’t make it as far as the front as they fall and disappear into the madness.

Take To The Skies, Enter Shikari’s debut album, was only released in 2007 and they became only the second unsigned band to sell out the London Astoria (RIP) with the first being The Darkness. In this short space of time they have rocketed and they have progressed into a huge band with a loyal following of fans. They then go on to give old fans a double barrel shot from their debut. ‘Return to Energizer’ and ‘Mothership’ are greeted with huge circle pits with bodies flying in all directions. ‘Mothership’ sounds insane as Rob Rolfe shows how extremely important drummers are. He is relentless as he keeps going at full speed, using huge amounts of double bass which sounds spectacular with the accompanying riffs that Liam Clewlow fires out. Then it’s straight back to latest album Common Dreads. ‘Zzzonked’ sends everyone into a frenzy once more as the strobe lights flash so fast and create a crazy atmosphere. This is a great example of what Enter Shikari do best, they’ve taken electronics and thrown them into a blender along with many styles of metal and rock and created some of the most energetic and catchiest songs around. ‘No Sleep Tonight’ proves to be a crowd favourite as people jump, dance, sing and mosh along. The atmosphere is amazing and you’d be wasting your time if you tried to find a more fun, energetic and satisfying show. Out come the acoustic guitars as it seems the band need a breather from their dizzying show, but ‘Gap in the Fence’ is no pushover of a song. The acoustic guitars build up towards a rave-ish dance along as Rou Reynolds commands the audience with so much passion and the smile on his face shows that he is loving it equally as much as every one of us. Accommodating for fans both old and new, they play a healthy mixture of songs from both albums. ‘No Sssweat’ sees bassist Chris Batten leap around the stage as though his guitar is trying to escape his grasp.

Enter Shikari have immense stage presence and this doesn’t show any signs of stopping throughout the entire show. Old fans in particular are given a treat as Rou explains that they haven’t played the next song live for a while and it’s about time that it was resurrected. The song in question is ‘Jonny Sniper’ and I’m so glad they decided to revive this song as it is delivered with such power that it seems they have never stopped playing it. This tour they have embarked on is to coincide with the release of their new B-side and rarity album which features 2 new tracks. One of these new tracks being ‘Thumper’ which is an amazing tune, and god does it sound epic live. Instantly becoming a favourite of mine, they do a top job of showcasing this brand new single. Having seen Enter Shikari at an outdoor venue, I must say that they are much better experience indoors, like tonight. Being indoors this makes their unique style of music sound much heavier and louder, and enables them to use lighting to create visual awe. I’d hate to be responsible for tonight’s electricity bill! It’s become tradition that when during ‘Sorry you’re not a winner’ the clapping parts require everyone to clap along in unison. Even when I listen to this track on my iPod I feel an urge to clap! No one disobeys this tradition tonight, as at the required points every single person claps. Enter Shikari have won many Best Live Band awards, and there is no doubt that they deserve it after the performance they put on tonight. They don’t put one foot wrong as they soar through track ‘The Jester’, Imagine Gallows sprinkled with catchy electronic hooks. This is one of the highlights in my opinion. They finish with ‘Fanfare for the conscious man’ and ‘Ok time for Plan B’. As they exit the stage, the crowd is left begging for more, and I have no shame in admitting that I was one of them.

To everyone’s delight they fulfil the chants of “ENCORE” and burst into classic track ‘Enter Shikari’. Mosh Pits erupt all over the place like Tornadoes sweeping across the floor as they merge together creating larger pits that gather more and more members as it increases in size. Unfortunately, when they say this is to be their very last song of the night, they mean it. To end this amazing night they choose ‘Juggernauts’, to my surprise they neglected to play crowd favourite ‘Labyrinth’ but in its place they were able to play songs that are less played. With this being the last song and last chance to go wild, people see this as a chance to get rid of any unspent energy. Chris Batten even decides to join in the fun at ground level, going over the barrier with his bass still attached, it’s like a scene from Dawn Of The Dead as flailing hands grab him and attempt to pull him further in. As the last few beats blast from the speakers and Enter Shikari leave the stage, I’m left with a huge smile on my face and am left amazed at the sheer epicness of the performance given by these four young guys from St Albans. Enter Shikari came, saw and crushed Hammersmith tonight. And I’m sure that when I say this, there will be another 4999 that agree…..Enter Shikari just gave one of the best performances I have ever seen!

Words by Brendan Monteiro / Photos by Marcus Maschwitz

The Relentless Garage plays host to the inaugural Energy Sessions and on the first evening the line-up is nothing short of incredible. First up with the uneasy task of opening is a band called Sharks, and after hearing a great deal about these guys it’s a set I must say I had been looking forward to. As the first notes play out I’m taken aback as there sound seems a lot more maturer than what I pictured but at the same time sort of lethargic, but the pace grows steadily with each song. The crowd might be a little sparse but James Mattock gives it his all, maybe their sound is just a little too eccentric for this crowd.

The second band to make their way on stage is This City and the charisma on stage from the start is nothing short of spectacular, every member of the band seems to be sporting a smile from ear to ear. Opening track We Move has all the upbeat tempo’s of Bloc Party blended in with so many other great things and it’s sensually amazing. Their sound is so crisp with well structured soaring riffs that had my ears on a magical journey through speedy sections into atmospheric parts and some good old chugging bits, all this in a song is just incredible, as was their entire set.

Failsafe is my second suprise of the evening as I literally only knew about one band before I arrived. They combine all the passion of Rise Against, the fast paced riffage of A Wilhelm Scream and the happy fun tones of No Trigger and I can’t help wanting to hear more from these guys. James the lead singer makes the utmost effort to make a connection with every member of the audience, his vocal smash through the air like a flying kick slap from Chuck Norris. Something To Someone is definitely my stand out song from the set and just is an all round awesome song.

It is by this time in the evening that it dawns on me that upstairs has it’s fair share of bands playing but I only get to see a small bit of The Plight’s set. They are hard and as loud as shit. It’s a real contrast to what is happening down below, with such a raucous amount of pure volume coupled with Alistair Mancrief strident growls, their music will literally put hair on you chest.

So back down below at the Garage the headliners make their way on to the stage. The venue might not be packed to it’s maximum but there is an abundance of adoring fans, this might be down to the fact that some people just prefer the couch rather than a gig but who am I to judge. Itch and the guys have everyone on the floor area moving about, by the second verse of Let’s Hang The Landlord the front man has disappeared into the crowd. I never thought about it before much but they sound like a funky mix up of Rancid and UB40 which might come across a little strange in writing buy sonically it really works. The Streets Are Ours gets fists punching the air but tonight I got to admit that Headbutt was something special. I can only imagine how good it would of sounded with a massive audience giving it their all, even with a small little crowd like tonight it is truly evident that The King Blues have got so much love.

Support: Imperial Leisure and P.O.S

Words and photo’s by Brendan Monteiro

An early start tonight due to it being a club night at the Ballroom means I miss out on Imperial Leisure but due to some good fortune I make it in time to see P.O.S. You would think that P.O.S would stick out like a sore thumb at a show like this, Camden Town has always and probably will always be synonymous with the punk and hippie vibe. My first trip to London didn’t involve a Big Ben sighting or trying to catch a glimpse of the Queen down at Buckingham Palace but rather had me on a whirlwind adventure on the streets of Camden. P.O.S however is critical to tonight, he is everything that this crowd needs, something different. He starts off slow and sombre and then one after the other beats start flowing and lyrics cut through the crowd like daggers. People seem a little shell shocked to say the least, “there’s a thousand people in the room and you cant even make a sound” he blurts, and it’s at this point that the crowd slowly starts to react to him. “Raise your had if this is your first Rap show” and there is me raising my hand and feeling rather sheepish that I have never been to one before. The thing that make’s P.O.S fit in so well tonight are his influences, what rapper do you know of lists Black Flag as one of his main influences, certainly not Kanye West. This might sound cheesy, but he has that same passion and want in his voice that I felt when I first watched 8mile. Heads Will Roll is an absolute stormer tonight, I can only imagine how good it would sound if all of the audience would of gotten involved. He fuses all sorts of styles to make one hell of a concoction, there’s hip hop/punk/funk/drum&Base and even “the worst beat boxing in the world”, he even does that thing where they rap so fast it sounds like they rapping through and industrial fan to try and fire the words faster at you.

In the front tension is tight and in the back people are filling in by the dozens, this is the most ‘sold out’ I have ever seen this place. By 9:15 the roadies are cracking open water bottles on stage as a last bid to get everything set for tonight’s headliners, the anticipation is now at a breaking point. The light’s go out and a figure makes his way on stage, his identity might be hidden by a bandana but everyone knows exactly who it is. Within a heartbeat the bandana is gone, the band is in place and Blood On My Hands is bursting through the speakers. The whole venue moves together like a freak of nature, with songs like I Got Love and The Streets Are Ours forcing every arm in the air. My eyes cannot believe how up for it the crowd is tonight, from the front all the way to the back people are going ballistic and you can see The King Blues are feeding off every bit of it. Ok there are no mosh pits or stage divers like you would see at a crazy punk show, but that’s due to there literally being no space to actually move.

The King Blues sound is a mixture of Ska and Folk rock delivered in a ghetto way with a punk attitude but onstage there is just so much going on. These guys have everything from bongo’s to keys, ukulele’s to cowbells to tambourines and even whistles. They throw in so many curve balls, like a Dizzee Rascal cover of Bonkers which I can quite easily say is way better than the original. Mid set there is a drop in tempo to give the crowd a much needed break and the one solitary lighter during Sore Throat adds yet another aspect to the evening. One thing that really hit home for me is how realistic this band is, they don’t sing soppy songs, or angst fueled hate anthems. Somewhere in between all the chaos is a real message that needs to be heard. Take for instance Underneath This Lamppost Light, Jonny ‘Itch’ Fox could quite easily have compiled a cheesy love song, but instead cleverly uses realism to create something at first is quite odd but in the end just as romantic as even Shakespeare.

So kiss me underneath this lamppost light
I know it smells of piss but
You look beautiful tonight

Itchy’s size might be small on the stage, but the message he conveys is huge. This is a band that is not satisfied with following trends but instead walk the harder route of originality and have so much exuberance that totally matches their playing ability. These guys don’t just think outside the box, they think outside the context of actual shapes all together to create a sound that is as fresh as it is vital. Plus their guitarist rocks out on an acoustic as if it were an electric axe, enough said.

This was part of the encore and just completely grabbed my attention, its so quick that you cant take it all in at once, it’s a true indication of what The King Blues are all about.

What If Punk Never Happened

There’s a lesson to be learned, one that I will take home,
When I return to my normal reality zone,
Punk rock has the power to change the world,
It lies in every single punk rock boy and girl,
So don’t let anyone tell you you’re not worth the earth,
These streets are your streets, this turf is your turf,
Don’t let anyone tell you that you’ve got to give in,
Cos you can make a difference, you can change everything,
Just let your dreams be your pilot, your imagination your fuel,
Tear up the book and write your own damn rules,
Use all that heart, hope and soul that you’ve got,
And the love and the rage that you feel in your gut,
And realise that the other world that you’re always looking for,
Lies right here in front of us, just outside this door,
And it’s up to you to go out there and paint the canvas,
After all, you were put on the earth to do this,
So shine your light so bright that all can see,
Take pride in being whoever the fuck you want to be,
Throw your fist in the air in solidarity,
And shout “Viva la punk, just one life, anarchy”.