Words by Jo Dodge/ Photos by Marcus Maschwitz

As the lights dim, the crowd eagerly await the arrival of Canadian rockers Alexisonfire as they are about to grace the stage. Returning to London for their UK headline tour in well over a year they individually face the packed out crowd and as the drum beat and guitar rhythms begins it is greeted with enthusiastic claps and cheers. Last to enter the scene is screamer George and he is met with a mighty applause as they charge in to Young Cardinals. As expected the floor quickly transforms into moving mayhem with hands waving everywhere. This is only increased with their next songs, old favourites from album Crisis including Mailbox Arson, Boiled Frogs, We Are The Sound and Drunks, Lovers, Sinners And Saints which definitely raises the temperature and the atmosphere. With it only being five minutes into their set George is already against the barrier throwing out his microphone to every fan, encouraging them to sing – that which they are more than happy to oblige.

Interacting with the crowd is something that comes naturally to this band, all members have a presence and give their all on stage, whether it be jumping around with a guitar or beating up a drum kit it is clear that they love what they do. The dynamics of voices within the band, George’s gritty screams, Wade’s graveling voice and Dallas’s chillingly clean vocals only heighten their performance and the energy they possess on stage. Even songs from Old Crow/Young Cardinals are recited back just as well as the older songs and during Sons Of Privilege George splits the crowd in half, one side singing “Lost though you are free” along with Wade and the other half singing “In America” along with Dallas. As the crowd battle each other to see who can impress them the most George gazes forward astounded by the response. Also amongst their set they include calmer songs such as Rough Hands and old classic Control in which Dallas’s voice resonates around the venue. Here you can feel the emotion they pour into the songs and the crowd are screaming at the top of their lungs knowing every line.

When introducing their next song, Dog’s Blood, from their new E.P it receives a cheer and almost everyone knows “In dogs blood we will all drown”, as if it was from their older albums. The set list shows their progression as a band over the years, containing old and new songs, either way it is greatly accepted by the crowd. Blasting through This Could Be Anywhere In The World, the floor is still in motion and over far too quick for the crowd to comprehend. An encore of chants and feet stomping follows and as soon as the band finally come back on stage the crowd are hyped and already screaming for more.

They open their encore with The Northern where the emotive harmonies become haunting and Dallas’s voice becomes eerie during the stripped down section. It is when they play ancient song 44. Caliber Love Letter that George jumps, punching his fists into the air and lets the audience scream “This is a 44. Caliber love letter straight from my heart” to which every single hand is in the air and mimicking him. As it finishes the entire crowd applauds and as the intro for Accidents begins the room explodes and during George’s verse bodies are flying to the front of the stage as if he is compelling them. By the time Dallas begins the chorus the crowd turn into a choir and echo everything back to them. The highlight was when George returns to the crowd for “Let’s redefine what it means to heal” and becomes a walking monster inflicting chaos.

Restriction is definitely not in George’s vocabulary as he charges into his fans, causing a wave of excitement clambering amongst them as they try to grab and pull him in any direction they can. He disappears in to the crowd blending in with his fans and the room is pushing and shoving as everyone tries to reach him. Like a man possessed he makes his way to the staircase, as if on a sea of hands and is helped up by a security guard to meet the seated ecstatic fans on the balcony. Causing a stir, fans hysterically mob him for photos, handshakes, hugs any proof that they were in reaching distance of him. All the while Dallas and Wade are continually singing and are now playing Happiness By The Kilowatt. Even amongst the chaos fans are singing along to the extended version and George returns to finish his final screams. Graciously he thanks the crowd, overwhelmed by the support before the entire band shuffle off stage to a stunned crowd who are in owe to their brilliance and are wanting a second encore. I’m sure every person who was there, when they next listen to an Alexisonfire CD will be wishing they could re live this night and witness it all again.

For the new album–released June 23 on Vagrant Records (U.S.A.) and on Dine Alone and RoadRunner in the rest of the world–ALEXISONFIRE re-teamed with Julius Butty who also produced the group’s Crisis and Watch Out! discs.  OLD CROWS / YOUNG CARDINALS is the first album from the group in almost three years and continues to receive critical praise (see quotes below).

The band is currently touring the U.S with the 2009 Vans Warped Tour joining NOFX, 3Oh!3, Bad Religion, Flogging Molly, TSOL, Underoath and many more on the annual punk rock extravaganza which celebrates its 15^thanniversary this year.  The group was also recently added to the Toronto stop on July 10. In a live review from the kick-off show in Pomona, CA on June 26, Los Angeles Times writer August Brown said, “The thick-necked and unexpectedly catchy stomp of Alexisonfire was a rewarding late afternoon pick-me-up…” (6/29/09). Post Warped, the group are confirmed to play both the main stage and Lock Up stages of both the Reading and Leeds U.K. festivals (with two sets per day) performing alongside Kings of Leon, Kaiser Chiefs and Placebo, to name a few.

Words by Eric Cannon / Photos by Marcus Maschwitz

One night at The Borderline would suffice a fan, but three nights in a row at such a small venue for such a talented bunch is almost unheard of.  Day three of this unique run of shows and the excitement in the room in obvious as the Canadian heavy weights take to the stage.  The reception for even the intro into tonight’s opener is so immense,  and leaves little to the imagination as what to expect.  ’Young Cardinals‘ is grand, almost larger than life, restricted only by the small walls of this venue, and shows that the band are going to deliver the goods with their soon to be released album titled ‘Old Crows / Young Cardinals‘.  They waste no time and rampage through classics like ‘This Could Be Anywhere In The World‘, ‘We Are The Sound‘ and ‘No Transitory‘.  The floor looks like a pot stewing with fans, one minute just standing, waiting, the next bubbling in an assortment of legs and arms.  The energy levels in the fans and the band is incredible, and at times it seems the stage is somewhat to small to house such an energetic bunch.  Bassist Chris Steele darts from side to side like a lunatic, weaving in-between his band mates as if he needs to be everywhere on the stage at the same time, with a maniac look in his eye’s that I can’t even begin to explain.  It’s no wonder though, Jordan Hastings ability on the drums could probably get anybody moving about as much.  It’s not often that a drummer grabs my attention but Jordan plays with so much determination, plainly put be abuses those skins like he wants to break them.

The Unique thing I find about this band is their vocal input, not happy with the standard of having one singer, they choose to have three.  Firstly you have George Pettit’s cryptic screams, leading the fans headfirst into an audio inferno.  Then to mix it up you have the chillingly beautiful sounds of Dallas Green, although tucked away to the side and remaining rather quiet all night his presence is immensely felt with every note he strikes.  Lastly you get a bit of the brilliant gruff roars of Wade MacNeil.  The juxtaposition between the three vocals is simply mind blowing.

Most people in the back of the venue would of missed tonight’s comedy highlight, George seemed to have just about enough of one offending fans hand constantly poking him in the chest, so he grabs the offending appendage and gives it a cautionary bite. Nice!

Back to the actual show and I know I can only speak for myself but the song of the night for me has to go to ‘Get Fighted‘, it posses everything that any of the great AOF songs have, but it’s just one of those songs you don’t expect to be in their set, it is one of those songs you only expect to be in those amazingly intimate shows you only read about…and then you realize that your at one of those shows!