{"id":30794,"date":"2025-01-12T17:53:17","date_gmt":"2025-01-12T17:53:17","guid":{"rendered":"http:\/\/www.musicinleicester.co.uk\/index.php\/?p=30794"},"modified":"2025-07-04T12:29:15","modified_gmt":"2025-07-04T11:29:15","slug":"gig-review-goatfest-spitting-feathers-at-duffys-bar-saturday-4th-january-2025","status":"publish","type":"post","link":"https:\/\/www.musicinleicester.co.uk\/index.php\/gig-review-goatfest-spitting-feathers-at-duffys-bar-saturday-4th-january-2025\/","title":{"rendered":"Gig review – Goatfest: Spitting Feathers at Duffy’s Bar, Saturday 4th January 2025"},"content":{"rendered":"
<\/div>\n

with Tri Subversion, Produkty and The Cars That Ate Paris<\/h2>\n

Reviewed by Thomas Needham<\/p>\n

So cold was the weather on January 4th that I practically dived into Duffy\u2019s Bar<\/a>. Just down the street from Firebug, Duffy\u2019s is a local Irish pub, decked from head to toe in \u00c9ire-themed paraphernalia (the photograph of Rory Gallagher particularly caught my eye as I waited for my pint). The snug venue was heaving; either people had taken the conceit of my last article very seriously or they were taking advantage of a notable and thoroughly enjoyable, free annual event dubbed Goatfest<\/a> (I\u2019m still debating which it could be). Deriving its name from the tenth astrological sign, Capricorns are described as: \u201clik[ing] to share the good life with those they care about\u2026 they’re extremely kind-hearted and sincere.\u201d Call it fate, call it karma, call it cosmic angst but now I\u2019m starting to worry the Astrology Girls are on to something.\u00a0<\/span><\/p>\n

Tri Subversion<\/a><\/strong> (formerly Try Subversion) is a three-piece band comprising guitarist Clive Wojcik-Hale, bassist Julian Palmer and drummer Clive Standish that thrives off of a pugnacious, paranoid and confrontational attitude. They may tell you Elon Musk, Jeff Bezos, Keir Starmer, George Soros and Bill Gates are \u201crolling over you\u201d but I think there\u2019s no denying that with their raw, propulsive punk rock rolls over their listeners too. Their defiant, distinctly working-class perspective exudes angst and anarchy, railing against the powers that be who use and abuse ordinary people.\u00a0<\/span><\/p>\n

While neither a political or conspiratorial publication, Music in Leicester is a place where art and music is discussed and explored. The very nature of Tri Subversion and punk in general is so entwined with ideology that it necessitates discussion. Regardless of personal judgement, art must be considered maturely and not dismissed out of hand solely on whether it aligns with your views or not.<\/span><\/p>\n

Of course I, the resident Talking Heads fan, can\u2019t be tasked with writing reviews on more songs about buildings and food, instead I\u2019m thrown the curveball of lockdown skepticism, the fusion of government and multinational corporations, the World Economic Forum, chem-trails, distrust of climate change, Klaus Schwarb and the Great Reset. Lucky me, my career is over before it even started. If you think these themes are taboo, provocative or dangerous (no shit, it\u2019s punk rock) then Tri Subversion may well be too subversive for you (no shit, it\u2019s in the name).<\/span><\/p>\n

\"\"<\/a>
Tri Subversion. Photo (c) Kevin Gaughan<\/figcaption><\/figure>\n

Personally, the contents of their songs didn\u2019t add or take away from my enjoyment of the set, however it did intrigue me. Tri Subversion is a part of a wider schism within the punk scene; regarding authority with skepticism when society would view that rhetoric as reckless. In my view, even when it is finally revealed that Obama actually is a lizard, it doesn\u2019t change the material condition of the ordinary person and is thus a distraction from the appalling institutional rot and managed decline spurred on by successive British governments. It\u2019s only right to be angry but do not waste your passions, channel them into something tangible.\u00a0<\/span><\/p>\n

Speaking of music, let\u2019s get back to that. They say the drums are the beating heart of bands and Clive Standish\u2019s proficiency easily vindicates this perspective. Channeling the best of bands like \u2018Joy Division\u2019 and \u2018The Descendents\u2019, every stroke, fill and beat only complimented his bandmates, giving the entire set a propulsion that never let up for over 50 minutes. As one audience member heckled after a song went a little awry \u201c10 out of 10 for the drummer.\u201d<\/span><\/p>\n

While neither is a flawless vocalist, Clive Wojcik-Hale and Julian each played to their individual strengths and managed to create a cohesive whole. Clive\u2019s growling, guttural vocals thrives on tracks like Eat Data<\/em>, underscoring their concerns about 5G and chemtrails. His gruffness compliments Julian\u2019s stronger melodic inclination, especially his impressive sustained singing on my personal favourite cut, Real Eyes Realise<\/em>. Beyond the paranoid but nonetheless witty lyricism of Clive and Julian\u2019s songs, the use of guitar pedals and effects allowed for a nice bit of experimentation. I\u2019d like to highlight the solo of Ignorant Bliss<\/em> and the outro of Take Control<\/em> in particular. Regardless of what anyone thinks about their music, their style or their controversial message, they remain unabashedly themselves and frankly, that\u2019s literally the point – they\u2019re controversial but at least they\u2019re sincere. As they sing in the opening track (Freedom is War<\/em>) of their 2023 album You Are The Carbon<\/em>: \u201cfu** the consequences.\u201d\u00a0<\/span><\/p>\n

Another three piece band named Produkty<\/a><\/strong> featuring Andy on guitar and vocals, Kerry on bass, Nikki on drums and a dinky little stand adorning a folder full of lyrics and chords followed the vendetta-driven, adrenaline rush of Tri Subversion. Although their 2024 output could be comfortably called alt-rock, their first release of the year Stay Home<\/em> is almost a love letter to Siouxsie and The Banshees\u2019 gothic-rock. I\u2019d be very happy to see them embrace this pivot, with it quickly becoming one of my favourite songs from the gig; showcasing the best of Andy\u2019s soft, melodic vocals and catchy lyricism.<\/span><\/p>\n

\"\"<\/a>
Produkty. Photo (c) Kevin Gaughan<\/figcaption><\/figure>\n

Despite suffering from a cold during the gig, Andy wasn’t noticeably constrained by this and the band seemed completely at ease in front of a packed audience. \u2018Top bants\u2019 were aplenty when one member demanded Andy stop playing with \u2018his knobs\u2019 (on the amp, don\u2019t worry). Andy is clearly the group\u2019s charismatic core but I remain adamant that the importance of a band\u2019s rhythm section cannot be downplayed – unfortunately I\u2019d argue it was the single thing that held Produkty back, mainly regarding the drumming. Almost every song consisted exclusively of one beat on the snare and the next on the tom with only the occasional cymbal crash for variety. While this in itself isn\u2019t bad for one song, it was the same for every track; consequently after 45-minutes the set really began to drag. The basics are sorted and the output solid but this constriction prevents Produkty from matching the energy of their contemporaries, instead as the set continued their songs felt slow and plodding. A greater degree of risk and experimentation is needed to truly make their songs the best they can be, I hope this can be taken on constructively as they clearly have great potential.\u00a0<\/span><\/p>\n

I\u2019d also like to take this time to repeat the band\u2019s appeal for aid after Nikki accidentally broke one of her sticks and these apparently don\u2019t come cheap – finding out a pair cost \u00a314 was outrageous. You can donate to this humanitarian cause via their Bandcamp.<\/span><\/p>\n

If Produkty suffered from a lack of variety, The Cars That Ate Paris<\/strong><\/a> may well have suffered from too much. As soon as the multi-coloured tophats adorned with googly eyes appeared I saw \u2018The B-52s\u2019 and \u2018The Cramps\u2019 written all over this quirky outfit. Adorning the hats were guitarist Rob and keyboardist Mat, who stood on the outside of guitarist Sarah and vocalist Maria with drummer Lauren and bassist Steve, cooped closely behind on the cramped stage.\u00a0<\/span><\/p>\n

\u2018The Cars\u2026\u2019 pride themselves on their stripped back, purposefully amateurish, lo-fi sound. Lacking any extravagant equipment they instead ride the coattails of their material. Whether it be crazed, mad scientists or their best friend Jane (noticeably absent from the gig), their insistence on introducing every song as based on a true story regardless of their absurdity was quite funny. A lack of equipment certainly doesn\u2019t mean a lack of talent, Lauren\u2019s impressive ability to provide lead vocals while playing the drums wasn\u2019t lost on me and Steve was incredibly consistent throughout even when the band fell out of time with one-another.\u00a0<\/span><\/p>\n

\"\"<\/a>
The Cars That Ate Paris. Photo (c) Kevin Gaughan<\/figcaption><\/figure>\n

The band seemed to relish in their uncompromising absurdity, while perhaps alienating, perseverance is key to looking past things like the occasionally piercing microphone feedback or the obtuse cacophony of sound. Music isn\u2019t tailored for you individually, so sometimes it\u2019s nice to take a band as they are and just enjoy the mayhem as much as they do.<\/span><\/p>\n

Their self-titled debut album gives a fairly good indication of their brand of psychedelic, art-rock. I could say the band asks you to leave your expectations at the door or opine on how art must inherently challenge because of the human experience, etcetera, etcetera, but I\u2019d just be skirting around the point. While I appreciate CBGB\u2019s as much as anyone, I suppose this is just a bridge too far for me personally. Bands like \u2018The Cars\u2026\u2019 are fascinating to me specifically because I feel I\u2019m missing something and will desperately clutch for some kind of meaning, often still missing the point. People do things for a laugh and have a damn good time doing it, there\u2019s a lesson for me there for that is basically the very reason that Goatfest exists. Instead of being so critical, sometimes it\u2019s nice to relish a community of people united by music, to kick back and enjoy the show, to indulge in a pint courtesy of Kevin (thank you Kevin (photographer)), to put on a top hat with googly eyes and just revel in a bit of whimsy.<\/span><\/p>\n

\"\"<\/a>
The Cars That Ate Paris. Photo (c) Kevin Gaughan<\/figcaption><\/figure>\n

After this personal revelation came the final band on the night, Spitting Feathers<\/a><\/strong>. Frontwoman Gemma and backing band of Ash, Mike, Mick and Roger graced us with a setlist of familiar classics, from Kim Wilde\u2019s Kids in America<\/em> to a medley composed of Boney M.\u2019s Daddy Cool<\/em> and Deee-Lite\u2019s Groove is in the Heart<\/em>. Spitting Feathers thrived alongside the receptive audience, the groups internal shenanigans on stage, whether it be accidentally interrupting one-another or skipping songs in the setlist only adds to the sense of fun. Their ability to take songs from the 70s and 80s and add their own stripped back, garage-twist was well-done; the highly cohesive backing band did their setlist justice. Gemma\u2019s range was particularly impressive, from intimate melodious serenading to belting, high-energy bellows.<\/span><\/p>\n

By this time the audience had shrunk but remained noticeably strong, the front of the audience turned into a gaggle of dancers as the less intoxicated members of the audience watched from afar. A particular highlight for me was their cover of Talking Heads\u2019 Psycho Killer<\/em>. Despite reading the lyrics off her phone, I was just happy to see some representation of a band that made it clear: sometimes it\u2019s good to \u2018stop making sense\u2019. This cover, however, was party to another outrageous moment (a close second to the \u00a314 drumsticks) the entire bridge (sung in French) was notably absent. I was absolutely perplexed by the exclusion, as was the older gentleman who stood by my side in the still relatively packed pub – it\u2019s not like there were any French people to take offence at the complete bastardisation of their language. As his wife joined the group that had congregated at the front of the stage to dance, he and I wrapped our arms around one another\u2019s shoulders and happily belted the lyrics ourselves. You could say, \u201cnous y sommes all\u00e9s, vers la gloire\u201d (that 5 in GCSE French is coming in handy for once).<\/span><\/p>\n

\"\"<\/a>
Spitting Feathers. Photo (c) Kevin Gaughan<\/figcaption><\/figure>\n

As I stepped out of Duffy\u2019s and into a snowy tundra, I prepared for the long walk home, content with what had been a fairly revelatory night for me. These bands aren\u2019t motivated by money or fame – I genuinely believe they do it for the love of the game. The joy of coming together and enjoying not just the music but one another\u2019s company. As Tri Subversion\u2019s co-frontman Clive regaled, Leicester\u2019s local music scene has struggled enough with a lack of exposure and declining venues, for those who have a passion for music it\u2019s been hard to watch it languish. To see such a diverse array of groups come together to celebrate despite the circumstances is commendable, for it to be a damn good time is another level entirely.\u00a0<\/span><\/p>\n

The only band that was unable to play was Gestalt<\/strong> <\/a>with their drummer falling ill to the norovirus; from all of us at Music in Leicester, we wish him a speedy recovery. If you want a dose of post-punk I\u2019d suggest you listen to their 2023 album Krank Disko<\/em>. Further, I\u2019d like to take this time to give a special mention to Goatfest\u2019s unsung hero, DJ Stu who kept the night alive in between acts, as the audience customarily filed out to refill their pints.\u00a0<\/span><\/p>\n

These bands thrive primarily through word of mouth and after starting off the year strong, I hope they continue to go from strength to strength throughout 2025. As the ever hospitable and personable Clive told me, \u201cdon\u2019t be part of the problem, be part of the solution,\u201d so let me be the first to say; if any of these bands have piqued your interest, I\u2019d recommend supporting them directly through their individual Bandcamp pages.\u00a0<\/span><\/p>\n

If you would like to share this review, please help us by using the share buttons below instead of a screen print \u2013 thanks!<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

The band seemed to relish in their uncompromising absurdity, while perhaps alienating, perseverance is key to looking past things like the occasionally piercing microphone feedback or the obtuse cacophony of sound.<\/div>\n","protected":false},"author":32,"featured_media":30800,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[346,216],"tags":[329,212],"class_list":["post-30794","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-346","category-gig_reviews","tag-diy-music","tag-punk-music"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/www.musicinleicester.co.uk\/wp-content\/uploads\/2025\/01\/IMG_4486.jpg?fit=1001%2C667&ssl=1","jetpack_shortlink":"https:\/\/wp.me\/p73uhX-80G","jetpack-related-posts":[{"id":15753,"url":"https:\/\/www.musicinleicester.co.uk\/index.php\/preview-goatfest-at-duffys-bar-12th-january-2019\/","url_meta":{"origin":30794,"position":0},"title":"Preview – Goatfest at Duffy’s Bar, 12th January 2019","author":"Kevin Gaughan","date":"31\/12\/2018","format":false,"excerpt":"Goatfest Duffy\u2019s Irish bar has become a surprising bastion for Leicester\u2019s thriving alternative scene. 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Best described as female fronted Flogging Molly, the five piece wear their Irish influences\u2026","rel":"","context":"In "2019"","block_context":{"text":"2019","link":"https:\/\/www.musicinleicester.co.uk\/index.php\/Music\/2019\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.musicinleicester.co.uk\/wp-content\/uploads\/2019\/04\/Untitled1.jpg?fit=1200%2C614&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.musicinleicester.co.uk\/wp-content\/uploads\/2019\/04\/Untitled1.jpg?fit=1200%2C614&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/www.musicinleicester.co.uk\/wp-content\/uploads\/2019\/04\/Untitled1.jpg?fit=1200%2C614&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/www.musicinleicester.co.uk\/wp-content\/uploads\/2019\/04\/Untitled1.jpg?fit=1200%2C614&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/www.musicinleicester.co.uk\/wp-content\/uploads\/2019\/04\/Untitled1.jpg?fit=1200%2C614&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":30905,"url":"https:\/\/www.musicinleicester.co.uk\/index.php\/gig-review-metal-to-the-masses-heat-6-at-duffys-bar-sunday-27th-april-2025\/","url_meta":{"origin":30794,"position":2},"title":"Gig review – Metal to the Masses heat 6 at Duffy’s Bar, Sunday 27th April 2025","author":"Kevin Gaughan","date":"30\/04\/2025","format":false,"excerpt":"After quenching his thirst with water, during their song H20, they played Unsolicited D*ck Pick, an energetic call to arms which sought to discourage the sending of Unsolicited D*ck Picks \u2013","rel":"","context":"In "2025"","block_context":{"text":"2025","link":"https:\/\/www.musicinleicester.co.uk\/index.php\/Music\/2025\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.musicinleicester.co.uk\/wp-content\/uploads\/2025\/04\/IMG_4888.jpg?fit=1001%2C667&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.musicinleicester.co.uk\/wp-content\/uploads\/2025\/04\/IMG_4888.jpg?fit=1001%2C667&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/www.musicinleicester.co.uk\/wp-content\/uploads\/2025\/04\/IMG_4888.jpg?fit=1001%2C667&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/www.musicinleicester.co.uk\/wp-content\/uploads\/2025\/04\/IMG_4888.jpg?fit=1001%2C667&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":31282,"url":"https:\/\/www.musicinleicester.co.uk\/index.php\/preview-miki-berenyi-at-duffys-bar-saturday-4th-october-2025\/","url_meta":{"origin":30794,"position":3},"title":"Preview – Miki Berenyi at Duffy’s Bar, Saturday 4th October 2025","author":"Kevin Gaughan","date":"30\/09\/2025","format":false,"excerpt":"It all started when Miki Berenyi was on the promotional tour for her memoir Fingers Crossed - How Music Saved Me from success in 2022. 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