Writing & Photography: Joe Murphy
Just past the bridge of the famous Camden Lock, lies The Hawley Arms, where Wolfie’s presented performances from Liverpool/Grimsby rock crossover Die Tonight and the darkly powerful NXKXTA. The summer heat didn’t stop fans from showing out for this packed-out gig, a real celebration of grassroots music.
Spilling out onto balconies and terraces, the excitement was palpable for another Wolfie’s shindig, and energy levels did not disappoint. A distinct blend of scenes’ fashion, from the leather-clad to the strictly bohemian, the night brought together music lovers from all walks of life.
I managed to weasel my way into the green room to sit down with the bands, catching their inspirations and what they make of the modern music industry.
The lads from Die Tonight give off a sheer aura of confidence, walking into what is their second gig as a group. Self-describing as an industrial, domineering sound, the group are individually veterans of the scenes of the North, working their way across the UK as a group.
Singer and frontman Dean Sanchez said their first show, at Manchester’s Night and Day supporting Trampoline, felt like an experiment for their live performance style, with Wolfie’s show feeling more like their first proper entry.
“This is more our regular scene here at The Hawley; we’re punters here all the time, so it’s nice to get stuck in here. To be honest, the demographic that we’re going for is anyone; if you get the vibe, then you get the vibe.”
To dig deeper into what we can expect from the band moving forward, I asked about inspiration, to which bassist James Carne immediately dropped Nine Inch Nails and My Bloody Valentine, amidst an uproar of agreement from the rest of the group. Guitarist, dubbed Lenny P, pulled out a keychain with a Spotify tag, taking me straight to the album Invincible by Five, a personal insight into his style.
The group spoke on the modern music industry, mentioning they see a lot of people get into music, not for the passion for the sound, but for fame, fortune or glory, stating that some bands have a great sound, but lack live stage energy. Sanchez gave his thoughts:
“Sometimes when I’ll see a band live, I’ll be in the audience, and the sound is amazing, but I’m there, and there’s just no danger, no interaction. You see them, and they’re trying to be too cool with their hands in their pockets. It's not what we’re about, like just entertain, a bit of showmanship is the key.”
Drummer, Harry Breen, spoke on streaming and its uptake for artists:
“It's double-edged, isn’t it? On one hand, it's hard to break through as a new artist on certain platforms and get money from that; you’d have to be massive for that to pay well enough. But on the other hand, our tune Shrine Song has 20,000 streams, we could never have the funds to press 20,000 vinyl or get 20,000 CDs, but that many people have heard the music and loved it.”
The band’s live show did not disappoint, positively blowing the roof off the venue, crowd surfing, deafeningly loud and explosive and above all, the band loving the performance just as much as the audience, true passion exuding from the group.
Next up, I sat down with the phenomenal NXKXTA, the intensely dark cinematic storyteller, painting with sound. Looking like she’s just stepped out of a glossy magazine shoot, the band were delivering a no-holding-back attitude.
Showcasing unreleased tracks off the back of her raucous and gothic music videos, NXKXTA is an artist for whom the visuals are just as important as the sound. She said:
“I started as a creative director before I went into music, so creating the aesthetic, the concept is a big part of the storytelling, just as much as the music. They all have a distinct idea to project, one is about eating disorders, another about consent, and I try to give work to young actors in each video; the fantasy is to combine the creative visuals seamlessly with the overall aesthetic and the music.”
Aiming to create for the misfits and tackle the taboo topics, NXKXTA does so in a way that is decidedly cinematic, enticing, yet simultaneously, exceptionally real and raw.
Bassist Laila said that the key for young creatives is to remember “you’re never too good for anything”, citing that whilst you shouldn’t take every job for the sake of work, do it because you’re interested in its direction, no matter how small or big it is, prompting staunch nods from the rest of the band.
“Obviously, you should aspire to play big venues and big crowds, but for the sake of playing to people, you should enjoy what you do,” said NXKXTA, “It's apparent with some artists that they aren’t interested in the music as much, more of the idea of getting big overnight, it’s not easy to keep up with the pressure.”
Bassist Michele said he feels that the modern era requires a rethink for both artists and listeners:
“To jump in on that, the pressure aspect, people feel a need to get paid simply off the streams, which realistically isn’t happening. We need to view streaming as a way for people to access you as an artist, then off those higher-streamed songs, maybe it earns the attention of someone who has you as a support for their tour, or a big gig, that’s something that maybe needs to be the mindset change, as streaming isn’t going away. You should put your energy into your image, your sound and being a great live act.” The band’s performance style emulated this opinion, driving more into the real life, the audience, and the energy of the room. Dancing into the audience, knee-sliding, ripping guitar solos, the build of the drop and the release of a thoroughly catchy chorus, NXKXTA live is not one to miss.
