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“It’s that thing of not caring, to a degree,” says the drummer. For generations of listeners too young to remember punk rock in its original form – Johnny Rotten announcing ' I am an antichrist', a band called Millions Of Dead Cops – Bob Vylan are here to revivify, and to relitigate, the movement’s mission statement of shock and awe. ' White folks love quoting Martin Luther … but don’t forget, white folks still killed him,' are just two of the lines from the recently released Pretty Songs. ' Neighbours called me n*****, told me to go back to my own country,' they sing on We Live Here. The highest compliment that can be paid to the group’s music is that it possesses the power to put at least some of its listeners ill at ease. If the true purpose of political music is to say things that comfortable people don’t want to hear – and to a large degree, it certainly is – Bob Vylan are hitting the mark every time. And that’s great because it’s still the airwaves for people to catch, but it’d be great to just have something different – I won’t say better – out there for people to hear.” “It would be so cool to hear something on radio – and by this I mean daytime radio – that makes you think, ‘Okay, this is actually saying something.’ Because even the biggest bands at the moment that are saying something, they’re on specialist shows and specialist stations.
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“We want to bring an element of politics, discussions around racism, and inequality of any kind, into the mainstream sphere,” the frontman tells Kerrang! (from this point on, so we don’t drive ourselves mad, the two music makers will be referred to as ‘the singer’ and ‘the drummer’). Perhaps unwilling to express publicly what is really bothering him, from the banks of a seated section an older man rages at the performers for the sin of not using live guitars. Down at the barrier, a heckler takes offence.
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The police are “pigs”.įront of house, the cheers are tinged with nervousness. “This country,” he declares, “is in need of a good fucking spanking.” Someone should “kill the Queen”. Between a flurry of songs that speak of racist murderers, systemic discrimination, English identity, Martin Luther King, poverty, the London underground and God knows what else, the personable and provocative frontman, with a knowing and evident glee, seizes the electrified fence that stands on the border between what is, and what isn’t, permissible at an arena rock show. He introduces the group’s other member, too, a drummer, confusingly named Bobbie Vylan. Patrolling the stage, their singer introduces himself to the room. At a concert headlined by The Offspring, the ordinarily unenviable task of heating up a gathering crowd from the foot of a three band bill falls to the English duo Bob Vylan.