Live Review: Sick Joy - Camden Assembly, London 14/11/2019
Just like any other Thursday night in Camden Town, there’s a hum of anticipation emanating from a sweaty little music venue. Upstairs at one of the most infamous venues that the area has to offer – formerly known as The Barfly – a crowd of all ages assemble for some aural stimulation in the form of some unrelentingly thunderous alt-rock.
Opening up the proceedings are the indomitable Littlehampton trio, Gloo who provide an overwhelmingly raucous assault on the unassuming Camden Assembly crowd. After the first three songs, the crowd begin to let down their barriers – aided by the torrents of banter coming from drummer Mark Harfield. There’s a comical irony to the words that come out of the mouth of an entity who is shrouded in smoke, almost to the point of observing an apparition. When he points out that a clothes rail which stands in the entrance to the venue – in the style of a jumble sale rack – is in fact their merchandise that is comprised of charity shop buys that they’ve placed their logo on, the crowd become putty in their hands – and let it be said, after their set there were a lot of people fingering that clothes rail!
After giving us enough time to buy a pint and have a quick cigarette, Sick Joy take to the stage in the way that only they do best – by letting the music do most of the talking. With a set that spanned some golden oldies, as well as all of their newer material; Sick Joy commanded the stage with a viscerally intoxicating presence, as well as maintaining a brooding urgency throughout. ‘Playing Dead’ and ‘Shoot Your Lover’ come off as being near studio-quality and, whilst bathed in red light, ‘History’ and ‘Dirty Water’ take on a new grittier lease of life. Guttural screams erupt from Mykl Barton at unpredictable rates, and Danny Pitson’s rumbling bass lines are felt full-pelt, tying everything together.
False starts in syncing with their drummer in the intro of ‘Cat In A Bird Cage’ come off as humorous after Mykl takes a moment to warmly introduce it as the song that will only be familiar to those who have known the band from “5000 years ago” and before we know it, the evening draws to a close. Ending the set with older cuts ‘Cat in a Bird Cage’ and ‘Smiling Shame’ Mykl wishes the crowd “god speed” and invites them to meet the band at the merch stand, before throwing his guitar into the drum kit and pushing over the toms and snare for added dramatic effect. In a smog of feedback and smoke machine, we’re left in the aftermath of another evening which serves as a nod to one of the greatest decades in music history.
Words by Tyler Damara Kelly