Mudhoney + Wolf People @ The Institute, 27 May 2015

Tonight’s gig starts exceptionally early so unfortunately I only catch the second of the support acts, Wolf People.  Wolf People are not the obvious choice of support band for Mudhoney yet their psychedelic sensibilities are very well received and they clearly have fans in the audience.   Wolf People’s music draws on as much folk influence as it does psych, with a heavy dose of true Englishness that makes them interesting and endearing.  Their lengthy songs have an underlying groove that sees many of the crowd head nodding in appreciation whilst the heavy, fuzzed-out melodies float along with an essence of the legendary Pentangle. The band’s movement around the stage is minimal but also not necessary as the music is atmospheric enough to convey meaning without additional body language.

Shortly after Wolf People exit the stage to a very favourable response, the headliners enter the near sell-out venue and, without any time wasting, hurl themselves into Suck You Dry.  Despite the song being 23 years old, the garage edge and raucous nature of the track provide it with a timeless quality that pervades the majority of Mudhoney’s work and becomes an obvious trait throughout the set.  Mudhoney have been creating music for the past 27 years with only one personnel change (the original bass player Matt Lukin left in 1999 and was replaced by Guy Maddison) which makes this a tight unit who have stuck to their musical convictions irrespective of others’ expectations. Tonight’s set list incorporates songs from all of their albums to compile a true best of Mudhoney set  which is welcomed by everyone in the room.

This first track allows the musicians to rectify any monitor or sound issues quickly so that they can focus on the task ahead which is to pound out a blistering hour and a half of hard hitting punk infused rock. It also demonstrates the unique rough quality that Mark Arm’s vocals produce with a nasal essence that allows for a hoarse and honest wail to his lyrical delivery furthermore reiterating their authenticity.  I Like It Small confirms that Mudhoney do not intend to let up at any point with their use of humorous wordplay and infectious chorus; despite this being one of their most recent songs it receives a warm response. It is, however, the older tracks that receive the greatest reception particularly those from Superfuzz Bigmuff which resonate with the audience and provide an air of nostalgia for many of us.  The ever increasing pit at the front becomes more frenetic with the likes of You Got It and Sweet Young Thing Ain’t Sweet No More, whilst No One Has becomes one of the highlights of the set as Maddison’s bass thunders round the venue.

Throughout the set there is ample opportunity for Steve Turner to unleash a searing guitar solo, for example at the end of 1995 when his wah wah pedal is used to maximum effect and the interplay with Arm’s guitar part, replacing the saxophone on the recording, creates a melee of the finest degree.   It is also Turner’s talent for writing a gritty riff which set Mudhoney apart and is seen with their most famous track, Touch Me, I’m Sick, which only needs a second or two of being played before the crowd erupt.  Despite the number of years they have been playing this song live, the band don’t look bored and seem to feed off the energy of the bouncing audience.  Towards the end of the set, Mark Arm loses his guitar and looks as equally comfortable without it, leaning and leering over the crowd spitting out swear words with such rancour especially during their cover of The Money Will Roll Right In. I’m Now sees Turner produce a further superb extended solo whilst Maddison and Peters keep the underlying rhythm tight, enhanced by Arm moving to the back of stage and glaring out until the lyrics return with such an oomph that he launches himself to the front.  After another legendary cover that Mudhoney have adopted, Hate The Police, and the disorderly Chardonnay that is followed randomly for shouts of Hate The Police again, the main set finishes with The Only Son Of The Widow Of Nain.  The awaiting audience know full well that this isn’t the end as there are a number of key tracks that are yet to be played including Into the Drink from Every Good Boy Deserves Fudge which sees precision timing for the joint vocals for the chorus.

After Here Comes Sickness and When Tomorrow Hits, the band effectively segue into the phenomenal In ‘N’ Out Of Grace with its magnificent opening lyrics “Jesus take me to a higher place”. Dan Peters makes the most of the instrumental in the middle with its distinctive drum pattern and gradual build up which is prolonged to generate an increased amount of agitation before Turner adds his solo and then Arm’s lyrics return the song to full pelt, ending an immense set on an elevated high.  Mudhoney have been on the music scene for a nearly thirty years yet their music doesn’t sound outdated and still has an edginess which many younger musicians are failing to channel.  It never made sense to me that Mudhoney didn’t achieve greater musical recognition but then again would I still be able to enjoy such mind-blowing sound in an intimate venue if they had.

Mudhoney Setlist:

Suck You Dry

I Like It Small

You Got It

Oblivion

Blinding Sun

Where the Flavor Is

1995

No One Has

Judgement, Rage, Retribution and Thyme

Sweet Young Thing (Ain’t Sweet No More)

Touch Me I’m Sick

The Money Will Roll Right In

I’m Now

Next Time

Hate the Police

The Final Course

Chardonnay

The Only Son of the Widow from Nain

Encore:

Into the Drink

Here Comes Sickness

When Tomorrow Hits

In ‘N’ Out of Grace

Review: Toni Woodward

Photographs: Dave Musson

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