Gutter Glam fest was sweaty, outrageous and as loud as expected. Like for any festival of any size, there was a lot to see: fifteen bands between Little Joy and the Short Stop, two popular bars just separated from each other by a street block. However, what were they thinking? Why doing a festival on a Sunday night? I would have greatly preferred a Saturday night, as there was no possibility for me to stay up on a Sunday night till 2 am. In any case, I still managed to see a lot — 11 out of the 15 bands playing — and the experience was another raging episode of hard/punk/glam rock.
Punk rock and hard rock were well alive during Robber or the Rails and none of these intense people cared about how they would look under a harsh red light. Depraved of air conditioning, Little Joy’s small room soon felt like a sweaty sauna and the energy that the bands had to deploy to scream in the mic, strum their guitars, beat the hell out of their drums and roll their backs on stage, probably felt like multiplied by one hundred. But it never mattered and they all gave what people wanted: some wild and savage energy that propelled the audience into a similar fury. Not only the room was very badly lit, but it soon became risky to stand up still in the middle of the room, while trying to shoot the stage.
The girls were far from being absent from this mayhem and on stage, they were very well represented by the always impressive Astrid McDonald who fronts her band the Side Eyes with a captivating hardcore rage. The Groans were also extremely ferocious, and Trap Girl, after starting on a very Latino rock note, brought on stage, Kristine Nevrose of the Tissues and Markie Medina of Storm House to sing a few punk classics.
With a very Bowie look and the music to go with, Dagger Polyester was probably the most glam rock act of the night, while Melted Bodies and their weirdness may have been the most metal? Their heavy mix of noisy musical fusion would be very hard to classify, but they certainly were attention grabbing and the crowd kept moshing and jumping. Rinse and Repeat was another band full of surprising effects: they could have been an extra-terrestrial duo (looking at their fancy jumpsuits) who had decided to put our minds upside down. At the end of their set, they confronted the crowd with an odd determination. Immortal Nightbody combined lo-fi synths, bass lines with hip hop delivery, while Shamon Cassette was also an intriguing assortment of cultures as diverse as rap, rave party and punk; he looked like a more colorful and happier version of the punk duo H09909, or a Samurai on acid with a hip hop delivery.
Gutter Glam fest, an event assembled by a nice woman who goes under the moniker “Basic Cable Programming” on Instagram, was a time for weirdos and eccentrics, a time for people thinking outside of genres and styles, a time to lose control with the help of a few freaks.
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