The fourth and final article in a short series covering the epic night at Scarborough Film Festival for Dead Mint: The Grandads Don’t Indicate Story, screened at the Stephen Joseph Theatre, followed by a live gig at the Railway Club.  Charles Kirby ends the round-up with a run-down of Graham Watson’s antics. 

A note before starting, I did quite an in depth review of Graham Watson in my previous YCG article for Return Of The Sub-Gents (December 2024). This is to say that I’ll only be covering things significant to this performance, as part of the Scarborough Film Festival screening of Dead Mint and linked gig with Orchard, Grandads Don’t Indicate and Graham Watson.

Since I am covering the Grahams again, I’ll begin with key things to keep in mind while reading the next set of text:

Sam (Drummer) at the time of the gig had “buzz-cut” their hair and dyed it with a Leopard print motif.

Ruben (Brass/Lead Vocals) sported a work uniform for Scarborough Environmental Services, complete with High-Vis vest and an attitude that screamed “happy to help”.

Elliot (Lead Guitar/SFX) carried his popular Arch-Top Jazz guitar, branded with Grandads Don’t Indicate / Dead Mint stickers. I believe he began the evening in his Graham Watson boiler suit (if you get chance, ask him about it)

Reece (Bassist) I believe also chose a boiler suit until it became “boiling”; their boots were rather heavy duty as I recall!

Overall a group of quite smartly dressed punks; with the club setting it looked as though they’d all come straight from work! Costume is just as much a part of the Graham Watson identity as the music.

On that note, the band kicked things off with a thank you to Grandads Don’t Indicate and Bill Bartlett, director, for making the film we had seen earlier at the Stephen Joseph Theatre, Dead Mint. Ruben said:  “If it wasn’t for the film, we probably wouldn’t be stood here today. We make very different music, but the ethos is the same. We love Scarborough and want to make loud music”.  A touching sentiment considering what Steve said to Bill when asked what he wanted people to take away from the film: “If people watch the film and it inspires them to do what they want to do, however ludicrous – write a book or join a band, that’s what he wanted the film to do”.

Gravy Baby

I really enjoyed the bass groove and the enthusiasm Ruben brought to the words, opting for a “dry” vocal signal. The “half-time” drop toward the end of the song felt like it had gravity to it. GW seem to be growing in confidence and cohesion as a group, demonstrating an understanding of each other’s parts to play.  Once the song was done. Ruben took a second to introduce each “Graham” backed by a cheesy “game show” instrumental, which suited their humour and the occasion perfectly.

Shopping List

It’s my experienced opinion that this track would be a great “B Side” to Gravy Baby as they are similar in terms of tempo and temperature of bass, both tracks are solid examples of the band’s understanding of lyric writing. Gravy Baby is almost like a limerick poem and the images it conjures are anywhere from hilarious to disturbing. Shopping List on the other hand contains fantastic use of metaphor (Bands as brands to be consumed). The song follows the idea of going for a food shop – how it can be exciting in youth, only to realize you might just be having these brands forced upon you. Also, if you listen carefully to the verses you can follow an actual shopping list!

Musically, Shopping List seems to be the same as Gravy Baby, but if you pay attention you can hear Elliot starting to stretch his guitar muscles together with examples of pedal and sound manipulation. Shopping is also the first (in this case) to feature Ruben’s Trumpet solo and sound treatments.

As a preamble to the next track the audience were informed just how hot a Hi-Vis jacket can get and asked to provide a 10/10 on “Chip Advisor” in a call back to the Dead Mint film.

Seagull Stole My Keys

A true story of when Reece misplaced their keys, only to be asked by a neighbour days later: “Excuse me mate, are these your keys? A Seagull dropped ’em off yesterday”. A beautiful bending riff strikes our attention as Sam charges up the snare and Reece adds the final support with a “chugging” bass. The track ramps up to and from two core sections, the hook, consisting of a rotation of the first which is: “Seagull stole my keys” and “begging on my knees Seagull, Seagull please!”  The second core are instrumental breaks that contain seagull cries.  It’s In these breaks that the spontaneity in variation occurs in short bursts, ending in a rapid collision of hyper fast drums and chaos that spits out one last plea to the titular Seagull.

843 X93

“843, X93, The bogs don’t work and it smells like wee”. A colourful chant in salute to what the band considers are the only bus routes worth using. Whether going to Leeds, Middlesbrough and almost anywhere in between. I match this mosh anthem to GDI’s “Surfing Cayton Bay” only to think less Beach Boys and more angry Yorkshire folk annoyed that the price of the MegaBus has gone up and there’s nowhere to sit on Whitby Goth Weekend… yeah, that’s more like it!

Dog, Iggy Pop Cover

Another humorous moment for you, apparently Iggy loves peanut butter and the Grahams intended on bringing some in respect…but forgot!

This cover has been developed over time; it is a good indicator of the band’s comfort and confidence to bring their own style to a well-known song. Graham Watson creates a rambling sound stage in this instance, giving room for Ruben’s vocals to go “full guns blazing” through that sonic wall. This “wall” is becoming a key characteristic of the band’s tone and temperament when they turn it up.

Something else to note for example is that Elliott is not afraid to experiment live, further driving the DIY essence of having fun while making a lot of noise. The trumpet solo is also pushed in this way, creating a gutteral episode within the gig, for the audience to take from it what they will.

I suggested in a previous review of the band that this method of musicianship is in a way similar to Bebop Jazz. This is to say that for the band, it’s just as important for them to let go and try things, as it is to entertain fans! I think this approach will help them design an architecture for their sound.

Post Session Sunday Mission

This track is my favorite, the concept explores what it’s like to have to go to a family meal the day after a weekend of alcohol, you arrive and it hits you. Previously I made an observation that the instrumentation mirrors the argument going on between your stomach, liver and head. Coincidentally a lyrical highlight is: “The eyes are starving, the body isn’t willing”.  Another great mosh tune that showcases the band’s synergy. I’ve mentioned this before but I really enjoy the “false stop” in which Ruben improvises, acting as a disgruntled parent and complaining that everything’s gone cold, nothing’s been eaten!

Gammon, Eggs and Chips

From a song about food to one with a foodie title that acts as a political metaphor. This new song (as of writing) is possibly the most political Graham Watson have been. The track expresses frustration over a certain percentage of “older punks” who aren’t actually punks any more, they only dress the part, suggesting that some are corporate bigots who have self important interests. No longer those of a more social, communal or even musical culture.

In terms of instrumentation, the chugging bass and lead remind me more of an 80s American Punk style, initially “Misfits” comes to mind but then I thought a more accurate suggestion overall would be an up-tempo version of “Sabotage” by “Beastie Boys”. I could be wrong but I believe Denis from Grandads Don’t Indicate also made this comparison when in conversation afterwards.

Pindar Leisure Centre

A great choice for Graham Watson to close the night with! I enjoy this song a lot because the lyrics are almost completely taken directly from Pindar Leisure Centre’s website, simply a wholesome advertisement. Not too distant from the lakes of “Mini Railway” and “Peasholm Park” from the Grandads’ catalogue, both of which feature in the film soundtrack. (In fact, if I’m not mistaken, it was this exact comparison which earned me this momentous review!)

Sonically, the music or “vibe” that Graham Watson present here has all the ingredients of everything that led up to this. Yet, Pindar Leisure Centre comes across at points, almost like an art installation piece. This is made possible because the group slows down the rate of information heard, whether through the double kick, down-tempo beat or the melancholic broken chords and strumming. It doesn’t ramp up like many other songs, it seems to move in a gradual, pendulum-like motion.  Even in it’s faster moments it became more of a psychedelic rock track and quite bluesy in places.

On reflection, I feel this provided time to take in the evening, to be in the moment, to soak in our surroundings, the people – and possibly in sweat!- for a few more minutes before moving on. Plus the fuse went in Reece’s bass amp anyway…so perhaps it was meant to be? I’ll let you decide!

A final few words…

This series of linked reviews has been quite the undertaking for various reasons. I hope readers can appreciate the work I’ve put into this collection of articles. I wanted to write something that stands more as a reflective piece about music, community and story. I’ve never been one for simply rating things or tearing things down. There’s adequate reason and space for that, but I prefer to build a narrative that represents all elements of the big picture.

It’s been a privilege to learn so much about Grandads Don’t Indicate, the Scarborough Music Scene, and the people I share it with! I’ve also learnt rather transformative things about myself.

 

Read the first three parts of this series: Dead Mint Screening : Orchard opening set : Grandads Don’t Indicate set

Follow Graham Watson on facebook and instagram

Follow Scarborough Film Festival: website : facebook : instagram