Having seen Soft Play (formally Slaves) eight years ago on a tiny stage in Henham park's beautifully green set glades stage, the unruly brilliance of the O2 turbulent atmostsphere is stratospherically different.
Touring their fourth album Heavy Jelly, Soft Play sell out Bristol's O2 Academy. The album is perfectly titled; a mix of absurd references AKA the 'Jelly', and the 'Heavy' aspects of life.
'Punk's Dead', a decisively bold comeback single. Hollering the lyrics 'come get a load of these PC babies', directly addressing the name change to jilted-fans and simultaneously re-establishing that they are indeed, as punk as it comes.
Rowdy, vicious a chaotic swirling mass of people, the crowd were frenzied. Crashing about to Issac's heavy drum beat and slamming heads to the raucous cacophony of sound coming from Laurie's guitar, the 02 hasn't seen a mosh pit like this. Taking up the pit, slamming unwitting participants against the railings, the crowd was like a wave at the mercy of the next coming riff.
Displayed across the back wall, in what is in no doubt viewed as a contentious act by the older gig goers - Soft C*nts. If nothing else, this act alone, echoing the lyrics of their recent single 'Punks Dead' establishes Soft play as Punk at their core.
Foolishly I tailored my expectations of the show to that of the memory my twelve year old self retained, therefore when choosing clothing - I thought a safety pin ladened waistcoat was the right move. When I tell you a safety pin coming unclasped from the back of your waistcoat and embedding itself in your spine isn't the most fun, I think you should believe me. What makes it much worse was how rammed the pit was, and so said safety pin stayed firmly lodged in my back until the final verse of 'one more day'.
A favourite moment of mine came after the song 'Act violently', the mosh pit a sea of battered individuals stopping to catch their breath. A man lifts up a single shoe, then another man, then another. Many shoes were lost that day, but I think most would agree it was worth it.
There were very few moments of stillness, but when the throng of the crowd did calm, it was powerful. 'Everything and Nothing' created one of these such moments. Born from the grief Issac Holman experienced at the death of a close friend and Laurie Vincent at the death of his partner, the single holds the room, there is a clear sense of vulnerability and the room is there for it. The sweeping melody and rasping lyrics echo an agonising loss all too familiar.
Featured image: BMG Rights Management (UK) LimitedWhat is your favourite track from the new album?
