We haven’t done these live show reviews in a very long while on these premises and it’s probably no coincidence that this new found motivation saw fit to strike again by way of former letlive. chief instigator Mr Jason Aalon Butler. These days Jason is perusing away from his home Los Angeles neighbourhood of Inglewood as he preaches, educates, and evangelises the masses by spreading political and socially conscious predicaments through the music and teachings of his new hip-hop/rock outfit Fever 333. It probably comes with no big surprise to any one reader that said alternative group has found its way onto the editorial gatekeeping of this very web property several times before. But let us now take a quick step back as we attempt to retrace the unfolding of subsequent happenings that brought yours truly to the epic and lush live show discerned hereby, as it is indeed no conventional chain of events. So, a bunch of months back I stumbled upon a pretty low-profile and innocuous tweet by UK alternative rock-fuelled publication Kerrang!, asking fans of the band to share their favourite Fever 333 tune explaining why they chose that particular song via an email to the newsroom. Whoever sent through their entry was then eligible to win exclusive tickets to a special and secret event with the band held in London, UK, on Wednesday 28th November last year. And here comes the first plot twist: after submitting my personal essay, it turned out I had miraculously won a pair out of about fifty of said tickets, revealing that my favourite Fever 333 song to date was “Soul’d Me Out” off their debut EP Made an America, going as far as shamelessly self-quoting the ARM review that dropped earlier last year as supporting evidence for my liking, stating:
“[O]ne can’t say enough good things about this cut, from the outstanding and groovy drumming work, to the fast and violently distorted guitars, passing through arguably Jason’s best vocal performance in years and a counter-intuitive yet perfectly adhering plain-landing chorus exclaiming simple but upfront lyrics, via a vocal line no too dissimilar from a lullaby melody (“Sell me out down the shallow river / Could I hate you more? / Could I hate you more?“), just moments before collapsing and disappearing into a scratching scream chanting the song’s central topic, perfectly mocked and intertwined with the expansive meaning of its title: “Sold me out, sold me out / You sold me out to the highest bidder / Sold me out, sold me out / You sold me out to the highest bidder“.”
Alongside the announcement of my victorious submission quest came various instructions that spilled the beans as to what the secret event was actually going to be, namely an extremely exclusive and intimate live performance by the band at North East London’s dive bar Blondies, an impromptu – and truly goddamn tiny small – venue that I only later found out regularly doubles as hosting space for Kerrang!’s Live in the K! Pit video series. The feature puts on regular underground live shows with no stage for about 50 fans, goes on to record them, and converts them into audiovisual transmissions syndicated online. Needless to say, excitement peaked at unprecedented heights, and unsurprisingly the actual live performance by the Los Angeles supergroup turned out to be nothing short of amazing. At this stage it might also be worth stressing out how this very show got squeezed in-between a very dense and relentless tour gig schedule that Fever 333 was under at the time, specifically supporting British metalcore giants Bring Me The Horizon across the UK and Europe. Wednesday 28th November, the night of the London secret show, was in fact their last “free day” before wrapping up the month-long touring leg with two enormous and bombastic final shows at the British capital’s Alexandra Palace venue (one of which – the Friday 30th one – I subsequently planned to attend as well, and so I did). Thus, on the last free evening of their extenuating tour schedule, the three Fever 333 minstrels decided to gift a very small portion of lucky fans one of the most electrifying and insane shows, further devoting part of the audience donation money collected at the door to charity, a regular praiseworthy tradition the group has been maintaining almost ever since its inception in 2017 alongside the creation of the Walking In My Shoes Foundation.
As soon as I got to the Hackney venue with my +1 and realised how infinitely minuscule the place actually was, I started to fundamentally wonder how on earth a punk rock show could have taken place in such a tiny room. Mind you, just to open up a quick parenthesis, as far as lead crowd instigator Jason Butler is concerned, a punk rock show is not simply some kind of slightly faster and more energetic version of your standard run-of-the-mill rock concert. No, ladies and gentlemen, live shows involving Jason are proper mental apeshit cathartic experiences taking up the form of intense collective electric explosions. You are all just one quick YouTube search away from witnessing his live show wilderness in all its glory. Consume responsibly though. So back to our regularly scheduled programme; as me and +1 enter the tiny dive bar, we notice how Blondies was already fully saturated and crowded from left to right, wall to wall, top to bottom. Admittedly, we were among the very last ones to make it to the secret location before their strict 8pm show start, which coincided with the venue’s door lockdown with no late admission allowed anymore. So that y’all esteemed readers can picture this, believe it or not, the entrance portion of the bar-turned-club was where stickman Aric Improta’s drum kit and a few free-floating mic stands were set up, making it the de facto impromptu same-floor-level “stage”, forcing the band to symbolically climb onto it from the main front door of the club, which made for a curiously unusual show entry to say the least (considering that the band had to hop onto the dive bar via the outside street).
An all-black canvas hooded Jason Butler was first to enter the ridiculously crowded and already steamy room, as a selection of scattered politically-oriented soundbites played in the background, followed shortly thereafter by technical drumming extraordinaire Aric Improta and electric guitars shredder and part-time model Stephen Harrison, moments before turning into the first abrasive drum patterns of new single “Burn It”, which anticipates the group’s first studio album outing Strength In Numb333rs, out worldwide today (happy release day, fellas). All hell broke loose after about 30 seconds into the song as Jason’s raw and biting scream welcomed Stephen’s big and crunchy distorted riff, potently guided by Aric’s stomping drums throughout the whole duration. As soon as the intro track finished, Jason immediately jumped into the raw and fiery primal scream of genesis heavy hardcore number “We’re Coming In”, FEVER 333’s first track ever to be written and unveiled to the world two years ago, shouting the now iconic call to arms: “So let me tell you about / Where all my people from / Where all my people from / We hear them sirens come and then the people run“. After the insane energy of their mission statement anthem, the band turned to their flagship song and debut EP title track “Made an America”, a topical and poignant cut for which the group got nominated for Best Rock Performance at the 61st Annual Grammy Awards just one week after this very show. Now, let that sink in just for a quick second. Insurgent, reactionary, and socially-conscious punk/hip-hop outfit FEVER 333 nominated for the preppiest, most corporate, self-indulgent award show ceremony in the space. How’s that for an irony. The times they are a-changin’.
A middle show section in which Jason found himself navigating every corner of the crowd’s meanders saw the inclusion of the brilliant ‘for the people’ equality hymn “One of Us”, a spectacular wandering beat box and drum solo fight between Jason and drummer Aric, as well as the potent and angry standalone single “Trigger”, explicitly denouncing the widespread virus of gun possessions and related violence in the USA. The singer and crowd instigator also took away some time to pledge a sincere and heartfelt tribute to all the women and girls in the room (Blondies is run by three sisters, Ed.) before launching into what is arguably FEVER 333’s biggest song to date, Walking In My Shoes. The short but extremely intense and captivating set got capped off by the wild, visceral, and abrasive Hunting Season off their debut EP, which gave everyone one last deserved yet barely exhausting chance to lose their collective minds whilst Jason and Stephen mixed up into a sweaty and squashed crowd all the way to the bar counter. The public display of musical insanity and individual freedom finally got to a plateau state, ears still ringing louder than ever and mics still hanging from ceiling pipes.
It probably comes with no surprise to any of you that the good people over at Kerrang! did indeed film and edit the whole performance with great love and curation. In fact, the final video version of the half-hour set just literally came out today in concurrence with FEVER 333’s album debut, and is now uploaded on the publication’s official YouTube channel. It is with great admiration, humbleness, and satisfaction that I report said broadcasting transmission to you all esteemed readers just below in form of a digital streamable video feed, embedded for your unbiased and unlimited viewing pleasure. So what else is there to say about a truly unique, mystical, and intimate experience so wonderfully captured in audiovisual form? Virtually nothing, hence why I choose to leave you with a tiny little piece of anecdote that might not be as easily retrievable on the Interweb (or perhaps it is by now, admittedly some months have past since I heard it). During their final Friday night opening slot for BMTH, Jason revealed how FEVER 333 had to drop the “THE” from their official band name for legal reasons, presumably on account of some form of name trademark infringement notice recently put forward against them by a third party. Fun fact: Jason elucidated the crowd on their recent legal dispute whilst tearing down their gigantic white stage backdrop banner flashing what at this point was the outdated (and illegal) THE FEVER 333 emblem, successfully tearing it down from hanging up above Aric before wrapping it all up into one indistinguishable piece of enormous candid cloth that got eventually donated to a resonating and salivating front-row audience. Arguably, there is no better symbolic rite of passage analogy for such an urgent and important punk rock outfit entering their next successful artistic phase, accompanied by a new name, a flattering Grammy nomination, a new fierce studio album, and all of the same old revolutionary aggression fuelled by social justice.
FEVER 333 played:
Beatbox & Drum Solo
I’d like to thank you sincerely for taking the time to read this and I hope to feel your interest again next time.
B3 FR33. Letting them know, there is a fever coming…