Metal, Hardcore, Indie, Rock
A celebration of lost souls: Fields of the Nephilim’s theatrical London return
On a night meant for remembering those who have passed, where the feel of spaghetti westerns mixes with a touch of blood and darkness, we really couldn’t have asked for a better way to end the spooky season on a cold evening at the O2 Forum Kentish Town, London.
Fields of the Nephilim, much like others in their genre, have really left a mark on both music and the generations that followed. The dark atmosphere and themes really struck a chord with many of us, and we could tell we were in for a night filled with people of all ages. It was really great to see so many people from the older generation still putting in the effort and celebrating 40 years of their careers.
We were pleasantly surprised to discover a new genre of music when the first band, Heathen Apostles, took the stage with their unique “bloodgrass.” Then, we enjoyed a classic alternative performance from the legendary Claytown Troupe, a band that has truly made its mark in UK music history.
Come celebrate the darker side of music with me, where guitar distortions take a backseat.
Heathen Apostles
When the clock struck 19:30, Heathen Apostles showed up with their stunning hats, bringing their unique sound to the UK. I had never seen the Los Angeles-based foursome before, and I was speechless afterward. Their set was brief but impactful, blending dark country vibes with some moody gothic elements.
It really opened my eyes, as someone who isn’t too familiar with the genre, to the idea that music and taste can’t be boxed into just one label. “Be Careful What You Pray For” and “Red Brick Dust” had me and the London crowd wanting more. Their unique storytelling and moody instrumentation were just so captivating. I had no idea I could enjoy bluegrass, or should I say bloodgrass? It’s pretty cool how much rhythm there is, even without a drummer around.
With the violin and contrabass, plus some catchy guitar riffs from the well-known Chopper Franklin (who’s played guitar and bass for The Cramps, the Mau Maus, and more), Mather Louth’s voice and stage presence really take the audience to a rich, dust-bowl vibe, making it feel like they’ve walked right out of a “Weird West” or Southern Gothic horror film.
Photo: Peterson Marti.
Claytown Troupe
Back in the 80s, while London and Manchester were buzzing with inspiring bands, Bristol was right there too. That’s where Claytown Troupe kicked off their amazing journey with frontman Christian Riou in 1984.
The band mixed the moody vibes of gothic rock with the punchy style of alternative rock, but their performance felt pretty average compared to what we’ve seen from the Heathen Apostles before. I wasn’t really feeling the first few songs; something about the voice or the sound just didn’t hit the mark for me. It seemed a bit off or not quite right.
Fortunately, with the third song, things started to improve, and the band’s energy shifted, making the rest of the set more enjoyable—even for the folks around me who were asking, “Who are those guys?” I really liked that part in between the songs where Christian, the singer, expressed his gratitude to everyone who came out and stood by the stage to greet them. He also encouraged people to support smaller bands, not just the ones that play in big arenas.
Photo: Peterson Marti.
Fields of the Nephilim
- Intro (The Harmonica Man)
- Preacher Man
- Trees Come Down
- Love Under Will
- The Watchman
- Dawnrazor
- Moonchild
- For Her Light
- At the Gates of Silent Memory
- Psychonaut
- Last Exit for the Lost
- Mourning Sun
As the long coats stroll onto the stage, the intro of “Man with a Harmonica,” the theme from the Spaghetti Western “Once Upon a Time in the West” (composed by Ennio Morricone), slices through the tension in the Kentish Town Forum. The excitement was palpable, with the crowd eagerly calling out for them, almost as if they could hardly contain their anticipation.
I had a hard time figuring out what was happening up there, but then I spotted those wide-brimmed hats. As the iconic guitar intro of “Preacher Man” kicked in, frontman Carl McCoy stepped out from a cloud of dry ice smoke, his voice slicing through the atmosphere and echoing around the Kentish Town Forum.
The band members looked like shadows in the bright lights, which really gave them this mysterious, almost cult-like vibe. Fan fact, I heard that back in the day, they used to dust their stage outfits with flour to give them that “western like movie” vibe. I’m curious if they still do that today.
Carl’s voice fills the venue, almost like a “post-apocalyptic shaman.” He leaned over the microphone stand in his signature way, delivering his lyrics with a deep, guttural growl that’s both terrifying and amusing. The mysticism flowed throughout the 12-songs setlist, highlighting decades of their most beloved tracks. The back to back performance of “Love Under Will” with “Moonchild” and “For Her Light” was just amazing. I ended up letting go of my shyness and joined the crowd dancing in the back of the room, kind of like we were in a goth club.
It was with genuine goth and mystic post-punk tunes that really caught our ear in the moment, just like they have all through their amazing career.
They didn’t just leave us hanging; we got one last breath before the ice wall pulled them back into the darkness, all while the signature bass line of “Last Exit for the Lost” and the enchanting ethereal guitars of “Mourning Sun” played in the background.
If you’ve never caught their show before, like I hadn’t, you end up with this intriguing feeling at the end. It’s not the type of mystery that leaves you thinking, “What did I just witness?” It’s more like you’ve stepped onto a movie set in a spooky, haunted town tucked away in some far-off country.
Photo: Peterson Marti.