In the UK particularly, there has been a groundswell of good people making radical music as of late. The close-knit geography of these isles, and the inherent desire to subvert stiff-upper-lip stereotypes, Alex and Annabelle suggest, both play their part in that. The post-Brexit, post-pandemic shitshow of our current political situation doesn’t hurt, either. (“Fuck the Tories,” Amy nails their colours to the mast, for anyone in doubt. “Boris should resign. All that jazz…”) Perhaps most significant, though, is the contemporary willingness for musical movements to be defined ideologically rather than sonically.
“I think that there’s a punk revival, but it’s more in attitude rather than actual sound,” expands Alex. “There are a lot of musicians speaking up. They can be punk in what they do, even if not strictly punk by genre. If you look at a band like Bob Vylan, it’s just the singer and the drummer. There’s not even a guitar onstage. By the narrow definition, that’s not punk. But everything they stand for – everything they’ve done – is punk.”
Despite their ever-weightier sound, Witch Fever also remain punk as fuck.
Momentum is building. They seem remarkably blasé about having landed a coveted slot opening for MCR on May 19 at the 30,000-cap Stadium MK shortly before we speak, to go with appearances at Manchester’s Outbreak Fest and Cheltenham’s 2000trees. Professed dreams of stepping up to stages as varied as Glastonbury, Madison Square Garden and, er, Later… With Jules Holland mightn’t seem as far-fetched as they once did. But the hunger for bigger, more diverse shows is all about spreading their righteous gospel further than before.