The Longest Johns are brash Union Hall styled Folkie shouters, and their infectious goodtime energy radiates through the near capacity Fork.
There are three of them and where they diverge from Shane MacGowan’s first band is the three-part acapella vocals which can be stunning.
The group ignited in Bristol, United Kingdom in 2013, when they started singing together at a barbeque.
That sounds Kiwi or Aussie and not at all typical of the homelands. You would expect an English pub (much different and more congenial than the New Zealand versions), maybe even in the stands at Anfield or Ashton Gate stadium. Liverpool and Bristol City FC respectively.
They start with one of their own Llandoger, off their Voyage album (2024). Good evening, aren’t we lucky to be here tonight?
Yates plays a percussive claw hammer stye, and he’s a doppelganger for Charles Manson. Once you see it you can’t get it out of your head.
Straight into Byker Hill and a rousing miner’s song. The first one with dominant percussion. Kettle drums on stage and a floor one with a foot pedal.
Mining For Gold – Chemical Worker’s Song. A highlight with the three voices in unison, and the baritone to bass voice of Darley.
The trio have natural comedic timing with their stage craft. A Folk version of the Bonzo Dog Doo Dah Band in the way they can incorporate stand-up comedy and song.
This is the last show of their tour, and they are revelling with a supportive audience. Some Folk fans present but a mixed and very congenial bunch.
Worker’s Song is written by Edward Pickford and has also been covered by the Dropkick Murphys. The most socialist song of the evening. We’re the first ones to starve, we’re the first ones to die.
The problem with revolutions is always… Meet the new boss/ Same as the old boss.
It’s not hard to hear the roots of Boss Springsteen and the early Folk pioneering Dylan.
My money comes and goes/ And rolls and flows/ Through the holes in the pockets of my clothes.
Mutiny. Has the rhythm of Brecht and Weill’s Whiskey Bar song. Rowdy and rambunctious. Baiting the crowd by dissing moas and Jackson’s Lord of the Rings. Becomes a long-running gag as the set progresses.
Chris Albi Dent acoustic guitar, Pascal Roggen electric and acoustic fiddle, Micheal Young a stand-up bass plugged in.
A big expansive Folk sound liberally spiced with gypsy Jazz, old style syncopated Roots Country, Cowboy, Hillbilly, and the bass a resonating sonorous bottom.
The lowdown dirty Scoundrel Dog sets the frantic pace.
They do vary the pace with I’m Not Free. Gentle Americana and addressed to Albi’s journey to sobriety.
Mostly they swing and keep it tight and disciplined. Roggen is wearing close to a scarlet trackie, so I imagine him as Scarlett Riviera playing on Dylan’s Rolling Thunder tour.
The Longest Johns save their celebrated Wellerman near the close. The one that went viral on TikTok. Another great trio vocal.
Ashes has incantatory Eastern drones which is arresting. They break the spell with a Turn hard to port! to begin last song Hoist.
A rousing last show for their inaugural tour to New Zealand and the crowd continues to shout Mutiny!
Rev. Orange Peel
Photography by Leonie Moreland
The Longest Johns
Albi & The Wolves
