"Punk is dead…but we're still dying" ran the legend splashed across the A and B-sides of STIFF LITTLE FINGERS' legendary 'Alternative Ulster' / '78 Revolutions' single. It seemed especially prophetic when the record (complete with still poignant soldier and little boy sleeve image) emerged from the war-torn Belfast hinterland in 1978, but as the older and definitely wiser SLF embark on their 30th Anniversary tour and feature on bills such as the nostalgia-heavy Holidays In The Sun events, it's difficult to ignore the palpable irony.
Crucially, though, despite their break-up/ hiatus from 1983-1987, Stiff Little Fingers have remained a creative, relatively forward-looking outfit who may have been forced to deal with the inevitable, 'Spinal Tap'-style line-up changes and the equally-inevitable smaller halls over the past ten years or so (see the equally under-rated contemporary version of Buzzcocks and The Stranglers) but actually remain something of a force to be reckoned with, even if they are aware that their chart-bothering days are probably over.
SLF'S live reputation (rightly) remains intact, and we'll see why shortly. First up, though, are special guests BLOOD OR WHISKEY who look a little shell-shocked to be shoehorned onstage at a curfew-friendly 7.45 or so. It doesn't take them long to hit their stride and - despite the complete inaudibility of their accordion player from your reviewer's precarious vantage point stage left - are soon settling into knocking out a set of beered-up, mob-friendly anthems in a Levellers-esque stylee. Except with a wickedly Mohicaned-up banjo player substituting for the dreadlocked, Catweazle bassist slot. Subtlety is clearly not their forte, but as a devil-may-care entrée with a nice line in audience singalongs (the lead singer's mic is lowered into the moshpit for the rousing 'Poxy Pub In My Neighbourhood') they fit the bill like an envelope around a cheque. Job done, as they say.
Meanwhile, it's no secret that SLF'S customary March/ Paddy's Day UK/Ireland tour is especially resonant this year because the band have decided to follow the The Stooges' lead of playing their most-loved album in its' entirety. In SLF'S case, this is of course their still utterly incendiary debut 'Inflammable Material' and we are gathered here tonight in the wake of a triumphant performance of said album at their old stamping ground, the Ulster Hall in Belfast, the previous night. The adrenaline is clearly still flowing, too, as Jake Burns, Ali McMordie, Ian McCallum and drummer Steve Grantley steam into a storming 'Roots, Radicals, Rockers & Reggae' and serve the (already frenzied) moshpit notice that they remain lean and hungry when onstage even if waistlines have expanded a little over the years.
Taking a leaf out of The Clash/ Pistols' book, Jake, Ali and Ian are resplendent in stencilled shirts bearing logos such as 'Infammable Material' and 'Wasted Life'. Sensibly, Steve Grantley opts for a skimpy vest up on the drum riser and by the time they've crunched their way through 'Nobody's Hero' and a still dangerously pumped-up 'At The Edge' you can see why as the sweat's already starting to flow. Indulging in the first of his always-entertaining audience addresses, Jake admits there'll be "more nostalgia than usual" tonight, but fiercely-dispatched versions of new favourites such as 'Strummerville' and 'The Talent Drop' (prefaced by a warmly received "I'm fuckin' glad Louis Walsh is back on the dole!"), plus the freshly-penned Bush'n'Blair diatribe 'The Liars Club' make it abundantly clear that SLF remain a distinctly potent force despite the weight of history surrounding them.
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'Just Fade Away' and a poignantly anthemic 'Bits Of Kids' keep up the pressure, but as Burns lashes into the intro of 'Suspect Device' the pit surges and the crowd go rabid, white-hot radio rental. The W&H posse are not alone in being drenched in about 20 pints of Caffrey's and the crowd-surfing really kicks in. This, kids, is indeed how it should be done and as long-established, throat-scouring favourites such as 'Wasted Life' and the still rancourously-hilarious 'Barbed Wire Love' rub shoulders with the less-familiar, but equally relevant likes of 'Here We Are Nowhere', a scabrous 'White Noise' and surprisingly muscular 'Breakout' we're beginning to wonder why more bands less than half SLF'S age can't play with this much eyeball-popping ferocity and commitment.
Anyone familiar with 'Inflammable Material's tracklisting will know that we're into the home strait once the RUC-lashing 'Law & Order'and record-company rip-off complaint 'Rough Trade' have been given a thorough kicking. Then comes the moment many have been waiting for as Grantley levers up the sombre, militaristic drum tattoo launching their cover of Bob Marley's 'Johnny Was'. Every bit as iconic and resonant as The Clash's seminal take of Junior Murvin's 'Police & Thieves', it's superbly weighted tonight, with Burns and McCallum wringing shards of feedback from their guitars and taking their time over the intro, solo and bringing the crowd to boiling point before unleashing the "a single shot rings out in a Belfast night" line. It's arguably THE moment of the night, though of course the inevitable 'Alternative Ulster' follows furiously in its' wake. They're right to leave out 'Closed Groove', although it's possible they may have attacked it late on in the encores.
For our part, W&H hang around for Burns and co to return and pay tribute to the Dublin massive with a charged and very adept version of Thin Lizzy's 'The Boys Are Back In Town'. Too modestly, Jake dismisses it as "just another cover of a great song by a shite band", but there's no denying the still-fierce punky reggae and anti-racist message of the ensuing Jerry Dammers-penned 'Doesn't Make It Alright', which SLF have made in their own image in the same way as the Marley cover.
By this time there's nothing to do but finally relinquish our increasingly precarious position stage left and escape, struggling to believe that it's over before 10.30. We ponder whether we should opt for the pub or a Haagen Daz and an early LUAS home and leave Temple Bar safe in the knowledge that what was planned as merely a spiky trip down memory lane ended up as one of the gigs of the year. If you're reading this in time, try to make one of the UK dates. You'll not regret it.
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