While London baked outside, The March Violets kept the faithful in the shade.
The hottest day of the year so far is perhaps not the most obvious setting for an evening of gothic rock. Black clothing and temperatures nudging towards the uncomfortable tend to be natural enemies. Yet on this sweltering Friday night, a curious gathering found its way into London's legendary 100 Club, lured by the promise of air conditioning and an appearance by Leeds gothic veterans The March Violets.
The crowd itself was an interesting mix. Long-time followers who probably still remember buying records rather than streaming them mingled with a noticeably younger contingent, many of whom had turned up early for support act Moth Slut. It was reassuring proof that the attraction of the dark and the macabre remains alive and well, even if some of the newer recruits seem to have discovered their vampires via cinema screens rather than record collections.
Opening the evening were Manchester's Moth Slut, one of the more intriguing names to emerge from the current UK goth underground. Blending post-punk, darkwave and classic gothic rock influences, they delivered a set that suggested they are rapidly outgrowing support-slot status.
Drawing heavily from recent material while still making room for older favourites, Moth Slut struck an effective balance between showcasing where they are now and reminding the audience how quickly they have built a catalogue worth paying attention to. There is a theatrical quality to what they do, but importantly it never feels forced. The atmosphere comes naturally, backed by strong songs rather than smoke and mirrors.
Most encouragingly, they already seem to have cultivated a loyal following. A sizeable portion of the audience clearly knew exactly who they had come to see and responded enthusiastically throughout. For a scene that periodically worries about its own mortality, Moth Slut provided a welcome reminder that new blood is still finding its way into the crypt. After a short break it was time for The March Violets.
Rosie Garland remains one of the most distinctive frontwomen in gothic rock. Equal parts elegance and drama, she commanded the stage with the effortless confidence that comes from decades of experience. Alongside her, Tom Ashton looked visibly relaxed, entirely at home and as precise as ever, delivering those unmistakable guitar lines with an economy that younger players could learn a thing or two from. Completing the line-up was Mat Thorpe, who joined in early 2024 and now appears fully settled into the role, contributing with the ease of someone who has been there far longer.
If the venue wasn't packed to the rafters, the weather may well have had something to do with it. Even committed goths have limits, and travelling across London dressed for a Victorian funeral during a heatwave probably tests them. Besides, no self-respecting vampire has ever regarded direct sunlight as a sensible lifestyle choice. Those who did make the journey were rewarded with a set that balanced old favourites and newer material without ever losing momentum.
If attendance figures were slightly affected by the weather, enthusiasm certainly wasn't. The crowd responded warmly throughout, with every familiar bassline and guitar figure greeted by knowing smiles and enthusiastic applause. There was little sense of nostalgia for nostalgia's sake; rather, it felt like a gathering of people who still genuinely enjoy these songs.
The set leaned heavily towards the band's early catalogue, more so than on some recent outings. Classics such as "Children On Stun", "Grooving In Green" and "Snake Dance" formed the backbone of the evening, giving proceedings the feel of a celebration of the March Violets' formative years rather than a routine greatest-hits run-through.
Particularly pleasing was the inclusion of "Steam", a deeper cut that drew appreciative reactions from long-time followers. Moments like this separated the show from a straightforward nostalgia exercise and served as a reminder that the band's catalogue runs deeper than the handful of songs most often associated with them.
While newer material was represented by the likes of "Hammer The Last Nail" and "Made Glorious", the emphasis remained firmly on the songs that first established The March Violets' reputation. The remarkable thing, however, is how little these songs feel like museum pieces. Four decades on, they still sound vital, urgent and entirely at home in a darkened club on a Friday night.
The encore, a rousing "Walk Into The Sun", sent the crowd back out into the still-oppressive London evening on a suitably uplifting note.
The 100 Club remains one of the few places where legendary musicians can still be found wandering around after the show like perfectly ordinary punters. Long may it continue.
As the crowd drifted back into the tropical London night, there was a certain irony in spending the hottest day of the year celebrating death, darkness and despair. Then again, goths have always enjoyed a good contradiction.
Setlist: Moth Slut Hotter Than Hell (Intro) A Coffin Built For Two Omni Tempore Times Like This In The Dead Of Night Solitude And I Welcome To The Church Parabellum To Tell A Lie Forever Again Hellhound
The March Violets Long Pig Religious As Hell Hammer The Last Nail Children On Stun Fodder Grooving In Green Radiant Boys Strangehead Steam Undertow Crow Baby 1-2 I Love You Made Glorious Snake Dance
