Not every band can be pigeon-holed when it comes to their genre and they can either use that as a superpower or it’s to their detriment, leading to industry bods struggling to classify them and they never get the kind of audience they deserve. In the case of The Dead Collective, it’s not so much that you can’t stick a word before “rock” and get on with it. It’s that it would be doing the band a disservice because they’re such a unique band on the scene. In their few years of existence, they’ve garnered a small but devoted fanbase, namely from Oli Brown’s involvement but like all great bands, they’re greater than the sum of their parts with Sam Wood and Wayne Proctor completing the band.
Kicking off Saturday night in a muggy upstairs room full of people in the know or simply early to get a good spot or discover a new band, it’s Anchor Lane. Having originally discovered them a decade ago when they opened for Brown’s previous band as well as the next (and what would be the final) time that band played Glasgow, tonight is a bit of a full circle moment. Their first support tour in over three years, the Glaswegian trio are in fine form tonight after the first couple of shows under their belt. With their dynamic and energetic brand of alt rock, they’re intent on warming the crowd up tonight, leaning on new singles “Five Knuckle Shuffle” and “Six Foot, Six Pack, Sigma” to get things started. However, tonight brings something slightly different as they dust off “Bitter” from 2023’s Call This a Reality? Having never witnessed them perform it, other than acoustically, in its full-blooded form, it’s an absolute monster. Its bass line thicker than treacle and its lyrics are brooding without being po-faced, leading perfectly into “Ministry”.
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Frontman Conor Gaffney uses the band’s van woes (all I’ll say is: team diesel!) to do the merch sales pitch and seamlessly introduce “Call This a Reality?” which is now sounding filthier than ever. Meanwhile, the addition of guitarist Connor Trail has the band sounding much heavier and simply a better live act. His addition on the October/November 2024 dates was an excellent appointment but now it’s like he’s been part of the band from day one. Whilst his predecessor is a phenomenal guitarist, Connor plays the older material like it’s his own with grace and ease, bringing a heavier and chunkier element to them. His interplay with Conor’s own guitar work allows the band to sound beefier without sacrificing their core sound. Stalwarts like “Fame Shame” and “Stutter” allow for some crowd interaction but it’s “I Don’t Have a Soul to Pour” which allows them to finish on a high after a relentless 45 minutes. Drummer Graeme Newbury goes even harder on this one, balancing force with finesse, every strike of the bass drum feeling like a kick to the chest. The band may and look a lot different from a decade ago but there’s the same feeling tonight as there was then – they deserve to be massive.
“Our lighting is completely fucked so can we just get some house lights and make it a bit more organic? If they come back on, give us a cheer,” Oli Brown says, greeting the crowd as he steps onto the stage.
“What an intro!” Sam Wood adds dryly, cutting the tension that has been building as we approach show time. But it’s an insight into The Dead Collective and their authenticity; you could never accuse this band of being disingenuous as we are subsequently treated to a unique show. They may have dropped Oli Brown’s name from the band’s moniker last year in time for their dates with Von Hertzen Brothers but this tour, dubbed The Metamorphosis Tour, is rather apt as we witness the band’s rebirth.
Opening proceedings with “Sinking Ship” would be a risk for most bands, but this is The Dead Collective and using that as an opener is a statement of intent. Its slow build into its crescendo is a perfect example of how the band use dynamics to their advantage, treating them in a way a boisterous pet plays with their favourite toy. The band are relaxed, their technical issues shouldered professionally and with this being the third show of the tour, you can see them get into the groove of it. You’d never see this band anything less than well-rehearsed and polished but it’s not a recital, it’s a performance. As “Father” makes an early appearance, the lights kick into life with a roar of approval from the crowd. Whilst it’s not the be all and end all, the rig has been programmed to match every chord and beat, elevating the show and making you feel like you’re watching an arena show in a club. And if they hadn’t worked the entire night, it would have still been an incredible show, but this simply elevates the 80 minutes they’re on stage for, transforming a gig into an experience. It’s one where the hair on the back of your neck stands to attention the entire time, raw honesty blending with complex and engaging melodies.
Oli’s vocals are laced with passion, powered largely by a low rumble but he knows how to wail when appropriate, serving the song, passion laced in every word, matched by his guitar prowess. He plays off well with Sam and it’s hard to know which of them to watch as they both wrangle their six strings effortlessly, the pair of them communicating telepathically. Each of them knows when to take a step back and let the other have the spotlight. Meanwhile, drummer Wayne Proctor is an absolute marvel. There’s a deftness to his playing, it’s never about hitting the kit as hard as possible or overly complicated fills, it’s more about what he doesn’t do with his massive and varied kit, never using anything in his arsenal just for the sake of it. Indeed, this is a band you want to watch from the back of the room so you can see all three people perform at once rather than swap your gaze, simply because they’re all excellent on their weapon of choice.
The groove and riff-filled “Everything You Want” leads into the headiest section of the show with the back to back assault of “Haunted”, “Home Sweet Home” and “Your Love”. “Home Sweet Home” has long been a favourite with its sweeping cinematic soundscapes, the fragility of longing and acceptance playing against the immersive sounds and sights, leading to one of the emotional numbers of the night. However, not everything from prior EPs have put in an appearance tonight, giving way for the tracks which will feature on the band’s upcoming self-titled debut. “Goliath” is filled with defiance, showing a shift away from the darker lyrics from past releases whilst “Cracks” is cathartic and has Oli remarking: “Hopefully this goes out to a special someone in your life.” And if you know the chorus, you know his words are dripping with irony. And at the same time, their lighting rig dies, prompting a well-earned middle finger from Wayne.
Oli’s defiant and for the last song of the night, “Falling”, he resets the system. As the tour is debut for this song, you have to admire his desire for it to be spot on. This is a song which hits hard and as finales go, it’s one which is well-earned. Between that and the other new songs, you can see the progression and where they want the band to go without abandoning what they were already doing. It’s impossible to truly put into words just how good a Dead Collective show is. It’s a complete sensory experience and their brand of atmospheric and cinematic rock is one that has no imitators, nor should it.
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Header image by Drew Paul Photography
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