“Apparently we’ve only got ten minutes to play so we’re going to have to play as fast as we can.”
Lucky for Jon Langford that he’s a charismatic and amiable guy, or sharing this news at the beginning of his set could have sent the crowd over the edge. It was a strange mix of bands at the Knitting Factory for a mid-week performance; the first act of the night (an act whose own security described as the “next big thing in hip-hop”) started late and ran overlong, pushing the night’s schedule off by about forty-five minutes. Then, an unannounced change in line-up moved the KatJonBand from an already late start at 10:00, to starting sometime after midnight, the final act of the night.
Jon had already given a high-energy performance earlier in the evening as he and members of his punk band Mekons teamed up with the Burlington Welsh Male Choir, giving one of the most unusual and inspired performances I have seen at the Knitting Factory. The set combined the skill and chutzpa of a well-tuned punk band (Langford fronting and playing lead guitar) with the precision of a seasoned choir, who were taking a detour from their more traditional shows, singing along to Mekons’ standards and a few Tom Jones hits. Band and choir played to a lively crowd, who instinctively initiated themselves as de facto choir members by the first bar of “Delilah.”
Unfortunately, by the time the KatJonBand took the stage, the club was low on time and the crowd had dwindled to about twenty during the long break. However, those remaining were treated to a spectacular show, if all too brief. The performance was an explosion of experimental punk rock sophistication. Both Langford and Ex are captivating to watch, with Ex looking like she’s fallen into a trance as she rips through the difficult rhythms of songs like “Machine Gun Ugly Doll,” while Langford has the jumpy stage presence of a punk rocker, but the showmanship of someone skilled enough to be able to have fun. Between the two, the room was pulsing and had a stronger, more aggressive energy than when it had been full a few hours prior. You almost felt bad for the people who didn’t stay, but happy they weren’t ruining the view.
Although the lyrics have a heavier focus—war, colonization, greed, and more than a few hints of S&M—the rhythms are catchy enough that you could miss the message, something both Ex and Langford seem to relish exploiting. “Red Flag” opens like a Bangles tune, until Langford’s raspy voice comes in, screaming about oppression and injustice. The song was the stand-out for me on the album, and still, I was blown away when I heard it live. Most of the song is instrumental, and plays out like a battle between the guitar and drums, with Ex and Langford seeming to get a kick out of the other’s incredible musical talent, and me wishing I knew how to start a mosh pit, just to do something with the palpable electricity the song had created.
The only downside to the show was that the band was only able to play five songs, the last one being referred to as an “encore.” However, listening to the album again at home, I had a new appreciation for the musical dexterity of the duo as well as their chemistry on stage. The album is fast paced, lively, and has a message behind the beats that distinguishes good punk from the pop-punk craze that has nearly destroyed what it once tried to emulate. The KatJonBand is an act that should be seen, no matter what the wait may be; they remind you how when experimental music is good, it’s really good, and that talented musicians are always able to surprise and engage you more during a live show.
