The Spitfires

It wasn’t long before the well-dressed Dr. Green (Jake) England from The Caballeros made his way to the stage to introduce the headline act and joke about the upcoming royal wedding. The Spitfires briskly opened their set with crowd favourites Camden Town, Shallow Grave and Skeletons. If you haven’t seen The Spitfires live yet you are missing an experience. Eccentric front man Sean Regan, born in England and now living in Perth, has a cheeky, awkward persona and has never lost the British accent. Alex Hay is a brilliant addition, his fast paced drumming is superb and he hits his kit harder than anyone else in WA. Paul Bovenkerk complements the rest of the band perfectly as the quirky bass player. He confidently struts around stage looking just like a dog with its head out the car window, tongue lolling to one side, jubilantly plucking at his bass strings. The Spitfires are the in your face punk version of the Arctic Monkeys and they attempt to finish the set short due to Sean’s fading voice. After some polite persuasion from the crowd; “Come on you bums!”, The Spitfires finish the night off with their latest single Radio Control and new song Suffer Kate. - FasterLouder

The good vibes continued for The Spitfires. This band has acquired a new drummer recently and there has been a noticeable, though not dramatic, change in their sound. The jangle-edged Skeletons, for example, lost some of the frenetic punk desperation that it once had, but Beat The Bankers sat very comfortably indeed and new single Smile carried the emotionally clout it deserves.

One thing that is very obvious about The Spitfires is their relentless ambition and drive, especially on the part of their singer/guitarist Sean Regan. It seems that this passion and hard work is starting to pay dividends on the stage, ‘cause while some of the aforementioned tension has been released from the sound, they are looking and playing better than they ever have.
- X-Press Magazine

The good vibes continued for The Spitfires. This band has acquired a new drummer recently and there has been a noticeable, though not dramatic, change in their sound. The jangle-edged Skeletons, for example, lost some of the frenetic punk desperation that it once had, but Beat The Bankers sat very comfortably indeed and new single Smile carried the emotionally clout it deserves.

One thing that is very obvious about The Spitfires is their relentless ambition and drive, especially on the part of their singer/guitarist Sean Regan. It seems that this passion and hard work is starting to pay dividends on the stage, ‘cause while some of the aforementioned tension has been released from the sound, they are looking and playing better than they ever have.
- X-Press Magazine

If you were not to look at their online profiles, Sean Regan, Alex Hay, and Paul Bovenkerk of alt-indie band The Spitfires, could easily be mistaken for an archetypal brit-rock/pop band from as far back as the 90s. Frontman, general manager and booking agent Regan (an Englishman) has clearly brought his root influences to his Australian bandmates, who currently reside in Perth.

DeadGood_Cover
When listening to their latest EP ‘Dead? Good!', it is apparent that they have cemented their style as the five tracks flow from beginning to end. They have taken Brit elements of old, encompassing Blur's British middle class, relatable lyrical flair, with the punchier, punkier edge and ethos of the likes of The Arctic Monkeys. This is also integrated with reflections of Keane (especially the vocals of Regan) and guitar driven melodic showmanship in fifth track ‘Ravensthorpe' which is comparable to that of even the Chilli Peppers' best work. As the disc is so well constructed to this genre, it is quite hard to believe that they hold their first UK gig today (May 6). They somehow make the material their own, with every track feeling refreshing rather than cliched.


As with many EPs from unsigned, established bands, parts of ‘Dead! Good?' could be better recorded with parts of track four ‘Jumped' for example, sounding more like a live gig than material recorded in a studio. However they can be forgiven for this as their talent pushes through the production struggles that larger, more established bands don't have to contend with. This talent makes the whole record, from the opening intro of first track ‘Shallow Grave' right through to the last instrumental seconds of ‘Ravensthorpe' a success.


The band can be proud of this, their second effort, as they have obviously amalgamated their sound since the debut EP ‘Firestorm' in 2009. They manage to strive through it with little tarnishes to speak of, always staying sincerely true to the sound that they obviously love and do well. Here is an example where instrumental, vocal and lyrical elements mesh together to maintain steady interest, thus creating further interest as to where the band will creatively go from here. One to watch. - SoundSphereMag

Having garnered comparisons to the likes of Arctic Monkeys etc, I think some have been a little unfair, or at least very unimaginative, toward this Aussie / Scouse crossover. Equally has Google, who claim they are the 14th Eastleigh Scout & Guide band, who rehearse every Thursday evening at 6.30.

Essentially, they are a bit of an art-rock band, but in a the vein of Art Brut or The Fall rather than the shitty end of things – especially with the Mark E Smith style sardonic delivery on the bitter ode to the late night fight Jumped. There’s also an air of Idlewild in there, in the Captain through 100 Broken Windows era, before they turned into turgid FM radio shite. Having seen them in town just a few weeks back, they can be a bit hit and miss, but this EP works well and there’s a lot of potential.

With a reflective outlook to the songwriting, and a preponderance toward death in the subject matter that might almost suggest a bit of a death-rock influence, this is more grown up than you’d perhaps expect for a band so early in their career. Sadly though, these days that could let their best drop through the cracks – with the ‘contemporary’ music press such as NME increasingly infantile, and new sounds being beyond the scope of the Mojo readership, they are going to have to work extra hard to be heard. - Pure Rawk

`Maturity' isn't a word this critic often uses as a compliment, outside appreciation of fine cheeses and good booze, but The Spitfires' sophomore EP is a gigantic leap forward. Dead? Good! maintains plenty of the snotty attitude that the band has become somewhat infamous for, but the targets: hipsters, thugs, domestic violence; are more universal and are simply critiqued better than ever before. The Spitfires are certainly on their way to realising their massive potential. The music itself is informed equally by English punk and British rock, energetic yet catchy with a complexity that gives the band an edge over their contemporaries. The absolute highlight of this CD is closer Ravensthorpe, with its bitter-sweet lamentation of life on the mines. Relevant, melancholic, and indignant; it's six minutes of awesome. Good stuff. - X-Press Magazine #1236

What can be said about The Spitfires? They’re punk, they’re dirty, fast and in your face, they tick all the boxes, think of them as a nastier, cleaner sounding Clash, but maybe that’s due to the quality production work by Jerry Freedman.

The EP kicks off with blistering pace, Camden Town Is Burning Down will have the pierced and tattooed bouncing off each other, the cockney sounding “lah lah lah lah’s” add an element of mischief to the song, A fantastic way to kick off the 5 track EP.

Skip to the third track, Fox News; It’s a great guitar track, it wails, the vocals are somewhat lost in the sound but when you’re jumping around the living room, who’s listening anyway? Maybe your neighbours are, hopefully they don’t hear the lyric about “breaking your neighbours foxtel dish.” I think these boys heard the result to a game earlier than they wanted. “Fox News, Fuck You” indeed.

A nice little sing along comes in the form of The Disappointment Never Ends. It shows a little more range, but not too much, from front man Sean Regan. Definitely the stand out track, a lot of fun.

Guns Of Orsmick is very Transplants; Head bobbing, break neck breakdowns, tough lyrics about tough places with guns and violence.

If you like your punk hard and grimy, the Spitfires are for you, But to all the So – Cal punksters, dont bother. - FasterLouder.com

The spitfires are going from strength to strength. On their debut release, Firestorm EP, the Perth lads have channeled all the best of British punk. So much so you could mistakenly think you have been transported to some dingy ‘70s English pub listening to the next big thing. With boundless energy, magnetic vocals and catchy riffs, these tracks are just a hint of the bands potential. - Drum Media Perth - 11/06/09

The spitfires are going from strength to strength. On their debut release, Firestorm EP, the Perth lads have channeled all the best of British punk. So much so you could mistakenly think you have been transported to some dingy ‘70s English pub listening to the next big thing. With boundless energy, magnetic vocals and catchy riffs, these tracks are just a hint of the bands potential. - Drum Media Perth - 11/06/09

Which brings us to The Spitfires. Like Project Mayhem, The Spitfires too have built a reputation on the Perth gig circuit, though their substantial collection of released work separates them from a lot of other well-known Perth bands. In anticipation of their full-length album, last Friday marked the launch of their second EP, titled Dead? Good!

The absence of fear in terms of recording and releasing material has made The Spitfires interesting listening. Standing in front of a substantial body of music helps ground the band. There’s less of a feeling that they have something to prove, and its evident in the way the way they conduct themselves on stage. There’s certainly a stage presence, lead primarily by front man Sean Regan, but unlike a lot of their peers, the band stops short of going over-the-top. The Spitfires are serious about their music, and play in a way that is entertaining but still allows for masterful control.

What results is a sound that steers away from the undisciplined DIY aesthetic of Punk into a more tuneful, pop-infused brand of Garage Rock. Songs like My Disappointment Never Dies and Young Liberals underline Regan’s charismatic guitar and refreshingly prominent vocal lines. Their songs are full of simple, catchy hooks and melodies in raw back-to-basics form. It’s a sound presented in a matter-of-fact style, with songs like Camden Town full of disdain for self-conscious pretensions. All in all, It was the sound of an established and matured band, and full of promise for the upcoming album. - FasterLouder.com

Which brings us to The Spitfires. Like Project Mayhem, The Spitfires too have built a reputation on the Perth gig circuit, though their substantial collection of released work separates them from a lot of other well-known Perth bands. In anticipation of their full-length album, last Friday marked the launch of their second EP, titled Dead? Good!

The absence of fear in terms of recording and releasing material has made The Spitfires interesting listening. Standing in front of a substantial body of music helps ground the band. There’s less of a feeling that they have something to prove, and its evident in the way the way they conduct themselves on stage. There’s certainly a stage presence, lead primarily by front man Sean Regan, but unlike a lot of their peers, the band stops short of going over-the-top. The Spitfires are serious about their music, and play in a way that is entertaining but still allows for masterful control.

What results is a sound that steers away from the undisciplined DIY aesthetic of Punk into a more tuneful, pop-infused brand of Garage Rock. Songs like My Disappointment Never Dies and Young Liberals underline Regan’s charismatic guitar and refreshingly prominent vocal lines. Their songs are full of simple, catchy hooks and melodies in raw back-to-basics form. It’s a sound presented in a matter-of-fact style, with songs like Camden Town full of disdain for self-conscious pretensions. All in all, It was the sound of an established and matured band, and full of promise for the upcoming album. - FasterLouder.com

Which brings us to The Spitfires. Like Project Mayhem, The Spitfires too have built a reputation on the Perth gig circuit, though their substantial collection of released work separates them from a lot of other well-known Perth bands. In anticipation of their full-length album, last Friday marked the launch of their second EP, titled Dead? Good!

The absence of fear in terms of recording and releasing material has made The Spitfires interesting listening. Standing in front of a substantial body of music helps ground the band. There’s less of a feeling that they have something to prove, and its evident in the way the way they conduct themselves on stage. There’s certainly a stage presence, lead primarily by front man Sean Regan, but unlike a lot of their peers, the band stops short of going over-the-top. The Spitfires are serious about their music, and play in a way that is entertaining but still allows for masterful control.

What results is a sound that steers away from the undisciplined DIY aesthetic of Punk into a more tuneful, pop-infused brand of Garage Rock. Songs like My Disappointment Never Dies and Young Liberals underline Regan’s charismatic guitar and refreshingly prominent vocal lines. Their songs are full of simple, catchy hooks and melodies in raw back-to-basics form. It’s a sound presented in a matter-of-fact style, with songs like Camden Town full of disdain for self-conscious pretensions. All in all, It was the sound of an established and matured band, and full of promise for the upcoming album. - FasterLouder.com

B52's meet Arctic monkeys, is my immediate thought when the riff from track 1 "Shallow Grave" fills my ear canal. Then the vocals come in and I find myself asking, why does this band from WA sound so British? After a little research I discover guitarist, singer, songwriter and somewhat eccentric front man Sean Regan isn't an Australian native. He wasn't born here and he definitely doesn't sound like he's from here, however after the last chorus from "Shallow Grave" rings out I can't help but feel optimistic about this WA based three piece.

Track 2 "Skeletons" picks up right where "Shallow Grave" left off. It's a catchy punk number with a British guitar twang and a sing-a-long chorus. Track 3 "Qui Aime Bien Chatie bien" is another example of the sound The Spitfires have mastered and by this song's end we realise this band isn't just guitar noise and British cross Aussie piss taking. Both Paul Bovenkerk (bass) and Alex Hay (drums) are a credit to the album, the drums keep the tunes pumping while the bass happily skips along dreamily.

The Spitfires
"Jumped" track 4, once again this tune has great guitar sounds and the right combination of tempo change. However the vocals and lyrics in this tune let it down a bit for me. How could this be you ask? Especially with lyrics such as "are you really depressed or what", "that's a nice haircut mate, do you reckon his mum cut it for him" and "grab a hold of my kebab Steve, no you can't have a bite". I'm sorry, I can't help but cringe. However once the final track "Ravensthorpe" kicks in you realise "Jumped" was necessary. If for nothing else than to bring your hopes down a little so "Ravensthorpe" can pick them up again and leave you with a good taste in your mouth. The riffs are, in my opinion, the best thing about The Spitfires. The bass lines and guitar riffs fit together perfectly. Sean Regan manages to make his guitar squeal and squirm and sound almost as eccentric and pissed off as his lyrics do, while the bass does its job keeping the guitar from being too over the top, serious and in your face. When focusing on the bass I can't help but imagine an out of context little boy skipping through the cobblestone streets trying to catch cauliflower moths. However all daydreaming aside, this is a brilliant EP from a great up and coming WA act. Do yourself a favour and pick up a copy of Dead? Good! - Dinosaurs Eat Noise

The Spitfires' second EP is an impressive release, thanks to the band's obvious cohesiveness and Sean Regan's very detailed and timely lyrical content... Musically inspired by everything UK from The Smiths to the Arctic Monkeys, The Spitfires' Dead? Good! is dead good. - Drum Perth

The Spitfires swapped their usual electric guitar and fuzz pedal arsenal for a two-man acoustic guitar set which transformed them, as frontman Sean Regan put it, from “Perth’s most hated punk band to Perth’s most hated acoustic-punk band”.

Regan has undeniable singing talent and is well versed in the Northern England lad cum cocaine addict sound ala Pete Doherty. Channelling the obvious Clash influences, The Spitfires played an enjoyable set of songs including the punk harkings of Guns of Ormskirk and standout covers of Don’t Look Back Into The Sun and Can’t Stand Me Now by The Libertines. The Spitfires’ knockabout set will no doubt draw new fans to their next full band show. - FasterLouder.com

Now there's a sentiment this reviewer can get behind. Emanating from Perth, it comes with that snarky edge to the words which only an English accent can provide. Novelty here being the man yelling said lyrics is actually English. It all swings and chops at you with the intent of a band suitably rockin' and passionate about what they're doing. Happily, they have the ability to back that up. There are some pop melodies among the raise middle fingers. They mean it maaaan, in the old-fashioned way worthy of being played loud. - Drum Sydney

"With a whirr of movement, the next band out on to the stage preparing to woo the audience was The Spitfires. Within seconds of The Spitfires hitting the stage everyone's attention was drawn. A siren blared across the stage and it was clear that this was a band that knew exactly how to do what it wants to do. With a speedy but simple guitar riff, a well placed distorted bass line and a drum beat that kept people tapping feet and clapping hands, it was hard not to enjoy the group. From the intro to the final note of its set, people were won over by their British charms." - SpaceShipNews.com.au

The Spitfires, an Australian act with Liverpudlian frontman Sean Regan, performed some white-hot indie rock; the highlight being the jerky Camden Town Is Burning Down. With their original drummer called away, stand in Nathan Sproule fitted the group’s punk ethic perfectly and Regan’s cheeky Scouse wit made for a charismatic show as he quipped: “I’d rather be watching The Cribs too but I’ve got a job to do!” - XPress - Perth

For a fresh-faced three piece out of Perth, The Spitfires sound a hell of a lot like the grimy garage bands kicking around the UK during the '60s to the '80s. Combining a healthy dose of The Jam's jangling energy and anecdotal lyrics with a dollop of The Cure's early punk leanings, these guys write great almost-pop songs that may seem chronologically misplaced, but they sure know how to get the hips moving. For all of the brevity and get-to-the-hook-now urgency displayed on this dandy little offering, the post-rock feel of closing number "Ravensthorpe" goes a long way to prove that The Spitfires have a bit more to offer than an excellent understanding of what used to be popular. Dead? Good! is a sterling EP, but it's over all too quickly. Bring on the full-length already! - Blunt Magazine #91

So, The Spitfires doing an acoustic set… what? Surprisingly, it actually worked. It is a testament to the skill of Sean Regan and Paul Bovenkirk that despite having no drummer, and two acoustic guitars, one of which had a broken pickup, and half a lung between them, they managed to pull off a fair imitation of a punk set with the added bonus that we could understand the lyrics better and therefore enjoy the full bitter humour dripping from each song. Thanks to the MacGyverish skills of Nat from Hybrid Aura, the broken guitar was miked up partway through the second song and all was well. They also managed to recover the energy in the crowd and did what a support band is supposed to do, by getting them ready to dance. - Fasterlouder.com.au

As for The Spitfires themselves, even their pre-set tune up drew punters to the stage like rats to an underground lair. Barely requiring an introduction, the unstoppable trio launched into a short, fast and loud rendition of Young Liberal with more energy than you can squash into a Red Bull can. It was obvious from the outset that Paul Bovenkerk was going to put on one hell of a show; his bass wielding antics paired with the manic look on his face worked wonders to rev up a crowd frozen from the stormy winter air outside.

In the new EP, the Spitfires are clearly sticking to the brand of irreverent, indie, Brit-rock carried through from winning songs like Guns of Ormskirk and My Disappointment Never Dies …but, as they hail from Perth in Western Oz, the ‘Brit’ bit is a little lost on me. And, although they are in the playground with big kids like the explosively successful Artic Monkeys, it is a faster, punkier and more fun sound than AM’s Big Day Out gig earlier this year.

Frontman Sean Regan charmed the crowd with a boyish, cheeky voice that could win even the most hardened rocker over with a simple “you’re too kind!” A brand new track from the EP, Shallow Grave, went down as a sure-fire hit with the catchiest riff of the night – reminiscent of that from the B52s’ Rock Lobster. At the very least, it guaranteed that Shallow Grave would be stuck in the heads of the sorely hung-over on Saturday morning.

Being plagued by some ear piercing technical issues mid-set did not prevent the Spitfires from slamming into Skeletons, which Regan introduced as “a song about skeletons, because everyone loves skeletons.” The subject matter is not the only thing to love about this song, which champions easy-to-sing-along-to lyrics such as “skeleton, skeleton, skeleton…” It is refreshing to watch a band with absolutely no pretence. The only thing on the Spitfires’ agenda tonight, ladies and gentlemen, was a rockin’ good time. And selling a few EPs.

In a fitting move, homage was paid to two of the greatest Brit-punk bands of all time: bad-ass Pete Doherty’s The Libertines by way of a fantastically frantic Can’t stand me now and the almighty Clash. Even though it seems that all British influence bands have an unspoken obligation to perform London Calling at some point in their rise to fame, these Perth boys gave the classic a little Spitfires’ flavour. The band, the song and the grunge-glam punters all combined in an underground scene that had attitude to spare.

Alex Hay on drums was, quite frankly, luminous under the flashing green lights. His relentless, inspired punk beats had the effect of filling the crowd with bustling excitement. Glowing acid green, he looked like some sort of determined, punk alien with otherworldly reserves of energy far superior to that of your average drummer.

To close, the air raid siren of Fox News blared out into the night and The Spitfires gave their absolute all to what will certainly be a king hit on the punk scene. It was the perfect way to wrap up the romping, stomping success of a set which never paused once to take a breath. The “Fox News, fuck you” catchcry may well just rocket the Spitfires to national success and beyond. So, rest assured – if the Brit-rock bandwagon picks the Spitfires up at the next stop, these three Perth rockers will make sure that you know about it. - FasterLouder.com

As for The Spitfires themselves, even their pre-set tune up drew punters to the stage like rats to an underground lair. Barely requiring an introduction, the unstoppable trio launched into a short, fast and loud rendition of Young Liberal with more energy than you can squash into a Red Bull can. It was obvious from the outset that Paul Bovenkerk was going to put on one hell of a show; his bass wielding antics paired with the manic look on his face worked wonders to rev up a crowd frozen from the stormy winter air outside.

In the new EP, the Spitfires are clearly sticking to the brand of irreverent, indie, Brit-rock carried through from winning songs like Guns of Ormskirk and My Disappointment Never Dies …but, as they hail from Perth in Western Oz, the ‘Brit’ bit is a little lost on me. And, although they are in the playground with big kids like the explosively successful Artic Monkeys, it is a faster, punkier and more fun sound than AM’s Big Day Out gig earlier this year.

Frontman Sean Regan charmed the crowd with a boyish, cheeky voice that could win even the most hardened rocker over with a simple “you’re too kind!” A brand new track from the EP, Shallow Grave, went down as a sure-fire hit with the catchiest riff of the night – reminiscent of that from the B52s’ Rock Lobster. At the very least, it guaranteed that Shallow Grave would be stuck in the heads of the sorely hung-over on Saturday morning.

Being plagued by some ear piercing technical issues mid-set did not prevent the Spitfires from slamming into Skeletons, which Regan introduced as “a song about skeletons, because everyone loves skeletons.” The subject matter is not the only thing to love about this song, which champions easy-to-sing-along-to lyrics such as “skeleton, skeleton, skeleton…” It is refreshing to watch a band with absolutely no pretence. The only thing on the Spitfires’ agenda tonight, ladies and gentlemen, was a rockin’ good time. And selling a few EPs.

In a fitting move, homage was paid to two of the greatest Brit-punk bands of all time: bad-ass Pete Doherty’s The Libertines by way of a fantastically frantic Can’t stand me now and the almighty Clash. Even though it seems that all British influence bands have an unspoken obligation to perform London Calling at some point in their rise to fame, these Perth boys gave the classic a little Spitfires’ flavour. The band, the song and the grunge-glam punters all combined in an underground scene that had attitude to spare.

Alex Hay on drums was, quite frankly, luminous under the flashing green lights. His relentless, inspired punk beats had the effect of filling the crowd with bustling excitement. Glowing acid green, he looked like some sort of determined, punk alien with otherworldly reserves of energy far superior to that of your average drummer.

To close, the air raid siren of Fox News blared out into the night and The Spitfires gave their absolute all to what will certainly be a king hit on the punk scene. It was the perfect way to wrap up the romping, stomping success of a set which never paused once to take a breath. The “Fox News, fuck you” catchcry may well just rocket the Spitfires to national success and beyond. So, rest assured – if the Brit-rock bandwagon picks the Spitfires up at the next stop, these three Perth rockers will make sure that you know about it. - FasterLouder.com

Finally it was time for the main act. Sirens started wailing; ones that were so loud you'd be forgiven for thinking bombs might actually start dropping from the skies. Enter The Spitfires.The band started with the political 'Young Liberal' and for the first time all night there was dancing at the front of stage. The group went into more EP tracks from 'Guns of Ormskirk' to 'The Disappointment Never Dies' before playing some newbies. The sound quality was clear and lead singer Sean Regan gave a solid performance with his raw English tinged vocals. While Alex Hay was showing off his stamina on the drums, bassist Paul Bovenkerk was hamming it up with the crowd despite being ill that night.When 'Camden Town is Burning Down' begun, a girl jumped on stage and kissed Regan on the cheek (an action that was matched straight after by The Strychnine Cowboys' lead singer. Somewhere along the way, Regan copped a sticker to the chest reading 'Sex Party: Where You Come From'.

The boys played a couple more new tracks not featured on the EP, with Regan stating "This is a song about skeletons because everyone loves skeletons!" Shortly after this the group encountered some technical difficulties and took the opportunity to thank everyone for coming.When everything was ready to go again the band was joined by a friend - lead singer of Mezzanine actually - in a cover of 'London Calling' by The Clash. The set then ended with the expletive filled, yet catchy 'Fox News' - SpaceShipNews.com

Finally it was time for the main act. Sirens started wailing; ones that were so loud you'd be forgiven for thinking bombs might actually start dropping from the skies. Enter The Spitfires.The band started with the political 'Young Liberal' and for the first time all night there was dancing at the front of stage. The group went into more EP tracks from 'Guns of Ormskirk' to 'The Disappointment Never Dies' before playing some newbies. The sound quality was clear and lead singer Sean Regan gave a solid performance with his raw English tinged vocals. While Alex Hay was showing off his stamina on the drums, bassist Paul Bovenkerk was hamming it up with the crowd despite being ill that night.When 'Camden Town is Burning Down' begun, a girl jumped on stage and kissed Regan on the cheek (an action that was matched straight after by The Strychnine Cowboys' lead singer. Somewhere along the way, Regan copped a sticker to the chest reading 'Sex Party: Where You Come From'.

The boys played a couple more new tracks not featured on the EP, with Regan stating "This is a song about skeletons because everyone loves skeletons!" Shortly after this the group encountered some technical difficulties and took the opportunity to thank everyone for coming.When everything was ready to go again the band was joined by a friend - lead singer of Mezzanine actually - in a cover of 'London Calling' by The Clash. The set then ended with the expletive filled, yet catchy 'Fox News' - SpaceShipNews.com