31 Oct 2023 // A review by Nicholas Clark
If you’ve attended even a handful of live music events in the capital these past two years, chances are you’ve seen or heard of the alternative heavy rock band, Dave and the Dirty Humans. They’re the kind of band you might rave about the next morning, groggily and inaccurately trying to describe their style as both heavy and funky, metallic but not really metal, direct and brutal at times but complex and harmonious the next second. Like a four headed beast, it's a hard group to describe and one song doesn’t do them justice as to the range of noises they can muster up from the classic line-up of two guitars, bass and drums, first popularized by none other than Buddy Holly.

But easy-going rock n’ roll they are not, and with all four members singing it’s hard to define who the front person might be, although vocalist/guitarist Hamish at centre-stage might most easily fit the role. During on-stage bantering with lead guitarist/vocalist Harrison, interjected by grunts from bassist/vocalist Kane, it is usually drummer/vocalist Ben who will announce the most professional utterances in a clear, jovial diction. That’s all before he starts pummeling his kit in a ferocious style that earned him joint best drummer in the recent nationwide Battle of the Bands, all whilst usually smiling. Indeed, the band recently won second place in the competition overall and gathered up a songwriting award along the way. And which song best presents this strange multifaceted band you ask? None other than their most recent single, FORA, an unconventional swaggering rock song that resembles an Oreo (structurally speaking at least), but more on that later...

Having won their various awards and no doubt collecting a gaggle of fans along the way, Dave and The Dirty Humans next mission after The Battle of The Bands was to release the long awaited FORA at the infamous Welsh Dragon Bar in Wellington’s downtown area (it used to be a public restroom, now its Wellington’s ‘Only Welsh Bar’. Insert appropriate joke here if you like.) Supporting the band, in keeping with an unpredictable flair, were two bands that might seem an odd fit, but which matched the vibe perfectly on the night. Firstly, Cherry Punch, a centaur-like group with the rhythm section of a hardcore band, a punk/noise guitarist and a front woman with enough attitude for a whole festival and the vocal delivery (if you believe me) of Pantera’s Phil Anselmo. Secondly, Budget Cucks, a cross between the New York Dolls and the Arctic Monkeys, with a flair for crowd participation.

The Welsh Dragon Bar was bedecked with Christmas lights for the occasion, the small venue absolutely packed, no doubt at its fifty-person capacity. The atmosphere was electric in such a small venue, friends and fans talking excitedly before Cherry Punch took the stage. The band began fast and furious, running through numbers that got the night started like Little Boys and Rot, encouraging the small but eager crowd of revellers to dance to the rapid beat. Front-person Cherry introduced a new song, Please, with the information that it was about being sexually abused by a partner. The crowd audibly gasped after an awkward pause before they launched into the song, but opportunities like these offer musicians a chance to speak up about issues, often broaching taboo subjects and then exorcising the emotion through music. Finally, they ended on new song They Know which is currently available on streaming services.

Budget Cucks played a short but intense set of punky upbeat ditties covering subjects as diverse as identity issues through how to become an expert kisser, although I may have misheard the lyrics. Against the twinkling backdrop, long hair flowing and metallic instruments glinting in the Christmas-like aesthetic, they made for an entertaining aperitif for the main act.

Finally, the four heads of the beast took the stage (well, not technically a stage at all) and began a set filled with crowd favourites like Left Shoe (complete with shoe donations from the crowd), Meat Swing and Rainforest. Most songs contained moments of soft balladry to contrast with crushing intensity, complete with harmonious singing and convoluted rhythms that would tease the crowd into moments of confusion before bringing them back to the safety of a steady beat. The band were unusually polite and appreciative of their audience, but just as candid as ever.

All the while, Jecht Taylor, Wellington’s most dependable live music photographer and occasional music video director, was filming the event on three separate cameras including a fisheye lens which offered an interesting view on the circular room where the band performed. At last, they came to play the song everyone had come to hear: FORA. As usual, the song began with a furious and infectious beat which reminds me of Queens of The Stone Age’s most recognized record, Songs For The Deaf. After a screamed accent, the riff continues but then shifts into funk mode before transforming once again into full ballad mode as Hamish coos a few clever lines like: “I love to hate, but I hate to fight” and “tell me I won’t get away with life” delivered in a Chino Moreno whisper. As for the title of the song itself? There are a few mentions of being taken ‘for a ride’ which is appealing in its ambiguousness. There’s a blistering solo and the song exits on the same introduction riff, thus creating an Oreo type of song; hard exterior, soft interior ... only the soft isn’t all that soft at all, only when compared to the raging riff that bookends the tune within.

The single itself offers the richness of multitrack recording. The vocals are clearer (except when put through a filter for the occasional yelp), the Josh Homme-style guitar solo really jumps above the mix, the drums are as clear as bells if they could withstand the punishment. Its interesting hearing the recorded version of the song I’ve heard live so many times, but it brings the true concept of the song into distinct focus. The production here is crisp and borderline poppy, contrasting with the rawness of the live act. A few smooth seconds could easily be sampled into a breezy jazz by a European DJ, while other sections could be interpreted as death metal. It's the range of emotions and transitions that make this song so appealing.

Here is a band that likes to play with the ingredients of rock but offer something new and distinct. Whether its song structure, truly experimenting with tone to achieve both blistering face-melting and tender heart-warming moments or playing with the sensation of control being utterly lost only to be rescued by a soft, dreamy chord, Dave and The Dirty Humans truly know how to take their audience for a ride.

Check the single out now on all streaming services and go see this band live before everyone discovers them!

Photo Credit: Jecht Taylor

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