Live
The Godfathers, Claytown Troupe
The Garage, London
14 February 2025 (gig)
16 February 2025
From Frost to Fire: A St. Valentine’s Day Massacre with The Godfathers
London in February: cold enough outside to turn your breath into a smoke signal and not much warmer inside The Garage. The Godfathers had appropriately christened the night “SAINT VALENTINE’S DAY MASSACRE,” a nod to both the romantic occasion and their signature no-nonsense rock ‘n’ roll. Doors creaked open at 7 p.m., and for a while, it felt like the heating had decided to stay in the pub. Thankfully, salvation arrived in the form of Claytown Troupe, ready to raise the temperature with their brand of alternative rock.
Active since 1984, Claytown Troupe came armed with a set that blended goth-tinged swagger with hooks sharp enough to slice through the chill. Their half-hour slot was punchy, tight, and full of darkly melodic energy. While a good chunk of the crowd clung to their pints like lifebuoys, a few brave souls actually moved to the music, proving that frostbite wouldn’t claim everyone tonight.
Then came the blink-and-you-miss-it intermission—just enough time for another drink or an animated debate about whether rock 'n' roll is dead (spoiler: it isn’t). And then, at last, The Godfathers took over.
You half-expect The Godfathers to walk on stage looking like they’ve just stepped out of a gangster film. And they mostly did—except for Peter Coyne, who ditched the sharp suit for something more relaxed. Not that it mattered. With his level of stage presence, he could’ve worn a bin bag and still commanded the room.
Wasting no time, they tore into “This Damn Nation,” slicing through the venue’s lingering chill like a buzzsaw. The sound was everything you’d expect from The Godfathers: tight, tough, and thunderous. The venue wasn’t quite packed to the rafters—about three-fourths full—but what it lacked in numbers, the crowd made up for in sheer enthusiasm.
Since forming in 1985, The Godfathers have weathered several lineup changes, but the most drastic came in 2019 when the entire band turned over, leaving Peter Coyne as the last man standing. But if anyone feared a loss of edge, those worries were quickly obliterated. The current lineup delivered the goods with all the punch and grit fans could hope for.
The band knows how to build a setlist, and this one was a full-throttle sprint through their back catalogue. Classics like “She Gives Me Love” and “Cause I Said So” had heads nodding, feet stomping, and, in some cases, arms flailing like it was 1988 all over again.
The night wasn’t just about high-octane bangers, though. Darker, brooding moments surfaced with “If I Only Had Time” and “I Despair,” giving Coyne the chance to flex his trademark growl. Whether snarling through lyrics or pacing the stage with a glare that could stop traffic, he had every eye locked on him.
Meanwhile, Richie Simpson and Billy Duncanson—both veterans of Heavy Drapes—looked utterly at home, driving each song with precision and punch. Jon Priestley’s basslines rolled with ease, and Paul Humphreys’ guitar licks bit just hard enough to leave a mark. The chemistry between the band was undeniable.
By the time “This Is War” and the ever-iconic “Birth, School, Work, Death” rolled around, The Garage had transformed from an icebox into a sweat-drenched, fist-pumping rock ‘n’ roll riot. Even the too-cool-to-move types at the back had given in to at least a respectable nod.
Then came the encore: “I Want You,” “I Can’t Sleep Tonight,” and the all-or-nothing closer “I Want Everything,” wrapping the night in a thunderous, no-holds-barred crescendo. Loud, brash, and completely uncompromising.
Despite a start colder than a landlord’s heart, the group set the place ablaze with a performance that proved, once again, why they’re still one of the sharpest, hardest-hitting bands in the game. The suits (mostly), the snarling vocals, the relentless energy—it was everything you want from a proper rock ‘n’ roll gig. Next time, though, a bit more heating wouldn’t go amiss.
Setlist:
This Damn Nation
She Gives Me Love
OCD
If I Only Had Time
Drag Me Down Again
Tell Me Why
Lay That Money Down
How Low Is Low
I'm Not Your Slave
Cause I Said So
The Strangest Boy
This Is Your Life
I Despair
Strange About Today
Love Is Dead
Obsession
Lonely Man
This Is War
Birth, School, Work, Death
Encore:
I Want You
I Can't sleep Tonight
I Want Everything
London in February: cold enough outside to turn your breath into a smoke signal and not much warmer inside The Garage. The Godfathers had appropriately christened the night “SAINT VALENTINE’S DAY MASSACRE,” a nod to both the romantic occasion and their signature no-nonsense rock ‘n’ roll. Doors creaked open at 7 p.m., and for a while, it felt like the heating had decided to stay in the pub. Thankfully, salvation arrived in the form of Claytown Troupe, ready to raise the temperature with their brand of alternative rock.
Then came the blink-and-you-miss-it intermission—just enough time for another drink or an animated debate about whether rock 'n' roll is dead (spoiler: it isn’t). And then, at last, The Godfathers took over.
You half-expect The Godfathers to walk on stage looking like they’ve just stepped out of a gangster film. And they mostly did—except for Peter Coyne, who ditched the sharp suit for something more relaxed. Not that it mattered. With his level of stage presence, he could’ve worn a bin bag and still commanded the room.
Wasting no time, they tore into “This Damn Nation,” slicing through the venue’s lingering chill like a buzzsaw. The sound was everything you’d expect from The Godfathers: tight, tough, and thunderous. The venue wasn’t quite packed to the rafters—about three-fourths full—but what it lacked in numbers, the crowd made up for in sheer enthusiasm.
Since forming in 1985, The Godfathers have weathered several lineup changes, but the most drastic came in 2019 when the entire band turned over, leaving Peter Coyne as the last man standing. But if anyone feared a loss of edge, those worries were quickly obliterated. The current lineup delivered the goods with all the punch and grit fans could hope for.
The band knows how to build a setlist, and this one was a full-throttle sprint through their back catalogue. Classics like “She Gives Me Love” and “Cause I Said So” had heads nodding, feet stomping, and, in some cases, arms flailing like it was 1988 all over again.
The night wasn’t just about high-octane bangers, though. Darker, brooding moments surfaced with “If I Only Had Time” and “I Despair,” giving Coyne the chance to flex his trademark growl. Whether snarling through lyrics or pacing the stage with a glare that could stop traffic, he had every eye locked on him.
Meanwhile, Richie Simpson and Billy Duncanson—both veterans of Heavy Drapes—looked utterly at home, driving each song with precision and punch. Jon Priestley’s basslines rolled with ease, and Paul Humphreys’ guitar licks bit just hard enough to leave a mark. The chemistry between the band was undeniable.
By the time “This Is War” and the ever-iconic “Birth, School, Work, Death” rolled around, The Garage had transformed from an icebox into a sweat-drenched, fist-pumping rock ‘n’ roll riot. Even the too-cool-to-move types at the back had given in to at least a respectable nod.
Then came the encore: “I Want You,” “I Can’t Sleep Tonight,” and the all-or-nothing closer “I Want Everything,” wrapping the night in a thunderous, no-holds-barred crescendo. Loud, brash, and completely uncompromising.
Despite a start colder than a landlord’s heart, the group set the place ablaze with a performance that proved, once again, why they’re still one of the sharpest, hardest-hitting bands in the game. The suits (mostly), the snarling vocals, the relentless energy—it was everything you want from a proper rock ‘n’ roll gig. Next time, though, a bit more heating wouldn’t go amiss.
Setlist:
This Damn Nation
She Gives Me Love
OCD
If I Only Had Time
Drag Me Down Again
Tell Me Why
Lay That Money Down
How Low Is Low
I'm Not Your Slave
Cause I Said So
The Strangest Boy
This Is Your Life
I Despair
Strange About Today
Love Is Dead
Obsession
Lonely Man
This Is War
Birth, School, Work, Death
Encore:
I Want You
I Want Everything
