GIG REVIEW: Hands Off Gretel + Scarlet, The Cluny 2, Newcastle, Wednesday 27 October 2021
Despite the presence of strong, independent figures like Debbie Harry, Siouxsie Sioux and Poly Styrene, women have always had to shout a bit louder to be heard in the punk scene.
That’s why it’s so refreshing that there are so many bands around nowadays who are either all-female or fronted by women who are unafraid to speak their mind.
Force of nature
Hands Off Gretel are one of those bands, led by the force of nature and undeniable talent that is Lauren Tate, who as well as singing, playing guitar and writing their songs, also designs their artwork and merch.
Formed in 2015 in Barnsley, South Yorkshire, they mix riot grrrl attitude with grunge, punk and pop (and a little theatricality) to impressive effect.
Lauren is joined by Sean Bon (guitar), Sam Hobbins (drums) and Becky Baldwin (bass), and they have a couple of albums and a handful of EPs to their name.
Their music often explores themes of loneliness, guilt, and girlhood – all things which 20-somethings like their frontwoman can identify with.
Packed out
This tour was originally supposed to take place in 2020, but we all know what happened to that. Now they’re back, and the fact they pack out The Cluny 2 on a Wednesday night is testament to how much fans have been looking forward to this gig.
After an opening half-hour from Manchester four-piece Scarlet – two girls, two guys, and an impressive arsenal of grunge-pop tunes (look them up on Bandcamp here) – it’s time for the main act.
The sense of anticipation is palpable, and as the band stroll on, plug in and launch into their set the crowd is immediately hooked.
I’d seen Hands Off Gretel a couple of times at Rebellion Festival in Blackpool, but never in their own show, and certainly not as up close and personal as this.
You’re immediately struck by how the women are the dominant force here: Lauren with her long pink pigtails and Halloween make-up, and Becky all in black, looking like she’s ready to go to war.
Sean wears a full-face morph mask (which he quickly regrets), while Sam settles for painting his face red. Come on guys, you can do better than that.
As a unit they’re tight, and obviously relishing playing live again. Many here have seen them before, but others say it’s their first time. I’m sure it won’t be their last.
After an instrumental intro, we get underway properly with early single In My Eyes, and there’s one song from 2016 debut album Burn The Beauty Queen, the never-more-grungey Bad Egg, which could be by L7.
Much of tonight’s set is drawn from the most recent album, 2019’s I Want The World, including the excellent Freaks Like Us, Rot (All the Good Things), S.A.S.S. and set closer Kiss Me Girl.
A new song, War, is a mid-set highlight, and when Lauren dons an eyeball-adorned tiara for the closing run, I can’t decide if it’s in homage to Hole’s Live Through This sleeve, or a sign that there’s a new grunge-punk princess in waiting, ready to accede to the throne.
For while Lauren is part cutesy pop, her raspy voice containing fragiility and vulnerability, there’s also a fierce independence and self-confidence to her.
This is never more evident than in the three songs from last year’s The Angry EP: She’s Punk Rock ‘N Roll, Don’t Touch and Bigger Than Me. It’s the first time the audience has heard them live, but they’re greeted like old favourites.
After the 70-minute main set, the obligatory encore is a welcome surprise – a spirited cover of Nirvana’s Territorial Pissings, which they absolutely nail.
Lauren thanks the crowd for ‘not being arseholes’, and says she wants to inspire other women, and for them to be even better than her. On this showing, that’s a big ask.
