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Feb 08, 2022 Web Exclusive By Dom Gourlay

While other names may have taken the plaudits and stolen the headlines, there can be no underestimating the influence of both The Chameleons and The Membranes as pivotal players in the North-West post-punk scene. With a combined age of eighty-five years (give or take the odd hiatus in between) not to mention fifteen albums between them, both bands’ legacies live on through their own music and the countless number of acts they’ve inspired over the years.

So, it’s appropriately fitting they’ve chosen to accompany one another on this run of eleven dates that’s taken the best part of eighteen months to finally come to fruition. Originally planned for September 2020 then rescheduled at the second time of asking due to the ongoing Covid-19 pandemic, tonight’s inaugural date is actually the first time these two bands have shared a stage together since playing Manchester Free Trade Hall in 1984. However, there are no first night of the tour nerves on display here.

Led by the mercurial presence that’s John Robb, The Membranes are as taut and uncompromising now as they were back in the halcyon days when punk was still going through its transitional phase. Playing as a four-piece this evening, Robb joined by long time cohorts Peter Byrchmore and Mike Simkins on guitar and drums respectively, while exquisitely dressed, classically trained multi-instrumentalist Amelia Chain performs a multitude of tasks (backing vocals, keyboards and percussion) alongside them.

It makes for an eye catching, ear splitting and thoroughly engaging spectacle for those that arrived early enough to catch The Membranes. Playing a set that’s largely comprised of material from 2015’s Dark Matter/Dark Energy and their most recent long player What Nature Gives, Nature Takes Away. The Membranes are still a relevant and colossal force to be reckoned with. A point highlighted by a wrenching midset run through “Black Is The Colour” that’s both powerful and poignant in equal parts.

Closing on one of their oldest songs “Myths And Legends”, which initially saw the light of day in 1983. The Membranes aren’t so much a blast from the past as a helping hand through this most dystopian of futures.

Having recently celebrated their fortieth year as a band with a glorious hometown show at Manchester’s Ritz O2 Academy, The Chameleons have another anniversary of sorts this evening. Originally scheduled to commemorate the thirty-fifth birthday for the band’s second album What Does Anything Mean? Basically, which came out in May 1985. A record that’s often cited as one of the most progressive from the first wave of post punk’s formative years. What Does Anything Mean? Basically, might have been as direct as its predecessor (1983’s Script Of The Bridge, often heralded as being THE definitive post-punk) but its long-lasting impact and legacy remains intact.

With original guitarist Reg Smithies now back in the fold alongside ever-present bass player and vocalist Mark Burgess, ably flanked by second guitarist Neil Dwerryhouse who’s been a regular presence as part of Burgess’ Chameleons Vox project for over a decade. The band play each of What Does Anything Mean? Basically’s ten pieces in chronological order. Dramatic introduction piece “Silence, Sea & Sky” giving way to the mesmeric “Perfumed Garden”.

As an entire piece, What Does Anything Mean? Basically flows nonchalantly. The delectable “Intrigue In Tangiers” and rabble rousing “Singing Rule Britannia” contrasting in fine style with the swirling “Looking Inwardly”. “Home Is Where The Heart Is” undoubtedly helped create the blueprint for bands like Interpol to adopt nearly twenty years later, while cinematic closer “P.S. Goodbye” brings the album to a resounding finale.

Finishing the first set on fan favourites “In Shreds” and “Nostalgia”, both of which appeared as bonus tracks on the CD version of What Does Anything Mean? Basically first time round. The former taking us back to 1982 when The Chameleons were still at their most formative. Its lolloping groove and pulsating mix of intersecting guitars and bass up front sounding as unique today as it did back then. While the latter could and should have cemented the band’s entrée into stadium rock territory.

With such a vast back catalogue to choose from, it’s left to arguably the two most anthemic numbers in The Chameleons canon to close proceedings. “Swamp Thing”, the band’s final single from their first incarnation still raising hairs on the backs of necks. While an elongated “Second Skin” gleefully reminded all and sundry why The Chameleons were held in such high regard from the outset and continue to do so four decades later.

Here’s to the next chapter, whatever that may bring.