Lee Bains III & The Glory Fires (US) at Leith Depot @ Leith Depot, Edinburgh [29 August]

Lee Bains III & The Glory Fires (US) at Leith Depot

19:30 - 23:30

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Leith Depot
138-140 Leith Walk, EH6 5DT Edinburgh, United Kingdom
Lee Bains III & The Glory Fires are a raging rock 'n' roll greasefire, engulfing just about every spare spot of land they can find with their flammable cocktail of high energy, good vibes and positive, passionate defiance in the face of social ugliness.

Fighting the good fight, from their often misunderstood home state of Alabama to the far reaches of Europe, the band return to the UK to put some fire in your belly, strength in your convictions and big fat smiles on your faces, with tunes that sound like Creedence grew up punks. And then some.

After a couple of kick ass sweatbox barnstormers in Glasgow, Lee Bains III brings his Glory Fires to Edinburgh for the first time ever so we're currently making sure the roof is firmly secured, because given his track record, he's set to blow that sucker right off!

So come down and party!!! You won't be disappointed.

Doors 7.30
Tix: £9 + bf

— Some more info on the band can be found here:

Lee Bains III & the Glory Fires are set to return to Europe for more festivals and shows August and Sept 2018. A successful run in August and Sept of 2017 in support of their third LP ‘Youth Detention on Don Giovanni records saw the band converting fans across the UK for one of the best live shows you will ever hear with one of the strongest messages.

The new double LP spans 17 songs, it is the band’s most ambitious work to date — a sprawling and visceral record given to both deep introspection and high-volume spiritual uplift. The Glory Fires’ music draws deeply from punk, but also soul, power pop, country, and gospel.

The four piece from Birmingham, Alabama include Lee, Eric Wallace and brothers Adam & Blake Williamson. The band just finished touring across Europe with lead singer Lee Bains breaking his leg in the first week but no gigs were cancelled with the band hitting Holland, Belgium, Spain, Italy, Germany, Sweden and Norway.

Where The Glory Fires’ previous LP Dereconstructed (Subpop 2014) sought to dismantle one-dimensional notions of Southern identity and culture, Youth Detention has a similar, but more personal intent. “It’s about dismantling myself and the narratives that I’ve taken on,” explains Bains. “It’s an examination of youth and the processes through which we begin to consider ourselves, our identities, and what various communities we belong to or are in tension with.”

Often, the songs detail moments in which cultural boundaries and biases become apparent — scenes in which systems of privilege and oppression become visible, particularly as they relate to race, class, and gender. Everyday settings — a church, a ballpark, a cafeteria — are revisited again and again, to explore these fleeting moments of revelation from different perspectives and roles. It's a record defined by accumulation. Stories, images, and thoughts pile up to create confusion and cacophony in the narrative.

UNCUT magazine recently compared them to the best of Drive By Truckers Southern epic songs and says “Bains admits the influences of Britsh bands like The Kinks, Jam and Blur but also 80s college rockers such as The Primitons, Let’s Active and REM”

Recorded in Nashville, Tennessee at Battletapes with engineer Jeremy Ferguson and producer Tim Kerr, Youth Detention captures the band in raw form. Each song was cut live to tape, with the four performing in the same room without headphones or baffling. The result is thoroughly human, Lynn Bridges' mix retaining the band's live energy and looseness at the expense of a few out of tune strings. It’s equal parts careful curation and geographic inheritance. “It’s the sound of my place,” says Bains. “I want to know it. I want to argue with it. I don’t want to be a band from anywhere that could be doing anything. For me, that’s what punk is about — figuring out who I am and how to be the best version of myself. I can’t do that by pretending to be something I’m not.”

The songs are deeply rooted in Bains’ experience of his hometown, Birmingham, AL. Youth Detention depicts a Southern city in the decades surrounding the turn-of-the-millennium: in the throes of white flight, urban disinvestment, racial tension, class struggle, gentrification, gender policing, homophobia, xenophobia, religious fervor, deindustrialization, and economic upheaval.

The lyrics could ring true anywhere, though. The South exists in the world and, like the South, the world is increasingly beholden to many of these same tensions and forces. The songs on Youth Detention are meant as small acts of resistance to those systems. Documenting minor moments — the refusal to sit quietly through a display of bigotry, the act of quieting down and listening to somebody's struggle, sticking up for friends targeted for their difference — that, hopefully, serve as the beginnings of a more profound awakening.
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