I must shout out our editor at Montreal Rocks for directing me towards South London’s Fat Dog. When he requested to photograph this show a few months ago, I decided to investigate for myself; he’s usually pretty solid in his recommendations. So when I first busted out their 2024 debut record WOOF., I wasn’t surprised that I enjoyed it. But I was surprised by just how much.
How do you describe Fat Dog? Well, if you were around for the New Rave era of the mid-2000s, when bands like Klaxons were ruling the alternative airwaves, then Fat Dog are a huge throwback to that sound. Throw in beats reminiscent of Nine Inch Nails or Ministry, and I knew I was in for a heck of a live show.
And my high expectations were exceeded. The six-piece crammed onto the tiny stage of La Toscadura, almost hitting the suspended ceiling tiles. After intermittent reminders of exactly how many seconds remained until the first song started (30 seconds, 20 seconds…), the band took their positions, and album opener “Vigilante” exploded into life. Its beats instantly reminded me of Justice in their sinister nature, and the singalongs began.
They were so loud across the entirety of the 50-minute set. It has been a while since I have seen such fervour in such a tiny show, and it was even more surprising for a band with just one album to their name. I was immediately transported back to the basement punk shows of my youth on account of that energy, even more so when the pit exploded. It was already getting nuts on the second song, “Wither,” but a few songs later, debut single “King of the Slugs” was absolute carnage. The crowd were bouncing even before the chorus arrived, but when it did, it was insanity—bodies flailing despite the heat in the room (even frontman Joe Love later acknowledged, “Damn it’s hot!”). A huge circle opened during the breakdown, and as Joe sang the repetitive “the wall” mantra, a couple started to waltz within the circle. Everyone on the circumference bounced on their knees with arms folded like a polka. It looked unreal, but quickly dissipated as the breakdown ended. “Pray To That” was another explosive pit from start to finish, a level of euphoria rarely seen at shows of this size.
It reached a climax toward the end of the show when Joe came out to the crowd after “Peace Song,” beckoning everyone to crouch with him on the floor. It felt like an almost religious experience. He even handed the mic to the front row to sing parts of “Wither” while he headed back onto the stage. As soon as he returned, another frantic pit erupted. The set closed out with the mammoth “Running,” another circle pit forming during the verse, which had everyone literally running in a circle by the time that Klaxons-esque chorus detonated.
A phenomenal 50 minutes, and I already cannot wait for their next visit.
Review & photos – Simon Williams
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