Guitar Wolf vs The D4 – Double Whammy: March 16, 2025
Japanese, Tokyo based Jet Rock ‘n’ Roll trio Guitar Wolf have been traversing across Aotearoa’s nga motu over the last week and a half, blasting holes in reality at reputable (and disreputable) venues including the internationally famous Under The Bridge soapbox in Tauranga. Two weeks shy of two years since Guitar Wolf last performed in Tamaki Makaurau, they played this very venue, well, next door, and tonight, they’ve upped the ante with a mighty lineup on an early starting Sunday extravaganza.
Crying Ivy
Fresh from the Western Springs College ‘factory’ Crying Ivy are debuting tonight. Four onstage, all 15-16 years old, they play a heavy grunge style of punk. I managed to make it for their last three songs (tonight’s gig start time is a little confused) It’s always impressive to see young folk like them bring such energy to the stage. One of the two singers, Hendryk definitely has a presence and confidence in advance of his years, and the audience responds attentively. They cap off their short set with a cover of King Crimson’s 21st Century Schizoid Man, though It’s possible they discovered the song through Black Midi’s innovative interpretations 2022 version.
Transistors
Rangiora, North Canterbury, two thousand and something, Rangiora High School, schoolmates Colin Roxburgh, James Harding and Olly Crawford-Ellis join forces and form Transistors, or something similar. Fast forward to 2009, they unleashed their debut album Shortwave (now worth $151 according to Discogs) and in 2010 the Flux Pentaphile EP, 2013 sees their sophomore album effort Is This Anything?. Then silence, accepting a brief sojourn in 2021, like a Stranger Things episode, until after 12 years, album number three rises, Everything Will Never Happen.
Singer, guitarist James Harding is sporting a Nothing at All t-shirt as Transistors deliver a set that mixes old and new tunes. Time has refined the trio’s skills, sounding tight and slick. They power out a merging of 80s American melodic punk and hardcore with elements of garage rock, and as aspects of punk-pop. Harding doesn’t hog the vocal duties, as drummer Olly Crawford-Ellis also gets in on the act. Later I corner Harding as he parley’s with Andrew Tolley (Warm Leather) and demand to know their, Transistor’s future escapes. Harding is uncertain, Tolley kicks in “The Future is uncertain”, Harding runs with it.
Nothing At All! Tribute
As drawcards go, this is a biggy. Nothing At All! were 198/90’s North Shore punk trailblazers consisting of bassist Dion Palmer (now Dion Lunadon), guitarist/singer Tony Brockwell and drummer Paul Foster. Played Big Day Out, and multiple dives, released an album, and two EPs and in their demise (1992) spawned a plethora of bands that continued the DIY ethos of Frisbee Studios.
Too many people are getting onstage! It seems everybody Is getting in on the act: Transistors, Jimmy Xmas, Karin Canzek (Rock N Roll Machine) to hat-check a few. Introduced by John Baker (their discoverer, maybe) Tony Brockwell’s, passing in 1998 is remembered.
Nothing At All! Tribute is set up at the other end of the venue, on a carpet with lamp lighting, yes it’s revisiting the halcyon days of Frisbee. Promoter John Baker is an artist in his programming of these sorts of shows, creating memories. Baker is in confusion as he leads on Confused and Busted (with its mirthful anecdote) sounding out to a crowd, many not yet born when Nothing At All! reigned. Tonight is Taonga already.
The D4
Having been touring and playing through Aotearoa and Australia for the last six weeks, The D4 are on the final countdown, last show of the escapade. Set up takes a while, but as they launch, patience is rewarded. The spate of shows have created a veritable machine onstage, as they deliver a loud brash clean soundtrack to the fermenting moshpit upfront. The opening array of Come On!, Trust Nobody, Peepshow and Savage, pummels through Double Whammy, as the four onstage create a burning spectacle of energy and effortless partying. Vocals are shared across the stage, and the focus shifts from side to side, though Jimmy Xmas’s vocals are the sweeter, finessing the others.
Later, Out Of My Head, Get Loose, Party and Sake Bomb (which reminds me of the possibly tall story of Dion and the $500 Japanese Jeans) revitalise a slight sag in The D4 set, and as they finale, it’s almost as if they won’t let go, finishing a cover of The Dogs John Rock. Tonight The D4 surpassed the last time I saw them with & Schizophonics back 2023.
Guitar Wolf
I’d forgotten, but walking encyclopaedia, John Baker reminds us, that it’s been 26 years since Guitar Wolf’s first visit to Aotearoa in 1999 at the Kings Arms Tavern. Guitar Wolf’s intro is convoluted to say the least, Ramones songs a blaze as a soundtrack, as leather-clad founding guitarist and singer Seiji shares thoughts on Tamaki Makaurau and Aotearoa, while with recent recruits Gotz (bass) and Takuro (drums) set up and brazen towards the audience. It’s the skol, when the three each skull a beer, that Guitar Wolf Rock N Roll begins.
The moment the first chord rang out, it was clear that Guitar Wolf was ready to blast through the ceiling with their electrifying sound. Their set was a relentless barrage of explosive riffs and thunderous drums, seamlessly blending classic punk energy with a distinct garage rock edge. Frontman Seiji pushed the boundaries of performance, exuding charisma as he roared into the mic, while bassist Gotz and drummer Takuro locked into a tight, frenetic groove that had the crowd moving at times as one.
Each song came alive with a ferocity that resonated deeply, transforming the venue into a raucous celebration of rebellion and unfiltered expression. Fan favourites like Jet Generation alongside a trio of populist covers (Summertime Blues, Kick Out The Jams and Link Wray’s Rumble) had many shouty singing along. 26 years on, Guitar Wolf are still a band that delivers unyielding passion and raw power.
Simon Coffey
Click on any image to view a photo gallery courtesy of Ginelle Cocks and Libel Music:
