2023 has seen gritty Sheffield-based rockers Doomsday Outlaw release a critically acclaimed and well-received album in Damaged Goods. Opening for Jared James Nichols at KK’s Steel Mill, this was my first opportunity to see them since the release.
Doomsday Outlaw
KK’s Steel Mill, Wolverhampton – 11 October 2023
Words: Sophie James
Photography: John Inglis
Rowan O’Sullivan’s extended fuzzy intro announced their arrival as the stage was bathed in a resplendent lemon and orange glow before the distorted, almost psychedelic riffery of In Too Deep kicked in. Its impact was accentuated by the deep resonating bass sound emanating from the PA – a trend that continued for the subsequent acts.
The band fully hit their stride on the infectious Turn Me Loose, one to loosen the audience’s lower limbs for sure. With an underlying groove reminiscent of AC/DC at their most boogielicious, resistance to immobility is futile.
“Thank you very much for coming early.” The slow blues/country tinge of If This Is The End was dedicated to singer Phil Poole’s Dad. On this occasion, guitarist Alez De’Elia summoned his inner Joe Perry. In fact, the whole song was worthy of this band. Think of that era when they were recording those humungous power ballads, and you get the picture. Hitting the spot while staying clear of overly sentimentality, it was certainly very well received.
An intro from way down, down in the dirtiest part of the delta led into the hammering rhythms of Blues For A Phantom Limb. A strong contender for song title of the evening, it came across as way weightier than the studio rendition.
I do enjoy a good drinking song, and One More Sip (Drink Myself To Death) is one of the very best I have heard recently. So ridiculously catchy, it is one to swing your glasses to as you sup to meet Satan. Possessing a definite modern country edge merged with the feel of Dogs D’Amour, it’s the kind of song that I’m sure Spike may have wished he had composed. “It’s a happy song, really,” came the quip at the close.
Runaway is just such a gloriously propulsive infectious charge which draws direct comparisons to the Foo Fighters at their anthemic best. Not just in the ascending melody of the pre-chorus but in the way you can imagine, almost see, Taylor pounding away at his kit. Phil was in majestic form, his voice soared and stayed there throughout. In fact, I don’t think I’ve heard him sing better.
The brief set was brought to a close by the straight down-the-line intensity of Bring You Pain. This steamed along, propelled with the machine-like intensity of Nic Rudd’s drumming and Indy Chanda’s bass right to the fore.
Their pulsating, thoroughly enjoyable 30 minutes was over far too soon and was extremely well received.
With my own appetite well and truly whetted, I eagerly await catching a headline performance soon. Check them out. You never know, they may become your new favourite band.
