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I saw Bad Breeding at Latitude last year, mid afternoon in a sparsely occupied tent. Te energy given by the band and returned by the attendees was something I’ve never experienced before – such a confusing mix of mutual love and mutual hatred. If you love punk, if you like to keep it so real it hurts, if you like your lyrics intelligent and informed, if you want to experience a show like no other make sure

you catch this band as part of Norwich Sound & Vision this October. I am totally into them. We spoke to lead singer Chris about helping the community, making music that affects people and the nature of performance.


hat are your personal backgrounds? Have you come from families where independence of spirit and being outspoken was valued?

Not particularly; my mum worked in an office and my dad on the warehouse floor. Te other boys’ parents work predominantly in construction. My grandparents used to run a hostel to help vulnerable sections of the community and I think that part of my family background has had a lasting impact on me. One thing that’s prominent in all of our families, though, is that idea of pragmatism and getting on with things. We’ve always clung to that when writing and guiding the band over the past few years - doing away with ego and pretence. You all work full time, long hours, spend your free time rehearsing and writing and then take holiday time to go on tour. It’s fair to assume that you really believe in what you’re doing with the band. What are you trying to achieve with Bad Breeding? In some ways we felt like wanting to go beyond a lot of the nihilistic attitudes you often find in aggressive music. Tere’s also an intention to discuss some of the issues that largely get ignored in mainstream arts conversations. We’ve always seen it as a chance to stand up for ourselves too… to sort of dispel and challenge the caricatures of what being from a place like Stevenage is about. It’s not all focused on bleakness and hate, it’s more centred on recognising certain failures and bringing them to people’s attention. I think there’s a lot more positivity in bringing to light negativity and discussing it, rather than accepting its existence and pushing it into a corner.

24 / September 2016/

I saw you first at Latitude last year, mid afternoon in a sparsely occupied tent. Te energy given by the band and returned by the attendees was something I’ve never experienced before – such a confusing mix of mutual love and mutual hate. To what extent is the Chris we experience onstage a performance? I think if we labelled it a performance we’d be doing it a disservice. Sometimes the idea of a performance gets in the way of people presenting their art. Tat’s quite prevalent in guitar music where egotism comes to the fore. It becomes more about two separate parties: one providing and one getting some sort of service back for what they’ve paid for. Tat doesn’t interest us in the slightest. We get given a set period of time to document ourselves, and what happens is us conveying every emotion we don’t quite get to let out elsewhere. It’s actually quite a tiring and emotional experience. I think if we were performing, there’d be healthier ways to present ourselves. Te response of the crowd to your attitude live, where you come into the audience and face people off in what appears to be an aggressive manner but you are actually entirely non aggressive physically absolutely fascinates me. Is this something that happened when Bad Breeding played their first few shows or has it developed? It’s largely been the same since we started playing. I’ve always tried to pour out as much as humanly possible. Some people might view what we do as a performance, but it’s really not. Of course we approach being on stage differently to how we conduct ourselves off it, but that 30-minute slot provides you with the opportunity to put everything on the table and

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