A 'Big Memory': Violet Grohl & Bekkah Bossard @ The 100 Club
The 100 Club is an infamous venue, becoming an important landmark for almost every subculture. Hosting music since the early 1940s, the club has seen it all,from the likes of The Sex Pistols to Suede. Decade by decade, its musical history has become part of the foundation of its appeal, particularly to the ‘new wave’ of musicians in the 2020s, with Violet Grohl and her opening act, Bekkah Bossard, being evidence.
Accompanied by my best friend, it was our first time being in such an intimate venue in central London, with a maximum capacity of 350 people. Immersed in red lighting, we felt the excitement of the crowd; a sea of leather jackets ready to submerge the stage. There was a big ‘coolness’ factor to everybody around us, perhaps emulated by their singing to the pre-show playlist or the palpable anticipation to see Grohl, who is reviving elements of dream-pop and alternative rock of the 90s.
Opening the night was UK-based singer-songwriter Bekkah Bossard. Unknowing of her music before this gig, I was in instant awe of her vocals and poetic flare of her lyricism. In true indie fashion, many of the songs she performed were unreleased, it made the experience of watching even more memorable and thrilling with emotions seeping through every word. The highlight was her unreleased song ‘Nothing Like You’. It’s melancholic energy was felt through it’s stripped-back nature of the song and the yearning of the lyricism. The set was so beautiful and intimate, convincing me to purchase a CD of hers, and even get it signed. The rawness and indie drive of her artistry made complete sense for opening for a creative like Grohl.
Touring her debut album, Be Sweet To Me, which was released in May of this year, Violet Grohl has asserted herself as her own creative figure away from the fame of her surname. Whilst heavily influenced by 90s alternative icons like PJ Harvey, The Breeders and Fugazi, her own talents were felt through the softness of her voice and intonation between notes. Singing since she was 12 years old, she has developed her voice and explored different genres to find her foundations heard on her debut.
After much suspense, Violet Grohl rocked up on stage in a gorgeous, alternative glam outfit. Blending pin-curled hair with a black midi dress, she epitomises the aesthetic of the room. Opening her set with ‘Bug In The Cake’, the whole crowd was chanting the song’s hook ‘Party at Grandma’s, Party at Grandma’s, Party at Grandma’s’. Whilst we may all not have been at our Grandma’s house, it was certainly feeling like a party by the stage, with energy remaining high. The instrumental breaks throughout the song played live were even better than the studio recordings, full of experimentation and spirit. Representing her style perfectly, it was reminiscent of The Breeders’ Kim Deal’s laid-back suave which radiated in the following songs ‘THUM’ and ‘Last Day’.
Excitingly, she played my favourite song of hers ‘Big Memory’. Featuring backing vocals from her touring bassist, Ainjel Emme, it explores memory, longing and the weight of remembrance. I found the live execution of this song to be extremely catchy, with the vocals lingering like endless memories you do and don’t forget. Finishing on a cliffhanger, it fits the inconclusive ending of the song before transitioning into the John Cale-esque song ‘Mobile Star’. Based on a looped keyboard, it provided a needed slow-tempo, haunting intermission for the middle of the set. It almost whispered back to the venue’s history with the 1980s Goth subculture. Paying homage to alternative influences was felt through their cover of ‘Sun God’ from post-hardcore band, Squirrel Bait. Despite the thrashing, punk nature of the original, it surprisingly worked with the gentleness of Violet’s vocals.
Concluding the latter half of her set with ‘595’, ‘Applefish’ and ‘Plastic Couch’, it was evident how much the fans were enjoying the show, immersing themselves with the music. Although there wasn’t a great amount of fan interaction, the beckoning of the music was enough to enjoy with the crowds cheering and clapping louder and louder as the night carried on. Concluding with ‘Plastic Couch’ there was a great sense of acknowledgement with the crowd, repeatedly saying “Thank you” to the audience before exiting the stage.
Being a fan of Violet Grohl for several years, starting with her appearance at the tribute shows for Taylor Hawkins in 2022, I was always curious if she would fully embrace music as a career path and create some of her own. I left the room full of inspiration and curiosity for what is in store for her. I am glad she has found an audience of her own, with many fans ranging from all backgrounds to listen to her songs as products from herself not anyone else's. I’ll be first in line for her next London gig. Until then, I will be chanting the lyrics of ‘Bug In The Cake’ in the shower and wanting to dye my hair black and styling it with pincurls.
Edited by Eva Lau-Johnston, Co-Music Editor
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