Live review by Danielle Roberts – Problem Patterns at the Black Box, Belfast, 27 Oct 2023
Problem Patterns‘ debut album Blouse Club is 12 tracks of feminist queerpunk excellence addressing issues which could be relevant anywhere, but are especially relevant in Northern Ireland. Themes of violence against women, mental physical health, the impact of oppressive religiosity have an extra tang here where we have the joint highest levels of femicide in Europe, healthcare waiting lists the longest in these islands and almost every school operating with a ‘Christian ethos’ and politicians who pepper their speeches with bible verses.
Well known for swapping instruments and mics, every member has a turn guldering powerful lyrics that perfectly channel the type of feminism we practise here; and Problem Patterns practice what they preach too, performing an acoustic set for Reclaim the Night Belfast 2020 (online lockdown edition), teaming up with Gender Chores to perform at Songs for Solidarity an event to counter right wing transphobia and show solidarity with our trans siblings, and organising several ‘Bangers and Mash Ups’ compilations fundraising for various causes. Even at the gig, proceeds from sales of signed posters were going to Medicins Sans Frontières.
First on were Touch Excellent who had travelled up from Dublin on what they described as a horrible train journey, but handily they had a song about poor public transport infrastructure so they could channel their disappointment into that.
There was a lot of crowd participation during this set with swaying led by the drummer to ‘Couch Song’, some classic call and response and a load of sweary anti-war chanting. Touch Excellent also brought us our first trans rights song of the night, highlighting the dearth of gender affirming healthcare in Ireland. If you are looking for some funky toe tapping tunes about social (in)justices, Touch Excellent have you covered.
Next up were Mucker, a slang term of endearment for a close friend. Featuring moonlighting members of Dugout and Axis Of, Mucker were heavy on guitars, so heavy they had a wee string incident before a song they informed us was ironically titled ‘Help’. More crowd participation came in the form of a mass Happy Birthday chorus to mucker Pando.
Now the stage was set for the main event – Problem Patterns. With ‘Blouse Club’ spelt out in balloon letters and gold tinsel strewn about they took to the stage in matching black suits and ties with Blouse Club in white 70s reminiscent font on the back of their jackets. There had been quiet a build up to this launch, with each song having an accompanying music video an intimate watch party took place the previous weekend and the day before 7 music videos were released over as many sites in an online treasure hunt. [LOUD WOMEN were honoured to feature Picture of Health last week!]
There’s no crowd like a Problem Patterns crowd for me. Joyful dancing and shouting with the girls, gays and theys releasing rage and generating solidarity which feeds my soul. A few of the tracks were debut live performances, but you wouldn’t have known it from both the show and the way we sang along. The album was played through in full, and we were event treated to an encore.
Beginning with ‘Y.A.W’ or ‘Yes All Women’ which calls out all the nice guys ™ who invoke ‘Not All Men’ without realising the day to day reality of all women who are constantly on alert for danger.
Next was ‘Big Shouty’, with members alternating singing verses about being patronised and attempts to pigeonhole them as a ‘girl band’. Advertising Services had Bev taking centre stage with clever lyrics parodying slogans and corporate jargon building to the crescendo:
‘When people are hungry they’ll eat the rich’
Another new one ‘A History Of Bad Men Part II’ draws on the Melvins to castigate the sexists of the music scene. Beth emerges from behind the drums for ‘Lesbo 3000’ which is a critique of the sexualisation of queer women, a rejection of homophobic violence and ‘conversion’, and a proud reclamation of a one time slur.
This is followed by an intermission of sorts, with all four leaving the stage through the crowd as we are treated to a highlight reel of previous performances to the background music of ‘Pity Bra’.
The band return to the stage for the second half and this time, they are wearing blouses! The costume change went more smoothly for some resulting in some time filling jamming and some jokes from Bev and Beth. This kind of slightly chaotic just roll with it approach reflects their DIY attitude and is warmly embraced by the audience.
Once all four take up their positions ‘Who do We not Save?‘ starts the next segment, reflecting on how the powers that be don’t see or treat us all equally with the poorer among us less likely to be able to access lifesaving services that others can pay for.
In a not unrelated vein ‘Poverty Tourist’ is a big “we see you” to people who appropriate a working class identity as it suits them, for the aesthetic or perceived clout.
‘Letter of Resignation’ is one of the tracks I have the biggest affinity with, with Bev repeatedly telling organised religion
“you can’t fire me, I’m leaving!”
as her beliefs and identity don’t fit with what is narrowly acceptable to the institution, and she is just fine with that!
Alanah is back on main vocals for ‘Picture of Health‘, asking if we can’t be body positive can we at least not be so negative, and even with the knowledge that chronic mental and physical ill health will never be ‘better’ we can be better to ourselves.
As we near the end of the album the whole place gets involved with ‘TERFs Out’. Feminism on this island has stood strong against transphobia, with the women’s sector and feminist groups putting out collective statements and organising joint events and consultation responses in support of Trans Rights and inclusion. This, to me, is our anthem!
The last song of the album play through returns to chaos a bit. ‘Domestic Bliss’ features only 4 lines of vocals and a loads of clashing and banging instruments which get more frantic as the song goes on. It doesn’t stop with the music, a Henry the Hoover is brought on stage, affectionately renamed Baby, and adds it’s white noise to this condemnation of the unequal division of domestic labour.
With that the 12 tracks of the album are done, but Problem Patterns aren’t. The familiar sleezy intro to ‘Mediocre Man’ starts up accompanied by grunting, wide stances and gyrating hips as the low standards men are held to are ridiculed.
Then it’s the last song of the night which is quite the juxtaposition. With Ciara on the mic, ‘Day and Age’ is a whirlwind round up of all the expectations women are still expected to live up to and includes another rallying call which we repeat in our hundreds –
Keep your hands off my sister!
Finishing with a massive group hug, that was that.
This gig was incredible. The energy radiating off the stage and being reflected back, and captured in the album, is what we need to keep going in the face of so many challenges. These songs are 3 minute protests, bite size chunks to sustain activists driving change. Building on their 2019 EP ‘Good for you aren’t you great’, and off the back of supporting Le Tigre and Bob Vylan, Problem Patterns have already announced some festival dates for 2024. Don’t miss your chance to join the Blouse Club.