The Juliana Hatfield Three at Islington Academy

The Juliana Hatfield Three
She Makes War
Islington Academy, 21 May 2019

A Juliana Hatfield sighting on these shores is amazingly rare so to actually see her promoting her latest album, Weird, here in London with a band, and not just any band, the Juliana Hatfield Three no less, is a must-see experience. And she certainly did not disappoint, in fact it was a show filled with old and new favorites that proved just what an underrated treasure she is.

First though came the support act, She Makes War. Otherwise known as Laura Kidd, the singer-songwriter was already on stage sporting a rather cool St. Vincent Ernie Ball guitar (seriously though, rarely do I covet guitars but those Annie Clark-designed axes are hella cool) and playing grungy-sounding pop songs. Although I had heard of her before this I actually wasn't familiar with her music but it was definitely a good fit to open for Hatfield and it was no surprise to discover she is a big fan of Juliana herself.

The best parts of the set for me was when she had a her full band and was rocking out but she also played alone with just a ukulele and another time used a vocal loop pedal to build up an acappella-style song which was kind of cool. Kidd herself was chatty and good-humoured and seemed genuinely appreciative that most of the audience had turned up early to catch her set. I don't know if I was convinced enough to buy any of her albums but it was an enjoyable opening act for sure.

Hatfield didn't make a big entrance herself, despite the anticipation from the crowd (most looked old enough to have seen her back in the 90s, so I'm sure it was due to her lack of visiting these shores rather than having never seen her before), setting up her own equipment as always (something she has done for every show I've seen her perform, which is rather cool.)

When she and the Three finally all came out together though there were roars of approval and seeing drummer Todd Phillips and bassist Dean Fisher (in fairness, for equality's sake, since I often name spouses, he's also Mr Tanya Donelly of Belly fame), did give not only a wave of nostalgia but a rather warm feeling to see them finally here in the UK playing together again (they reunited in the States a couple of years ago but didn't make it overseas that time).

Hatfield looks so cool, I felt a teenage shiver of excitement. Like, she is still that girl I have always wanted to be, but not jealously so, just pure girl crush. She is wearing a 60s-style headband, I guess for a practical reason to keep the hair out of her eyes while playing but she also looks so damned stylish. This is paired with the dark pink suit she wore in the Physical video and, although older, wiser and skinnier, it's plain to see she still is every bit the alternative rock queen she has always been.

If that wasn't enough, she then immediately wins our hearts by going straight into Everybody Loves Me But You from her first solo album and it sounds glorious. Juliana's voice is a little deeper than in 1992 but not that much: the song still sounds beautifully innocent and full of the pains of youth and brings back so many amazing memories. The second song is also a pleasant surprise: Feeling Massachusetts from Become What You Are. It's always been one of my favourite Juliana songs and tonight it sounded even more rocking. Having the original line-up definitely helped give the song its perfect vibe.

I guess because it was technically a Juliana Hatfield Three show (although there was actually four on stage with the addition of another guitarist) Juliana had to deliver some of the songs from that era of her career (the audience was certainly expecting them but I never really hold out hope, especially given the amount of albums Hatfield has released over the years) and to her credit she really did deliver songs that maybe she wouldn't normally play but that people were probably hoping she would play.

For example, right in the middle of the set she gave us maybe her biggest ever hit, My Sister, and it still sounded haunting and defiant. She even treated us with a playful Spin The Bottle and a rather sexy Fleur De Lys, sung entirely in French and backed with a huge grungy riff, before dedicating the song she wrote for Henry Rollins to the man himself, President Garfield (that's his nickname by the way, and another of my absolute faves from Become What You Are). She also ended the main set with her ode to the power of music (and Kurt Cobain too of course), Nirvana, and it was more than wonderful to feel the timelessness of the track and its words were more poignant than ever. No wonder Cobain was so flattered when he heard it.

Funnily enough there was only one track played from the Three's 2015 reunion album, Whatever My Love, the single If I Could (which sounded great). The bulk of the rest of the set came from her 2017 anti-Trump album, Pussycat, particularly the more riff-heavy tunes such as Rhinoceros, Wonder Why, Touch You Again and When You're A Star and her 2005 album Made In China (What Do I Care?, Going Blonde, My Pet Lion), probably because Joe Keefe, who played guitar on that record, was playing with the band tonight.

There were only two tracks from her last two records disappointingly: the excellent Lost Ship from this year's Weird and, maybe the highlight of the night, her punky take on Physical from last year's tribute to her hero Olivia Newton-John.

Juliana herself seemed in a great mood and was surprisingly talkative, even taking questions from the audience while tuning her guitar between songs (sadly nothing particularly notable was asked). She even promised to return to the UK more often in the future. She certainly has enough fans here who would be thrilled to see her as witnessed by the two encores that were demanded by the audience. 

The first encore was particularly a joy, with a punk-fuelled What A Life and a attitude-filled I Got No Idols. It was amazing to hear these songs live again, proving just how good they and Hatfield has always been and still is. 

There is definitely a wealth of younger female artists (and male ones too I hope) that either are hugely influenced by Hatfield or owe a huge debt to her. It's just a shame that she doesn't get the credit she deserves. Tonight reminded me just why she has meant so much to me over the years and just how vital she still is.