Live Report: The Chats – Electric Ballroom, London
The Chats deliver a masterclass in anarchy at Camden’s Electric Ballroom. If you’ve ever dreamed of experiencing the raw intensity of Jay Reatard’s iconic 2007 Cake Shop performance, The Chats’ set tonight might be the next closest thing we have to it.
Earlier in the day, guitarist Josh Hardy and members of their support act, The Prize, play a more civilised matinee under the name Loose Lips at The Waiting Room in Stoke Newington – despite everyone in the room (band included) being hungover. But tonight’s Chats performance is feral by comparison, an unhinged display of pure chaos. Melbourne’s The Prize hit the stage first proving they’re not just a support act for The Chats but a band you need on your radar- complete with three guitarists. Think The Jam (if they were actually cool) with a razor-sharp, power-pop, cult-like flair similar to 1990s – anyone remember that band? The middle guitarist, looking like Joe Strummer (phwoar!), brought a gritty edge to their slick melodies along with their bass player who has a history in London’s punk scene. By the time they are done, it’s clear: they aren’t just supporting—they’re stealing shows. The real ‘prize’ of the evening is discovering The Prize.
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The Chats come on and command the stage at breakneck pace, blasting through their songs and playing them in double speed. For a band that haven’t dropped new music in over two years, selling out three consecutive nights at Camden’s Electric Ballroom is a testament to the Aussie trio’s legacy. Between sets, the crowd entertain themselves with rowdy antics: starting pit brawls, bouncing inflated condoms like volleyballs, and giving the venue’s security team a constant duty of having to kick people out the room. Watching it all unfold, it is hard to believe this is a room full of adults—but then again, punk never grew up, and neither did its fans.
But the ‘Smoko’ singers waste no time tonight. Tearing through an hour-long set, pulling tracks from across their catalog and packing just shy of 30 songs into their set. Singer and bass player Eamon Sandwith dedicates ‘Smoko’ to all those having to go to work tomorrow and KISS’s ‘Rock and Roll All Nite’ to everyone lucky enough to not be. His raspy drawl, thick with his signature Australian accent, make the lyrics unrecognisable. But despite his snarling delivery, there is an undeniable sense of humour underlying the performance. Hardy proves himself the unsung hero of the band, ripping flawless solos with ease, whilst drummer Matt Boggis holds down the ferocious pace (even if he does look like he doesn’t want to be there).
The Chats channel a sound that’s equal parts early Damned and Blood Visions-era Jay Reatard, blending sneering punk fury with enough rock ‘n’ roll swagger to make their covers feel as vital as their originals. Highlights of the night included ‘6L GTR’ and ‘The Price of Smokes’ from their 2022 album ‘Get Fucked’. These tracks send the crowd into a frenzy; from the balcony, we can see where the phrase ‘sea of people’ comes from as the room moves like liquid, flawlessly and chaotically. It looks fun, but I also thank God I’m not in it.
They wrap up the night in full-throttle Aussie fashion, bringing their support band back on stage for a raucous, beer-soaked cover of AC/DC’s ‘Highway to Hell’. It was chaotic, loud, and brilliantly unpolished, everything you’d expect from The Chats. As the final chords ring out, the crowd are left sweaty and bruised having just witnessed what felt like the battle of the bands scene from School of Rock. The Chats deliver the kind of reckless, untamed energy that defines punk at its core—a blistering reminder of why their music continues to sell out massive rooms years later. For one unforgettable night, Camden feels like the epicentre of pure, unfiltered chaos cranked to 11. There will definitely be some sore heads tomorrow morning but they are all worth it.
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Words: Jazz Hodge
Photography: Ashley Evans
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