Just Fran opening: Artificial spark
Just Fran kicked us off with “Artificial,” a jangling burst of energy declaring that AI just can’t capture the magic of live music. The crowd loved it. She followed with “Freedom For Half,” a solemn yet powerful protest song highlighting global inequality for women, filled with razor-sharp metaphors. Then came “Blinkers,” a haunting ballad lamenting environmentally harmful transport links.
Keeping to a thread of social justice, she moved into “Not A Lifestyle Choice,” a compassionate protest against the cruelty of homelessness. “I’m Not A Racist But…” hit hard, highlighting everyday hypocrisy with biting clarity and the first singalong of the evening. Just Fran knows WSO isn’t complete without one. That momentum carried into a fabulous cover of Jess Silk’s “There’s A Bar At The End Of The World.”
Her own antiwar anthem “What Are We Fighting For?” was stirring and defiant, followed by the timely and sharp “Illegal,” confronting anti‑immigrant sentiment with precision. “The Fox Song,” told through the eyes of a hunted animal, was devastating and important. There are never too many anti-hunting songs in our book. A spirited rendition of “Another Man’s Cause” by The Levellers had the room united in shared grief for those lost to war. And finally, an ode to pigeons (“Not All Heroes Wear Capes”) reminded us to find poetry in the everyday before she closed with Ferocious Dog’s “Unconditional.” Pure brilliance.
Rob Stamper kept it sharp and funny
Rob Stamper had us all laughing with “Chips And Beer,” while his witty politician poem hit close to the bone. “The Aliens Are Coming” mocked isolationism, and anti-leadership poems and sprout rants alike kept us listening. His hilarious take on “My Favourite Things” had the room singing before his bit on man-flu had us in stitches.
Matt Hill brings the soul
Matt Hill’s set felt cinematic: a delicate opening ballad about budding love and the seasons. “Times Are Getting Tough,” tackling cuts to PIP support, was sombre but gorgeously sung. “Save Your Pity” told of a man meeting his end with searing imagery, while “Making Sense Of The War” was deceptively light, urging us to hold on to life’s small beauties.
When Hill brought Mark on stage for “What In The World?” their harmonies stunned. The Johnny Cash-inspired tale of Gary Gilmore was magnetic, and a bluesy track about not wanting to work anymore gave way to the pounding closer “Stone And Bone,” which painted a brutal picture of urban deprivation. A poignant, honest and moving performance.
Bearded Tit’s words resonate
Bearded Tit’s poetry had weight and warmth. “Mum” made tears fall. He used his confidence and bravado to give a voice to those who would otherwise never step onto a stage. He read poems from women who either couldn’t attend or didn’t yet have the confidence to claim the mic. His final poem on feminism rang clear and necessary. These were words to live by, not just listen to.
Mary And The Male Members & Attila: joy, fire and fight
“These Days” launched their set with punchy hooks and big questions. “Not In Vain” smashed misogyny and the social structures that excuse it. “Believe,” dedicated to Lucy Meadows, demanded trans solidarity. Joe Zux’s poetic tribute unified the room before we burst into laughter with “I Married A Bisexual.” The song about a woman’s right to walk home safely was sobering, and the one about absurd things said to Mary, by clueless men, was painfully funny.
Ending with “People Always Matter,” Attila praised Mary’s songwriting. The room agreed, loudly. This was community in action.
Joe Zux’s brave and brilliant verse
Zux followed with a powerful poetic set. “My Mates; My Tribe” earned a massive cheer, celebrating chosen family and shared battles. “They Shall Not Pass” reminded us of our anti‑fascist backbone. “Knuckle Draggers And Flag Shaggers,” a hysterical rewrite of “Handbags And Gladrags,” showcased Zux’s dazzling wordplay.
“King Of The Toast” was pure comic genius. “Bookmarks” was tender hope in poem form. The fart jokes? Necessary. And perfectly timed before the next chapter.
Attila The Stockbroker: punk poet legend
Attila roared back to the mic, firing through “The Optimist,” wielding words like weapons. In “What’s More Dangerous Than A Dalek?” the answer—Trump—landed hard. “Council Of Despair” gutted Reform politics, and “Moshpitalised” had us laughing about ageing rockers and gig bruises.
“The Lucky Generation” gave thanks for past support and called us to lift others now. “Tito Day” brought the house down with “I Wanted To Be A Dictator But My Wife Wouldn’t Let Me.” “Diss” was razor-sharp, while “Sussex Poet In Yorkshire” flexed stunning alliteration.
Songs followed: “Mount Pictu” had the whole crowd roaring, followed by an expletive-laced celebration of Thatcher’s downfall. “Willy Whitelaw’s Willy’s” was juvenile joy.
“Commandant Joe” honoured Joe Strummer, and “You’re Not Welcome In This Country Anymore” kept the flame of protest alive. The glam rock parody “Bicycle Testicle Owww” had everyone in fits before the heartfelt “45 Years,” a love letter to Joe Solo. And yes, we ended with a mass singalong about Prince Harry’s knob. Because of course we did. Perfect.
Janine Booth was sharp, funny and fearless
Janine Booth’s working class truths hit hard. Class based double standards, plant based cheese, school exclusion, nothing was off limits. “Echoes Of The Eighties” was a call to never stop fighting slurs. “Why Can’t You Just Be Normal?” was searing and affirming, a lifeline for anyone who’s ever been told to tone it down. She closed with “Amplify,” a rhythmic call to make space for the marginalised.
The Luddites keep the message loud
Songs of joy, resistance and remembering followed. “Dance With Me” made us move. “Another Day In Paradise” dreamed of a better world. “What’s Going To Happen” captured today’s angst, while “Radium Girls” gave long-overdue recognition to working women’s sacrifices. “Mean Streets” brought backbeat rebellion, and “See You Down The Road” reminded us: solidarity is everything.
Johnny Wallace and friends: sing it to the end
Johnny Wallace, solo and sincere, gave us goosebumps. “Light The Darkness” soared. As teachers, we felt every lyric of “Ofsted” in our bones. This shared experience made the track hit especially hard. “Crime Of Rights” got us moving again. Ellie joined for a beautiful “Social Divide,” and the harmonies on “A Long Time Ago” filled the room.
“So Go Home” brought friends and harmonica into the mix. “Nature’s Love” featured beautiful finger-picking and “Sing To The End” had harmonies so tight you could bottle them.
Joe Solo performed a fiery, unforgettable set that included “Punk Rock Prepared Us For This,” “Tomorrow’s Memories,” and “Not Alright.” He was a whirlwind of energy, politics, rebel rousing and humour. Joe is a voice of reason as well as a reason to fight. He is a much needed voice in a world that seems to descend into madness more each day. “A New Way To Resist,” “Tatties In A Field,” and “Saturday Night’s Alright For Righting” (with a nod to Monologue John) were clever, warm and cathartic.
Matt Johnson: clarity and fire
Matt Johnson is a Midlands-based singer-songwriter known for wearing his heart on his sleeve and commanding audiences with his powerful storytelling and emotionally charged performances. On this WSO night, he brought everything that defines his craft.
He opened with “GOD” and “House Of Cards,” tracks from his latest album Life Won’t Wait, released November 2, 2024. That record emphasizes melody and meaningful hooks, traits that were clear in his live delivery. “You’re Alive For A Reason” struck deeply with its blend of vulnerability and uplifting intent, followed by the debut of “Hunt The Hunters,” a sharp new protest track.
The set continued with stirring anthems: “Together We’re Strong” and “Bastards,” the latter being a raw, emotional new song about a friend’s suicide that revealed his depth and vulnerability. He closed the evening with “Run,” the hunting-animal protest song that had previously gripped audiences. Though it wasn’t originally on the setlist, the crowd refused to let him leave without playing it, demanding one last cathartic roar to close the night.
Matt Johnson didn’t just perform, he opened a door into his musical journey of art, empathy, and resistance. His acoustic-pop-rock blend and heartfelt conviction reminded us why WSO offers a stage for artists to breathe, connect, and ignite change through music.
£1396.92 was raised by the end of the night for Derbyshire Refugee Solidarity, a powerful reminder that this was not just an evening of creativity and community but one rooted in real world impact.
WSO did what it always does best: music, poetry, and protest in full harmony.
Follow and support
@justfranmusic
@stamperpoetry
@matthillmusic
@beardedtitwrites
@maryandthemale
@joezuxpoetry
@attilathestock
@janineboothpoet
@ludditesband
@johnnywallacemusic
@mattjohnsonlive
Get tickets for WSO on tour here: https://www.wegottickets.com/wsopresents
