Kicks and Kapichi - a week of contrast

As the temperature dials, as does the gig schedule. There are many simple pleasures in life, and few are simpler than the desire to see live music while the weather maintains its glory for a fleeting moment.

Today’s blog follows a different trajectory that my others. I will be recounting two experiences seeing two very different acts, in two very different locations.

The first, millennial-coded hip-hop pop duo Rizzle Kicks at Somerset House in London; the second, Hastings punk outfit Kid Kapichi at the De La Warr Pavilion in Bexhill. As you can see, crossover to these events is minimal – bar one attendee (to my knowledge). My good self. I will begin with those cheeky chaps Rizzle Kicks and then meander to the south coast louts, Kid Kapichi.

The venue – Somerset House

What a brilliant place to watch live music. Nestled nicely off the strand, Somerset House is something of an oasis in this bustling, busy part of London. It has always felt more peaceful than the mania of the tourists mere feet away. In this case, it offered an idyllic spot to retreat from the packed streets and onto its cobbled courtyard.

The toilets are easily accessible and there is a water fountain for refilling bottles, utterly essential in this heat. My one criticism would be that there is only one large bar in open view when you arrive, with a smaller bar tucked away in a corner which is not very accessible. The queue for this bar pre-show snaked almost back out of the venue again, causing chaos and presumably some safety issues.

As is often the case with these smaller venues, a good view is guaranteed from virtually anywhere, depending on height restrictions. The backdrop of Somerset House’s Georgian architecture makes this a novel place to watch live music, akin to some of the more unique spots to go to gigs, like Hampton Court, the Royal Albert Hall and Kenwood House. This is not just an O2 academy, arena or even stadium – there is something special about feeling as though you are stepping back in time to listen to music barely a decade old.

There were two food options in the arena – chicken nuggets/fried chicken and the brilliantly named Curry Naan-Stop. I had already inhaled some chicken already on the Southbank so did not partake in further food consumption, but you cannot argue with Curry Naan-Stop. Those guys know their around some fast-to-go curries.

The crowd

A surprisingly diverse mix of ages on display, with Rizzle Kicks’ new album presumably pulling in some younger listeners. However, predominantly, this crowd was born somewhere between 1991 and 2000. Everyone was in a good mood – sun and lager will do that to you.

Rizzle Kicks

Ultimately, Rizzle Kicks probably aren’t my cup of tea. That’s not to say that the tea in question is disgusting or even something I dislike. If I had to pick a brew to knock back with a biscuit dunked in it, Rizzle Kicks are not the highest on the list of cha’s I’d be asking for in a café. However, you cannot help but bop and dance to their music. It’s feelgood and catchy – all the things we need. I probably knew four songs of their setlist, which was more than I had expected to.

Their backing band, with a saxophonist and trumpet player doing the heavy lifting, were surprisingly good. They were a funny pair, doing some very interesting samba-like dance moves, coupled with effectively dry humping their instruments. Whatever floats your boat.

Rizzle Kicks’ dual leads, Jordan and Harley, bring an energy and enthusiasm for their music which I cannot help being lifted by. Jordan is an interesting character – perhaps his enthusiasm veers into the irritating at times. But at the end of the day, he’s doing what loves and I shouldn’t judge (despite the weaker sides of my personality bursting through like an alien coming through John Hurt’s ribcage to illicit an annoyance in me at times).

To their credit, they have grasped their return to public consciousness with both hands. During breaks between songs, they explained that their 8-year hiatus had ended with a great degree of anxiety as to whether anyone would sit up and pay attention. Fear not, Mr Rizzle and Mr Kick – the people have welcomed their return in their droves. This was a sold-out show. A lot of their shows on this tour of the UK have either sold out or been close to selling out. Their Glastonbury show was positively reviewed and apparently drew a good crowd. Their new album was not exactly a commercial success (peaking at 59 in the Official Album Chart before dropping out of the charts after a week) but was well reviewed and did very well in vinyl sales, as seems to be the way nowadays. A new single released on 11 July 2025 would suggest that Rizzle Kicks have no intention of slowly down and they clearly have a loyal army of followers willing to go into battle for them.

The two stand outs are naturally their biggest hits: Mama Do the Hump and Down with the Trumpets. It is here that I further appreciate Rizzle Kicks. Not in terms of the music itself, but in terms of the importance of nostalgia. I was obsessed with Mama Do the Hump at one point and remember Down with the Trumpets featuring on Soccer AM for what felt like every week for a period of time. Music is a gateway, an escape, a therapy even for some. And in this, for many people watching Rizzle Kicks and seeing these songs again, it could transport them back to a simple time in their lives. I wonder if I’ll feel any of this when I see Oasis next week…

All in all, despite my initial scepticism, I had a thoroughly enjoyable evening soundtracked by Rizzle Kicks. The venue, weather and easy-going tunes went a long way to serve up a lovely Thursday in July.

And with that, we transport to the south coast for Kid Kapichi’s set.

The venue – De La Warr Pavilion, Bexhill

Unsurprisingly, I had not been to this venue before. Tucked right on the seafront at Bexhill, this Art-Decco, space age like building is quite a striking figure. Sometimes hailed as the first Modernist public building in Britain, it is a novel venue for a concert. Mostly utilised as a contemporary arts centre, it is also an experienced concert space.

With two bars and pop-up food vans in an outside courtyard, we could take refuge from the extreme heat inside which was stifling after a weekend of heatwave. Being on the seaside made the whole experience even better and added to the scale of the whole experience.

The interior of the Pavilion is like a cross between a theatre and conference space, with wood panelling adorning the walls and classic, tiny, uncomfortable seats. Sat in the upper seating, the view was brilliant.

Kid Kapichi

This gig was of great significance for Hastings’ premier punk band. A four-piece, two of the members are now leaving the band, so this gig was a farewell to the two and a look to the future. As such, this was an emotional occasion for all involved. The band have been going since 2013, and all four members went to school together. This has been a long journey, and the band are now faced with a seismic change.

Blending elements of traditional punk with rap and alternative rock, Kid Kapichi are loud, brash and brilliant. Their politically charged lyrics and catchy riffs pulled me instantly and I find it very surprising they’re not bigger commercially or popularly. Some of their songs are not so accessible to a mainstream audience due to their aggression and statements, but catchy numbers like Let’s Go to Work, Tamagotchi and Can EU Hear Me? (my favourite) could be pushed into a wider consciousness than they already are. Naturally, Kapichi have a base of devoted fans who have followed them from tiny pubs and halls to supporting Liam Gallagher to headlining 2000 Trees.

Proud natives of Hastings, this somewhat-farewell show was always going to be in this neck of the woods. Having already toured most of Hastings’ venues, this was presumably the natural pick to pull in a larger crowd for this important night. Despite not being in Hastings, ‘thank you, Hastings’ was uttered by frontman Jack Wilson many times throughout the evening – it was pretty obvious where most people had travelled from.

The show itself was, in true Kapichi style, brilliant. Ripping through hits and deep cuts, they served up a wide-ranging setlist which sprung some surprises (aka songs I didn’t know). They have opened with Artillery for quite some time, but it is the perfect opener – ‘Here we go/First thing’s first/Nobody moves, nobody gets hurt’. With our view from above, the standing crowd didn’t start to get properly going until the third song, 999, but thereafter they were in fine form. I must say, the seated crew in the upper tier were incredibly disappointing. We nestled away at the back so we could stand, but no one else did at all. Barely even a small boogie while seated by anyone. Kapichi deserve better. In spite of this, the energy generated from the standing gang was enough to create a great atmosphere and heat; the place was a sweat box.

Naturally, the departing band members were the topic which dominated conversation, and you could feel the emotion on stage from all members of the band. A group hug to close out the show went on for quite a while and it was odd to think that these four might not ever take the stage together again. However, Wilson was quick to reiterate that this was not the end of Kid Kapichi, but merely the end of an era. I assume there will be something of a hiatus now, but there was no indication as to whether there would be a formal ‘break’ or for how long such a thing could/would go on for. Band members are often considered somewhat replaceable, but when you have all been playing together for 12 years, ultimately since you were youths, building new connections is going to be a challenge. Kapichi are on the up currently and it would be such a shame if this was their undoing. The world is a strange place and it is important to have people in the public eye calling out the strange, unusual and unacceptable. Kapichi have never shied away from exposing issues – and they do it with great music behind them.

A heady July week came crashing to an end with a very tired train journey back to London from Hastings. However, fresh in my sights was another a train journey, but this time heading further northwards. Manchester is calling my name, and the receiver is already off the hook. See you soon…