GregVK’s latest single ‘Never Again’ is passionate and impossible to ignore.


Born out of unimaginable tragedy GregVK’s latest single ‘Never Again’ packs an acoustic-guitar driven punch straight to the heart.

You can hear the pain and the struggle to keep going in every lyric, in every strum of the guitar. There are no pretenses or embellishments, nothing to try and hide the emotion. Everything’s on the table for the world to see and that’s where the magic lies. It’s that openness that draws you in and makes the song relatable to anybody who’s been through an immensely traumatic experience.


From the opening lines, “look at all that I’ve become/ a wreckage in the shallows,” there’s an edge to GregVK’s voice, a grief that’s almost tangible. The sometimes mournful, sometimes anguished guitar seems to take on a life of its own, helping guide the mood as he comes to terms with what happened and resolves to turn it into strength rather than give in.


This isn’t just a song. It’s a raw, honest confession from a man who has gone to some dark places but refuses to let himself be defeated, even though that sometimes seems like the only way out.

Have a listen for yourself:


Gig review: The Ides of March was a night of diversity, new beginnings, and good times for all.

Ides of March

“Beware the Ides of March” wrote Shakespeare in a play about the ill-fated Julius Caesar. Fast-forward to this past Friday and the only thing we had to beware of was the inevitable hang-over we’d all be feeling the next day. With Androgenius, Apollo, and Julia Robert lighting up the stage, Mercury Live played host to a night of diversity and debauchery.

Opening act Androgenius had a quiet confidence about them as they treated the gathering crowd to their unique mix of old school RnB, funk, jazz, hip hop, and soul. A concoction they call Soul Hop. Front-man Al Clapper was on top form as he moved around the stage with the certainty of a man living completely in the moment. His presence was mirrored by his band-mates and together they had the kind of on-stage chemistry that musicians dream about and that should make their single release on the 22nd of March an absolute treat.

For Apollo, the gig held a special significance. It marked the end of one era, as it was their drummer Daniel Nambassi’s final gig behind the kit with them, and the beginning of a new era as they became Son of Leto, and no that’s not a reference to Jared or Shannon Leto, but rather to the Greek Goddess Leto, mother of Apollo. Their set on Friday can only be described as four individuals finding each other’s groove and setting the stage on fire. The combination of flamboyant guitarist, live-wire front-man, chilled-out keyboardist, and so-stoked-with-life drummer created a performance fitting of that moment in their history.

And then it was Julia Robert’s turn to do their thing and they did it the only way they know how: with jokes, laughter, and a kick-ass performance. Their musicianship was impeccable and their rapport with the crowd was wonderful throughout as they made everyone feel as comfortable as old friends at a braai by the pool. The foursome’s disco-funk was nothing short of infectious and guaranteed that all eyes were on them, and that Mercury became the only place anybody wanted to be as we partied our way into Saturday morning.

While times may have changed the best parts of the Ides of March have lived on and they were embraced with abandon on Friday night. It was a night of drinking and dancing and living in the revelry of the moment, a middle-finger to anything and everything that doesn’t bring us happiness.

Review: Bonbonvillon’s debut single is moody and strangely comforting

Television's On

We’ve all been there. It’s something-o’clock in the morning and the end credits roll on the final episode of your Netflix binge. You look around with bleary eyes, unsure of what’s real and what’s not, unsure of how you ended up on the couch in the first place. It’s this dark moment in the cycle of escapism that is perfectly captured by self-proclaimed Capetonian bedroom musician Bonbonvillon in his darkly ethereal debut single ‘Television’s on but There’s Nobody Home.’


Bonbonvillon’s effect-laden voice oozes out, calm and strangely reassuring, like a mad preacher comforting a congregation of heart-broken, sleep-deprived souls as the melodies dance around each other, always flirting with the edge of insanity but never taking the plunge. Notes that appear seemingly out of nowhere and unexpected breaks only add to the underlying sense of madness and keep stagnation at bay in this ode to insomnia.

Bonbonvillon’s first offering is unique in its soundscape and excellent in its delivery, turning a sensation experienced by so many into a comforting sonic journey.

Stream the single here.

Watch the video here.

Bang-overs and Hang-overs: The Medicine Dolls ‘A Compulsion To Ruin’ launch party exceeds expectations


Friday night was a night of debauchery, head-banging, and mosh-pits as the die-hard rock ‘n’ roll community united to celebrate the launch of The Medicine Dolls’ latest offering in their ever-growing catalogue of EPs, ‘A Compulsion to Ruin.’ Naturally they weren’t the only the only band lighting up the stage as The Dodgy Odds, Elle E, and Julia Robert were on hand to turn the night into a party while DJ Swamp Girl kept the good times going between sets.

The sex-funk rock ‘n’ roll of The Dodgy Odds got the ever-growing crowd in the mood with the opening set of the night. As their epic bass-lines and impossible-to-ignore rhythms spread through the air so the energy levels lifted until everyone was dancing, no matter how many left feet they had. By the time Elle E took to the stage with her sultry garage-rock wizardry the fuse had been lit and her electric performance made it burn harder and faster, bringing it close to detonation before Julia Robert got to have their bit of fun.

Resplendent in white and perfect in synchronicity Julia Robert calmly and confidently navigated their way through their set without compromising on intensity as they held the crowd’s undivided attention from beginning to end and set the perfect platform for The Medicine Dolls to blow the roof off the place.

And that’s exactly what they did. As they blitzed their way through songs old and new, each as brilliantly executed as the next, the dance-floor became a sea of indiscernible bodies as people head-banged and moshed as though their lives depended on it. By the time they left the stage there wasn’t a single body free of sweat and smiles as everyone tried to catch their breath enough to order yet another drink from the bar.

Stream ‘A Compulsion To Ruin’ here.

A Good Chance Of A Good Time

Meds EP


It’s a rainy Thursday night and the cold, drenched denizens of Cape Town have started filtering into The Shack in search of warmth and a drink. It doesn’t take me long to find Greg Allen, the frontman of The Medicine Dolls and my interviewee for the night. After walking through the labyrinthine bar with a draught in one hand and a cigarette in the other for a few minutes we find a spot that’s quiet enough for us to speak about their new EP, ‘A Good Chance of Bad Weather’, among other things.


“Sonically it’s more and it’s less at the same time than the last ep.”


After a bit of banter, just to check that my recording devices are working, we get to talking about their new material, set to be launched on the 6th of July. A band known for their unique sound filled with hedonism and heartbreak, their latest offering promises to unleash more of that. Having been in the works since their last tour, which took them through the heart of the country and then down the east coast, there is the promise of a subtle shift in the sound. The Medicine Dolls have expanded their sound and started experimenting with more instrumentation, a sonic continuation from their last offering, ‘Lost Love Lullaby’, which introduced some melodious, haunting piano lines.


“I can’t be arsed to like, sing the same fucking words or play the same riff.”


With a bigger focus on recording and the production of the EP they’ve started expanding the sound of their studio material with Greg saying that “Sonically it’s more and it’s less at the same time than the last EP.” For the moment, however, their live shows will continue to be the same bare-boned sweat fests that we’ve come to know and love. The first tangent of the night comes with a discussion about their approach to live shows. As far as they’re concerned live shows and albums are two different art forms and live shows should contain some kind of spontaneity. “I can’t be arsed to like, sing the same fucking words or play the same riff” Greg says with a hint of laughter dancing in his voice. He feels that it’s unfair to the paying audience for the band to deliver a performance that sounds exactly like the recorded version.


“All the good shit, and all the bad and all the stuff that makes us human.”


But that’s enough digression for now. In the course of their last three EPs the band has gone from singing almost exclusively about the dark, hedonistic side of life that exists in the shadows of people’s lives to adding a few love songs to their repertoire. ‘A Good Chance of Bad Weather’ is going to be a combination of those two elements. For Greg the song-writing process is very much influenced by the people around him. Often the things they go through resonate with him and he finds a song somewhere within that resonance. He’s not the sit-down-and-write kind of writer. His process is much more organic and involves him just ‘bonding with a guitar and a piece of paper’ as he writes down whatever phrases pop into his head, no matter how little sense they make. Through improvisation, experimentation, and scrapbook plundering a song will be born. He never settles for anything less than what gives him goosebumps.

As for a full length album, we’ll have to wait a while. There’s the chance of a release at the beginning of next year but they’ll only do it if they can do it properly in a studio. For now, though, it seems that they’re happy putting out EPs every few months. It’s a way for them to stay relevant in a scene that’s relatively small and very competitive, but that’s not the only motive. They’re not a band that likes to sit on songs once they’ve been written. If they have a handful of songs that are ready then they must be released lest they become stale.


“There’s cooler boxes and camper chairs.”


I saw this interview as the perfect opportunity to ask about what was arguably the biggest gig of the band’s career so far. On the 30th of April The Medicine Dolls opened for South African rock and roll institution The Springbok Nude Girls at Hillcrest Quarry. Considered an honour and perhaps even a surprise, they put on their game-faces and opened up for a band that has at least two generations of fans. They are in no way a safe band and there was the risk that some members of the audience may have found them a bit… edgy. After all, it’s the kind of concert where there were “cooler boxes and camper chairs.” The band feels like it usually takes one song to show people what they’re about, and once they had played that first song the audience, for the most part, got into the spirit of things and had a party. By all accounts the gig was a success and went down like an absolute dream.


In other news, The Medicine Dolls are heading on tour again with their first stop being the Grahamstown Festival on the 29th of June. The student town is one of their favourite spots and they head there every time they go on a tour of that part of the country. The fact that they’re performing on the opening night of the National Arts Festival gives them an opportunity to play to an audience that may be a little different to what they normally attract. The tour is short and jam-packed as they hit Grahamstown, Jeffrey’s Bay, and Knysna in one weekend.

A band that constantly leaves its mark on the local and national music scene, The Medicine Dolls are ready to blast new material into the ears of their ever-growing fan-base with their fourth EP so if you’re in Cape Town on the 6th of July head over to Mercury Live for what promises to be a legendary party.