Have you ever wondered how artists pick their support acts? Frank Turner’s choice of Ben Brown comes with a hilarious backstory. Picture the scene: Turner is at a barbecue, drinks are flowing, and the vibe is relaxed—until everything grinds to a halt because the hosts have hired a guitarist.
Fearing an onslaught of Jack Johnson covers, Turner braced himself for the worst. Instead, he was met with the thoughtful lyrics, sincere falsetto, and deft acoustic guitar work of Ben Brown. Impressed, he took Brown under his wing, and now, with a debut EP, Blue, on the horizon, Brown found himself winning over a sold-out 370-capacity crowd at 93 Feet East.
For Turner, returning to 93 Feet East was deeply personal. This was where he played his first-ever solo show back in September 2004. Fast forward nearly two decades, and he was back for gig number 2,999, on the cusp of a monumental milestone—his 3,000th show. But tonight wasn’t about nostalgia, for nostalgia’s sake. Turner promised a setlist that would not feature in his forthcoming landmark gig, and he more than delivered. Known for blending hardcore grit, brutal honesty, and a relentless drive to create something greater than the sum of those parts, Turner held his own solo, delivering deep cuts, covers, and even a few throwbacks to his former band, Million Dead—without once having to Google his own lyrics.
While every artist has their staple songs, Turner elevated even the lesser-played tracks to equal footing with his more well-worn anthems, thanks to the personal stories that accompanied them. Romantic Fatigue was introduced with a self-deprecating tale of how Turner naively believed playing the guitar would guarantee him dates. Letters was a nostalgic nod to a girl he met at camp—decked out in a Pennywise T-shirt—who expanded his punk rock horizons. Sunshine State sparked a laugh as Turner recalled mistakenly thinking the song was about a girl from California, not Florida, before reassuring the crowd that his geography skills have since improved.
Turner’s folk side shone brightest on Jinny Bingham’s Ghost, a track that carries the same fiery energy as The Levellers’ Dirty Davey. But the night’s biggest wildcard was Journey of the Magi, an introspective take on a reflective Moses at the end of his life—added last-minute at the insistence of Turner’s friend Ian. For an artist who has openly distanced himself from religion, Turner delivered a performance that could rival any theologian’s depth of thought.
The night ended with a flurry of covers spanning the musical spectrum, from an unexpected, joyfully chaotic rendition of ABBA’s Dancing Queen to a raucous take on The State Lottery by Canadian anarcho-punks Propagandhi. As the final chords rang out, Turner left no doubt about the secret recipe for an unforgettable gig: sincerity, a return to his roots, and raising funds for War Child. Show 2,999 was a triumph—now, roll on 3,000.
For years, XS Noize has seen musicians unite in small, intimate venues to raise awareness and funds for War Child. We are proud to remain part of this vital mission. Tragically, with nearly half a million children affected, the impact of global conflicts is greater than ever. Please consider donating at War Child to support their crucial work.
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