Review by Ben ‘Jerry’ Robinson, pics by Cris Watkins
A night of raging guitars and unapologetic DIY ethos awaited us at Brighton’s The Prince Albert on April 16. The sold-out room welcomed Australian femme punks R.U.B and Bristol’s The Menstrual Cramps for the final night of their co-headline tour, with local sludge act Wrench fueling the fire in support.
Kicking off the evening was Wrench, a Brighton-based quartet formed in late 2025. Describing themselves as a “beer-fueled sludge band,” they quickly proved their mettle to a distinctly punky crowd. From the very first note, drummer Daniel Lyddiat set a relentless pace, while bassist Ryan Smith Allen delivered a growling, jet-engine low end. Vocalist Ronni Harris’s throat-shredding, angst-filled screams pierced through the deafening, doom-inspired riffs from guitarist Aneurin Graystock. Wrench’s 25-minute set, featuring tracks like “Get Wrenched” and “Jersey Devil,” was an uninterrupted assault on the senses. They flowed seamlessly from one heavy track to the next without pause, delivering a visceral wake-up call that perfectly set the tone for the night.
Next up was The Menstrual Cramps, a queer punk four-piece from Bristol boasting a fiercely anti-fascist, intersectional feminist ethos. Taking the stage in matching custom orange and black outfits, they radiated an infectious energy. Front-person Emilia Elfrida proved to be a captivating force, engaging the crowd with sharp humor, political theory, and relentless movement. Their set was a masterclass in dynamic punk, balancing punchy, educational lyrics with incredibly tight musicianship.
Highlights included the blisteringly fast drums of AJ on tracks like “Body Politics,” Rat’s fiery guitar solos during the anthemic “Class War,” and Oana’s driving basslines. The band tackled heavy themes, like the Boycott, Divestment, and Sanctions movement on “Boycott The Lot,” all while maintaining a raucous, empowering party atmosphere. For their frantic closing track, “Idols,” they brought members of R.U.B onstage, capping off a set that effortlessly merged political fury with genuine solidarity. I was totally sold on them.
Finally, it was time for R.U.B. Hailing from Australia, this gig marked not only their first-ever Brighton appearance but the culmination of their inaugural international tour. Opening with the high-octane “Did I Ask?”, the chug of all three guitars signaled lift-off. Vocalist Sophie Elizabeth Jest engaged warmly with the crowd between songs, seamlessly transitioning from heartfelt gratitude to introducing furious tracks like “Nice” and “Ultimate Violations,” which addressed themes of systemic injustice and abuse with raw, unflinching power alongside backing screams from guitarist Dasha Romanowski.
As the set progressed, R.U.B demonstrated impressive musical versatility. While firmly rooted in punk, they expertly veered into garage grunge on “Self Soothe” and ventured into slower, heavier sludge territory with “Religious Man,” which Sophie aptly likened to “an exorcism.” For “Good Bloke”—the track that initially hooked me on their 2025 split 7”—both headlining bands crowded the stage to sing, dance, and drink, cementing the palpable sense of community that defined the tour.
The night concluded brilliantly with the band’s self-proclaimed favorite, “Womb,” featuring The Menstrual Cramps’ Rat taking over guitar duties while Sophie crowd-surfed across an ecstatic audience. R.U.B delivered 45 minutes of pure quality. They have it all: a versatile sound blending metal, grunge, and sludge, underpinned by a fiercely authentic punk heart. This tour finale was a resounding triumph, showcasing the vitality and profound community of the DIY punk scene. May their return to the UK come very soon.
