On September 5, 1976, an unsuspecting crowd gathered at London’s Roundhouse, unaware they were about to witness a momentous occasion in rock history. The headliners, the Kursaal Flyers, were popular for their hit “Little Does She Know,” while their fellow billmates included Crazy Cavan ‘n’ the Rhythm Rockers and DJ Andy “The Livin’ Jukebox” Dunkley. However, the band that would leave an indelible mark that night was the Clash, a group so new they hadn’t even made it into the newspaper listings for the show.
Formed just months earlier under the guidance of manager Bernie Rhodes, who had also played a key role in establishing the Sex Pistols, the initial lineup included singer-guitarist Joe Strummer, guitarists Mick Jones and Keith Levene, bassist Paul Simonon, and drummer Terry Chimes. Their public debut occurred on July 4, 1976, at the Black Swan in Sheffield, and they performed a few shows in London shortly after. Yet, much of their early time together was spent bonding and crafting new songs.
The Roundhouse gig marked only their fifth concert, but they already showcased an impressive repertoire with songs like “Janie Jones,” “London’s Burning,” “What’s My Name,” and “1977.” However, not all attendees welcomed the Clash with open arms. Many had come to see the Kursaal Flyers and were initially indifferent to the newcomers.
Audience recordings reveal that while the initial tracks, including “Deny” and “1-2 Crush on You,” were met with respect, tensions escalated when Strummer challenged the crowd’s lack of energy before “Janie Jones.” “I suppose you think you can pay your £1.50 and just come in and sit down as if it’s a fuckin’ TV set,” he exclaimed, urging them to get off their seats.
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“Now it’s time for audience participation,” he declared before “Mark Me Absent.” A clever voice pierced through the crowd: “Waiting for the next band,” which elicited a furious response from Strummer. “I don’t know what you are about the waist, but I guess it’s in advance of 36 inches,” he fired back, initiating a back-and-forth with hecklers that only stoked the atmosphere further.
Following an impromptu exchange with the crowd, the band launched into an early version of “I’m So Bored With You.” This iteration wouldn’t become “I’m So Bored With the USA” until later, adjusting the lyrics to reflect a broader discontent. Despite this, musically, the two versions were virtually identical.
They ended their set strong with a trio of standout tracks: “London’s Burning,” “What’s My Name,” and “1977.” Those in the audience who hadn’t fled to the bar bore witness to Strummer’s fervent claim that “no Elvis, Beatles, or the Rolling Stones” represented the future of rock, a bold assertion that would resonate profoundly as the music landscape shifted in the years to come.
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Despite the significance of the Roundhouse show, mainstream British newspapers largely overlooked it, focusing instead on the buzz surrounding acts like Queen. However, the music publication Sounds dispatched writer Chas De Whalley to cover the event, commenting on the raw energy emanating from Strummer’s performance.
In his review, De Whalley mused, “Joe Strummer’s Clash — the best new band of the year? Well, some would claim as much.” He made note of the band’s fiery spirit but criticized their youthful vigor for lacking substantial depth. He romanticized their sound, likening them to “the Ramones out of an East End squat,” while also noting the heightened aggression that replaced the camaraderie found in Strummer’s previous band, the 101’ers.
Soon after, the Clash parted ways with Levene, feeling they no longer needed a third guitarist. Jones and Strummer were already collaborating as songwriters. Meanwhile, Levene would later find success with Public Image Ltd. along with John Lydon, showing that his trajectory, though divergent from the Clash, would still allow him to make an impact.
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Following their tumultuous Roundhouse debut, the Clash would continue to evolve quickly, penning “White Riot” for their upcoming performance at the 100 Club on September 20. This pivotal gig would introduce a refined four-member lineup, setting the stage for their self-titled debut album due out in February 1977.
As the Clash rose in prominence, 1977 would largely belong to them and the emerging punk scene, while legends like the Rolling Stones and the Beatles faded from the spotlight. Many audience members from the Roundhouse that evening likely reminisced about having witnessed the Clash at such an early stage, even if they primarily spent the time shouting “shut up, smart arse” and counting the minutes until the bar opened.
