Hey! Manchester promotes gigs by folk, Americana and experimental bands from around the world in Manchester, England. Read more here, see below for our latest shows, check out our previous shows, contact us, or join our mailing list, above.

Upcoming shows: Tav Falco’s Panther Burns... Jenny Hval... The Burning Hell... Waxahatchee... Walton Hesse... Deerhoof... The Deslondes... Great Lake Swimmers... Liam Frost... Joe Pug...

When: 7.30pm on Thursday 11 June 2015
Where: The Ruby Lounge, 28-34 High Street, Manchester M4 1QB

We’re excited to be bringing Tav Falco’s Panther Burns to Manchester.

Tav-Falco-Ruby-Lounge-Manchester

Vocalist Tav Falco started Tav Falco’s Panther Burns ‘orchestra’ in February 1979 with drummer Ross Johnson, guitarist Alex Chilton, and synth player Eric Hill, in Memphis, Tennessee.

Since then a number of musicians from the Memphis, New Orleans and New York areas worked with Falco in the group, recording albums on indie labels like Rough Trade, Triple X, New Rose, In the Red, Last Call and others. A ‘best of’ compilation called Love’s Last Warning collects some of the songs from more than a dozen albums and mini-albums released by Falco over the years.

Currently, tracks from Shadow Dancer and other Panther Burns releases may be found for download on MSN Music among other locations.

Since the early 1990s, Falco has been based more in Europe and has performed more with European musicians, including drummer Giovanna Pizzorno, Gregoire ‘Cat’ on guitar, and Laurent Lo on bass.

Main support comes from Hey! Manchester favourites Brown Brogues.

Opening the show are Dirty Heels.

This show is a co-promotion with the Ruby Lounge.

Buy tickets now. Tickets are available from Common (no booking fee), Piccadilly Records, Vinyl Exchange, Seetickets.comWeGotTickets.comTicketline.co.uk and on 0871 220 0260.

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When: 7.30pm on Thursday 11 June 2015
Where: Gullivers, 109 Oldham Street, Manchester, M4 1LW

We’re delighted to be working with Jenny Hval for the first time.

Jenny-Hval-Gullivers-Manchester

Think big, girl, like a king, think kingsize. Jenny Hval’s new record opens with a quote from the Danish poet Mette Moestrup, and continues towards the abyss. Apocalypse, girl is a hallucinatory narrative that exists somewhere between fiction and reality, a post-op fever dream, a colourful timelapse of death and rebirth, close-ups of impossible bodies — all told through the language of transgressive pop music.

When Norwegian noise legend Lasse Marhaug interviewed Jenny Hval for his fanzine in early 2014, they started talking about movies, and the conversation was so interesting that she asked him to produce her next record. It turned out that talking about film was a great jumping off point for album production. Hval’s songs slowly expanded from solo computer loops and vocal edits to contributions from bandmates Håvard Volden and Kyrre Laastad, before finally exploding into collaborations with Øystein Moen (Jaga Jazzist/Puma), Thor Harris (Swans), improv cellist Okkyung Lee and harpist Rhodri Davis. All of these musicians have two things in common: they are fierce players with a great ear for intimacy, and they hear music in the closing of a suitcase as much as in a beautiful melody.

And so Apocalypse, girl is a very intimate, very visual beast. It dreams of an old science fiction movie where gospel choir girls are punks and run the world with auto-erotic impulses. It’s a gentle hum from a doomsday cult, a soft desire for collective devotion, an ode to the close-up and magnified, unruly desires.

Jenny Hval has developed her own take on intimate sound since the release of her debut album in 2006. Her work, which includes 2013’s critically celebrated Innocence Is Kinky (Rune Grammofon), has gradually incorporated books, sound installations and collaborations with poets and visual artists. For Hval, language is central, always torn between the vulnerable, the explosive and total humiliation.

‘In the span of five seconds, she summons both Aaliyah and Laurie Anderson‘ – Pitchfork, Best New Track

This show is a co-promotion with Wotgodforgot.

Buy tickets now. Tickets are available from Common (no booking fee), Piccadilly Records, Vinyl Exchange, Seetickets.comWeGotTickets.comTicketline.co.uk and on 0871 220 0260.

Attend on: Facebook | Last.fm


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When: 7.30pm on Thursday 11 June 2015
Where: The Eagle Inn, 19 Collier Street, Salford, M3 7DW

We’re delighted to be welcoming Canada’s The Burning Hell back to Manchester – this time, to the Eagle Inn!

The Burning Hell is the alter-ego of songwriter and ukulele-slinger Mathias Kom. Loosely based in St John’s, Newfoundland, The Burning Hell have toured back and forth across Canada and Europe since 2007, playing everywhere from festivals to bars to living rooms – and once even a mental asylum in rural France. The band has garnered acclaim for their hyperactive live shows and their caustic yet sincere lyrics, believing as they do that songs about the inevitability of death can also be fun to dance to.

In 2012, The Burning Hell both made AND broke a record: the band recorded their newest album, People, in Berlin, and later in the summer, they set a new world record: playing ten shows in ten countries in less than 24 hours. But the band aren’t tired yet, and April will see The Burning Hell begin a three-month tour in support of People, co-released by Headless Owl, (weewerk) and BB Island, throughout Canada and Europe. Onward!

‘Will appeal to fans of Jonathan Richman… and They Might Be Giants’ – Q, 4*

The Eagle Inn is an excellent traditional pub from the team behind the Castle Hotel, the Parlour and Gullivers. It’s just off Trinity Way, an eight-minute walk from Manchester Cathedral on Deansgate.

Buy tickets now. Tickets are available from Common (no booking fee), Piccadilly Records, Vinyl Exchange, Seetickets.comWeGotTickets.comTicketline.co.uk and on 0871 220 0260.

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When: 7.30pm on Friday 12 June 2015
Where: The Ruby Lounge, 28-34 High Street, Manchester M4 1QB

We’re delighted to be bringing Waxahatchee back to Manchester.

Waxahatchee-Ruby-Lounge-Manchester

Katie Crutchfield’s southern roots are undeniable. The name of her solo musical project, Waxahatchee, comes from a creek not far from her childhood home in Alabama and seems to represent both where she came from and where she’s going. Since leaving home, Crutchfield has drifted between New York and Philadelphia but chose to return to Alabama to write her first two albums: American Weekend, her debut filled with powerful lo-fi acoustic tracks full of lament, and Cerulean Salt, a more developed and solid narrative about growing up. Both are representations of a youthful struggle with unresolved issues and unrequited feelings.

Waxhatchee’s latest record, Ivy Tripp, drifts confidently from these previous albums and brings forth a more informed and powerful recognition of where Crutchfield has currently found herself. The lament and grieving for her youth seem to have been replaced with control and sheer self-honesty. ‘My life has changed a lot in the last two years, and it’s been hard for me to process my feelings other than by writing songs,’ says Crutchfield. ‘I think a running theme [of Ivy Tripp] is steadying yourself on shaky ground and reminding yourself that you have control in situations that seem overwhelming, or just being cognisant in moments of deep confusion or sadness, and learning to really feel emotions and to grow from that.’

Recorded and engineered by Kyle Gilbride of Wherever Audio at Crutchfield’s home on New York’s Long Island—with drums recorded in the gym of a local elementary school—Ivy Tripp presents a more developed and aged version of Waxahatchee. ‘The title Ivy Tripp is really just a term I made up for directionless-ness, specifically of the 20-something, 30-something, 40-something of today, lacking regard for the complaisant life path of our parents and grandparents,’ she says. ‘I have thought of it like this: Cerulean Salt is a solid and Ivy Tripp is a gas.’

Crutchfield is accompanied by both Gilbride and Keith Spencer on Ivy Tripp, and the record was produced by all three of them. With the addition of more guitar work, piano, drum machines and Crutchfield’s vocals in full bloom, we are given a record that feels more emphatic and pronounced.

Tour support comes from Philadelphia duo Pinkwash. The band released a single, Cancer Money, last summer on Sister Polygon Records.

This show is a co-promotion with Now Wave.

Buy tickets now. Tickets are available from Common (no booking fee), Piccadilly Records, Vinyl Exchange, Seetickets.comWeGotTickets.comTicketline.co.uk and on 0871 220 0260.

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When: 7.30pm on Friday 10 July 2015
Where: The Castle Hotel, 66 Oldham Street, Manchester M4 1LE

We’re delighted to be helping Walton Hesse launch their debut album!

Walton-Hesse-Castle-Manchester

Manchester’s Walton Hesse – a name familiar on the city’s music scene for some time – only recently got their shit together to record their eponymous debut LP.

A six-piece based around the ideas and DIY ethics of songwriter Matt Grayson, the band pull on influences from Steve Malkmus to Steve Reich. The result is a blend of country-tinged guitar pop and experimental noise; a nod to the likes of Beechwood Sparks or Ghost is Born-era Wilco.

The debut LP was recorded in studios and living rooms over a period of two years using borrowed gear with trusted engineers on speed dial. Having opened shows for Justin Townes Earle, Jonathan Wilson and Stephen Steinbrink, Walton Hesse’s live show is country, incendiary and hypnotic.

For this launch show, their debut LP will be played in its entirety – expect fuzz pop and Americana psych.

Book tickets now. Tickets are available from Common (no booking fee), Piccadilly Records, Vinyl Exchange, Seetickets.comWeGotTickets.comTicketline.co.uk and on 0871 220 0260.

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When: 7.30pm on Monday 24 August 2015
Where: Gorilla, 54-56 Whitworth Street West, Manchester M1 5WW

We’re excited to be working with Deerhoof for the first time!

Deerhoof-Gorilla-Manchester

Blame it on the Ramones. After Deerhoof finished recording demos for ‘La Isla Bonita’ this past February, they began rehearsing for an upcoming tour. Halfway through a run-through of a long-time Deerhoof live favorite, their cover of the Ramones classic “Pinhead,” someone offhandedly asked, “Why don’t we ever write a song like this?” So Greg quickly dashed off a song on a scrap of paper, showed it to the band, and they recorded the breakneck stomper “Exit Only” in one take. “And we suddenly realized,” Greg says, “this is the whole thing, this is what the whole record is about!”

A little background: for years, Deerhoof was the only band that sounded like Deerhoof. It wasn’t a far-sighted career move, it was simply the only sound they knew how to make. Their early records were essentially rehearsals recorded on rubble. But in that rubble Deerhoof had planted a seed. And that seed took: when before the steady chug of post-Velvets indie had been the rule, Deerhoof’s neck-snapping syncopations, classical melody, minimal gear and maximal music has slowly become part of the vocabulary: St Vincent, Flaming Lips, Tune-Yards and Dirty Projectors are just a few of the bands to have absorbed some Deerhoof DNA.

Satomi, Ed, John and Greg have never become rich and famous but they’ve triumphed in their own way – this year, Deerhoof celebrates its 20th anniversary, having made a dozen consistently acclaimed albums and taken hundreds, maybe thousands, of ecstatic and loyal audiences all over the planet on the never-the-same-twice thrill-ride of their live show. “We neither had it all nor shall we,” sings Satomi on “Black Pitch,” from ‘La Isla Bonita’. “We are just fine without your promises.”

At a soundcheck last year, Greg had started playing the beat to Can’s trancey classic “Vitamin C,” and right then and there, the band resolved to make a groove record, with streamlined arrangements and killer repeating riffs. The concept soon expanded into a paean to fin de siecle decadence – “our late-capitalist American version of waltzing into oblivion,” says Greg.

The band eventually convened at Ed’s house in Portland, Oregon and set up a makeshift practice room in his musty basement. For a week they banged out rough rehearsal demos to send to producer and Godmode Records honcho, Nick Sylvester, who had been an early, ardent and influential Deerhoof supporter back when he was a music critic for Pitchfork and the Village Voice. No one gave much thought to microphone placement and other technical matters, or playing the parts perfectly, or even staying in tune. It was unselfconscious, spontaneous and fun, all four musicians playing in the same tiny room at the same time. “We forgot,” says Greg, “that the camera was there.”

When they listened to the tracks, the band had an epiphany: it was nothing but guitars and drums recorded in a basement and yet the music was ineffably evocative and powerful. They realised they had just recorded their new album. Funnily enough, this was how Deerhoof had begun, and now they had perfected it.

In May, Sylvester recorded the vocals, and that’s where the album’s pop side comes out: Satomi’s singing is front and center, and if it sounds like she’s commanding the band, it’s because she was. Satomi was determined to make a record that was not just for hardcore Deerhoof fans but instead would speak to everybody. As the inevitable temptation to sweeten the mix and edit down the takes crept in, Satomi kept everything focused on repeating grooves and simple arrangements. So instead of a blink-and-you-missed-it approach, we get the devastating one-note ostinato on “Big House Waltz” or the whiplash syncopations of “God 2.” ‘La Isla Bonita’ happily serves its riffs up on a platter. And it rocks.

But there’s a darkness to the songs. While Satomi’s voice might ring like a sweet bell, John and Ed’s guitars resound with uncanny, virtuosic abandon, and Greg drums with his ingenious wallop, the gnomic lyrics juxtapose images of false paradise with a sense of declining empires and decay, a foreboding portrait of an American Weimar.

“Mirror Monster” is an exquisite ballad, one of the most beautiful things Deerhoof has ever done, with classical chords and prismatic guitars and dramatic key changes, but it’s also an angry, post-apocalyptic song. In “Doom,” there is no place to go, punctuated by one very damning word – “deny” – delivered in a child-like sing-song that counterpoints its ominous implications. “Oh Bummer” is a cryptic indictment, mournful and eerie, and the music is downright cataclysmic.

Still, Deerhoof can’t resist infusing the gloom with joy. And so ‘La Isla Bonita’ is punk rock in yet another sense: it shouts “No!” in the most life-affirming way. It is the glorious sound of four musicians owning their own hard-won and richly deserved legacy. Even as western civilization goes down the tubes.

Buy tickets now. Tickets are available from the bar, Piccadilly Records, Vinyl Exchange, Seetickets.comWeGotTickets.comTicketline.co.uk and on 0871 220 0260.

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When: 7.30pm on Wednesday 2 September 2015
Where: Gullivers, 109 Oldham Street, Manchester, M4 1LW

We’re delighted to be working with The Deslondes for the first time!

The-Deslondes-Gullivers-Manchester

Hailed by NPR as ‘deft assemblers of a sound that traverses decades and styles with humble grace’, New Orleans band The Deslondes mine from the rich history of American music to craft their compelling and wholly unique eponymous debut album, due 9 June on New West Records. Co-produced by the band and in-demand producer Andrija Tokic (Benjamin Booker, Alabama Shakes) at his Nashville studio, the songs are influenced by classic soul, rock & roll, R&B, folk, roots, country, swamp-boogie, honky-tonk and pre-war music, and introduce a collective of gifted singer-songwriters with a deep love for the past and a palpable passion for the present.

‘They manage to resurrect a lost sound,’ exclaimed Rolling Stone in their 20 Reasons To Love This Year preview, adding, ‘Stax and Sun records are distinct touch points, as are upright-bass-driven melodies, while giving it a modern, vibrant swing, building on the foundations of old-time traditions without sounding like they’re stepping out of a time machine.’

The Deslondes endeavour to carry on the travelling troubadour tradition of their heroes Woody Guthrie, Hank Williams, Townes Van Zandt, Blaze Foley and John Prine. Comprised of the five songwriters – Sam Doores (vocals/guitar), Riley Downing (vocals/guitar), Dan Cutler (vocals/bass), John James Tourville (vocals/pedal steel/fiddle) and Cameron Snyder (vocals/percussion) – each musician contributes writing and arrangements, with different members taking the lead at different times. The band’s musical production and vocal arrangements are inspired by the rhythmic, high energy, and harmony-driven sounds of their other heroes, The Band and Allen Toussaint.

The Deslondes grew out of The Tumbleweeds, a project that Doores, Downing and Cutler began in 2010. Doores and Cutler were also core members of Hurray for the Riff Raff and performed on last year’s breakout album, Small Town Heroes, before leaving the band to focus on The Deslondes. Like the traveling troubadours they fashion themselves after, they have toured the country extensively and have supported the Alabama Shakes, Old Crow Medicine Show, Hurray for the Riff Raff, The Lumineers, John Fullbright, Michael Kiwanuka and Spirit Family Reunion.

Buy tickets now. Tickets are available from Common (no booking fee), Piccadilly Records, Vinyl Exchange, Seetickets.comWeGotTickets.comTicketline.co.uk and on 0871 220 0260.

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When: 7.30pm on Monday 14 September 2015
Where: The Deaf Institute, 135 Grosvenor Street, Manchester M1 7HE

We’re delighted to be welcoming back Great Lake Swimmers – their first Manchester show in over three years.

Great-Lake-Swimmers-Deaf-Institute-Manchester

A Forest Of Arms is the sixth album from Tony Dekker’s Great Lake Swimmers and the follow up to 2012’s New Wild Everywhere. With a surging rhythm section, razor sharp violin, banjo and guitars and flourishing, Dekker and band mates have pushed their sound significantly, creating some of their most dynamic songs ever recorded.

Those familiar with the decade-long output or Great Lake Swimmers will recognise the thematic threads of beauty in the natural world, environmental issues and explorations or close personal ties that hold us together. The familiar versus the strange theme is ook running through this record, both in the instrumentation and in the songwriting.

A Forest Of Arms was recorded in several at locations over the span of several at months, covering extensiveness new territory while remaining true to the group’s refined sound. One of the unique and unusual locations was Tyendinaga Cavern and Caves in Tyendinaga, Ontario, where a number of the vocal and acoustic guitar tracks-including the main parts for Do not Leave Me Hanging, The Great Bear and With Every Departure were recorded amid haunting acoustics, stalactites and circling bats.

The violins were recorded at the Heliconian Club of Toronto, while the bass and drum tracks were largely recorded at the Chalet Studio just outside of Toronto, a unique chalet-style recording space located on 40 acres of rolling hills and trails, in proximity to the shores of Lake Ontario. The pastoral and elemental nature of these spaces surfaces throughout the album.

The title, A Forest Of Arms, is taken from album track The Great Bear, a song inspired by a trip Dekker firing to the northern rain forests of British Columbia in September 2013 with the World Wildlife Fund. It’s a pristine wilderness area that’s under threat of being compromised by the construction of a pipeline, and Dekker and the group have been very vocal in their opposition to it. In a broader sense, the title is a reference to the sense of community surrounding the Toronto-based band, as well as the band’s own growing families exhibited in the songs Something Like A Storm and Expecting You.

Great Lake Swimmers consists of Tony Dekker on lead vocals and guitar, longtime guitarist and banjo player Erik Arnesen, Miranda Mulholland on violin and backing vocals, Bret Higgins on upright bass and newcomer Joshua Van Tassel on drums. There are several at special guest appearances on the album by Kevin Kane (Grapes of Wrath) on 12-string electric guitar, as well as backing vocals on the song A Bird Flew Inside The House.

Recorded and engineered by Their longtime live sound technician Justin Shane Nace, and mixed by the wonderfully talented Howie Beck (Feist), A Forest Of Arms marks Dekker’s 8th release of new material. In 2013, he released the solo album Prayer of the Woods, and in 2014, he released a tribute album for the artist-loving digital music distribution site Zunior on the occasion of its tenth year anniversary, Tony Dekker Sings Entitled 10 Years Of Zunior. Last year saw their debut headlining performance at Toronto’s historic Massey Hall, which was documented for the Live At Massey Hall series. The band participated in the Polaris cover sessions with their version of Sarah Harmer’s I’m A Mountain.

Buy tickets now. Tickets are available from the bar, Common (both no booking fee), Piccadilly Records, Vinyl Exchange, Seetickets.comWeGotTickets.comTicketline.co.uk and on 0871 220 0260.

Attend on: Facebook | Last.fm


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When: 7pm on Friday 30 October 2015
Where: The Ruby Lounge, 28-34 High Street, Manchester M4 1QB

PLEASE NOTE: Due to a diary clash, this show has been postponed. The new date is Friday 30 October, with all other details staying the same and original tickets remaining valid.

We’re delighted to be working with Liam Frost – this time, with his band!

Liam-Frost-First-Chop-Salford

Described by Elbow’s Guy Garvey as ‘the UK’s answer to Bright Eyes‘ and heralded in some quarters of the British music press as a Mancunian Bruce Springsteen, singer-songwriter Liam Frost has developed, across two critically acclaimed solo albums, into a well-cherished artist whose distinctive voice, songwriting and sincerity really set him apart.

Following his recent Tokolosh collaboration with members of The Earlies and The Whip, Liam returns for these special performances showcasing songs from his recent The Wild Places EP and his as yet untitled third album. For this show, he’ll be joined by his full live band.

Support comes from Robbie Cavanagh. The Manchester singer-songwriter’s debut record The State of Maine is out now.

PLEASE NOTE: Due to a diary clash, this show has been postponed. The new date is Friday 30 October, with all other details staying the same and original tickets remaining valid.

Buy tickets now. Tickets are available from Common (no booking fee), Piccadilly Records, Vinyl Exchange, Seetickets.comWeGotTickets.comTicketline.co.uk and on 0871 220 0260.

Attend on: Facebook | Last.fm


All shows are 18+ unless otherwise stated.
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When: 7.30pm on Thursday 4 June 2015
Where: Gullivers, 109 Oldham Street, Manchester, M4 1LW

PLEASE NOTE: This show has been postponed. A new date will be announced shortly – and all existing tickets will remain valid

We’re excited to be bringing Joe Pug back to Manchester – this time, to Gullivers.

Joe-Pug-Gullivers-Manchester

If the opening notes on Joe Pug’s new LP Windfall are a bit disorienting, his fans won’t likely be surprised. The Austin, TX singer songwriter has made a habit of defying expectations so the piano-driven Bright Beginnings and the atmospheric rumination of Great Hosannas are just further indication that he’s quite comfortable stepping outside of the guy-with-a-guitar trappings of the genre.

His rise has been as improbable as it has been impressive. After dropping out of college and taking on work as a carpenter in Chicago, he got his musical start by providing CDs for his fans to pass along to their friends. This led to a string of sold out shows and a record deal with Nashville indie Lightning Rod Records (Jason Isbell, Billy Joe Shaver). As he toured behind Messenger (2010) and The Great Despiser (2012), it was with a band that looked as much like a jazz trio as an Americana band. The following years would have them on the road for over four hundred shows, including stops at Lollapalooza, Bonnaroo and The Newport Folk Festival.

The relentless grind of four years of nonstop touring had taken its toll though, and by late 2013 he was ready to call it quits. The tour that fall was a runaway success but his personal and creative lives were a different story. But studio time was already scheduled and deadlines had been set for a new record, so after a few weeks Pug was back to the business of writing songs. The resulting layoff paid dividends in spades. When Pug set up camp in Lexington, KY in 2014 to record, he did so with some of the best songs he has ever written. The agenda was much simpler than previous albums. The result is a collection of songs that are as close as we’ve gotten to a road map to Pug’s ambitions. He has collected plenty of the requisite Dylan comparisons over his young career but on this record it’s easier to hear the sway of more contemporary influences like Josh Ritter, Ryan Adams and M.Ward.

The theme of resilience plays a central role throughout Windfall. The weary protagonist in Veteran Fighter wills his way further down the highway despite the gloom that seems certain to overtake him. The Measure, a song inspired in part by Frederic Buechner’s novel Godric, marvels at ‘every inch of anguish, laid out side by side’ – but ultimately finds that ‘all we’ve lost is nothing to what we’ve found’. This duality appears perhaps most overtly in the album-closing stunner If Still It Can’t Be Found, which features Pat Sansone of Wilco guesting on mellotron.

As the saying goes, all’s well that ends well. Joe Pug didn’t call it quits after all. He’s engaged to be married and still drinks bourbon on occasion. His new album, Windfall, will be released 10 March on Lightning Rod Records in the US and Loose Music in Europe.

PLEASE NOTE: This show has been postponed. A new date will be announced shortly – and all existing tickets will remain valid

Buy tickets now. Tickets are available from Gullivers’ bar, Common (both no booking fee), Piccadilly Records, Vinyl Exchange, Seetickets.comWeGotTickets.comTicketline.co.uk and on 0871 220 0260.

Attend on: Facebook | Last.fm


All shows are 18+ unless otherwise stated.
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