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: Ultimate Painting... Meilyr Jones... Skinny Lister... Vinny Peculiar... Freakwater... Angel Olsen... Simone Felice... Stephen Steinbrink... Jenny Hval... Tom Brosseau... Public Service Broadcasting... Peter Broderick... Josienne Clarke & Ben Walker... Amber Arcades... Haley Bonar... Emanuel and The Fear... Merchandise... The Wave Pictures... Alabaster DePlume... The Lovely Eggs... Will Varley... Avec Sans... Kristin Hersh... Ryley Walker... BC Camplight... Robert Ellis... Steve Gunn... Man & The Echo... Weyes Blood... Jesca Hoop... Beans on Toast... Whyte Horses... The Burning Hell... The Handsome Family...

When: 7pm on Friday 30 September 2016
Where: The Deaf Institute, 135 Grosvenor Street, Manchester M1 7HE

We’re delighted to be working with Ultimate Painting again – this time, at the Deaf Institute!

Ultimate-Painting-Deaf-Institute-Manchester

Dusk is the third album from London-based duo Ultimate Painting, a 10-song set that expands the group’s sound from their self-titled debut and their critically acclaimed sophomore effort Green Lanes, about whose tunes Pitchfork raved their ‘deceptively simple interplay slowly worms into your synapses.’ Dusk heads along the same path, albeit in a slightly different direction, forging to new territory by heading inward.

Most groups would kill to have one talented songwriter in their ranks, but Ultimate Painting are lucky enough to be comprised of two singular voices in Jack Cooper and James Hoare. The pair’s distinctive songwriting styles began to blur a bit with Green Lanes, but on Dusk it’s hard to tell where Cooper ends and Hoare begins. Their tunes weave in and out of each other like the duo’s respective six-strings, spiralling around each other in a laconic dance. Album opener Bills dives head-first into a crystalline pool of jangle, furthering the duo’s rep as purveyors of the Verlaine/Lloyd legacy, but despite the evident influence of American guitar pop both past and present, the group’s recorded an album that feels decidedly English, with Cooper’s abstract poeticism balanced perfectly alongside Hoare’s alluring and universal pop leanings. The group’s discovered a simple lushness in Dusk’s arrangements, sometimes only with subtle additions like Hoare’s recently acquired Wurlitzer piano that drives tunes like Lead The Way or washes underneath others like Monday Morning, Somewhere Central. They’ve tapped into the subtle grace that infects the mood and emotions experienced at times like sunrise and dusk. Hopefulness. Resignation. Ennui. A breathing in. A breathing out.

Dusk was once again recorded to tape by guitarist James Hoare in his London flat. The casual setting allowed the sessions and songs to unfold naturally, with the two of them accompanied by recent live drummer Melissa Rigby, who drums on the entirety of Dusk. Her skills lend a rhythmic elasticity to songs like A Portrait of Jason and I Can’t Run Anymore, with jazzy undertones that break from the band’s previously unadorned 4/4 leanings. Dusk feels different and cements the group’s presence in the modern world guitar pop, finding voice in the allure of quietude.

Tour support comes from London quintet Leif Erikson. Named after the Icelandic explorer who beat Christopher Columbus to America, the band have drawn comparisons to The War On Drugs, Kurt Vile and Steely Dan.

This show is a co-promotion with Comfortable On A Tightrope.

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

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When: 7pm on Tuesday 4 October 2016
Where: The Deaf Institute, 135 Grosvenor Street, Manchester M1 7HE

We’re delighted to be working with Meilyr Jones, following his Sound From The Other City appearance!

Meilyr-Jones-Deaf-Institute-Manchester

‘I conceived of the record as a compilation of myself, over the period of a year,’ says Meilyr Jones. ‘As an anthology, a collection of my songs and of what happened to me in that year.’ The year in question was 2013, after the end of both his band, Race Horses, and his relationship, he made a short but transformative trip to Rome, drawn by a fascination with sculpture and Byron and Berlioz, and by a desire ‘to see something new and different’.

The songs that emerged from that time proved quite different to anything he had written before, and form one of the most beautiful and sincere albums of this year; 12 songs in which joy and rapture are tempered by wit and humour, by jubilant pop melody and rock and roll muscularity.

To spend any time with Jones is to be struck by his particularity. He is a rare figure: distinct, uncontrived, erudite. In person he has a gentleness and an unashamed intellect; on stage he reveals an exuberance and a ready showmanship.

He presents his potted biography in modest fashion: ‘I’m 28,’ he begins. ‘From Aberystwyth, by the sea. My Mum’s a nurse and my Dad’s a children’s books author. And I’ve got one brother. And I guess I was always into music — at school I joined a band that became Race Horses, and I released a few albums with Race Horses, I really enjoyed being that band. And I went to music college, studied the tuba, dropped out after three years.’

A less humble account might note that the college in question was the Royal Academy of Music, and might also mention Jones’s stint playing bass on tour for Gruff Rhys and Boom Bip’s Neon Neon, as well as his work with Stealing Sheep and for the Cousins project with Euros Childs.

The desire to visit Rome stemmed from a book about sculpture, in which he read about the ‘resurgence in interest in classical sculpture, beauty and simplicity’ in the 18th century, and was struck, in particular, by the story of Johann Joachim Winckelmann, the German art historian ‘who moved to Rome to see all the sculptures’. He was draw to pictures of the Dying Gaul, Apollo Belvedere and Aphrodite, and noted that ‘all the sculptures I kept looking at were in Rome’.

Around the same time he began to read Byron’s Don Juan, and found it ‘a complete revelation, because to me it was like early hip hop, in that it was really fun and irreverent but so heroic, and gentle and crude. I felt I was seeing a really broad picture of someone’s imagination. I got really taken over by the feeling of adventure and gentleness and passion in Byron, and some of Shelley’s poetry and Keats as well. And they were all people who went to Rome.’

Soon afterwards he read the biography of Hector Berlioz, and was struck by the intensity of the French composer’s passion. ‘He’s always talking about how he didn’t eat for two weeks because of hearing a piece of music,’ Jones explains. ‘Or of being so overwhelmed by love that he couldn’t talk to the person he loved for a year. Proper feelings, that people from now with a cynicism would laugh at. But I thought at least he’s got ideas about love. You know?’ Berlioz of course had moved from Paris to Rome. ‘So all of this,’ Jones says, ‘kind of led me to Rome.’

Support comes from Man & The Echo. The North West four-piece will release their self-titled debut album on 18 November.

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

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When: 7.30pm on Wednesday 5 October 2016
Where: The Ruby Lounge, 28-34 High Street, Manchester M4 1QB

PLEASE NOTE: This show has now sold out. For details of future Skinny Lister shows, join our maiilng list (above) or follow us on Facebook and Twitter.

We’re delighted to be welcoming Skinny Lister back – this time to The Ruby Lounge!

Skinny-Press-Ruby-Lounge-Manchester

One of the best live bands in the country are back with their biggest UK headline tour to date, taking place in October 2016. Skinny Lister, who have been performing non-stop across Europe and the United States, return with flagon in hand, party spirit in their bellies and only one thing on their mind: fun.

2016 has already been an exceptional year for the twelve-legged party machine that is Skinny Lister. Kicking things off was a support tour across Germany, Austria and Switzerland with label-mate and fan Frank Turner. Then it was a quick hop across the pond for Flogging Molly’s festival Salty Dog Cruise, around the Bahamas, before heading out on their own East Coast headline tour with label pals, Beans On Toast and Will Varley in tow. Many of the shows were sold out well in advance and signalled a big step up for the band Stateside, with an ever-increasing fanbase begging for more!

Since then, concentration has turned to recording the band’s third studio album set for release in the Autumn on Xtra Mile Recordings. Lorna from the band says: ‘The last year has been amazing! The Xtra Mile Recordings family has welcomed us with open arms and touring the States, Europe and the UK with label mates Frank Turner, Beans on Toast and Will Varley has been incredible. The excitement doesn’t stop there though; we’ve not stopped writing and feel very excited about what’s cooking!’

Album number 3 follows 2015’s Down On Deptford Broadway, a rum-soaked blend of English folk and punk rock anarchy that received rapturous acclaim with the Guardian declaring ‘it packs enough punch to steamroll a saloon brawl’. More information on the album will be unveiled in due course.

Tour support comes from Funke and the Two Tone Baby – a one-man mechanical alt-blues band.

PLEASE NOTE: This show has now sold out. For details of future Skinny Lister shows, join our maiilng list (above) or follow us on Facebook and Twitter.

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When: 7.30pm on Friday 7 October 2016
Where: The Eagle Inn, 19 Collier Street, Salford, M3 7DW

We’re delighted to be working with Vinny Peculiar once again!

Vinny-Peculiar-Eagle-Inn-Manchester

Musician and poet Vinny Peculiar (aka Alan Wilkes) has been variously described as ‘an under sung national treasure’, ‘a warm-hearted Morrissey’ and ‘the missing link between Jarvis Cocker and Roger McGough’. He’s released eleven albums of outsider pop music to great critical acclaim. A new ‘concept’ album, Silver Meadows, came out in May on Fables from the Institution, and is currently in development as a musical stage play.

Peculiar has collaborated with Bill Drummond (KLF, SOUP ART), and his various bands have included ex members of The Smiths, Oasis, Aztec Camera and The Fall. Live shows have garnered comparisons to Eels, John Cooper Clarke and the more pastoral elements of The Kinks.

He’s opened for British Sea Power, Edwyn Collins and Luke Haines among others, and is a former compere on the Glastonbury Acoustic Stage.

Main support comes from Reid Anderson, a singer-songwriter from Liverpool. He writes dark, mesmerising, sweeping sounds; lyrical vessels, reminiscent of sea shanties, traveller’s songs and folk myth. Imagine The Wicker Man soundtrack written by Nick Cave, or an episode of The Twilight Zone soundtracked by Leonard Cohen and Johnny Cash.

Opening the show is James Holt, a singer/songwriter from Manchester. James has been supported/recommended by the likes of Brian Eno, KCRW, BBC Introducing, BBC Radio 2 (Dermot O’Leary), BBC 6 Music, This Feeling and Manchester Evening News. His latest EP, Sanguine On the Rocks, was released in April this year.

Buy tickets now. Tickets are available from WeGotTickets.comTicketline.co.uk and on 0871 220 0260.

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When: 7.30pm on Tuesday 11 October 2016
Where: The Eagle Inn, 19 Collier Street, Salford, M3 7DW

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

Freakwater-Eagle-Manchester

Freakwater‘s Janet Bean and Catherine Irwin first put their distinctive harmonies to tape under a swinging Kentucky country ham in Janet’s parent’s basement. That was 1985. Cassette tapes sometimes have a way of landing in the right hands.

Hog Butcher To The World, a 1987 WNUR compilation contains a dulcimer-driven punk rock cover of Woody Guthrie’s Little Black Train from this original four-track recording. The band appears under the name Mojo Wishbean and Trippy Squashblossom. Inside the record cover they transcribe Big Black’s required artists’ statement, replacing Steve Albini and Santiago Durango’s names with their own, hence: ‘Trippy – throbbing muscle of love dulcimer..’ and ‘Mojo – electrodes to the gonads vocals”. This is described by Janet as ‘establishing our early desire to do the wrong thing’.

Amoeba Records in Los Angeles released the first LP by Janet’s other band Eleventh Dream Day. The label’s owner and sole employee was a huge Carter Family freak from Eastern Kentucky. He was so stoked about what he heard on the Swinging Ham Sessions tape that he agreed to pay for recording at Chicago’s famous James Bond studio.

Probably the biggest thing to result from Freakwater’s first record (Freak Water, 1989) was meeting their future and all-time bass player, Dave Gay. Janet and Catherine and Dave have been the steely heart of the band ever since. Freakwater’s darkly beautiful songs have been compared (mostly favourably) to practically anyone from the world of ‘outsider country’ or ‘Americana’ one might feel unworthy of being compared to.

They played their first show together at a Louisville strip club/punk rock open-mic night. After 30 years together, Catherine and Janet’s unflinching lyrics and compelling vocal harmonies can stab you in the heart from a mile away. There is a powerful continuity to their work but the band has never been constrained by any musical category. There is no band like Freakwater but Freakwater.

The band has released seven highly acclaimed studio albums, although their rate of production has been wildly sporadic. Freakwater’s lack of any normal human ambition and complete inability to capitalise on the brightest moments of critical acclaim have endeared them to their most loyal fans – while their dense shroud of mystery continues to lure the young and vulnerable. It has been almost nine years since the release of their last record, Thinking Of You (Thrill Jockey).

‘Dark storytelling married with soulful, rootsy arrangements they’ve been honing since they first formed in the late 1980s’ – The Wall Street Journal

Tour support comes from Morgan Geer. Morgan Geer, who performs solo and with band as Drunken Prayer, splits residence between Asheville, NC and Portland, OR. KCRW calls Drunken Prayer ‘a quintessential slice of backwoods poetry’. The Portland Mercury describes Geer as ‘the bastard child of Tom Waits and Merle Haggard’. Morgan is also the current studio and touring guitar player for Bloodshot Records artists, Freakwater.

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

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When: 7.30pm on Friday 14 October 2016
Where: Club Academy, Oxford Road, Manchester M13 9PR

We’re delighted to be promoting Angel Olsen’s biggest Manchester show to date!

Angel-Olsen-Club-Academy-Manchester

Anyone reckless enough to have typecast Angel Olsen according to 2013’s Burn Your Fire For No Witness is in for a sizeable surprise with her third album, My Woman. The crunchier, blown-out production of the former is gone, but that fire is now burning wilder. Her disarming, timeless voice is even more front-and-centre than before, and the overall production is lighter. Yet the strange, raw power and slowly unspooling incantations of her previous efforts remain, so anyone who might attempt to pigeonhole Olsen as either an elliptical outsider or a pop personality is going to be wrong whichever way they choose – Olsen continues to reign over the land between the two with a haunting obliqueness and sophisticated grace.

Given its title, and track names like ‘Sister’ and ‘Woman’, it would be easy to read a gender-specific message into My Woman, but Olsen has never played her lyrical content straight. She explains: “I’m definitely using scenes that I’ve replayed in my head, in the same way that I might write a script and manipulate a memory to get it to fit. But I think it’s important that people can interpret things the way that they want to.”

That said, Olsen concedes that if she could locate any theme, whether in the funny, synth-laden ‘Intern’ or the sadder songs which are collected on the record’s latter half, “then it’s maybe the complicated mess of being a woman and wanting to stand up for yourself, while also knowing that there are things you are expected to ignore, almost, for the sake of loving a man. I’m not trying to make a feminist statement with every single record, just because I’m a woman. But I do feel like there are some themes that relate to that, without it being the complete picture.”

Over her two previous albums, she’s given us reverb-shrouded poetic swoons, shadowy folk, grunge-pop band workouts and haunting, finger-picked epics. My Woman is an exhilarating complement to her past work, and one for which Olsen recalibrated her writing/recording approach and methods to enter a new music-making phase. She wrote some songs on the piano she’d bought at the end of the previous album tour, but she later switched it out for synth and/or Mellotron on a few of them, such as the aforementioned ‘Intern’.

My Woman is put together as a proper A-side and a B-side, featuring the punchier, more pop/rock-oriented songs up front, and the longer, more reflective tracks towards the end. The rollicking ‘Shut Up Kiss Me’, for example, appears early on – its nervy grunge quality belying a subtle desperation, as befits any song about the exhaustion point of an impassioned argument. Another crowning moment comes in the form of the melancholic and Velvets-esque ‘Heart-shaped Face’, while the compelling ‘Sister’ and ‘Woman’ are the only songs not sung live. They also both run well over the seven-minute mark: the first being a triumph of reverb-splashed, ’70s country rock, cast along Fleetwood Mac lines with a Neil Young caged-tiger guitar solo to cap it off. The latter is a wonderful essay in vintage electronic pop and languid, psychedelic soul.

Because her new songs demanded a plurality of voices, Olsen sings in a much broader range of styles on the album, and she brought in guest guitarist Seth Kauffman to augment her regular band of bass player Emily Elhaj, drummer Joshua Jaeger and guitarist Stewart Bronaugh. As for a producer, Olsen took to Justin Raisen, who’s known for his work with Charli XCX, Sky Ferreira and Santigold, as well as opting to record live to tape at LA’s historic Vox Studios.

As the record evolves, you get the sense that the “My Woman” of the title is Olsen herself – absolutely in command, but also willing to bend with the influence of collaborators and circumstances. If ever there was any pressure in the recording process, it’s totally undetectable in the result. An intuitively smart, warmly communicative and fearlessly generous record, My Woman speaks to everyone. That it might confound expectation is just another of its strengths.

Tour support comes from Little Wings. Kyle Field, professionally known as Little Wings, is a living legend. He is the modern embodiment of the traveling bard and the singing troubadour. Kyle’s discography is vast and impressive, full of tunes that are plucked from the lexicon of great American songwriting. On his latest effort, Explains, he crafts melodies so haunting and familiar; it’s as if he’s not composing them at all. He is tapping into something greater, acting as a vessel for the collective unconscious that is folk music.

This is an album that is immediately accessible and also unfolds slowly, revealing greater depth with each listen. Kyle’s lyrics are direct yet poetic, funny yet sad. Explains is a fantastic record that celebrates the enduring spirit of a great artist. Its release on Woodsist is all too fitting – a label whose very foundation seems based on lasting creative integrity.

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

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When: 7.30pm on Saturday 15 October 2016
Where: The Kings Arms, 11 Bloom Street, Salford M3 6AN

We’re delighted to be presenting an evening with Simone Felice!

Simone-Felice-Kings-Arms-Manchester

Simone Felice is a founding member of internationally acclaimed Catskill Mountain-based artists The Felice Brothers, whose early seminal albums remain some of the most influential works of this century’s indie-folk revival.

Simone has been widely hailed as one of the most gifted songwriter poets of his generation and has recently co-written and produced Bat For Lashes’ critically acclaimed concept album The Bride, as well as the #1 worldwide hit album Cleopatra by The Lumineers.

Join him for his One Man Show, premiering new songs as well as classics, in a select handful of intimate setting this autumn.

This show takes place at The Kings Arms, one of our favourite small venues in town. It’s a great independent theatre and arts hub, which also happens to be one of the best real ale pubs around, and is just a five-minute walk from Deansgate, just down Bridge Street.

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

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When: 7.30pm on Tuesday 18 October 2016
Where: The Castle Hotel, 66 Oldham Street, Manchester M4 1LE

We’re delighted to be working with Stephen Steinbrink again – this time, at the Castle!

Stephen-Steinbrink-Castle-Manchester

After more than ten years of touring and secluded home recording, Stephen Steinbrink has catalogued several albums worth of gorgeous melody, quotidian dread and desert blight in his stark, minimal pop. Yet the songs on his latest record Anagrams, beautiful yet unflinching portraits of addiction and mental illness are captured in his most meticulous and high-fidelity production to date. While one might expect the record to be a final destination, a tidy hi-res culmination of all this journeying, the album’s particularly varied styles and sincere lyrical uncertainty portray a search that still continues.

‘While making Anagrams I felt like I was losing it,’ Stephen says. ‘Lately writing songs almost makes the world seem more chaotic, like I keep digging up re-burying the same old bone. For this album I tried to continue unpacking these forgotten images and memories, except this time without placing any subjective meaning on them, or any expectation of personal growth to occur after. Maybe it’s silly to expect the process of making art to be a clarifying act.’

Stephen’s artistic trajectory can be considered nomadic in the obvious sense: when not incessantly touring Europe and the US in the last two years, he spent his stationary moments on his beloved, spaced-out west coast, writing in Olympia, Washington; Oakland, California and Phoenix, Arizona. But as a self-taught producer, audio fidelity itself proves to be an equally accurate gauge of his craft. Like many songwriters, he cut his teeth in the tape hiss and bedroom hum of lo-fi four-track endeavours. Then in 2014, he released an unabashedly digital tableaux of subdued, heartbreaking pop, aptly titled Arranged Waves. Now, Anagrams finds him chasing melodies in the polished largesse of a proper studio.

Stephen spent numerous scattered sessions over 18 months at UNKNOWN, a retrofitted studio in a lofty de-sanctified catholic church in Anacortes, Washington, intensely tracking and arranging on a wealth of analogue gear. ‘The reverb in there is huge, inescapable,’ Stephen says. ‘Having this expansive palette to work with was so thrilling, especially after working in my home studio for so many years, with its ‘charmingly’ dysfunctional gear and rats living in the walls.’

The result plays at times with the reverberating joy of The Sundays (like the elliptical psych-pop of Building Machines) and the jangly, sonorous warmth of 1980s REM found on the album’s title track. With the help of engineer Nicholas Wilbur (Mount Eerie, Hungry Cloud Darkening) and a backing band featuring members of Mt. Eerie, LAKE, Hungry Cloud Darkening and Avi Buffalo, Anagrams’ breadth contains Pacific Northwest grunge lurches (Canopy) and a lush country meandering dissecting chaotic personality disorders (Dissociative Blues). A post-psychedelic nightmare slithers through the heart of this record, haunting the spaces between songs. ‘I can see the blood behind your eyes a million times / like the finger is tracing the crown / I’m turning inside out,’ he sings on I’m Turning Inside Out while Allyson Foster and Paul Benson whisper-chant the outro in unison, ‘Am I lost between here or there?’.

Outside the studio, Stephen often reached for writers like Lorrie Moore (whose story collection Anagrams is a partial inspiration) who usher readers into the minds of fragmented characters with unseemly but ultimately endearing shortcomings. This is best seen on the steadfast block-rock of Psychic Daydream, where the narrator, only after many years, can gain perspective and console a splintered self. Stephen sings: You left reality, 2002 / thought that everyone was hating you / it’s only now that you see it clear / you had a lot to fear.’

The most ambitious of Stephen’s pop songcraft, Anagrams is ultimately an unpacking of identity. ‘I don’t care about continuing in a tradition of songwriters, and I rarely intentionally self-identify as one. I always wonder if my most recent song is the last one I’ll ever write. I try to be more concerned with being open, to imagine myself as a rock or a wrapper or nothing at all. Whenever I can get close to that state of mind the songs come easy, but it seems arbitrary, almost like they would’ve existed with or without me. I think it’s a noble pursuit, to try to be nothing.’

An effort, ongoing.

‘Polished and fastidiously-crafted… the type of gleaming pop sound that takes real skill and precision’ – The Guardian

Support comes from Douga, a band based in Manchester. They have grown from wide-eyed, exploratory experimentalists to become a BBC 6 Music-featured act who have now created a record gripped with a gentle but firm sense of cohesion and clarity. The group have built their debut album, 2014’s The Silent Well, on the foundations of their love of kosmische music, through rhythmic repetition and psychedelic drones.

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

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When: 7pm on Tuesday 18 October 2016
Where: Soup Kitchen, 31-33 Spear Street, Manchester M1 1DF

We’re delighted to be welcoming Jenny Hval back to Soup Kitchen!

Jenny-Hval-Soup-Kitchen-Manchester-2016

Norwegian artist and writer Jenny Hval has developed her distinct take on intimate sound since the release of her debut album in 2006. For her last two solo albums, 2013’s Innocence Is Kinky and 2015’s Apocalypse, girl, Hval’s debut for Sacred Bones, she has received thoughtful and widespread international acclaim for her fascinating voice, singular delivery and markedly non-traditional arrangements, which incorporate elements of poetry, prose writing, performance art, and film.

The New York Times defines her writing as ‘taking a scalpel to the subjects of gender politics and sexuality’. Hval has eloquently brought to light issues of both male and female gaze, which for years had been swept under the rug and/or denied all together.

Hval’s conceptual takes on collective and individual gender identities and sociopolitical constructs landed Apocalypse, girl on dozens of year end lists and compelled writers everywhere to grapple with the age-old, yet previously unspoken, question: What is Soft Dick Rock? After touring for a year and earning her second Nordic Prize nomination, as any perfectionist would, Hval immediately went back into the studio to continue her work with acumen noise producer Lasse Marhaug, with whom she co-produces here on Blood Bitch.

Her new effort is in many respects a complete 180° from her last in subject matter, execution and production. It is her most focused, but the lens is filtered through a gaze which the viewer least expects.

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

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When: 7.30pm on Wednesday 19 October 2016
Where: The Eagle Inn, 19 Collier Street, Salford, M3 7DW

We’re delighted to be working with Tom Brosseau once again!

Tom-Brosseau-Eagle-Inn-Manchester

Tom Brosseau is a North Dakota-born, LA-based songwriter and singer who learned to play acoustic guitar from his grandmother. He has toured Japan, Canada, Portugal, Iceland, Australia; performed in bars, backyards, grand halls, subways, theatres, old folks homes; exchanged songs and poetry with many talented folks, including Susan Orlean, Ramblin’ Jack Elliott, Patrick Marber, Bonnie Raitt and the late Sam Hinton. Brosseau also sings and plays guitar with Becky Stark and John C. Reilly in John Reilly & Friends.

Tom Brosseau on his background: ‘I grew up with music in the church, in the school, music at home. I learned a lot of hymnal and folk songs, both traditional and contemporary, and since I was influenced by what my grandparents listened to, in a sense I studied the singers and songwriters of the great American songbook.’

Not long after Brosseau moved to Los Angeles in 2003, he began performing at the renowned club, Largo, where he met Sara and Sean Watkins. Sean Watkins recorded Brosseau’s much-praised 2014 release, Grass Punks, and has also recorded forthcoming album North Dakota Impressions.

John Parish (PJ Harvey) produced the other album of the trilogy, Brosseau’s 2015 album, Perfect Abandon. Tom and a three-piece band recorded the album at The Cube theatre in Bristol, using only a single mic.

Produced by Sean Watkins in Silverlake and Highland Park, Los Angeles, North Dakota Impressions is released on 16 September 2016 via Crossbill Records.

‘North Dakota troubadour brings stark, trembling beauty to folky acoustic pop. The world is better for it’ – MOJO

Support comes from Keto. Keto, the brainchild of Nottingham-based singer, songwriter and musician Leah Sanderson, bring their own style of lo-fi folk, likened to Cat Power and Elliot Smith, with audience members describing it as hypnotic. They normally perform as a three-piece, sometimes solo, bringing in other musicians to expand Keto’s blossoming sound.

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

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