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: The Once... Wussy... Aidan Moffat & RM Hubbert... Alabaster DePlume + Paddy Steer... The Bonnevilles... Charles Howl... GospelbeacH... Charles Watson... Curse of Lono... Slim Cessna’s Auto Club... Born Ruffians... Beach Skulls... Michael Hurley... The Wave Pictures... John Murry... Girls Names... Darren Hayman... Jean-Michel Blais... The Burning Hell... The Weather Station... Tiny Ruins... La Luz... Michael Nau... Horse Feathers... Field Division... Ólafur Arnalds... Terry Riley & Gyan Riley... Dawn Landes... Eleanor Friedberger... The Lovely Eggs... HALEY... The Breath... Holy Moly & The Crackers... Ryley Walker... Saint Sister...

When: 7.30pm on Monday 21 May 2018
Where: The Castle Hotel, 66 Oldham Street, Manchester M4 1LE

We’re delighted to be working with The Once for the first time – plus Sean Christopher!

Their fans have been waiting patiently for a year for new music, and with We Win Some We Lose, The Once have delivered a deep, thoughtful and exciting new collection of songs.

A modern indie folk trio from Newfoundland, The Once have collected a trio of Canadian Folk Music Awards, numerous ECMA awards, and were named Artist of the Year by the Newfoundland and Labrador Arts Council. They have earned not one, but two JUNO nominations for Best Roots/Traditional Album – the most recent in acknowledgement of Departures (2014). While originally known for its haunting interpretations of traditional music, The Once has at long last uncovered a sound that truly represents their inner artistry.

‘I think we finally know what The Once sounds like,’ says Phil Churchill, ‘and with that knowledge comes a freedom we would not let ourselves have before.’ The Once’s newest EP, We Win Some We Lose, perfectly encapsulates the trio’s newfound artistic freedom and songwriting voice.

With their folk roots still firmly in hand, Phil, Geri and Andrew have embraced a distinctly modern sound by the inclusion of drums and percussion, electric guitars and sweeping keyboards. CBC’s Jeff Rielly says We Win Some We Lose ‘leaves [him] in a perpetual state of wistful, anthemic longing. An innocence that nevertheless leaves [him] with the sense that we are flirting with tragedy’. Lyrically, The Once’s newest collection of songs encompasses an arresting sense of loss, emphasised musically by Geraldine’s bewitching delivery of beautifully haunting melodies. The first single, We Are Love, offers a ray of hope amidst an otherwise provocative and emotive musical anthology.

The group formed out of pressure and necessity when working at a summer theatre festival in the tiny ex-fishing village of Trinity, Newfoundland nearly 10 years ago. In the Newfoundland vernacular ‘the once’ means ‘imminently, but not necessarily so’. Phil, Geri and Andrew wanted something that would embody who they are, where they come from, and would illicit a smirk and a nod amongst Newfoundlanders back home, but would forever require an explanation elsewhere.

The Once’s first album actually came about due to a stroke of serendipity, when a stranger at a show was so impressed that he offered them $5000 to record an album. Their award-winning self-titled debut was eventually released by the Canadian label Borealis Records, as was its follow-up Row Upon Row Of The People They Know, for which they received their first JUNO nomination.

In 2013 another chance encounter, this time at a Glasgow festival, led to a collaboration and friendship with Mike Rosenberg, a.k.a. Passenger. Hot on the heels of his worldwide #1 hit, Let Her Go, Rosenberg invited The Once to sing on both of his recent albums – including his current #1 album, Young As The Morning, Old As The Sea – and together they have performed all over the world. In 2014 the band released the album Departures worldwide to great critical acclaim, leading to multiple awards, including another coveted JUNO nomination.

With the release of the EP We Win Some We Lose, The Once enters a new era, with new sounds, new styles and new ideas. The whirlwind of the past few years has honed their sound and creativity, and having found their voice, the band is looking firmly ahead.

Special guest is Sean Christopher. Sean Christopher has been immersed in music all his life. As a child growing up in the Netherlands he would listen to his father play Flamenco guitar for hours and hours every day, while his mother’s extensive vinyl collection introduced him to legendary musicians like The Beatles, Leonard Cohen, and David Bowie. Sean built himself a basement studio a few years back and decided to record his first full-length album there. In the end, it was his father’s old Flamenco guitar that took centre stage and drove the recording of what was to become Yonder, which will be released on 11 May.

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

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All shows are 18+ unless otherwise stated.
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When: 7.30pm on Thursday 24 May 2018
Where: The Castle Hotel, 66 Oldham Street, Manchester M4 1LE

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

Wussy formed in 2001 when retired Stonemason, Chuck Cleaver (formerly of Ass Ponys) and Lisa Walker began playing together as result of a dare. The duo’s first performance was largely unplanned but went without incident, so Mark Messerly was recruited on bass and later Joe Klug on drums. The band’s newest member, pedal-steel player John Erhardt, has enabled Wussy to truly come into its own. Cleaver and Walker share singing and songwriting duties, trading lead vocals, harmonising, and singing in vocal swoops and patterns on top of each other, sharing tales of the supernatural combined with day-in-the-life portraits, both disquieting and tranquil.

Wussy have evolved over the last decade to become forerunners of New Midwestern Psychedelia. The band are known both for their songwriting and varied sonic palette, often drawing comparisons to admitted heroes, Television, Velvet Underground, Crazy Horse and Yo La Tengo. Wussy have recorded sessions for BBC 6 Music’s Marc Riley and Gideon Coe, and KEXP. They have showcased at SXSW and CMJ, and have supported several tours for fellow Ohioans Afghan Whigs and Heartless Bastards, as well as sharing the stage with bands such as Yo La Tengo, The Breeders, Best Coast, Mudhoney, Shonen Knife, Okkervil River, The Mekons, COME, Wreckless Eric and Jeffrey Lewis.

‘If Michael Stipe co-wrote songs with Morrissey… then hired Neil Young, Crazy Horse and the Cowboy Junkies to play them, and asked Kevin Shields to mix them, then the results would be… a bit like Forever Sounds’ – The Sunday Times

‘If you’re not familiar with the fuzzy dream pop psych of Cincinnati’s Wussy, you’re in for a treat’ – Noisey

Support comes from Good Grief – an indie rock/punk pop three-piece from Liverpool with an unhealthy love for Superchunk, hooks and beer.

This show is a co-promotion with Please Please You.

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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All shows are 18+ unless otherwise stated.
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When: 7pm on Friday 25 May 2018
Where: The Deaf Institute, 135 Grosvenor Street, Manchester M1 7HE

We’re delighted to be welcoming Aidan Moffat and RM Hubbert to the Deaf Institute!

Aidan Moffat and RM Hubbert combine to release a new album, Here Lies The Body, on 11 May via Rock Action.

‘The album title has a dual meaning – sex and death.’ These are common themes from Aidan Moffat; since his early days with Arab Strap, he has explored these subjects with a grace and grit that plunges deep into the human soul. But this is no re-hash of the past, rather a further leap forward for Moffat, now teaming up with fellow Scot, singer and guitarist extraordinaire, RM Hubbert, for this new project.

‘It can be read as romantic surrender, but of course it’s also a phrase you’ll find on a tombstone,’ Moffat elaborates. Equally multidimensional is the music contained within, weaving beautiful, spidery guitar work, haunting piano lines, lush strings, delicate percussion, fizzing 808 beats, synth pop, samba, and moments of jazz, while Moffat’s rich voice carries the narrative in rich grumbles, hushed whispers, and revealing spoken word.

In many ways it feels like a modern folk record, in that it features traditional storytelling rooted in an acoustic-based backing. However, much like Moffat’s recent explorations in award-winning 2016 documentary Where You’re Meant to Be – in which he travelled remote parts of Scotland exploring his country’s relationship with folk music – the results are a reimagining: mutated music for modern times. However, categorising music is not something that interests Moffat. ‘The guitar and voice are the heart of the record, yes, but I don’t really think about genre, I just try to use the sounds that I think best illustrate the idea and feeling of the song. We can literally access almost all music ever recorded for free now, and you can make an album on your phone, so there’s an unlimited palette these days. I think modern ears are more accepting of different genres than ever before.’

Moffat and Hubbert met many years ago. ‘I can’t remember when we first met, but I’m sure it would have been at a gig or a pub in Glasgow somewhere,’ Moffat says. Hubbert, a one-time Glasgow gig promoter, recalls, ‘I’m pretty sure I put on Arab Strap’s first show back in the day!’ Their first collaboration, Car Song, was released in 2012 on Hubbert’s Thirteen Lost & Found album, which went on to win the Scottish Album of the Year Award – only a year after Moffat won the same award for his work with Bill Wells.

While Moffat and Hubbert are the core of the record, it comes fleshed out with some crucial accompaniment in the form of Siobhan Wilson, who sings and plays cello (and who released her own There Are No Saints album last year to great acclaim); Louisville, Kentucky’s Rachel Grimes on piano; and veteran jazz saxophonist John Burgess.

The recording process was a smooth one. ‘It was all very relaxed and casual,’ Moffat says, ‘100% stress free.’ A further sense of ease came from the natural roles the pair found for themselves, allowing one another the requisite space to be creative. ‘I don’t see the point in asking someone to collaborate then trying to shape what they do,’ Hubbert offers, with Moffat echoing, ‘Aye, it’s all about trust, and letting the other writer do what they do.’

There’s a rich narrative that flows through the album. Influenced, Moffat says, by ‘an article I read about mothers who abandon their families, and how that still remains a pretty taboo subject in our times. When marriages break down, it’s almost always the man who leaves.’ The album begins with the chance encounter of two old flames as they enjoy hen and stag parties in Blackpool – a prologue, in the form of a page from a screenplay, will be included with the album artwork. We then follow the story as it moves forwards (and backwards) with wit and wisdom, exploring themes of love, family, fortune telling, deceit, death, Schrodinger’s cat, the multiverse … and marshmallows.

The result is a moving, diverse record of great beauty that straddles a line between light and dark and faith and fear; at once fun, funny, and forlorn; both melancholic and sanguine, and inherently melodic throughout.

Siobhan Wilson, along with former Arab Strap drummer David Jeans, will be joining Aidan Moffat and RM Hubbert for this May tour.

Siobhan will also open the show.

This is a 14+ show. Under 16s must be accompanied by an adult.

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

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All shows are 18+ unless otherwise stated.
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When: 7.30pm on Sunday 27 May 2018
Where: Soup Kitchen, 31-33 Spear Street, Manchester M1 1DF

We’re delighted to be working with H!M favourite Alabaster DePlume – plus special guest Paddy Steer and DJ Coops!

Following 12 monthly development residency concerts and three viral video clips, this ruthlessly creative approach to experimental pop music delivers eastern-influenced anthems, under spoken elements that attempt to challenge and address divisive rhetoric recently prevalent in society.

Ahead of an LP release on Lost Map Records, produced by Danalogue (Comet is Coming) and Kristian Capitol K in early 2018, the show described in the Guardian as ‘a reminder of how vital and adventurous music can be’ enjoys an emphasis on candid interaction, humility and warmth.

Based in underground East London’s Total Refreshment Centre, saxophonist and spoken word artist Alabaster DePlume creates a new band each month in his development residency Peach.

PRSF has funded his forthcoming fourth LP The Corner of a Sphere, following recent performances for BBC Radio 3, National Theatre and clubs festivals and theatres around UK.

‘Alabaster DePlume lands acrobatically between Devendra Banhart, Donovan & The Mersey Poets, cosmic dreaminess cut with wry exasperations. A precious little addition to music’s cabinet of curiosities’ – Q

‘Totally unique… Very, very brilliant indeed’ – Max Reinhardt, BBC Radio 3

‘One of the most thrilling performances I’ve seen this year’ – Laura Barton, The Guardian

Paddy Steer is a Zelig-like character along the timeline of Manchester’s musical activity. It’s a testament to his musicality that he has played with such a wide range of music and artists over the years, be it as a bass player, drummer, Hawaiian guitarist etc – or all these roles at the same time.

In rejection of the notion of ‘immaculate reproduction’, live performances from Paddy’s own project err more daringly and admirably on the frontier of chaotic abstraction, expression and focussed blunder, dice rolling down the hill in case of duende, as from behind his stacked array of instruments, the anarchically intrepid punk gargles through a vocoder with his xylophone, all a-clatter under disco lights and doilies.

He creates his tools, as he creates his craft, here from scratch, there from new, ever from long-garnered experience that includes running the massive ensemble Homelife, years hence. In style he is unique on the circuit that knows him, on which similarly his blinkered resolve and capacity to create must be unparalleled.

DJing throughout the evening is Coops.

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

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All shows are 18+ unless otherwise stated.
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When: 7.30pm on Sunday 27 May 2018
Where: The Eagle Inn, 19 Collier Street, Salford, M3 7DW

We’re delighted to be working with The Bonnevilles again – on bank holiday Sunday.

The Bonnevilles are shaking Northern Ireland in a way it hasn’t felt since Van Morrison & Them obliterated Club Rado in 1964 and Stiff Little Fingers blew apart The Trident in 1977! The Bonnevilles don’t so much play punk blues as use it as a springboard to create a completely new genre. And now they release their fourth studio album Dirty Photographs with LA-based Alive Natural Sound Records.

The Lurgan duo take Mississippi Hill Blues and Punk Rock and mix their own unique dark Northern Irish Punk Blues stew, which drew the attention of the aforementioned Alive Natural Sound – leading to the release of the award-nominated Arrow Pierce My Heart on the label in 2016.

The Bonnevilles formed in 2009 and quickly released their debut and now legendary album Good Suits & Fightin’ Boots on Motor Sounds Records. McGibbon, being a blues fan, was moved to create The Bonnevilles after being heavily inspired by RL Burnside’s A Ass Pocket Of Whiskey and bands like The Soledad Brothers, The Immortal Lee County Killers and blues heavyweights like Howlin’ Wolf and Robert Johnson. McGibbon combines with McMullan’s heavy metal drumming style in a band has become Europe’s top alternative blues act.

Playing the Deep Blues festival in Clarksdale, Mississippi and the legendary Junior’s Juke Joint in Holly Springs in 2015 cemented the band’s reputation as the real deal. Now the band’s new album Dirty Photographs sees them reach fresh creative fields – the same dark blues punk stew but with added sugar.

Local support comes from Bones Shake, a scuzzed, fuzzed blues three-piece from Manchester. They play everything into the red; violent bottle neck blues riffs, drums kicked, pounded and twatted, and squeals of reverb drenched vocals all combine to help save your soul.

‘You can hear the influence of The Birthday Party in the howls and distortion, the pounding beat, the filthy riffs, but the key element here is the sleazier stain of The Cramps… soiled and simple blues – very nice indeed!’ – Vibrations

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

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All shows are 18+ unless otherwise stated.
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When: 7.30pm on Tuesday 29 May 2018
Where: The Castle Hotel, 66 Oldham Street, Manchester M4 1LE

We’re delighted to welcoming Charles Howl back to Manchester – this time, at the Castle Hotel, with guests Tiger Lion!

English musician Charles Howl returns with his second album My Idol Family, which follows on from his 2015 debut Sir Vices. Enthralled by soundtracks and pop music in all its forms, Howl updates classic motifs to create a signature aesthetic. Introducing strings and lush orchestration to dazzling effect, he is comfortable with both wide-open song structures and intimate headphone tracks. With this album Howl reveals his true talent as a songwriter and arranger, mixing well-crafted storytelling with a dry wit, it is also more ambitious, touching on themes of idol worship, friends and the family unit.

He returned to Amsterdam to write and record the album, a city he knew well having run away there when he was eighteen. As he explains: ‘It was meant to be a three-day stereotypical end-of-school weekend with friends but when they were returning home I didn’t see anything for me back there and so I stayed in Amsterdam and got a job handing out flyers for a disgusting pub crawl for the tourists.’

When he was planning the recording of this new album, he made a conscious decision to get away from London with all the distractions and opinions, plus, studio time there is expensive. Howl had always been a fan of James Murphy and wanted to emulate, in his own way, the experience that LCD Soundsystem had when they recorded This is Happening, where they went to a mansion in L.A. and all dressed in white and uploaded clips of them hanging out and recording. As Howl explains: ‘I’ve never thought that kind of thing is only for big bands with loads of money. So I researched places in Amsterdam and found a reggae studio on the outskirts in a suburb called Weesp. It included an Air b&b room and so I sub let my room in London and booked a month in the studio.’

Accompanying Howl in Amsterdam was fellow Proper Ornaments member and drummer, Bobby Syme, who is a gifted producer and engineer, and took the reins in the studio. Most of the album was recorded between the two of them, with additional string arrangements by Richard Jones and with Victoria Hamblett on backing vocals.

With My Idol Family, Howl has found his voice both with his more confident singing style but also in his lyrics, which are more prominent in the mix. The album title emerged from the overarching themes of family and idols, and how people idolise celebrities and try to emulate their lifestyle. This is encapsulated in the song Meet Lou’s Needs, about so many people in music trying to copy Lou Reed’s look, music, attitude and his drug habits. As Charles says: ‘I love Lou Reed but I don’t want to see shit imitations of him every time you go see a show or after party.’ Idols are also flagged up in the song  John Albarn, where he imagines two of his musical heroes as one seamless being: John Lennon + Damon Albarn = John Albarn.

The opening track Death of Print speaks of Howl’s concern for the death of print press. Based on a true story, it tells of a 1970s zine in Berkley which got shut down and disbanded a group of friends. As he says: ‘I’ve always been concerned with our ever increasing seclusion, with much help from the internet and personal social media profiles.’

Goodbye Sleep tells of the time he drove his friends garage punk band on tour when he was 20, and was caught for a driving offence in Malmo, Sweden and sent to prison for one month over the Christmas period. ‘This song is about not being able to sleep properly the first week or so, thinking of my friends outside carrying on the tour and heading home,’ says Charles.

At times rapturously melodic and others jarringly off-kilter, there’s a real variety of sounds on My Idol Family. Howl didn’t want to be afraid to get cheesy with this record and as a result, it feels more honest. Without the pressure of having to be faithful to one particular genre or trying to fit in to the favoured psych revival of recent years, he draws on eclectic influences to embrace a wider scope, thus creating something that sounds refreshingly unique and remarkably modern.

Special guests are Tiger Lion. Immersive dream pop inspired by nature and the subconscious, Tiger Lion are a (mainly) French trio based in North London, fronted by writer and visual artist Clementine Blue. Their distilled melodies flourish from St Vincent’s asymmetrical purity to Tame Impala’s hypnotic riffing intensity and crackle with Throwing Muses’ bruised, cardiac fire across organic canvasses inspired by Blake and Turner. Last year they released two thematic EPs: Outremer’s spectral, oceanic songs and The Moon Inside Me’s darker rituals of the habitual, followed this February by the cracked enamel dream of their sad Valentine take on Heart Of Glass. This spring will see Beyond The Mountains, a song cycle and visual book about the peace above the cloud line and the effect of thinner air on the human heart.

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

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All shows are 18+ unless otherwise stated.
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When: 7.30pm on Tuesday 29 May 2018
Where: Gullivers, 109 Oldham Street, Manchester, M4 1LW

We’re delighted to be working with GospelbeacH again – this time, at Gullivers!

The second album from GospelbeacH continues to deftly honour the grand tradition of West Coast rock and roll. This time around it’s more 70s FM rock than 60s AM gold, more cosmo than country with a theme of timeless love.

Straightforward, inviting songwriting and singing by Brent Rademaker (a founding member of Beachwood Sparks). Warm classic production and tight harmonies once again by guitarist/vocalist Jason Soda. Recorded in Los Angeles at Palomino Sound, Jason’s new 1970s vintage artisan recording studio. Third GospelbeacH core member Jonny Niemann’s cascading piano, organ and mellotron fill out the albums rich sound.

In the tradition of the Troubadour scene of the 1970s Another Summer of Love features some of the GospelbeacH friends and Los Angeles’ finest players and singers including Pearl Charles, Miranda Lee Richards, members of Wilco, Mapache, Eels, and pickers from the Grand Ole Echo.

The album artwork features reflective photography by GospelbeacH guitarist/singer Neal Casal and Allah-Las drummer Matthew Correia.

‘More refined nods to the Flying Burrito Brothers twang that informed Rademaker’s former group, Beachwood Sparks’ – Magnet Magazine

Support comes from The Hanging Stars. London-based psych-folk-country quintet The Hanging Stars will release their second album Songs For Somewhere Else in February 2018. Taking cues from both sides of the Atlantic, they mainline the dying embers of the early 70s psychedelic folk and cosmic country scenes, transforming them into an energised new sound for our times.

As the title suggests, the album is about escapism from the everyday, against the cynicism and greed that pervades society. With this album, The Hanging Stars usher the next phase of their musical development, with Richard Olson’s (The See-See/Eighteenth Day of May) astute lyrical observations and honeyed vocals at the fore, backed by the band’s creative musical arrangements. Features guest appearances from members of Brian Jonestown Massacre and Miranda Lee Richards.

This show is a co-promotion with Please Please You.

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

Attend on: Facebook


All shows are 18+ unless otherwise stated.
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When: 7pm on Thursday 31 May 2018
Where: Soup Kitchen, 31-33 Spear Street, Manchester M1 1DF

We’re delighted to be working with Charles Watson for the first time – plus guest Sivu!

Charles Watson – the London based songwriter/producer and member of indie duo Slow Club and garage-rock super group The Surfing Magazines – announces the release of his debut solo record Now That I’m A River on 18 May via Moshi Moshi Records.

To mark the announcement, Watson is streaming Abandoned Buick, the second track to be taken from the album following the release of the BBC 6 Music playlisted No Fanfare. Abandoned Buick came about through a chance introduction to a Yamaha YC30. ‘The band Mates of State left a Yamaha YC30 at the Moshi Moshi Records HQ a few years ago and somehow I’ve ended up babysitting the thing,’ explains Watson on the making of the track. ‘I love this thing so much. The fuzz setting through a Fender amp is basically the most pleasing sounding thing I’ve ever heard. That’s what does the riff on Abandoned Buick. Thanks Mates of State, please don’t come back for it.’

Not only is this Watson’s solo debut but it also marks his first foray into production. Exploring his relationship with traditional harmony singing, Watson worked with sampled versions of his own voice to create unusual vocal textures.

A former writing student of Central St Martins and The Faber Academy, Watson uses his own fiction writing as a spring board for his lyrics, a method he has also used for his previous records. The new album takes inspiration from the reoccurring themes and language of the JG Ballard novel Hello America. Now That I’m A River was co-produced by Watson with longtime collaborator David Glover at Tesla Studios in Sheffield and features a hand-picked band, including Guillemot’s Fyfe Dangerfield and Hot Club De Paris’ Paul RaffertyRozi Plain and members of The Deep Throat Choir and Trashkit also make an appearance on the album’s title track.

Tour support comes from Sivu. Under the name Sivu, British singer/songwriter James Page writes and records sophisticated, often darkly toned indie pop. Born in St. Ives, Cambridgeshire, Page spent his teenage years playing bass in indie and punk bands, eventually moving to London to expand his musical horizons. Influenced by pop mavericks like Björk and Beck, he had already begun to work quietly on solo material when in 2011, he crossed paths with Alt-J’s producer Charlie Andrew. The two struck up a friendship and began working together, recording Sivu’s debut single, Better Man Than He. The release of a 2013 EP called I Lost Myself as well as a handful of other singles drew comparisons to artists like Wild Beasts, Gotye, and Alt-J, the latter of whom recruited Page for a guest spot on their 2014 album This Is All Yours. His debut album, Something on High, arrived in September 2014 – and he followed up in July 2017 with second long-player, Sweet Sweet Silent.

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

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All shows are 18+ unless otherwise stated.
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When: 7.30pm on Friday 1 June 2018
Where: Gullivers, 109 Oldham Street, Manchester, M4 1LW

We’re delighted to be working with Curse of Lono!

Acclaimed new London five-piece Curse Of Lono released their debut album Severed in spring 2017. A sumptuously cinematic record that combines harmony-laden Americana with driving, gothic alt-rock, Severed was produced at Gun Factory studio by Oli Bayston (Boxed In). The album follows Curse Of Lono’s critically acclaimed self-titled debut EP, released the previous October, which also formed the soundtrack to Saturday Night, a short film of inter-connected music videos directed by Alex Walker. The film recently won Best Music Video at the LA Independent Film Awards, the London Independent Film Awards and Feel The Reel International Film Festival in Glasgow, and has made the official selection at the International Music Video Underground in LA and the Sunlight International Film Festival in Moscow.

Founded and fronted by Felix Bechtolsheimer, formerly the singer-guitarist in British roots pioneers Hey Negrita, Curse Of Lono formed in early 2015, though the songs on Severed were written over a 14-year period. They range from the perky, Paul Simon-ish single Pick Up The Pieces to the more lugubrious He Takes My Place, the almost jazzy London Rain and the rootsy, rhythmic Send For The Whisky. The album belongs as much to the Americana tradition and old faithfuls such as The Doors and Little Feat as it does to more modern, playful practitioners of the form such as Wilco and Beck.

Lyrically, the songs cover themes including infidelity and sexual jealousy, the death of friends, and Felix’s personal struggle with heroin addiction. ‘Although Severed is a dark record in places, it is not an addiction record,’ says Felix. ‘It’s about growing up enough to be able to share a drink with the ghosts of the past without letting them push you around.’

The album received incredible press internationally, most notably in the UK, US, Germany, Netherlands, Italy, Belgium, Spain, Ireland and across Scandinavia.

‘Exile On Main Street meets William Faulkner’ – Classic Rock

‘One of the most exciting new bands around… Mixing influences like Wilco, The Velvet Underground and The Doors, there’s no shortage of highlights and heartfelt songs on this ten-track album’ – Louder Than War

Main support comes from Manchester-based Izzie Walsh, described by UK Country Radio as ‘gothic bluegrass with a hard edge, her voice is amazing, strong and sensuous, compelling everyone to listen to her’. She will be joined by her band for the show.

Opening the show is Kerri Watt. Scottish-born singer-songwriter Kerri Watt spent her formative years living between California and Glasgow, giving her a unique upbringing that has influenced her sound. She taught herself guitar while backstage touring the UK as an actor, swapping a life of theatres for venues. Kerri has spent the last two years touring across the UK and Europe with Starsailor, Ward Thomas, Embrace, Nina Nesbitt, The Overtones and Mike & The Mechanics to name a few.

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

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All shows are 18+ unless otherwise stated.
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When: 7pm on Tuesday 5 June 2018
Where: Soup Kitchen, 31-33 Spear Street, Manchester M1 1DF

We’re delighted to be welcoming Slim Cessna’s Auto Club back, following their sold out show at the Castle Hotel!

Seminal Gothic-Americana ensemble Slim Cessna’s Auto Club are re-releasing their fourth album Cipher. This re-issue is a double vinyl LP in a gatefold sleeve and marks the first of eventually full catalog reissues on the Auto Club’s own label, SCACUNINCORPORATED.

Wallace Stenger may have captured the spirit of the west in his 1971 novel Angle of Repose. Jim Thompson surely exposed the lurid underbelly of the Western experience. Cormac McCarthy definitely evoked the conflicted, tortured spirit of small town life on the frontier. William Faulkner and Flannery O’Connor informed all of them with a humor and soulfulness. It is that literary tradition that imbues the harrowing and celebratory sound and riveting stories of Slim Cessna’s Auto Club. Throughout its long and illustrious history, it is largely in that realm of art that the Auto Club reveled and garnered a loyal cult following well beyond the boundaries of The Queen City of the Plains.

Originally released in 2008, Cipher is the most cohesive SCAC album but also the most mysterious. Cipher is a deliberate puzzle loaded with coded language. The idea that braces are used to straighten crooked humanity provides a structure, but this code rewards effort to unpack the many messages it contains; many more relevant now than ever. Compared to its predecessors, this set of songs sounds more hopeful and expansive, a quality that was always there but this time out the brighter sides of the songwriting were emphasized.

Slim Cessna’s Auto Club was originally formed in 1992 in Denver, Colorado by its namesake after he parted ways with The Denver Gentlemen, that grand progenitor of the peculiar strain of Gothic Americana unique to the Mile High City that also featured Jeffrey-Paul and David Eugene Edwards who’d go on to form 16 Horsepower, the latter then founding Wovenhand. Slim’s longest running collaborators in the Auto Club have been Munly Munly and Lord Dwight Pentacost who’ve contributed both material and affected the ensemble’s stylistic vision. More recently there’ve been greater creative contributions from longtime collaborator Rebecca Vera, drummer Andrew Warner and the inclusion of upright bass player Ian O’Dougherty.

In late 2016, the band released a new album after a five-year hiatus The Commandments According to SCAC. The album encompassed both the heady darkness and celebratory intensity with which the group made its name. That charmingly dusky and spare sound breathed with a new colour and delicacy of feeling that perhaps sat in the background in times past.

When you get to see the Auto Club live, you’ll see an already mighty band reinvigorated by a new spirit of excitement as well as by the fire that has long burned in its collective belly.

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

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All shows are 18+ unless otherwise stated.
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