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: William the Conqueror... SLUG... Vera Sola... Weyes Blood... C Duncan... Jo Rose... Otoboke Beaver... The Coathangers... BC Camplight... Simone Felice... Rozi Plain... Lowly... Josh Rouse + Grant-Lee Phillips... The Unthanks... Kiran Leonard... The Essex Green... Jerron ‘Blind Boy’ Paxton... James Yorkston... The Beths... Hayes Carll... Robert Forster & Band... Siobhan Wilson... Jason Lytle... Spencer Krug... Solo Collective... Jesse Malin... The Sheepdogs... Jeffrey Lewis... Lawrence Arabia... Gratis #1: Gaygirl... Justin Townes Earle... The Burning Hell... The Stroppies... The Catenary Wires... Deerhoof... Mark Mulcahy... The Album Leaf... Jesca Hoop... Robyn Hitchcock... The Delines... BC Camplight...

When: 7pm on Thursday 18 April 2019
Where: The Deaf Institute, 135 Grosvenor Street, Manchester M1 7HE

We’re delighted to be promoting William the Conqueror’s return to Manchester – this time, at the Deaf Institute!

A character, a mythology, the flicker of a younger self, William the Conqueror is many things, but in simplest terms it is the name of a band put together by songwriter Ruarri Joseph, alongside his close musical conspirators Harry Harding (drums) and Naomi Holmes (bass). The trio have been picking up praise from far flung corners ever since Joseph took the step to go public with his erstwhile secret alter-ego, their shows steadily winning over fans up and down the country.

The band’s new album Bleeding on the Soundtrack will be released on Loose on 15 February 2019. Produced by Ethan Johns (Kings of Leon, Ryan Adams, White Denim, Laura Marling) at Peter Gabriel’s iconic Real World Studios, it is the second instalment of William’s story following on from debut album, Proud Disturber of the Peace, released in 2017 to widespread critical acclaim.

The indie-rock three piece channel classic blues and roots rock through a grunge/indie filter, with diverse influences including The Doors, Ryan Adams and The Lemonheads. Praised for their grit and authenticity by the Guardian and NPR’s Ann Powers, they signed to Loose, joining a roster that includes Courtney Marie Andrews, Israel Nash, The Handsome Family and Treetop Flyers. Praise for their live performances has drawn wildly enthusiastic comparisons to the likes of Kings of Leon, Nirvana, Buffalo Tom and The Marshall Tucker Band.

‘A thumping Southern rock and Americana grungy gumbo that hits you right between the eyes’ – Express

Local support comes from Ash Mountain. Ash Mountain is the name of Manchester songwriter Tim Scott’s rotating band of musicians. Their latest three-track EP was produced by Oasis knob-twiddler Dave Scott in Aman, Jordan. And while there’s little in the way of Gallagher bros or middle-eastern influence in the music, the production does justice to the vocal and writing talents of new singer Matt Jones. The band cite everything from The Stones and Dylan to Townes Van Zandt to Calexico as influences – and it’s great to hear a Manchester band who’re willing to push the Americana envelope without sounding dated or derivative.

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 Monday 22 April 2019
Where: The Eagle Inn, 19 Collier Street, Salford, M3 7DW

PLEASE NOTE: This show has sold out. Watch this space for details of future SLUG shows.

We’re delighted to be welcoming SLUG back – for an intimate show at the Eagle Inn!

SLUG, the nom de plume of North East merrymaker Ian Black, returned in 2018 with their second album, HiggledyPiggledy, on Memphis Industries.

Whereas previous album RIPE was made in collaboration with Peter and David Brewis of Field Music, HiggledyPiggledy was composed, produced and played entirely by Black enabling him to give free reign to his beguiling brand of Dada-rock.

Black taught himself how to produce while making HiggledyPiggeldy, by all accounts a terrifying process that drove Black to the edge of sanity. To function he imagined himself variously as Lindsey Buckingham making Tusk, Eno producing Another Green World and Todd Rundgren laying down A Wizard A True Star.  In so doing Black was able to keep an equilibrium and make the record making experience experimental and spontaneous.

The album was inspired by a combination of The Residents, John Carpenter and the soundtracks of Don Cherry (particularly Holy Mountain) and Masahiko Sato (particularly Belladonna) plus the Dada art movement that will be self evident to anyone who’s seen the hilarious and life affirming SLUG live experience, replete with ever changing stage wear (snooker players, sailors, 50s jazz combo) and spontaneous crowd participation.

Black intended HiggledyPiggledy to be a more minimal affair than previous album RIPE, focussed more on rhythm and percussion. Thematically the record was written against the backdrop of political turmoil but really it’s about the strange life Black leads in his native Sunderland, an autodidact outsider living his life in Wetherspoons arguing with some of the questionable attitudes of locals. Blacks stated aim to ‘have fun writing truly horrible lyrics,’ playing characters ‘venting in pubs, writing in the character of how some people think and behave’.

HiggledyPiggledy begins with first single No Heavy Petting (the title taken from the dos and don’ts at Blacks local swimming pool), consciously written to be an aggressive album opener with and which pokes fun at Blacks own Mary Whitehouseish response to the sexualisation of TV. Lackadaisical Love is another album highlight, one big 4/4 drum beat, fuzzy guitars like Maggot Brain-era Funkadelic, steel drums and fat moog bass. ‘A song about sex funnily enough,’ says Black. Other noteworthy songs include Dolly Dimple, a song about the pornography of wealth, power and business all dressed up like a late 70s Bowie record and the Suicide meets Sliver Apples of Arbitrary Lessons In Custom about ‘how we lose touch with people and friends we love and the slow burn of how it happens’.

The results whilst punchy and direct remain rich, strange and sometimes unsettling. HiggledyPiggledy, then, is a perfect intro to the wonderfully weird world of SLUG.

‘Black ramps up the funk on groove-driven art pop gems’ – UNCUT

‘Combines Led Zep riffing, squelchy funk and a sprinkling of Odelay-era Beck‘ – The Times

Support comes from Glove. Glove are a two-piece band based between Manchester and North Wales. They are loud, defiant and captivating. Louder Than War described them as ‘dancing on the bones of rock and roll. Glove are the here and now. Glove are the future.’

PLEASE NOTE: This show has sold out. Watch this space for details of future SLUG shows.

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All shows are 18+ unless otherwise stated.
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When: 7.30pm on Tuesday 23 April 2019
Where: The Castle Hotel, 66 Oldham Street, Manchester M4 1LE

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

A family of spiritualists, writers and performers generations deep, a home haunted by legends of literature and music, personal upheaval and a sense of being unseated in time: these are the origins of singer, songwriter and multi-instrumentalist Vera Sola.

With an ethereal voice providing the foundation for a haunting body of song, her timeless sound and enthralling stage presence draws an unlikely connection between Vera Lynn and Vera Hall, the grande dame of British music hall and the Depression-era Alabamian singer of work-songs and spirituals.

As a child she played classical piano, later guitar and bass, learning more by instinct than instruction.

An obsessive reader and writer, she’d forever written poetry and been fascinated by wordplay, falling in love at a young age with Russian literature and the work of Dylan Thomas, James Joyce and William Faulkner.

All this, along with a career as a stage and voice actor – combined with years of touring in Elvis Perkins’ band – would serve as a launching point for Vera Sola. But it wasn’t until early 2017, when she booked time at Native Sound Studio in St. Louis, that she began to experiment with the idea of recording her own material.

She hadn’t even shared her music with her closest friends and family, let alone recorded anything of her own. Even then, despite a lineage and lifetime of public performance, she felt a barrier blocking off her voice. Writing and playing came easily, but singing her own songs presented a different challenge. One she couldn’t explain and couldn’t quite shake.

That would all change. Just before she was to travel to St. Louis, a series of life-altering events marked a radical shift that reframed her relationship to her music.

With everything she’d known to be true now unraveled, along with it vanished the fear that had prevented her from translating the sound in her blood into song.

Entering the studio, she abandoned plans to bring in other musicians. She decided instead to make the album entirely alone, picking up instruments she had never played before, drawing from them the internal music that had for so long gone unexpressed. She recorded using anything at hand.

Bones and breaking glass, chains and filing cabinets, hammers and two-by-fours. Countless moving parts meticulously layered and arranged. And that old fear now cast off brought new abilities, a change in her voice, including an otherworldly vibrato. She’d become a vessel, capable of channeling at once her innermost self and yet something entirely beyond her. What emerged from the sessions was her debut album, SHADES, a collection of ten finely-honed and immaculately-rendered ballads.

Poems and stories delivered in a mannered but casually dismissive style – full of sorrow, yet arch and wry. Songs of the present that conjure the past. Accounts of women and their ghosts: echoes of memories that just won’t quit; of relationships over or current but fleeting; of the extinction of species; the violent capture of a feminine landscape and the spirits that stick around long after; messengers from the other side.

Local support comes from Elle Mary & The Bad Men. Drawn to the communicative and bonding qualities of plainsong but explorative beyond its stylistic connotations; enough of a pack member to want a band yet also keen to imbue a sense of solitude through her music, Elle Mary is an artist who operates best when balancing conflicting instincts. It’s what lies beneath the subtle tension that slightly tugs at the heart of her and The Bad Men’s slowcore minimalism.

This show is a co-promotion with Interior.

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 Wednesday 24 April 2019
Where: YES (The Pink Room), 38 Charles Street, Manchester M1 7DB

PLEASE NOTE: This show has sold out. Watch this space for details of future Weyes Blood shows.

We’re delighted to be working with Weyes Blood again – this time, at YES.

Weyes Blood (pronounced wizebluhd) will release Titanic Rising, her fourth album and Sub Pop records debut, worldwide on CD/LP/DL/CS on 5 April 2019. The album features the lead single Everyday, and the previously released Andromeda, along with highlights Movies, Wild Time and Something to Believe. The cover for Titanic Rising was shot in a bedroom submerged fully underwater (zero CGI).

The new single, Everyday, chronicles the chaos of modern love and dating – short attention spans, restlessness, and the continuous crusade (and carnage) to find some kind of all-encompassing soul mate. Watch official video, in all its bloody terror, directed by Weyes Blood.

Titanic Rising, written and recorded during the first half of 2018, is the culmination of three albums and many years of touring: stronger chops and ballsier decisions. It’s an achievement in transcendent vocals and levitating arrangements, conversational lyrics and thoughtful commentary on the modern condition of our souls. Like the Kinks meet WWII (or is it Bob Seger meets Enya?), Titanic Rising manages to ride that line between classic songwriting and post-apocalyptic futurism.

Weyes Blood and her band have also scheduled an intergalactic headlining tour for the spring of 2019 in support of Titanic Rising, including this Manchester date at YES.

Tour support comes from Lonesome Leash. Lonesome Leash is the solo moniker of Los Angeles-based songwriter and multi-instrumentalist Walt McClements. Known for previous involvement in Dark Dark Dark, Hurray for the Riff Raff and Why Are We Building Such A Big Ship?, McClements, as Lonesome Leash, channels all of his musical experiences into a lean and gorgeously messy solo affair.

The show is a co-promotion with Now Wave.

PLEASE NOTE: This show has sold out. Watch this space for details of future Weyes Blood shows.

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All shows are 18+ unless otherwise stated.
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When: 7pm on Friday 26 April 2019
Where: Band on the Wall, 26 Swan Street, Manchester M4 5JZ

We’re delighted to be working with C Duncan again – this time, at Band on the Wall!

Set for release via FatCat Records on 29 March, C Duncan’s highly anticipated third album sees the Scottish multi-instrumentalist ditch his bedroom studio and work with other producers, engineers and musicians for the first time. ‘This was the biggest shift in dynamic for me,’ he explains, ‘having always worked alone, it was a daunting prospect but one I knew I had to explore.’ Navigating themes of love, anxiety and sexuality, Health – produced by Elbow’s Craig Potter – is a deeply personal record that delves into a world Duncan had previously felt uneasy exploring. ‘Writing it was a very cathartic process. It helped me through a lot of tough times and also to celebrate the good,’ he continues. Warm and harmonically rich, Duncan delightfully juxtaposes the vibrant and wholesome aesthetic of the album with an often-darker lyrical undertone, pushing himself to refine and explore new ways of writing. As the sole protagonist of his self-carved niche, Health sees Duncan evolve and expand its parameters in mesmerising fashion.

Out on 18 January, the album’s first single Impossible documents the highs and lows of a long-distance relationship with an ex-boyfriend. ‘At one point he was working night shifts, so it was very hard to communicate with each other because our schedules were completely out of sync. I wanted to see him all of the time, but it was impossible to do at that point in time,’ Duncan explains. Strings and oddball psychedelic sounds combine with equal vigour, its jarring rhythmic art-funk of offering an accurate portrayal based on personal experience.

Following the Mercury nominated debut Architect (2015) and impressive follow up The Midnight Sun (2016), Health’s soaring tapestries achieve what Duncan set out to. ‘With album three I wanted to take a more direct approach, adding even more layers but thematically and lyrically laid bare. Having someone else to bounce production ideas off was really eye-opening for me. In the past I had been very controlling about how everything would sound but Health really showed me the benefit of working with others and made the whole process much less isolating,’ he explains. Packed with fresh ideas and buzzing with invention, Health combines syncopated art-pop piano rhythms with breezy, undulating heartbreak ballads executed with acute precision. As always Duncan has contributed all the artwork surrounding the release, and the colourful and natural aesthetic is reflected in the instrumentation and lyrics.

Tour support comes from Sheffield’s Before Breakfast. Gina, Debra, Annie and Lucy weave strong melodies with piano, cello and vocal harmonies to create an authentic and accomplished sound that is drawn from a wealth of musical experience, from classical to folk, and are inspired by artists including Bjork and Marika Hackman. Before Breakfast have a strong sense of meaning, telling intimate stories about being a woman that resonate with people of all stages of life. The band recently supported Tokio Myers at Shepherd’s Bush Empire, The Sage and Albert Hall, Manchester on his UK tour and have worked with Reverend And The Makers, Jon Boden, The Dunwells and Renegade Brass Band.

This is a 10+ show. Under 16s must be accompanied by an adult.

Buy tickets now. Tickets are available from Band on the Wall’s box office (no booking fee), Vinyl Exchange, Ticketline.co.ukWegottickets.com and on 0871 220 0260.

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All shows are 18+ unless otherwise stated.
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When: 7pm on Friday 26 April 2019
Where: YES (Basement), 38 Charles Street, Manchester M1 7DB

We’re honoured to be presenting Jo Rose‘s final show.

Jo says of this show:

I have tried a number of times to write a bio for this particular show in third person, which is something I’ve always struggled to do, even when a lack of publicist has demanded I do so. Something I have wanted to avoid is to make this gig seem too dramatic or, conversely, self-aggrandising, like that well-known pathos-heavy trope of fantasising attending your own funeral. I’d rather say in my own terms what this show is ‘about’.

I have been playing with own name as a moniker for a decade now, ever since I left the band I worked with since age thirteen, Fear of Music. It was a chance to explore new things, to put the love and influence of artists such as Elliott Smith, Townes Van Zandt, Sparklehorse, Cat Power, Bill Callahan et al., and countless others to good use. I’ve written songs I’m proud of, songs that evoke a particular place and time so far back I feel as if I’m ‘playing a part’ when I perform them, but still nonetheless love. I’ve toured Europe and Scandinavia with the generous support and faith of my friends in First Aid Kit, developed as an artist under the guidance and tutelage of Gabriel Minnikin, supported one of my all time heroes Simon Joyner in a Whalley Range back garden, shared a stage with Aldous Harding… the list of things I’ve been honoured to experience are practically innumerable so I’ll stop here, reluctantly.

I’ve made an LP (Spurs) alongside too many very talented artists to properly credit here with my friends Colin and (the sadly missed) Norman McLeod. Later on I produced an EP (the Mustanging EP) with the aid of yet more, including Cherry Ghost’s Jim Rhodes (perhaps the finest guitarist in Manchester), The Travelling Band’s Jo Dudderidge (who has had my back since day one), and Oh Man the Mountain’s Aidan Donovan, as well as Chris Hillman and Pete Marshall; all this engineered and produced by my childhood friend and all-too-hidden production wiz kid Liam Markham with little else in the way of resources but our pooled gear, my grandmother’s living room and Jim’s study.

Under this moniker (also, awkwardly, my namesake) has been the epicentre of my creative and social life for the entirety of my twenties, and the support from collaborators, friends, family, and listeners from around the world has made it all the more enjoyable and vital.

To be entirely transparent, however, I haven’t been writing much at all to add to it for a few years, in part because of circumstance, but mostly because I’m keen to step out of what my own expectations (and those of others) are when I write a “Jo Rose” song. This is neither me ditching music or disregarding the joys I’ve experienced along the way. It’s an opportunity to put these songs aside to leave room for something new, under a new moniker (think Bill Callahan, Jason Molina, etc., and their many aliases), and enjoy playing them as I have been one more time.

I want to give these songs and this style of performance, which I’ve fine-tuned to the best of my ability and will doubtless inform whatever comes next, a fond farewell and I’d love for you to join in this fine new space in Manchester at this show promoted by another long-time supporter Chris Horkan of Hey! Manchester.

For support, I’ve invited my friend Joe Edwards, who I’ve met whilst hosting open mic nights over the past few years and, lamentably, has done no shows yet. His sound betrays his strong influences Pile and Elliott Smith in their combination of structural complexity and raw, vulnerably intimate and minimal, borderline-punk aesthetic.

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 Monday 29 April 2019
Where: The Deaf Institute, 135 Grosvenor Street, Manchester M1 7HE

We’re delighted to be working with Otoboke Beaver for the first time – plus special guests Say Sue Me and Drinking Boys And Girls Choir!

Otoboke Beaver are a punk-rock-garage quartet from Kyoto, Japan. The band’s name is taken from a local ‘Love Hotel’ and they describe themselves as: ‘Japanese girls “knock out or pound cake” band’. Formed in 2009’s summer at Kyoto University’s music club, the band consists of Accorinrin (lead vocal and guitar), Yoyoyoshie (guitar and vocals), Hiro-chan (bass and vocals) and Pop (drums and vocals).

2017 was a breakthrough year for the band with features in Pitchfork, NPR, i-D and The Fader, acclaimed SXSW & Fuji Rock Festival debuts, a sold-out 100 Club show, and their Love Is Short seven-inch sat in the UK charts for four weeks. 2018 saw them travel over 24,000 miles in a week on their ATTYUUMA tour, which included three UK dates bookmarked by Coachella slots where they and X Japan were the only Japanese acts on the bill. The Cribs describe them as ‘punk-as-fuck’ and many view the band as one of the great live acts.

‘Sheer calamity and deliriously fun ? supercharged, sugar-rush hardcore with breathless vocals, pogo-ing rhythms, and torrential DayGlo riffs… the fire of Love Is Short recalls a lineage of patriarchy-scorching girl-gang shrieks, from the Slits’ Shoplifting to Bikini Kill’s Liar and beyond” – Pitchfork

‘Takes in the history of Japanese punk and runs with scissors in hand towards the bonkers-noise of early Boredoms, Afrirampo’s uninhibited avant-punk, and the revved-up garage-rock of Shonen Knife… Punk is rarely this charmingly vicious’ – NPR Music

Say Sue Me‘s Jaeyoung Ha (bass) and Byungkyu Kim (guitar) have been friends since fifth grade. They met drummer Semin Kang and played in bands together since winter of 2012. On meeting Sumi Choi, they immediately offered her a spot as the vocalist in a new band that would become Say Sue Me. Sumi turned out to be a natural at song writing. Semin sadly suffered trauma from a fall during the making of their second album. New drummer Changwon Kim stands in while they await Semin’s recovery.

Following anticipated showcases at SXSW in 2018, they released sophomore album Where We Were Together and a Record Store Day special covers EP It’s Just A Short Walk!, plus the Just Joking Around single and Christmas EP with two European tours. Their blend of indie rock, dream pop and surf has been widely met with critical acclaim from the likes of Pitchfork, The Fader, Stereogum, NPR, Lauren Laverne, Gideon Coe and Tom Ravenscroft on BBC 6 Music, KEXP, i-D, Dazed, ELLE and many more.

‘Jangly indie-pop, handclap-rich girl-group classics and the lightly rumbling sounds of early surf-rock. At once stylish and timeless’ – NPR Music

‘Evokes late-album indie-rock epics such as Yo La Tengo’s We’re An American Band or Pavement’s Fillmore Jive‘ – Stereogum

Drinking Boys and Girls Choir are a skate-punk trio from Daegu City, Korea, formed in 2013 when two drummers, MJ and Meena, shared a rehearsal space, and decided to form a band. Meena switched to bass and guitarist Bondu (who had just finished his military service) answered their ad. They bonded over a shared love of drinking, skating and punk.

Inspired by Sum41, NOFX and Daegu’s 1990s to 2000s hardcore punk/indie-rock scene before it moved to Seoul, the band are very passionate about not moving to the capital and nurturing a sustainable local scene. Each member writes and sings so there is a lot going on, stylistically it jumps from pop-punk, to melodic hardcore, to more drawn out indie-rock. DBGC release their 18 track debut album Keep Drinking!! in January on Damnably and Electric Muse, and have been announced for SXSW 2019.

This is a 14+ show. Under 16s must be accompanied by an adult. This is a co-promotion with Please Please You and the Brudenell.

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: 7pm on Monday 29 April 2019
Where: Soup Kitchen, 31-33 Spear Street, Manchester M1 1DF

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

It’s a tale told so many times we might be numb to its magic, but when The Coathangers played their first show back in 2006 at a small house party in Atlanta, the band’s aspirations were little more than a one-off excuse for a few friends to hang out and make some noise. Yet the clamorous racket of that first show was addictive, both for the newly recruited musicians navigating unfamiliar instruments and for the local punks who witnessed the band’s divine birth. Other parties were quickly put on the calendar. Then a few club shows. Then came the records.

The Coathangers’ eponymous 2007 album was a rowdy, ramshackle, and infectious debut. The album’s intoxicating revelry gained traction outside of Georgia, eventually leading to a record deal with Seattle’s Suicide Squeeze Records and the band’s first forays into national touring. Subsequent studio albums Scramble (2009), Larceny & Old Lace (2011), Suck My Shirt (2014) and Nosebleed Weekend (2016) found the band expanding their sound to include elements of golden oldies rock n’ roll, Americana, and Joan Jett badassery, while their relentless touring schedule made their already jubilant live shows transcend into a sweaty, ecstatic, and damn near spiritual events. Over the course of thirteen years, the band hit many milestones – touring in Europe, Japan, Australia, and Mexico, sharing the stage with artists like Minus the Bear, Refused, Janelle Monae and The Black Lips, appearing multiple times on Last Call with Carson Daly, receiving accolades from luminaries like Kim Gordon, and landing a spot on the Billboard charts with Nosebleed Weekend.

Few bands make it out of the basement and even fewer survive more than a couple of years. The ability of The Coathangers to thrive in their thirteenth year of operation with original members Julia Kugel (guitar/vocals), Meredith Franco (bass/vocals), and Stephanie Luke (drums/vocals) is a testament to both their music and the genuine spirit of camaraderie that drives it. ‘Our combined strength is much more powerful than our individual powers, which is true of us as a band and further to us as a community and society,’ Kugel says. ‘We’re choosing to be positive, proactive, and vocal about our stories and life experiences, giving up the devil we know. We’re going to uncharted places – looking for truthful existence, one not based on fear of the unknown but one that occurs when you have an open heart to was is real.’ It took an extended break in 2018 for the trio to reflect on their accomplishments and regroup with a fresh perspective. This newly restored unity is immediately evident on their latest album The Devil You Know. As a statement on moving forward and abandoning the baggage of the past, The Devil You Know succeeds in capturing the arduous road to maturity while striking a perfect balance between the fiery spirit of their youth and the psychic creative interplay of a musical bond that has held The Coathangers together for over a decade.

Local support comes from MOLD. MOLD is an absurdist reaction to the world we live in. In nature, in your kitchen, in politics, in guitar music, MOLD only grows when things are stale and start to rot.

‘MOLD are creating a post-chaotic mayhem on the fringes of Manchester’s burgeoning music scene with their unique style of stop-start, quick-slow, random-rock meets art-rock panic. There is nothing like them right now’ – Louder Than War

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 Tuesday 30 April 2019
Where: Band on the Wall, 26 Swan Street, Manchester M4 5JZ

We’re delighted to be working with BC Camplight again – this time, performing solo and in conversation!

“You shouldn’t have a tough time finding the angle to Deportation Blues,” claims Brian ‘BC Camplight’ Christinzio. “The past few years have been a fucking nightmare.”

But what a fucking great record he’s made off the back of his nightmare. His second album for Bella Union, Deportation Blues is an exhilarating, dynamic document of calamity and stress, relayed through richly melodic and bold arrangements spanning singer-songwriter classicism, gnarly synth-pop, ‘50s rock’n’roll and various junctures between, mirroring their maverick creator’s jarred emotions and fractured mindset.

For the full story, you have to head back to before Christinzio’s Bella Union debut, 2015’s How To Die In The North. Born in New Jersey, but living in Philadelphia, Christinzio had released two albums while battling addiction and mental illness. Both albums won rave reviews and earned Christinzio a reputation as one of independent music’s most forward-thinking artists. Soon after, however, as illness rendered him unable to function as a working songwriter, Christinzio retreated to a life squatting in an abandoned church. Despite some notable appearances as a session pianist (Sharon Van Etten) and occasional live work for Philly faves The War On Drugs (Robbie Bennett and David Hartley were in the original BC live band) he knew a sea change was needed in order to regain his career and sanity.

Feeling he’d be “dead or in jail if I stayed,” he acted on a friend’s suggestion to cross the ocean to Manchester. There, Christinzio found new inspiration, new friends, a girlfriend, a dog, and finally a new album (his first in eight years).

So, imagine his mood when he fell foul of UK immigration. “I’d had such high hopes for How To Die In The North, and I was told I was being deported two days after it came out, and banned from the UK. The next thing I know, I’m playing Pac Man in my parents’ basement, thinking, this is my life now.”

Occasional gigs in Europe, where his Manchester-based band could meet him, and extended sojourns in Dublin and Paris, broke up the monotony, but it was still “living in a constant panic attack.”

But then the cavalry arrived! Courtesy of his grandparents, Christinzio secured Italian citizenship. It cost time, money and a portion of his sanity, “but after a year and a half I could finally shove my Italian papers in their faces at the airport and return to sunny Manchester. The thing is, despite being American, I feel Mancunian, and I couldn’t think about making another record, until I got back.”

To add insult to injury, “Brexit happened, like a day after I got back. Can I get a fucking break here, please?”

Once the dust had settled, Christinzio realised, “I didn’t feel any better, I had so much anger, I felt destroyed. The demons were back and had lost me friends, I’d drunk too much, and I felt nothing but dread and disease. I thought, I can’t wait to hear what this next album is going to sound like.”

Recording in Liverpool’s Whitewood studios, Christinzio locked himself in the windowless studio and recorded almost exclusively in the dark. “The thoughts and sounds that began to flow out of me were pretty scary. I’m pretty sure the engineer started carrying a shiv in his pocket after about the 2nd day. Nothing playful sounding came out. If the last album had elements of whimsy, the thought of any on this album made me want to vomit.”

“A couple of months later we had finished Deportation Blues and emerged from the studio like mole-people”. Christinzio recorded the album mostly on his own, plus drummer Adam Dawson, occasional guitar by Robbie Rush, and a couple of session horn players. The lead track is ‘I’m Desperate’, “an ominous synth burner,” says Christinzio, with a Suicide-style throb and a haunting female vocal counterpoint that underlines the album’s manic, careering edge, fantastic hooks and instrumental verve.

It’s an uncompromising way to introduce Deportation Blues, likewise the album’s title-track opener. Bookended by metallic power chords, cascading synths and a gorgeous downbeat mood lead into slower doo-wop complete with howling falsetto. “It’s instantly a different, darker record than How To Die In The North,” Christinzio notes.

Deportation Blues is also noticeably more electronic than its predecessor. “I was feeling cold so every time something sounded pretty, I replaced it with something that sounded like an ice pick. The apocalyptic nuclear feel really appealed.”

Throughout, Christinzio sounds as if he’s walking a knife-edge. Take second track ‘I’m In A Weird Place Now’, a heady conflagration of Spector and Springsteen, with Christinzio confessing “And there’s something about Manchester town / And the silly little things she makes me do.” “I like the oppressiveness of the weather in Manchester, it brings everyone down to my level” he explains.

The fried mood continues on ‘Hell Or Pennsylvania’, splicing woozy noir jazz lounge-drunk cabaret by way of ‘50s legend Jerry Lee Lewis – Christinzio’s entry point to music through his mother’s record collection. “It’s the first time I’ve reflected that on a record,” he says. “Jerry Lee was this guy bashing at a piano who didn’t give a shit, and I didn’t give a shit.” The lyrical reference to “lemon twirls” meanwhile, represents Brian’s struggle with substance abuse: “The big choruses are a celebration of cocaine whilst the jazz sections represent the lament, the familiar loathsome aftermath.”

The sudden changes of mood and style are also metaphorical. For example, ‘Am I Dead’ embraces cinematic horns, broody pop and synth-bass afro-funk. “I go through highs and lows and have trouble staying entertained,” he admits. “A musical part can state its purpose in fifteen seconds, sometimes it doesn’t need repeating. The trick is tying everything together without it sounding confusing.”

‘Am I Dead’ is segued between ‘When I Think Of My Dog’ and ‘Midnight Ease’, two plush, heart-aching piano ballads with rippling saxophone. After ‘Fire In England’, a greasy, nervy rocker, is a bitter ode to British PM – and former immigration controller (as Home Secretary) Theresa May (“dresses like a bus seat, doesn’t she?”). It’s a complex, bleak record I guess” Christinzio concludes. “As dramatic as it may sound, this album was made by a dude who wasn’t sure he’d be alive the next day. Nothing is there for any other reason than it’s the truth. It’s not trying to sound cool or get on the radio.”

Though Christinzio points out “this is no redemption I-saw-the-light story,” he is allowing himself a little bit of hope for once: “I’ve never been as pleased with where I am artistically as I am right now.”

On top, his new band, “is phenomenal.” Alongside trusted drummer Dawson is Luke Barton (guitars, synths), guitarist Tom Rothery and multi-instrumentalist/ backing singer Ali Bell. Leading them is a man that a bartender in Manchester recently described as, “like Mozart and Tony Soprano had a kid.” Brian Christinzio, and BC Camplight, genius and pain, may be here to stay at last.

Ahead of his solo performance, BC Camplight will chat with Shell Zenner about his journey musical journey – including his experience as a session musician, his relocation to Manchester and the writing of his fourth and most critically acclaimed album ‘Deportation Blues’. This is a rare opportunity to enjoy an intimate seated show with one of Manchester’s finest musicians.

This show is a co-promotion with Show-Stream.tv.

This is a 10+ show. Under 16s must be accompanied by an adult.

Buy tickets now. Tickets are available from Band on the Wall’s box office (no booking fee), Ticketline.co.uk, and on 0871 220 0260.

Attend on: Facebook


All shows are 18+ unless otherwise stated.
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When: 7.30pm on Tuesday 30 April 2019
Where: Leaf on Portland Street, 113–115 Portland St, Manchester M1 6DW

We’re delighted to present a solo show with Simone Felice!

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

Simone has been hailed as one of the great songwriter-poets of his generation, bringing these gifts and history to his work as a prolific record producer.

Recent projects include The Lumineers’ #1 worldwide hit Cleopatra, Bat For Lashes’ stunning Mercury Prize-shortlisted concept album The Bride, and new releases by Phoebe Bridgers, Conor Oberst, Ian Felice, Vance Joy, Peace and Jade Bird.

Simone’s powerful new single, Puppet, is out now.

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

Attend on: Facebook


All shows are 18+ unless otherwise stated.
Designed by ikram_zidane

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