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: Angel Olsen – Leeds... Honey Harper... the glowe... Leif Vollebekk... Ariel Sharratt & Mathias Kom (of The Burning Hell)... Aoife O’Donovan... Tokyo Police Club... The Lovely Eggs... Peggy Sue... Moulettes... Born Ruffians... Dana Gavanski... The Handsome Family... Happyness... Scott Matthews... The Beths... Pictish Trail... Mr Ben & The Bens... We Were Promised Jetpacks... Douglas Dare... Andy Shauf... Smoke Fairies... Roddy Woomble... Lindsay Munroe... A.A. Williams... bdrmm... Joan Shelley... Erland Cooper... The Lovely Eggs... BC Camplight... Penguin Cafe... Alice Boman... Joep Beving... The Dears...

When: 7pm on Thursday 3 September 2020
Where: Leeds Beckett Students Union, Portland Building, Portland Way, Leeds LS1 3HE

PLEASE NOTE: This show has been postponed. Here’s a note from Angel:

‘Due to the ongoing uncertainty surrounding COVID-19, and for the safety and health of my fans, band, and crew – I am postponing my Leeds show. We will make an announcement in the coming weeks with new date so I encourage you to hold on your tickets as they will be valid for the rescheduled shows.’

We’re delighted to be welcoming Angel Olsen back – this time, to Leeds!

The descent into darkness is a trope we find time again across history, literature and film — a protagonist plunging further and further into the depths. But there is also an abyss above. There is a winding white staircase that goes ever upward into the great unknown — each step, each turn, requiring a greater boldness and confidence than the one before. This is the journey on which we find Angel Olsen.

Olsen’s flight is both upward and inward. Olsen’s artistic beginnings as a collaborator shifted seamlessly to her magnificent, cryptic-to-cosmic solo work, and then she formed bands to play her songs, and her stages and audiences grew exponentially. But all along, Olsen was more concerned with a different kind of path, and on her vulnerable, Big Mood new album, All Mirrors, we can see her taking an introspective deep dive towards internal destinations and revelations. In the process of making this album, she found a new sound and voice, a blast of fury mixed with hard won self-acceptance.

‘I guess you could say some bold and unexpected things have happened in my life,’ Olsen said. ‘It feels like part of my writing has come back from the past, and another part of it was waiting to exist.’

All Mirrors gets its claws into you on both micro and macro levels. Of course, there’s that singular vibrato, always so very close — seemingly simple, cooed phrases expand into massive ideas about the inability to love and universal loneliness. And then suddenly — huge string arrangements and four horsemen bellowing synth swells emerge, propelling the apocalyptic tenor. Throughout All Mirrors, Angel fully lets in the goth tones that always lurked at the ends of her song craft.

‘In every way — from the making of it, to the words, to how I feel moving forward — this record is about owning up to your darkest side,’ Olsen said. ‘Finding the capacity for new love and trusting change, even when you feel like a stranger. This is a record about facing yourself and learning to forgive what you see. It is about losing empathy, trust, love for destructive people. It is about walking away from the noise and realising that you can have solitude and peace in your own thoughts, that your thoughts alone can be just as valid, if not more.’

The first step of All Mirrors, was conceiving a back-to-basics solo record, which she recorded with producer Michael Harris in Anacortes, Washington. Soon after that was completed, a more ambitious version of the album began to percolate in her mind. This second, more maximalist version of All Mirrors evolved slowly with producer John Congleton, arranger Jherek Bischoff, Swiss Army Knife musician/arranger Ben Babbitt, and a 14-piece orchestra.

‘I was determined to keep it bare bones in order to contrast with the not yet recorded full band record,’ Olsen said. ‘I wanted to have versions of these songs that are completely raw and real in the way some of my earlier recordings are, so that I could have the choice to play alone or with a band.’

While remaking the album with full production and new collaborators, Olsen developed a new relationship with control. And in that process, she developed an even clearer vision of herself as an artist.

‘It’s scary to be your own compass, to trust new faces, to be a stranger — but sometimes that’s the only way forward,’ she said. ‘When you’ve been in a repetitive cycle so long it’s difficult for anyone to see you as someone who could come out of it. When you’ve made an example of yourself that people expect, some voices remind you of that example even when you know in your heart you’ve made changes.’

‘As I see it, in order for an artist to survive some kind of change, change needs to be a constant. For myself that constant change means having some kind of epiphany or clarity expressed in song. I don’t know if it’s something I inspire or attract, or if it’s just in the way I’m looking at my surroundings, but drama is something that surrounds my world and always has. I’m at least happy that I’ve learned to write it down.’

This show is a co-promotion with Now Wave and the Brudenell.

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All shows are 18+ unless otherwise stated.
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When: 7.30pm on Thursday 1 October 2020
Where: Gullivers, 109 Oldham Street, Manchester, M4 1LW

PLEASE NOTE: This show has been postponed, with the new date to be announced shortly. Original tickets will be valid and all other details will remain the same. Here’s a message from Honey Harper:

It pains us to say it again however, for the health and safety of our band and our fans, we have to postpone our EU and UK dates once again due to travel restrictions and COVID-19. There was no way we could have ever imagined postponing our tour once, so doing it a second time makes it even harder. We were so excited to get out there and show STARMAKER to the world but we will have to continue waiting.

We are currently working on rescheduling the dates to a time when it is safe again for us all to be together and enjoy live music.

Please note all tickets will be valid for the new dates once they are announced!

See you as soon as we can!

Love always,
Honey

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

Honey Harper announces a string of new UK headline dates in September and October 2020 to coincide with his rescheduled UK and Europe shows. The autumn dates will be the first live performances since the release of his debut album, Starmaker, on 9 March via ATO Records.

The album itself is primarily about the journey to create it and follows his mysterious emergence with Secret from 2017’s critically-acclaimed Universal Country EP (Arbutus Records). The new album’s self-awareness is largely the result of Harper’s inner monologues about his fear of failure, desire for success, and the toll that journey has taken on him and his loved ones. It’s an attempt at honesty through the veil of a country singer lost in the stars. The album also features appearances from Sébastian Tellier, Austra and John Kirby; the contrast of the songs becomes even more apparent and set Honey Harper apart to become the torch-bearer for a revitalised country sound.

Honey Harper, born William Fussell, grew up surrounded by country music in the heart of Georgia. He introduced himself to the country music world with his debut EP Universal Country, a genre-bending project pieced together over multiple years with deep ties to Harper’s Georgia roots. Three years later Harper released Starmaker, his first full-length record which revealed a mature songwriter and superbly gifted vocalist pushing the genre of country music to its outer limits. His critically acclaimed music showcases a multi-faceted new vision of country music and harnesses its most beautiful elements from an outsider’s perspective.

‘A gorgeous kind of spaced-out country that’s anchored by the musician’s clean, androgynous voice’ – The FADER

‘Weightless in sound and heavy in feeling’ – Pitchfork

‘Interstellar country that wraps itself around the horizon’ – Clash Magazine

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 Sunday 11 October 2020
Where: The Deaf Institute, 135 Grosvenor Street, Manchester M1 7HE

PLEASE NOTE: This show has been postponed from May to October. Original tickets are valid and all other details remain the same.

We’re delighted to helping the glowe launch their new album!

Hauntingly beautiful, gritty and uplifting, Manchester-based collective the glowe create intense darkness and light with mountain vocals, shimmering strings and smashed up beats. Influenced by sounds from Bjork, Shostakovich, Kraftwerk and the Balkans.

the glowe is led by Lis Murphy, vocalist, string player and song-writer. Lis performs with Jane Weaver, featuring on her albums Kosmology and The Fallen Watch-bird.

She has also performed with Amadou & Mariam at Manchester International Festival, supported New Order with Jez Kerr (ACR) on their Scottish tour, in festival line-ups at WOMAD, Boomtown and on BBC Radio 3 and 4 with Manchester Chamber Choir.

‘Delivered with dedication and versatility… the glowe made an immediate connection with the audience with their compelling music and on-stage presence’ – Steve Mead, Manchester Jazz Festival

Special guest is Sanja Cin. Sanja Cin’s songs are snapshots in time. Her music naturally embraces influences from music she loves, among them classic pop and folk, as well as music from Brazil to the Balkans. Born in Bosnia and Hercegovina, Sanja grew up in a small Austrian town. After several years spent in Vienna, she landed by surprise in Manchester. Here it is where she recorded her solo EP Bees, together with Manchester-based multi-instrumentalist and producer Alan Keary (alias Shunya), in collaboration with musicians from Austria and Manchester.

Sanja’s music talks about the urgency of life and the ever present resistance towards it, about recognising your own super powers and honouring them by stepping out of the old, over and over again. The songs’ sound is rooted in pop, yet, taking surprising turns at times, playing with structures and melodies, quietly bypassing predefined routes.

As part of the Northern Line Scheme sponsored by Jazz North.

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 Thursday 29 October 2020
Where: Soup Kitchen, 31-33 Spear Street, Manchester M1 1DF

PLEASE NOTE: This show is being reschedule from April. All other details are the same, and original tickets remain valid. 

We’re excited to be welcoming Leif Vollebekk back to Manchester!

New Ways is a new album by Montreal’s Leif Vollebekk, his hotly anticipated follow-up to the Polaris Prize finalist Twin Solitude. It’s a record that lives between the kick and the snare, in that instant of feeling before the backbeat.

‘The way that it was is the way it should be,’ Vollebekk sings on Phaedrus – a line that’s a memory and a wish. New Ways is that too: the sound of desire in its unfolding. Two years ago, things were changing so fast, and the songwriter didn’t want to forget. ‘I often think of Leonard Cohen’s line, “I hope you’re keeping some kind of record,”‘ he says. ‘So I did.’ It was like he was pretending you can compose a soundtrack to your own life (which perhaps you can).

In the end, New Ways is a document of everything Vollebekk felt, the way each moment arrived and moved through him. Whereas Twin Solitude was about self-reflection, New Ways is about engaging and changing, touching and being touched. It’s a physical record, with louder and tighter grooves, and the rawest lyrics the musician has ever recorded. A portrait of beauty, desire, longing, risk, remembrance – without an instant of regret. ‘She’s my woman and she loved me so fine,’ goes the chorus to one tune. ‘She’ll never be back.’

‘Anything that I wouldn’t ever want to tell anyone – I just put it on the record,’ Vollebekk says: tenderness and violence, sex and rebirth, Plato and Julie Delpy. A story told through details – ‘the sun through my eyelids,’ ‘a sign on the highway covered in rain’. The songs came fast – recorded a week here, a week there, initially just Leif and a drummer. ‘After each take, we’d go into the control room and listen back and see how it felt,’ he says. ‘If it didn’t feel right we’d do it again, or switch from piano to guitar, or change the drum sound, or the microphones.’ Once they got it, he’d move on. Never at rest, always in movement: 10 different tracks for 10 states of motion – each with its own pulse, drawing the listener in.

There’s the heat of the night and the cool blue of morning, hints of Prince and Bill Withers, the limbo of a lover’s transatlantic flight. Hot Tears is all hot-blooded memory. Apalachee Plain is a clamorous goodbye. I’m Not Your Lover would be a perfect love-song were it not for its chorus – a song that lets two opposites be true at once. ‘That last record I made for me,’ Vollebekk admits. ‘This one is for someone else.’

Imagine the singer at the end of last September, performing at midnight in one of Montreal’s rarest and most intimate venues – a century-old porno theatre called Cinema L’Amour, a temple to the true and the carnal. He was sitting at a piano. The chords were moving like shadows on a wall. ‘She’s my woman and she loved me so fine!’ Leif cried, singing to the rafters. ‘She’ll never be back.’

When everything was finally over – when the mixes were perfect and the masters cued up – Leif says listening to the album was like re-watching a film. ‘Now I knew what was going to happen,’ he remembers. ‘Now the moments didn’t feel fleeting – they felt eternal, almost fated. The songs spoke to me differently, but they hadn’t changed. I just heard them in New Ways.’

This show is a co-promotion with One Inch Badge.

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 18 November 2020
Where: The Eagle Inn, 19 Collier Street, Salford, M3 7DW

PLEASE NOTE: Sadly this show in November has been cancelled due to the current situation. Look out for a new show in winter 2021, to be announced in the near future.

We’re delighted to be welcoming The Burning Hell’s Ariel Sharratt and Mathias Kom back to the Eagle!

Work is changing. Robots are replacing us. Capitalism is fracturing. With their second duo album Never Work, Ariel Sharratt and Mathias Kom (of Canadian garage-folk band The Burning Hell) ask what work songs might sound like in a future where the nature of labour itself is so uncertain. Accenting the acoustic elements of old-school folk revivals with electronic interference, Never Work takes cues from labour activists and Situationist pranksters to explore the gig economy, side-hustles, tech feudalism, class war, unionised digital assistants, rebellious self-service checkout machines, and fully automated luxury communism.

Some are songs about workers, some are songs for workers, but most are both at once. Simultaneously earnest and wry, the songs on Never Work are a protest playlist for our collective journey towards oblivion or the beach.

Tour support comes from Paper Beat Scissors. Paper Beat Scissors is the expanding and contracting experimental folk project of Tim Crabtree. His unique, haunting voice, dynamic live shows and fusion of classical and electronic elements have been heralded on both sides of the Atlantic. Relocated-Brit Crabtree began the project following a move to Canada’s East Coast and soon caught the attention of his adoptive home, recording the highly acclaimed self-titled debut with Michael Feuerstack (Snailhouse, Bell Orchestre, the Luyas) producing and Arcade Fire drummer Jeremy Gara mixing. The album, released on Forward Music in Canada and Ferryhouse in Germany, Austria, Switzerland, found its way onto BBC and CBC airwaves and the cover CD of Rolling Stone Magazine in Germany.

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 22 January 2021
Where: Hallé St Peter’s, 40 Blossom Street, Ancoats, Manchester, M4 6BF

PLEASE NOTE: Due to the current circumstances, this show have been rescheduled and will be performed with Aoife and the string quartet. All tickets purchased for the original date will remain valid.

We’re delighted to present Aoife O’Donovan: Songs and Strings in one of Manchester’s hidden gems.

Recognised for her ethereal voice and substantive songwriting, Aoife O’Donovan is also known for her collaborations. Called ‘a vocalist of unerring instinct’ by the New York Times, O’Donovan is one of the most sought after vocalists and songwriters of her generation and her career has allowed her to collaborate with some of the most eminent names in music across a wide variety of genres.

The most recent example is I’m With Her, the band comprised of Sara Watkins, Sarah Jarosz and O’Donovan. Their debut album See You Around, released in February 2018, has garnered praise from NPR, who instantly hailed the collection as ‘willfully open-hearted’, and the Guardian called their sound both ‘ethereal and purposeful’.

As a solo artist, O’Donovan has released two studio albums. In the Magic Hour (2016), a 10-song album full of the singer’s honeyed vocals mixed with gauzy, frictionless sounds: splashing cymbals, airy harmonies, and the leisurely baritone musings of an electric guitar. Mojo described the record as ‘exhilarating and exploratory,’ while the New York Times named The King of All Birds one of the Best Songs of 2016. Aoife toured 2016 in support of the album and ended that year releasing a live album, Man In A Neon Coat: Live From Cambridge, with her touring band. Her debut solo album, 2013’s Fossils, is a moody collection of original songs with a country lilt. The record received critical acclaim and was featured on a number of Best of 2013 lists including NPR Music, American Songwriter, New York Magazine and No Depression. In 2018, Aoife contributed an original song titled Are You There to the film What They Had, an official selection at both Sundance and Toronto Film Festivals.

O’Donovan spent the preceding decade as co-founder and front woman of the string band, Crooked Still. She is the featured vocalist on The Goat Rodeo Sessions, the Grammy-winning album by Yo-Yo Ma, Stuart Duncan, Edgar Meyer and Chris Thile, and its one-third of the female trio Sometimes Why. Throughout her career, she has also collaborated with artists such as Alison Krauss and jazz trumpeter Dave Douglas, and is currently a member of the house band on the radio variety show Live From Here.

For this show, Aoife is joined by a string quartet.

Hallé St Peter’s, located on Blossom Street in Ancoats, is a Grade II-listed, deconsecrated church, which was built in 1859. Having stood empty for decades, it was recently restored to provide rehearsal and recording space for the Hallé orchestra.

This show is sold as unreserved seating. It is a co-promotion with Please Please You and the Brudenell.

Age restriction: 14+. 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: 7pm on Wednesday 2 December 2020
Where: The Deaf Institute, 135 Grosvenor Street, Manchester M1 7HE

PLEASE NOTE: This show has been postponed from May to December. Original tickets are valid and all other details remain the same. Here’s a message from the band:

‘hi everyone!

‘as you’ve probably worked out, our much anticipated return to the UK/EU is not going to happen quite so soon as we’d all hoped, but fear not! we’re going to do the tour in December instead. if you already have tickets, you can use them for these shows. they’re probably going to be the first gigs we get to play all year, so we’re going to be FULL OF PENT UP ENERGY and ready to rock even harder than usual. we can’t wait to see you, and in the meantime please take care of yourselves and your neighbours.

‘xo
TPC’

We’re delighted to be working with Tokyo Police Club for the first time!

After more than five years away, Tokyo Police Club are making their eagerly anticipated return to the UK and EU.

‘Sorry,’ says keyboardist/guitarist Graham Wright of the lapse. ‘We kept meaning to “come back next year”, but the whole operation sort of fell victim to the big black hole of uncertainty that was swallowing everything for a minute there.’

He’s referring to the period of indecision that befell the group after they finished touring their twin 2016 EPs, Melon Collie and the Infinite Radness Parts 1 and 2. By that point it had been more than ten years since the band, then not even in their 20s, burst onto the scene. Their debut EP, A Lesson In Crime, was only 17 minutes long, but it launched them on a stratospheric ascent that saw them tour the world many times over and grace the stages of festivals from Coachella to Glastonbury.

The band’s star continued to burn bright over the ensuing years, but as the first decade of their career came to a close they found themselves unsure of their position in the ever shifting music industry, and indeed of whether or not they wanted to continue. All of them, that is, but singer and bassist Dave Monks, who implored his bandmates to not just walk away, telling them ‘Fuck no. We at least gotta go make Abbey Road first, and go out with a bang.’

The others listened, and after a series of fruitful writing sessions in a decommissioned rural church, they decamped for Los Angeles to work with producer Rob Schnapf. Schnapf, famous for his work with Beck, Elliott Smith and The Vines, had previously worked with the band on their 2010 fan favourite Champ – an LP which is celebrating its 10th anniversary this year. That ‘bang’ eventually coalesced into the band’s latest long player, the semi self-titled TPC. But a funny thing happened somewhere along the way: suddenly, they didn’t feel like ‘going out’ at all.

‘The feeling that we were so close to breaking up gave us the freedom to enjoy each other more, to enjoy making music together,’ says drummer Greg Alsop. ‘If we’re not doing it for the sake of being a successful band, but just trying to make an album we’re happy with, it takes the pressure off. The expectation was just that we’d do something that would make us happy.’ And, by all accounts, it did.

Rather than serving as a victory lap, the TPC tour saw a rejuvenated and re-energised Tokyo Police Club playing a setlist packed with old favourites and new hits to sold out venues across Canada and the United States. And now, at long last, they’re bringing the show back across the Atlantic.

‘I’m still annoyed that we took so long,’ says Wright. ‘But it does feel right that we’re coming back now. We toured there a lot when we were a new band, and in a way we kind of feel like a new band again.’

This show is a co-promotion with Mission Mars.

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

Buy tickets now. Tickets are available from Dice.fm, Ticketline.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 5 February 2021
Where: Gorilla, 54-56 Whitworth Street West, Manchester M1 5WW

PLEASE NOTE: This show has been moved from April 2020 to February 2021. All other details are the same, and original tickets remain valid. It’s still sold out – but if any tickets are returned, we’ll post updates on social media. Here’s a message from the band:

We’ve made the decision to postpone all our live touring until February 2021. This is an absolute gutter for us but with little direction from the government, we don’t want to put people’s safety and lives at risk. We imagine that even by autumn even if gigs CAN happen they’ll be very different to the usual Lovely Eggs experience and we don’t want that! We want the normal Egg-shaped chaos that you’ve come to expect from a Lovely Eggs gig. So we’ve taken the decision to postpone our touring until next year. All tickets for the old shows originally scheduled for April and rescheduled for July are now valid for the new shows in February. In the cases where we have seen a venue change/upgrade the tickets for the original show in that city remain valid. Our shows at The Ritz in Manchester and Heaven in London have been rescheduled to May. We really hope people hang onto their tickets, not get refunds and join us next year. We live to tour and tour to live. This is our life and our livelihood.

Once this shitstorm is over. We want a party like no other!! Looking forward to seeing you all next year!! Take care of yourselves and see you on the other side. Love Holly and David X

We’re delighted to be welcoming The Lovely Eggs back to Gorilla!

The Lovely Eggs are back on the road in 2021 as they announce a string of tour dates around the UK!

With observational and often surreal lyrics about life The Lovely Eggs have a powerful raw sound that creates the sonic illusion of a band twice their size. The result is a mix of heavy psych, pop and strangeness and they have become known for their ferocious yet joyous live performances.

Their new single This Decision is out on 10 January, followed by their new album I am Moron – produced by Dave Fridmann (Flaming Lips, Mercury Rev, MGMT, Tame Impala, Mogwai) – in the Spring.

With much support from BBC 6 Music and Radio 1, the band continues to sell out gigs across the UK without the help of management, booking agent or record label support. They are selling out bigger and bigger venues and more eggheads are joining them in their crusade against bullsh*t.

Catch them live in February 2021 for the “I am Moron” UK album tour.

Main support comes Thick Richard. Thick Richard has been pedalling his potty-mouthed poems at festivals and clubs up and down the land since 1999. His cynical, lyrical, jet-black humour, intelligent wordplay, well-crafted verse, and occasionally acerbic, well-targeted comic attacks have earned him much respect from artists and audiences from Edinburgh to Glastonbury. He has supported acts including; Kate Tempest, The Fall, The Courteeners, Jerry Sadowitz, John Hegley, Arthur Smith and Frank Sidebottom. Thick Richard has been heard a number of times on BBC radio, including presenting and writing BBC 6 Music’s Beat of the Day and performed live on the channel for National Poetry Day. He is a regular headliner of Hammer and Tongue nationwide poetry tours and is usually to be found performing a wide variety of live music and cabaret venues. He has also had a sell-out tour of his solo show Swear School.

Opening the show is Dog Daisies. Dog Daisies is a widescreen lo-fi indie-pop project based around the home-studio adventures of Lancastrian songwriter Stephen Hudson. Inspired by motorways, midnight walks, 1980s films and the Lancashire coast, Dog Daisies released the debut LP Eagletism at the end of 2019 to glowing press reviews and repeated airplay on BBC 6 Music. Described as ‘Stand by Me put to music and set on a motorway’, it is a record brimming with imagination and melody; it touches on themes of time-travel and the great outdoors whilst inviting comparisons to bands like Grandaddy, Guided by Voices and Mercury Rev.

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

PLEASE NOTE: This show has been moved from April 2020 to February 2021. All other details are the same, and original tickets remain valid. It’s still sold out – but if any tickets are returned, we’ll post updates on social media

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All shows are 18+ unless otherwise stated.
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When: 7.30pm on Saturday 27 February 2021
Where: The Kings Arms, 11 Bloom Street, Salford M3 6AN

PLEASE NOTE: This show has been postponed until February 2021. Original tickets remain valid and all other details are the same. Here’s a note from the band:

‘Hope everyone’s been holding up ok at the end of the world!! We were hoping hard to get to play ‘Vices’ to you this year but we always knew it might not be possible. We’ve managed to reschedule almost all of the shows for SPRING 2021 and we’re still working on a Brighton one. Thanks for your incredible patience with this tour. Crossing all our fingers that we’ll all be back playing and watching music together next year.’

We’re delighted to be bringing Peggy Sue to the Kings Arms!

Peggy Sue are London-via-Brighton indie duo Rosa Slade and Katy Young. Founded in 2007, the band have released four albums on Wichita Recordings, culminating in the critically acclaimed Choir Of Echoes, and toured with the likes of Jack White, Local Natives and First Aid Kit.

Fifth album Vices, due autumn 2019, will be their first in four years and the first release on the band’s own Souvenirs Records. Slow Fade, a lo-fi celebration of restlessness (released impatiently in 2017), was an apt first taste of the melancholy optimism that fills the ten tracks of Vices. The single and upcoming album borrow in equal parts from the perfectly constructed pop songs of the 1960s and the understated, noisey guitar experiments of 90s indie bands including The Breeders and Blur.

Peggy Sue’s front-women Rosa and Katy have spent the past four years in the great company of all-female singing group Deep Throat Choir (Bella Union), building Vices gradually all the while in studios across London with the help of producer Jimmy Robertson (Choir of Echoes) and new recruits Dan Blackett (Landshapes), Ben Gregory (GRIP TIGHT) and Euan Hinshelwood (Younghusband).

Tour support comes from GRIP TIGHT. GRIP TIGHT is the musical project of London born, Berlin-based producer and vocalist Benjamin Luke Gregory. Creating darkly hypnotic songs using synthesisers and mutilated vocal samples, his music has garnered airplay from BBC Radio 1 and 6 Music, and has been described as ‘full-blooded and soulful contemporary pop’ (DIY). His debut album is scheduled for release later this year.

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: 8pm on Thursday 4 March 2021
Where: Night & Day Cafe, 26 Oldham St, Manchester, M1 1JN

We’re delighted to be welcoming Moulettes back to Manchester!

Since their formation at Glastonbury Festival 2002, the ever-evolving collective Moulettes have forged an uncommon course. Over the years, Moulettes have become an extended family tree, a musical ecosystem with tentacles in London, Manchester, Brighton, Bristol, Berlin, Montreal and more. From the avant-folk of their early albums to cinematic orchestral arrangements and big riffs, this is a band who put creativity at the heart of everything they do.

Moulettes have had support from all over the world, with praise and appreciation in the parallel worlds of folk, prog and indie. As they reinvent and reimagine themselves at every stage with a revolving cast of exceptional musicians, Moulettes’ music is always distinctively recognisable.

Hannah Moule and Moulettes return with their fifth studio album and their most ambitious project to date. Xenolalia is a collection of 55 pieces of music: 11 songs about communication, told five ways. Electric, strings, a cappella, horns and electronica. Now embarking on the biggest adventure in their career so far, Hannah and the band are pushing all the boundaries for this extraordinary release.

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

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All shows are 18+ unless otherwise stated.
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