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: Advance Base... Group Listening... Laura Gibson... Buke and Gase... Man of Moon... Dylan Rodrigue... Mugstar... You Tell Me... Ólafur Arnalds... Kristin Hersh... Tiny Ruins... Mano McLaughlin... CC Smugglers... Dan Mangan... Skinny Lister... Steve Gunn... Liela Moss... Holy Moly & The Crackers... William the Conqueror... Vera Sola... C Duncan... Weyes Blood... Otoboke Beaver... BC Camplight... Simone Felice... Rozi Plain... Josh Rouse + Grant-Lee Phillips... The Unthanks... James Yorkston... The Beths... Hayes Carll... Robert Forster & Band... The Sheepdogs... Lawrence Arabia... The Burning Hell... The Stroppies... Mark Mulcahy...

When: 7.30pm on Tuesday 26 February 2019
Where: Gullivers, 109 Oldham Street, Manchester, M4 1LW

We’re delighted to be promoting Advance Base’s first Manchester show in six years!

Advance Base is the electronic solo project of Chicago, IL singer/songwriter Owen Ashworth (formerly of Casiotone for the Painfully Alone).

Using a two-handed arsenal of electric pianos, autoharps, Omnichords, loops, samples & drum machines, Ashworth builds minimalist, heavy-hearted and nostalgia-obsessed tunes around his conversational, baritone vocals. The sound of Advance Base has been described as ‘lo-fi’, ‘depressed’ and ‘weirdly uplifting’.

Advance Base has proudly supported live dates for The Postal Service, Pedro the Lion, The Mountain Goats, Dean Wareham (Galaxie 500/Luna), Alan Sparhawk (Low), Mark Kozelek (Red House Painters/Sun Kil Moon) and Stephin Merritt (The Magnetic Fields).

The debut Advance Base album, A Shut-In’s Prayer (2012), was released in North America by Mark Kozelek’s Caldo Verde Records (CD) and Ashworth’s own Orindal Records (vinyl/digital). Tomlab Records released special edition CDs and LPs for Europe and UK.

Nephew in the Wild, the second album by Advance Base, was released on 21 August 2015 by Orindal Records (US/AQ) and Tomlab Records (EU/UK). PopMatters named Nephew in the Wild the #1 Indie Pop Album of 2015.

Animal Companionship, the third and most recent album by Advance Base, was released on 21 September 2018 by Run For Cover Records and Orindal Records.

All available merchandise, including t-shirts, vinyl records and MP3s can be purchased from Orindal Records.

Advance Base is named after the Antarctic meteorological station & psychedelic death trap that nearly killed Admiral Richard E. Byrd during the winter of 1934.

Opening the show are The Vanity Project. The Vanity Project can’t sit still. Using a loop pedal and far more instruments than it’s wise for two people to play, the duo incorporate monologues, interludes and the occasional dance routine into their set. They write apocolyptic disco jams about corrupt politicians and anthemic ballads about the death of idealism, all of which ooze fun and catchiness despite their quirk and valour. Winners of the 2016 national iSessions contest, they’ve been written about in the Independent, played on BBC 6 Music and garnered praise from the likes of Marc Riley and Everything Everything frontman Jonathan Higgs.

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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When: 7.30pm on Tuesday 26 February 2019
Where: The Castle Hotel, 66 Oldham Street, Manchester M4 1LE

We’re delighted to be presenting Group Listening’s headlining debut in the city!

PRAH Recordings is excited to present Group Listening, a new project by Stephen Black and Paul Jones. Clarinet & Piano: Selected Works Vol.1 is a collection of ambient works – from the likes of Brian Eno, Arthur Russell, Euros Childs and Robert Wyatt – arranged for clarinet and piano.

Having met at music college, Stephen and Paul went separate ways creatively. Stephen delved into pop, recording albums and touring extensively under the guise of Sweet Baboo, while working with Cate Le Bon, H. Hawkline and others. Paul leaned into the piano, pursuing a career as a jazz pianist and experimental musician. He played with Keith Tippett, formed the Jones O’Connor group, performed with noise improv bands and composed orchestral and chamber music.

Reconnecting years later, the pair discovered that their music tastes, bizarrely, met in the middle; they have a shared love of The Beach Boys, Ghost Box Records, Messiaen and Angela Morley. They both like ambient and new age music, bubblegum pop, Artie Shaw, Moondog and the outsider music handbook Songs in the Key of Z.

Clarinet & Piano: Selected Works Vol.1 is the spontaneous, beguiling culmination of this friendship. Cutting out post-production and keeping overdubs to a bare minimum, the pair passed their clarinet and piano through guitar stomp boxes and other analogue effects to enable processing and manipulation directly in performance. The result hums with the ghostly energy of sound pioneers Joe Meek and Martin Hannett, while mbira and drum machines are sparingly deployed amid enveloping folds of space echo.

Like Virginia Astley or Simon Jeffes, Group Listening tread the overlap between classical and experimental music. Perhaps most startling here is the breadth of material arranged as one atmospheric whole. The pieces range from the ever-spiralling, fractal phrases of German composer Roedelius to the haunting rasps of Hollywood and game soundtracker Disasterpeace, via the groundbreaking sonics of early electronic inventor Raymond Scott. Somehow, shot through Group Listening’s electro-acoustic lens, these works evolve into something supremely calming, poignant and new.

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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When: 7pm on Wednesday 27 February 2019
Where: Soup Kitchen, 31-33 Spear Street, Manchester M1 1DF

We’re delighted to be bringing Laura Gibson back to Soup Kitchen!

Laura Gibson is an internationally acclaimed multi-instrumentalist and singer-songwriter, born and raised in the small Oregon logging town of Coquille.

Her last album, Empire Builder, was praised by Pitchfork as ‘a cathartic tale of loss and redemption’, and was called ‘a triumph’ by Uncut. Both literary and raw, with a love of traditional folk music and a bent toward experimentation, she has toured four continents, and had the distinct honour of performing the very first NPR Tiny Desk Concert.

She recently completed an MFA in fiction writing from Hunter College, and her sharpened language and story telling abilities are on full display on her new record Goners, on City Slang Records.

Local support comes from Kind Stranger. Kind Stranger are spoken word artist Ellaney Hayden with songwriters Brynn Chappell and Gareth Price. The newly formed Manchester trio summon up a dreamy blend of Americana and country soul, which pays the tariff of debt to those magicians who have come before while their songs relevant to the here and now. Kind Stranger are currently preparing to record their debut single.

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 Monday 4 March 2019
Where: The Castle Hotel, 66 Oldham Street, Manchester M4 1LE

We’re delighted to be presenting Buke and Gase’s headlining debut in Manchester!

Buke and Gase make pop music in the most insane way possible‚ through long periods of ecstatic collaboration executed with a kind of monastic discipline. They are a band that wears genre tags lightly: Soon after releasing their EP length demo +/-, they became an ‘indie rock’ obsession shared by The National and beloved cult podcast Radiolab. Their debut album Riposte found them categorised as ‘steampunk art-folk’; they excelled at this, and became a favourite of NPR Music and were invited to perform on their Tiny Desk Concert series. Their second album General Dome appealed equally to metal, math rock and avant garde music fans, and spawned their closest thing to a hit thus-far: Houdini Crush, which opens with a massive guitar riff and blooms into frenetic round. It was behind this record that the band first toured the world, performing alongside and often serving as hand-picked support to a who’s who of music icons: Laurie Anderson & Lou Reed, Shellac, Battles, Reggie Watts, Swans, Deerhoof, Owen Pallett & Mike Patton’s metal supergroup Tomahawk among others.

And then came a public silence — five years of it.

Aron and Arone were hardly dormant; they craved evolution. Relocating full-time to the upstate artists’ haven of Hudson, New York, the duo went to work on their third album with the aim of reinventing themselves, recommitting to their sometimes punishing work ethic and challenging their limits of songwriting, sound palette and performance.

They also stepped out on their own creative journeys. Arone Dyer’s voice was the first thing anyone heard of The National’s Grammy winning Sleep Well Beast album, singing the introduction to #1 AAA radio-charting The System Only Dreams In Total Darkness. She also moonlighted in side projects Mistresses and #dronechoir; participated in Justin Vernon and Aaron and Bryce Dessner’s PEOPLE festivals, and sang with Bon Iver and The National on nationally broadcast late night TV. Aron Sanchez, as Polyphonic Workshop, invented the chordstick, a bespoke percussion/guitar mash-up for Bryce Dessner’s acclaimed Music for Wood & Strings project — and remained central to producing instruments for the Blue Man Group.

Three years ago, they embarked on a major refinement and modernisation of their instrumental creations — and embraced electronic music. Together they developed Arx, a device that revolutionised their performance, allowing them to trigger percussive sounds, change effects on their instruments, and control vocal harmonies all with the punch of an arcade button. They have largely retired the buke (baritone ukulele) and gase (guitar-bass). The band no longer sit through their performances exclusively — a reinvention unveiled when they opened for The National at massive venues across Europe last autumn. Buke and Gase stopped being defined by the instruments which gave them that name. Their new album Scholars began not as the title of their new record, but a possible-new moniker for the band.

Although their distinct musical character is still recognisable, the songs on Scholars embrace a form of expression that is more concise, more emotional and less perverse in its uniqueness. The album was honed from 60+ songs and hundreds of hours of recordings into a concise document clocking in under 40 minutes. In a way, their long and roundabout journey has resulted in a sound that’s coincidentally in sync with our most forward thinking contemporary artists — James Blake, Bjork/Arca, Frank Ocean. They have embraced the same computer- and synthesiser-driven creative tools that make EDM and trap music function, while existing entirely in their own, fully imagined universe of sound.

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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When: 7.30pm on Wednesday 6 March 2019
Where: Gullivers, 109 Oldham Street, Manchester, M4 1LW

We’re delighted to be working with Man of Moon for the first time!

Man of Moon are a two-piece psychedelic rock band formed in Edinburgh, Scotland. Chris Bainbridge and Michael Reid met in college in 2014 when they formed the band and starting writing and gigging almost instantly after first jamming together in class, which led to them dropping out of college to focus completely on the music.

In 2015 they released first single The Road on Manchester label Melodic, which the New York Times said was ‘the best debut single from a UK band since Ceremony by New Order’. This gave the band a huge step up in the industry and they started getting impressive support slots with bands such as The Phantom Band, We Were Promised Jetpacks, Frightened Rabbit and more.

In 2016 the band released their first EP Medicine on Melodic Records, which saw the band embarking on their first UK tour up and down the country, supporting The Twilight Sad on tour and playing major festivals such as T in the Park, Belladrum and The Great Escape.

In 2018 the band went on tour with one of their favourite bands Django Django, the band’s biggest tour to date consisting of 20-plus shows all over Europe and the UK playing to huge crowds every night. This was the band’s first major foot print in Europe and are planning to go back soon.

2019 is the year that Man of Moon have been building up to. They will be releasing a brand new EP, Chemicals, and have plans to follow up with an album later in the year!

Support comes from Idle Hours. Since releasing the tracks Powder White and TV Crush, Idle Hours have become a regular feature on the local Manchester circuit. The release of the punchy Happiest Place on Earth shows the hard work they’ve put in since their first release in April 2018 and have been on rise ever since. Living together, the band write about social media and the digital dystopia in the world we live in, with themes of Hollywood scandal and modern politics ever present in their work.

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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When: 7.30pm on Friday 8 March 2019
Where: The Castle Hotel, 66 Oldham Street, Manchester M4 1LE

We’re delighted to be presenting Dylan Rodrigue’s headlining debut in Manchester – with special guests Sie Sie Benhoff, Sam Forrest (Nine Black Alps) and Secret Admirer (Former Bullies)!

Dylan Rodrigue hails from Los Angeles and plays his first UK shows in March in support of his debut album Cat’s Game, released by Bad Paintings.

Dylan Rodrigue’s music has always been a journey, exploring all genres and musical forms. Dylan was raised in small yoga-based intentional community in Northern California . . . a very quiet and peaceful place with a quiet and peaceful music scene. This all changed at the age of seven when Dylan’s father snuck a copy of Who’s Next into his bedroom. This sparked a passionate exploration of music from the Beatles to Fugazi, the Pixies, Elliott Smith and Vic Chesnutt. He began playing guitar and writing his own songs at age eight, studied classical guitar in high school, and eventually obtained a degree in songwriting and avant-garde composition at the California Institute of the Arts (CalArts).

Dylan’s professional career in LA has shown the same sense of adventure. As a talented guitarist and singer, he has performed with alt-country bands (currently with Sie Sie Benhoff), complex math rock/hardcore bands, and a 13-piece travelling vaudeville band! With the release of his debut album Cat’s Game, Dylan returns to his true passion… sharing his own music.

Cat’s Game shows the full range of Dylan Rodrigue’s musical pallet. His deeply personal lyrics are presented in a variety of musical settings, from stripped down acoustic folk, Neil Young-inspired electric guitar rock, and Stooges-esque punk.

Dylan Rodrigue’s musical journey is wide, varied and unpredictable . . . and it’s definitely a trip worth taking!

‘Brings to mind some of Elliott Smith‘s darker simplicity whilst courting the outsider fragility of an earlier Ariel Pink‘ – God Is In The TV Zine

Joining Dylan on tour is his side kick and fellow LA singer-songwriter Sie Sie Benhoff. Sie Sie grew up singing to and caring for children all around the world, and you can hear her own cry for redemption throughout this first record. She balances lyrics of heartbreak and remorse by adding a little comedy and a lot of rock-and-roll. This record really has a song for everyone, and in scope and composition, it’s hard to believe it’s her first release… and completely live to top it off.

Support also comes from Sam Forrest – known to many in Manchester as the former frontman of Nine Black Alps, he is currently working on his seventh album in Los Angeles.

Opening the show is Manchester’s own Secret Admirer, the solo project from Nick Ainsworth of Former Bullies and Dinner Party fame. In 2016 he released a 20-song self-titled tape via Belfast’s CF Records.

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When: 7.30pm on Saturday 9 March 2019
Where: The Eagle Inn, 19 Collier Street, Salford, M3 7DW

We’re delighted to be promoting an intimate show with Mugstar at the Eagle Inn – with guests Imperial Wax.

Mugstar are the sound of 10,000 suns exploding, pulsing and repetitive beauty, sounding like a sonic mantra. Mugstar set sail for the sun in 2002 and have completed numerous voyagers with the likes of Mogwai, Melt Banana, Oneida and Acid Mothers Temple.

Their tireless work ethic and astonishing, internationally renowned, live performances have earned them a much deserved status as cult heroes. Their first single Spotlight Over Memphis caught the ears of late and great radio legend John Peel, who later went on to record them as his last-ever Peel Session in 2004. A subsequent string of singles, EP’s and several full-length albums make up the band’s back catalogue, not to mention a split release with Mudhoney, one with Oneida (on Rocket Recordings) and a collaboration with Damo Suzuki (on Important Records).

Magnetic Seasons, their last album for Rock Action Records (the Glaswegian label run by Mogwai) sees Mugstar shifting through a whole range of newfound sonic gears. With fresh layers and swathes of texture stretching out a much broader aural vocabulary than is often permitted during their explosive live shows, Magnetic Seasons is a game changer for Mugstar. Not just in terms of length, but in its fluidity and its breadth of moods and emotions locked within the songs.

‘Remember that childhood game where you’d cross hands with a pal and spin until someone falls over and smacks their head on the pavement? Magnetic Seasons feels like that; guaranteed to leave you cross-eyed’ – The Skinny

‘Music fit to accompany you across oceans or deep into space. Don’t let the ship go without you’ – Louder than war

Special guests are Imperial Wax. Imperial Wax are the longest serving and last line up of legendary Manchester band The Fall. The 11-year veterans Keiron Melling, Dave Spurr and Pete Greenway have teamed up with frontman Sam Curran and have already recorded forthcoming album Gastwerk Saboteurs, scheduled for May 2019. The album was produced by Mat Arnold (Noisettes, The Coral, Peter Gabriel, The Fall) – ex-in-house engineer at Real World Studios.

This show is a co-promotion with Interior.

Buy tickets now. Tickets are also available in person from Vinyl Exchange, plus via Wegottickets.com, Ticketline.co.uk and on 0871 220 0260.

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When: 7.30pm on Wednesday 13 March 2019
Where: YES (Basement), 38 Charles Street, Manchester M1 7DB

We’re delighted to be welcoming You Tell Me – aka Peter Brewis and Sarah Hayes – back to Manchester!

As one half of Field Music, Peter Brewis has been honing the craft of pop songwriting for almost fifteen years, whilst Sarah Hayes has been exploring contemporary folk in her solo work, and the world of indie-pop via her band Admiral Fallow. Their debut self-titled album, the last to be recorded at the old Field Music recording HQ, is set to be released in January on Memphis Industries.

After meeting at a Kate Bush celebration concert, the pair clicked. ‘I’d been an admirer of Field Music for a good while before meeting Peter at the gig,’ Sarah recalls. ‘So I was pleased to discover he wasn’t an insufferable diva, and delighted that he was keen to try working on some music together.’ Peter had been ‘blown away’ by Sarah’s voice during a rendition of This Woman’s Work and when investigating her solo work heard a lot of parallels to what he was trying to do in Field Music.

Sarah had previously only written instrumental music and arrangements up until this point, often favouring interpreting others’ lyrics or working with traditional songs. ‘I’ve always loved words but had never thought I could be a lyricist,’ she says. However, when she sent Peter some songs she had written, the initial plan of working together in the capacity of him producing her soon evolved into a new band being formed. They spoke about a shared love of artists such as The Blue Nile, Jon Brion, Rufus Wainwright, Tortoise and Randy Newman and got to work.

By blending their distinct compositional talents, they’ve created a record that possesses their own clear styles but also a new voice too. With both of them writing songs and lyrics, Peter describes it as ‘a sort of dual-personal record’. Sonically, the result is a subtly crafted album with a rich and intricate sense of composition, in which strings glide above multi-layered keyboards and percussion, and vocal melodies wrap around one another in snug unison. In many senses it feels like a classic songwriter record – rich in craft, songs, arrangements and vocal interplay – yet it manages to feel stylistically contemporary and void of nostalgia.

Lyrically, Peter says, ‘most of the songs seemed to either be about conversations, be conversational or about talking or not talking’. Sarah echoes this: ‘The subject of communication – talking and listening, guessing and questioning – looms large on this record and in general for me. It’s something I think about a lot.’ Which makes sense given that this record is fundamentally a musical conversation between two new collaborators and friends, a constant back and forth of new ideas, shared influences and the expunging of inner feelings.

The album represents struggle on a personal level but a shared sense of uninhibited joy on a collective level, says Peter. ‘Although I think we were both going through some big, difficult changes personally, we tried to have fun making it too. There was probably a time when making the record was a bit of an escape from other matters. We were able to just please ourselves with what we did and how we did it.’

The quietly brooding acoustic-heavy number – sprinkled with saxophone honks – Get Out of the Room ‘is about jealousy, insecurity and how they can fuel resentment, anger and even a sort of desire,’ Peter says. Invisible Ink features perpetual-motion piano lines a chanty chorus and swoopy synths and, according to Sarah, deals with ‘expectations and people’s individual ways of navigating these’. Water Cooler, another Peter-led track, looks at an inept office romance – ‘I was literally imagining two office workers failing to talk to each other at the water cooler. No metaphors here’ – whilst the Fairport Convention-inspired Clarion Call is ‘about the idea of waiting: to feel ready to spring into action, to be free of fear and anxiety, and then realising it’s often good to push on in spite of these things’.

Whilst the subject matter can occasionally be personal and explores troubled or conflicted conversations around inner turmoil, there’s also a stirring sense of beauty that comes from the record; a feeling of pastures new and moving onto new things rather than being held back by the past. What makes this an even more remarkable musical statement and achievement is that two first-time collaborators were able to channel so much of themselves into a project and create something coherent and poised.

For Sarah this approach was an experiment that paid off. ‘Making this record has taken me out of my comfort zone,’ she says. ‘We found a way of working which, while still peppered with various conundrums that crop up in making an album, was also fun and freeing. It can be a bit of an overused word, but I think this is a genuine and meaningful collaboration.’

Special guests are Sweet Billy Pilgrim. Twelve years, four critically acclaimed albums, one Mercury Music Prize nomination, an appearance in the IT Crowd and lots of performances later, Sweet Billy Pilgrim’s Tim Elsenburg is remembering things. He remembers answering his phone whilst repairing an office toilet in Farnborough to the news that Twice Born Men had been shortlisted for the Mercury Music Prize; he remembers meeting Jana on Twitter, and how her voice felt like part of his own the first time they sang together; he remembers selling all his guitars to pay the rent; he remembers Mojo magazine calling third album Crown & Treaty a five star ‘stone cold classic’.

Sweet Billy Pilgrim have recently gone from being a noisy six-piece band to just being Tim and Jana; something that initially felt frightening, but that soon became an opportunity to focus more simply on two voices and the words that they sing. Their new album is called Wapentak. Wapentak is about what we share, and about what we miss when we build walls and forget what it is to be kind. It’s the sound of band dialling down the complexity and noise a little and returning to a simple idea: that voices raised together can make things better, even just for a moment; and that through telling stories we might find each other again.

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

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When: 7.30pm on Wednesday 20 March 2019
Where: Victoria Hall, Leeds Town Hall, The Headrow, Leeds, LS1 3AD

We’re excited to be promoting Ólafur Arnalds’ return to Leeds – at the Town Hall!

BAFTA winning artist, composer, musician and producer Ólafur Arnalds has expanded his current worldwide tour, his first in over three years.

After extensive touring in Europe, USA and Australia in 2018 that included sold out shows in the prestigious Royal Albert Hall in London and Sydney Opera House, Ólafur and his team of fellow craftsmen and musicians are back on the road with an all-new live show. Ólafur’s new album, re:member, was released in August 2018 via Mercury KX and has been praised by fans and critics alike.

The tour features a uniquely wired string quartet, a live drummer/percussionist and Ólafur’s playground of pianos and synthesisers.

The centrepiece of the show are two semi-generative, self-playing pianos that Ólafur and his team have spent over two years developing. They are simultaneously a compositional tool and an integral part to the live performance due to their generative nature. Each time they are played is a little different, making every performance unique.

Special guest is Lisa Morgenstern. Morgenstern is a German/Bulgarian pianist, singer and composer. Released in late 2018, Chameleon finds her taking dramatic strides to expand her range, matching her far-sighted approach to both synths and piano with her background in classical music. Recorded in collaboration with Berlin-based Argentinian producer and cellist Sebastian Plano, Chameleon’s nine ambitious tracks showcase her extraordinary, multi-octave-spanning voice on a collection that combines glacial elegance (Atlas), baroque synth-pop (My Boat), poignantly atmospheric electronica (Levitation) and expressive piano instrumentals (Codex).

The daughter of two orchestral musicians, Morgenstern– who can also be found singing in Berlin’s leading Bulgarian Women’s Choir – was exposed to music from a very young age and displayed a natural affinity towards the piano. She also trained while a teenager as a professional ballet dancer, something that’s lent her music a unique elegance and poise. In 2013, she released her debut full length, Amphibian, whose atmospheric production and dark subject matter earned plaudits for its dark romanticism, and she’s since established a reputation for her intensely emotional performance style.

Book tickets now. Tickets are also available from Seetickets.com and on 0871 220 0260.

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When: 7.30pm on Friday 22 March 2019
Where: St Philip’s Church, Encombe Place, Salford, M3 6FJ

We’re delighted to be welcoming back Kristin Hersh – this time, with her Electric Trio, to St Philip’s Church!

Kristin Hersh will be touring the UK in Spring 2019 with Rob Ahlers (50 Foot Wave) on drums and Fred Abong (Throwing Muses, Belly) on bass.

‘Sometimes the most subversive thing I can do musically is adhere to standard song structure, sometimes the creepiest chords are the ones we’ve heard before, twisted into different shapes, and sometimes a story is lived a thousand times before we can ride it like a roller coaster. Nothing wholly unfamiliar is gonna make you look twice. When you can describe a record as being “deceptively” anything, you’re hinting at the sociopathic nature of music. Something I love. Imagine truly buying your own sunshine and charm, but also your darkness and violence; the two sides of your psychology showing each other off in relief. Songs can do that…we can’t, really. Darkness we’ve seen. Dark sunshine? Still cool.

‘I usually play all the instruments on my solo records – essentially the sound of having no friends – but sociopaths can’t realise their potential without people to work out their grievances on and this record is a freakin’ sociopath. So I invited my friends to the party I wanted to hear. Not a live record but an alive record.

‘Because a lot of live records don’t sound live, just poorly recorded. And self-conscious musicians can’t let fly. I wanted to recreate the impact of a show. Unpretentious, with a muscular song body running through the room. This entailed seriously messing with both extremes of the sonic spectrum: the fundamentals (basics, rhythm section, roots) but also with the detail (percussion, high end, effects). These two strata asked to sound eccentric: atonal and arhythmic. So when the song body runs through the room, it’s not wholly unfamiliar, just dressed oddly enough to make you look twice. Dark sunshine, still cool. Hopefully, anyway.

‘My friends helped me make a nice party noise, a goofy sociopath. Everyone who stopped by the studio was asked to make some noise and they pretty much did. A party that lasted for a few years, it’s only now dying down. A friend called this morning asking when the bus was leaving. A rickety, squealy, squeaky bus…none of us want to miss it.’

Kristin Hersh, July 2018

Throwing Muses’ lynchpin Kristin Hersh’s prolific career has seen her heralded queen of the alternative release. Her tenth studio album, Possible Dust Clouds is a highly personalised sociopathic gem delivered as a futuristic rewriting of how music works, a melodious breeze with a tail wind of venomous din.

Enveloping the juxtaposition of the concept of ‘dark sunshine’, a brooding solo record created with friends to expand her off-kilter sonic vision; a squally, squeaky mix of discordant beauty. Feedback and phasing gyrate from simply strummed normality – imagine Dinosaur Jr and My Bloody Valentine cranking up a Dylan couplet. Possible Dust Clouds is a glorious return to form for one of alternative rock’s true innovators.

‘She’s still as powerful a presence as she ever was’ – Pitchfork

‘The prodigious output and commitment to quality is pretty staggering, but then Kristin Hersh is a very, very special musician’ – The Quietus

We’re excited to be returning to a very special venue for this show: St Philip’s Church. The building is one of Greater Manchester’s finest Georgian buildings, dating back to 1825, and its Greek style is unique in Salford.

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

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