Hey! Manchester promotes gigs by folk, Americana and experimental bands from around the world in Manchester, England. Read more here, see below for our latest shows, check out our previous shows, contact us, or join our mailing list, above.

Upcoming shows: The Sheepdogs... Lawrence Arabia... Gratis: Gaygirl... Justin Townes Earle... The Burning Hell... The Stroppies... The Catenary Wires... Gratis: John Myrtle... Peter Broderick & Friends... Tacocat... The Beths... Deerhoof... Mark Mulcahy... Tallies... Sam Outlaw... The Album Leaf... Jesca Hoop... Chance McCoy... Peggy Sue... Gratis: Dumb... Skating Polly + She Makes War... Shana Cleveland... Lambert... Robyn Hitchcock... Samana... Martin Kohlstedt... Francis Lung... Weyes Blood... Sinkane... Sam Amidon... Tropical Fuck Storm... The Delines... Erland Cooper... BC Camplight... Sean Rowe...

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

PLEASE NOTE: This show has now sold out. Please watch this space for information about future Manchester shows by The Sheepdogs.

We’re delighted to be bringing The Sheepdogs back to the Deaf Institute!

For a new album that The Sheepdogs didn’t initially set out to make, Changing Colours is a stunning achievement.

Proud purveyors of guitar-driven modern-day retro rock, the triple Juno Award-winning Saskatoon-based quintet has expanded its sound on Changing Colours to encompass more styles and hues to enhance the Sheepdogs’ trademark beef-and-boogie twin-axe riffs, hooks, shuffles and long-haired aesthetic.

‘We identify strongly with rock ‘n roll, but there’s definitely some branching out,’ says Ewan Currie, The Sheepdogs’ singer, guitarist, songwriter and occasional – and yes, you’re reading this correctly – clarinetist. ‘The sounds we use on this – there’s more keyboards featuring Shamus and more stringed instruments. It’s still rock ‘n roll but there are more colours.’

It’s also great, passionate music born out of spontaneity: first resonating in the 17-song album’s euphoric opener Nobody and continuing to flavour such invigorating numbers as the electrifying Saturday Night and the driving I’ve Got A Hole Where My Heart Should Be, the record’s infectious first single.

But The Sheepdogs haven’t only stretched their sonic palate: they’ve also expanded stylistically, tastefully embracing other genres as well.

There’s the country-lite feel of Let It Roll, the Stax-soul aura of the mid-tempo anthem I Ain’t Cool that features trombone — and the resplendent Latin-rock vibe that fuels The Big Nowhere.

Tour support comes from Creatures. Picture a band on the pastel palette of Wes Anderson with the climactic twang of Quentin Tarantino… a band of 70s drenched cowboys straight out of Westworld, armed with psychedelic yet punchy guitar riffs and all the hair to match. Spaghetti Westerners inspired by modern pop muses, Creatures create a beginning, a middle and an end, sonically sending you on adventure that spans intense landscapes, tear-jerking waltzes, foreboding chaos and lingering cliff hangers. Touring with the likes of Temples, The Parrots and The Murlocs as well as being championed by Independent Music Week and The Great Escape, Creatures released their EP, Runt Of The Glitter, on 22 February.

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

PLEASE NOTE: This show has now sold out. Please watch this space for information about future Manchester shows by The Sheepdogs.

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All shows are 18+ unless otherwise stated.
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When: 7.30pm on Friday 21 June 2019
Where: The Castle Hotel, 66 Oldham Street, Manchester M4 1LE

We’re delighted to be welcoming Lawrence Arabia back to Manchester – with guests Seatbelts and Blimp Rock!

‘As inviting as the honk of the Good Humor Man of the ‘50s, who toodled his ice-cream truck through neighbourhoods of my youth. Such tune-smithery simply isn’t for tyros. It takes real savvy to pull it off. James Milne is equipped for such craft. I was delighted to feel attached to such a talented work, a notch above, and so plainly fanciful. Dreamsville!’ – Van Dyke Parks

James Milne is a brave human. Whilst the sleeves of many artists are adorned with well-worn hearts as they release their complete albums into the world, as New Zealand born singer-songwriter Lawrence Arabia, James’ latest project offers a rare glimpse into the creative process through 12 separate Lawrence Arabia’s Singles Club releases – now available on one handy LP and bringing together an extensive list of VIP members.

Launched as a Kickstarter to write, record and release a digital single every month in 2018, Lawrence Arabia’s 2018 Singles Club saw more than 368 backers pledge NZ$23,710 (roughly £12,000) to help bring the project to life. Talented pals contributed to the project including The Ruby Suns’ Ryan McPhun, Hollie Fullbrook of Tiny Ruins (singing on Everything’s Minimal), Heather Mansfield from The Brunettes (singing alongside Liam Finn’s drums on A Little Hate) and a dream collaboration with psychedelic hero, Van Dyke Parks. ‘The whole experience was initially terrifying but ultimately heart-warming and encouraging,’ recollects James. ‘The energy from all that rampant human positivity ended up pushing me into the process of producing twelve new songs with some sense of manic, irrational vigour. It was pretty exciting.’

One day in late 2017, at his home in Auckland, James sent a message on a whim and suddenly found himself in an email tête-à-tête with Van Dyke.’The thrill was having the name Van Dyke Parks appearing in my email inbox and engaging the most florid parts of my vocabulary in order to respond to his brilliantly verbose communiqués,’ he recalls. A ‘lullaby for neurotic adults,’ Just Sleep (Your Shame Will Keep) was originally written for Arabia’s psychedelic comedy podcast sensation, Mysterious Secrets Of Uncle Bertie’s Botanarium, but took on a new lease of life with the addition of Van Dyke’s piano, accordion, scratch woodwind and double bass. ‘Since I first heard of Van Dyke Parks, I’ve been fascinated by him, appearing as he did, Zelig-like, in the stories of people somewhat more famous than he, yet making some truly glorious art himself. I’d always nursed a fantasy of working with him.’

Constructed in Lawrence Arabia’s revered bedroom recording style, each Singles Club offering was built with ruthless ambition. Everything’s Minimal, Cecily, Meaningless Words and Oppositional Democracy began through the course of the year and were completed in the following months whilst other songs were revived from rough demos that followed 2016’s Absolute Truth as quickly and instinctually as possible. ‘The time pressure of the process definitely influenced the way I arranged the songs – I had to make bold decisions and stick to them, or tear them apart brutally and start again pronto.’

Woodwind and strings were recorded in Auckland’s Roundhead Studios with each track mixed in an office in the Dalmatian Cultural Society, surrounded by views of the city’s western suburbs and volcanic cones in the distance. ‘During the day there’s a constant hum of chit chat from neighbouring offices and the ping of the second-floor lift doors opening. At night, the building goes quiet, I’d turn the lights down low to evoke the sensation of a proper recording studio, but it never quite managed to shake the aura of the building’s bureaucratic past.’

Bound with one seamless invisible thread, the album stands as a body of work capturing a moment in time. Like those buildings with their structure on the outside, Lawrence Arabia’s Singles Club exposes the inner-workings of what it takes to create a record and offers any member a one-way ticket to Dreamsville. ‘I’m delighted at how it all ended up flowing,’ he tells. ‘I treated it like making a mixtape in extreme slow motion, so tried to make each song respond to the previous one the way you might when choosing a DJ set on the fly. Except this set was one year long, only twelve songs, and the songs had to be written and produced before they could be played.’

Main support comes from Seatbelts. Seatbelts are a band from Liverpool, comprised of James Madden, Ryan Murphy, Abigail Woods and Alex Quinn. James and Ryan – known for their work in Hooton Tennis Club – wanted an alternate name for The Beatles, and while jumbling the letters around over a drunken phone call Seatbelts poured forth. Their first release, Songs For Vonnegut EP, is dedicated to legendary writer Kurt Vonnegut. A new EP, Please Slow Down, recorded between bedrooms and Parr St Studios, is set to be released on 26 April. The band have shared two singles so far, the lush Content Crush and the upbeat, avant-pop Spanish Songs.

This new set of songs possess a more robust, full-band sound than Seatbelts’ previous releases, providing a detailed and vibrant listening experience. Their latest single Spanish Songs has received airplay on BBC 6 Music (Gideon Coe) and BBC Radio Wales (Janice Long). The publication Louder Than War described the single ‘for any lovers of that Postcard Records era, Seatbelts bring that twist of classic melody and delightful eccentricity with this perfect single’. The pink pages of Bido Lito described the bands live show as ‘Seatbelts have got all the rumbles of New York post-punk with the intelligence of Massachusetts, with literary references and all’.

Opening the show is Peter Demakos from Blimp Rock. Along with suing professional baseball teams and releasing albums in bars of soap, Toronto’s lovable indie rock outfit sport a charming, fuzzed out sound that recalls the likes of Lou Reed with an extra dash of sentimentality.

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

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All shows are 18+ unless otherwise stated.
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When: 7.30pm on Sunday 23 June 2019
Where: The Eagle Inn, 19 Collier Street, Salford, M3 7DW

We’re delighted to present a new series of free entry shows at the Eagle Inn – with the first featuring London quartet Gaygirl.

Gaygirl make alt-grunge noise-pop, whilst retaining shoegazey undertones. ‘Indie Noir’ has been a term used to describe the emotive, visceral sonic of this female-fronted four piece. For fans of MBV, Radiohead, Nirvana and PJ Harvey – or those who want them all at once – get sent on a journey through the nuances of 90s nostalgia-meets-now with jarring melodies and guttural guitar vibes. Gaygirl have proven themselves to be a tight and dynamic live act on the London gigging scene, supporting the likes of Shame, Sorry and Gabrielle Cohen among many other up-and-coming bands.

‘Fusing messy post punk with hazy shoegaze psychedelia, Gaygirl epitomise brilliantly the concept of “guitar rock”. The looped rolling riffs are amplified by the gory ballsy bass, further amped up by the carelessly raw vocals. Their sound is dark and full of punk undertones, whilst at the same time retaining a trippy pop element’ – Indie Underground

Opening the show are Unpaid Intern (Patrick/Oort Clod). Manchester’s favourite overeducated/underemployed non-slackers. Work well as individuals and as part of a team. Excel under pressure. References available on request.

This is a free show – but we strongly advise booking your place in advance via Ticketweb.co.uk

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When: 7.30pm on Monday 24 June 2019
Where: The Deaf Institute, 135 Grosvenor Street, Manchester M1 7HE

We’re delighted to be working with Justin Townes Earle again!

Justin Townes Earle is set to return with The Saint of Lost Causes on 24 May 2019. The 12-song set was co-produced by Earle and his longtime engineer Adam Bednarik and was recorded at Sound Emporium in Nashville, TN. Founded by Cowboy Jack Clement in 1969, Sound Emporium has hosted country luminaries such as Johnny Cash and Kenny Rogers as well as R.E.M., and countless other historic artists. The Saint of Lost Causes is Earle’s follow up to his critically acclaimed 2017 LP Kids In The Street, and spans everything from traditional country, blues and folk to western swing, roots-rock and boogie-woogie.

Justin Townes Earle has done a lot of living in 37 years. Born in Nashville on January 4th, 1982, he grew up as the son of country-rock iconoclast Steve Earle, who gave him his middle name in honour of his mentor, the brilliant songwriter Townes Van Zandt. For years he struggled with addiction with numerous stints in rehab; long stretches of itinerancy and general juvenile delinquency; a youth he once said he was ‘lucky to have gotten out of alive’. These days Earle is focused as a married father to a baby girl and is creating the best art of his career. While he describes Kids In The Street as ‘one of the more personal records I’ve ever made,’ he chose to focus his gaze outward for this new set of songs.

For The Saint of Lost Causes, Earle is focused on a different America – the disenfranchised and the downtrodden, the oppressed and the oppressors, the hopeful and the hopeless, as well as their geography. There’s the drugstore-cowboy-turned-cop-killer praying for forgiveness (Appalachian Nightmare) and the Michiganders persevering through economic and industrial devastation (Flint City Shake It); the stuck mother dreaming of a better life on the right side of the California tracks (Over Alameda) and the Cuban man in New York City weighed down by a world of regret (Ahi Esta Mi Nina); the ‘used up’ soul desperate to get to New Orleans (Ain’t Got No Money) and the ‘sons of bitches’ in West Virginia poisoning the land and sea (Don’t Drink The Water).

These are individuals and communities in every corner of the country, struggling through the ordinary – and sometimes extraordinary – circumstances of everyday life. ‘I was trying to look through the eyes of America,’ Earle says. ‘Because I believe in the idea of America – that everybody’s welcome here and has a right to be here.’ Earle tells these American stories in detail and without judgement. While some songs cite historic events, other tracks present fictionalised narratives that are no less harrowing or true-to-life.

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

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: 7pm on Thursday 27 June 2019
Where: The Deaf Institute, 135 Grosvenor Street, Manchester M1 7HE

We’re delighted to be presenting the Burning Hell’s biggest Manchester show to date – at the Deaf Institute!

In 2007, Mathias Kom collected some of his many songs and started a band, named after a religious tract handed to him by a wide-eyed zealot in Toronto. Mathias subsequently invited all of his friends to join him in performing these songs about seagulls, shopping malls, and the similarities between love and hurricanes.

Over the next ten years and almost as many albums, the lineup and sound of the Burning Hell have changed often, but the band has remained idiosyncratic and unclassifiable – much to the delight of those who love them. The constant has always remained Kom’s singular outlook on the world: wise and naive, cynical and life-affirming, full of brilliant, unexpected narratives and a deeply felt generosity of spirit.

The band’s live performances underscore these themes: they exhibit a joy and camaraderie too infrequently seen on stage. Indeed, the essence of the band is inclusive and celebratory; whether live or on record, there’s something for everyone. As Tom Robinson of BBC Introducing said about The Burning Hell, ‘even Jesus is going to enjoy this, once he finally gets here’.

Tour support comes from Quiet Marauder / My Name Is Ian.

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 11 July 2019
Where: Gullivers, 109 Oldham Street, Manchester, M4 1LW

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

Whoosh is a silly word,’ says Gus Lord of the Stroppies. ‘There is something completely nonsense about it, especially when removed from any kind of context. For me it conjures up images of something absurd and transient – two things fundamental in the experience of listening to or making good pop music.’

Whoosh may indeed be a silly word but it almost onomatopoeically captures the sound and essence of the Stroppies first proper debut album, one that breezes along with boundless energy, a refrained pop strut, infectious grooves and the sort of jangling guitar melodies that sound like a prime-era Flying Nun band.

Between them, the Melbourne-based band – currently comprising of Gus Lord, Rory Heane, Claudia Serfaty and Adam Hewitt – have been in countless bands such as Boomgates, Twerps, Tyrannamen, Primetime, Blank Statements, The Blinds, White Walls, See Saw and Possible Humans. The band formed together around a kitchen table in 2016 with a heavy focus around the essence of collaboration and a DIY ethos. This led to an acclaimed cassette release of lounge room recordings, which was then pressed onto vinyl to more acclaim. The Stroppies next step was then taking their DIY approach to home recordings into the studio to make a transitional leap to what would become their proper studio debut. ‘Whoosh is our first concerted effort to make something with a bit more sonic depth,’ says Claudia Serfaty (the bands other primary songwriter). ‘It was an attempt to take working processes that had been established in a home recording setting and build on them with a broader musical palette in the studio in order to push the band into new territory without compromising what made initial releases so endearing.’

Endearment is something that the Stroppies have no problem retaining on Whoosh. It’s a record that possesses all the spunk and gusto of a young band hurtling forward yet also knowing when to take their foot off the accelerator. It’s an album that simultaneously feels young and fresh but wise beyond its years. ‘Whoosh is the most robust sounding release we have ever recorded,’ Serfaty says. Combining taut post-punk rhythms, indie jangle, seamless melody and sugary pop, it’s a record that Lord says is influenced by: ‘All sorts of things – life, work, relationships, old cartoons and the last 60+ years of guitar-based pop music in some form or another. This includes everything from Bill Fay to the Clean to Stephen Malkmus.’

Whoosh is a record that combines a natural sense of urgency with a thoughtful approach. Something that the recording process itself was emblematic of. ‘Budgetary restrictions meant that we had two days to lay the foundations,’ Serfaty recalls. ‘So it was axe to the grind: burning through live takes interspersed with tea and Turkish food from the local kebab shop, which culminated in twelve half finished cuts, rough and ready.’ That was the urgent part, what then followed was a focused and labour intensive approach to get the most out of the bare bones of the record as possible. ‘We spent hours building up, stripping down and mixing the work that had been recorded the month prior, throwing everything we could think of at the songs to see what would stick. We utilised whatever was on hand to pull sounds, including but not limited to vintage synths, rain sticks and an old door frame that we used for percussion.’ This was done with Zachary Schneider, a friend of the band, budding producer and established musician who is most notable for his guitar work in bands such as Totally Mild, Free Time and Full Ugly.

By the end of that period the band got so absorbed in the record that they almost lost sight of it. ‘I’m still a little too close to this record for it to evoke anything in particular,’ Lord says. ‘Except for perhaps dull anxiety. Towards the end of recording I felt like I was drowning in the process and lost all clarity on what it meant or it’s value. Kind of like saying a word over and over again – it starts to lose all meaning.’ Although with time comes clarity and even amidst the fog of making a record that has taken over his life, Lord knows the band has made something special. ‘Reflecting on the process I feel really proud of the album.’

Opening the show are Unpaid Intern. Manchester’s favourite overeducated/underemployed non-slackers. Work well as individuals and as part of a team. Excel under pressure. References available on request.

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

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 19 July 2019
Where: Gullivers, 109 Oldham Street, Manchester, M4 1LW

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

The Catenary Wires are Rob Pursey and Amelia Fletcher. They specialise in emotive indie duets, capturing the spirits of Nancy Sinatra and Lee Hazelwood, Serge Gainsbourg and Brigitte Bardot, and releasing them into modern Britain. In their previous lives, Amelia and Rob featured in indie bands Talulah Gosh, Heavenly and Tender Trap.

Live, The Catenary Wires become a five-piece, with musical heavyweights Andy Lewis (Paul Weller Group, Spearmint) on bass and cello; Fay Hallam (Makin’ Time, Prime Movers) on Hammond organ and backing vocals, and Ian Button (Death in Vegas) on drums.

The new Catenary Wires LP, Til the Morning is available on Tapete Records from 14 June. The album was recorded during 2018 at the Sunday School, in the middle of nowhere in Kent. It is a big step forward from their first album (Red Red Skies on Elefant Records/Matinee Recordings): more complex and more beguiling, with a multi-layered sound that reflects a range of additional instruments, including harmonium, bells and an old trailer. It was produced by Andy Lewis, who has recently produced albums for Judy Dyble and French Boutik. Track 1, Dream Town, is the first single from the album.

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

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All shows are 18+ unless otherwise stated.
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When: 7.30pm on Sunday 23 June 2019
Where: The Eagle Inn, 19 Collier Street, Salford, M3 7DW

As part of our new series of free entry shows at the Eagle Inn, we present John Myrtle and Rosey PM.

John Myrtle is releasing his debut EP, Here’s John Mrytle, on Bingo Records and is taking the jangle pop that has earned him fans at BBC 6 Music and Rough Trade on the road.

Here’s John Myrtle sees John collect a number of his early demos and live favourites, as well as new songs, and record and mix them proper for the release on Bingo. The EP shows the best of John Myrtle’s idiosyncratic pop songs so far, and builds on the recordings done on old tape machines in his bedroom by adding parts from live band members Ben Bartrop and Sean Harper. Tracks Cyril The Slug and Foggy have already gained extensive airplay on BBC Radio 6 Music and the band played their first live session for Marc Riley on the station in March. Radio X and Amazing Radio have also been backing the tunes, and Cyril The Slug attracted the praise of Alex Kapranos of Franz Ferdinand and FFS.

John’s music calls to mind The La’s, The Kinks and Harry Nilsson, while his lyrical subjects are reminiscent of words by Richard Brautigan or Ivor Cutler. John Myrtle and his band have been honing their live show all year, having played with labelmates Mr Ben & the Bens as well as fellow 6 Music favourites Lavinia Blackwall and Wesley Gonzalez.

Local support comes from Rosey PM. Self-proclaimed pyjama-jazz singer-songwriter Rosey PM trips over jazz-pop beats and flirts with young romance, wrapping harmonies around lazy-day tunes and hypnotic bass lines.

This is a free show – but we strongly advise booking your place in advance via Ticketweb.co.uk

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All shows are 18+ unless otherwise stated.
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When: 7pm on Saturday 24 August 2019
Where: Soup Kitchen, 31-33 Spear Street, Manchester M1 1DF

We’re delighted to be hosting Peter Broderick & Friends, who will be playing the songs of Arthur Russell.

Spirited musician and multi-instrumentalist Peter Broderick presents an entire album devoted to the songs of Arthur Russell. This diverse collection, named Peter Broderick & Friends Play Arthur Russell, includes ten renditions of Russell’s songs, two of which have yet to be released in their original versions.

What began as an idea from his former Efterklang bandmate Rasmus Stolberg – who invited Peter to perform an entire set of Arthur Russell songs at his festival in Denmark – evolved into a passionate voyage of discovery, when Broderick’s live performances caught the attention of Russell’s long-time partner Tom Lee. This connection has since led to Broderick examining some of the remaining archival work, and performing audio restoration on some of the old tapes, finding himself closer to Russell’s music than he could have ever anticipated. Broderick’s strong love for his work has grown exponentially, as he delved deep into the psyche of his hero, listening to hours and hours of unreleased material. Inspired to learn some of this music himself, Broderick also discovered that some of his favourite Arthur Russell songs have yet to be heard.

Peter Broderick & Friends Play Arthur Russell is a vibrant and joyful tribute to one of Broderick’s greatest heroes.

The album was recorded in the state of Maine, where most of Arthur’s surviving family are based, where Broderick himself was born back in 1987 and with a large cast of friends and family, including Russell’s niece Rachel Henry and nephew Beau Lisy. The cover is adorned with an original painting by Tom Lee.

Peter would like to extend his deepest gratitude to all of Arthur’s family, friends and fans who have been so warmly welcoming of his own versions of these tunes. It is hoped that these recordings will serve to honour the truly staggering legacy of Arthur Russell.

The album was initially made available, free to download as a gift to fans on Christmas day. Physical versions are also now available: the CD version is being released by Lirico in Japan. A vinyl pressing of 300 copies and a cassette format are both available through Pretty Purgatory.

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 27 August 2019
Where: Gullivers, 109 Oldham Street, Manchester, M4 1LW

We’re delighted to be welcoming Seattle’s Tacocat back to Manchester!

After recently releasing their new album This Mess Is a Place via Sub Pop, Seattle pop-punk four piece Tacocat have just announced a UK tour for this August with shows in Glasgow, Manchester, Cardiff, London and Brighton. The have also unveiled the video for the album’s standout track, New World.

When Seattle band Tacocat – vocalist Emily Nokes, bassist Bree McKenna, guitarist Eric Randall, and drummer Lelah Maupin – first started in 2007, the world they were responding to was vastly different from the current Seattle scene of diverse voices they’ve helped foster. It was a world of house shows, booking DIY tours on MySpace, and writing funny, deliriously catchy feminist pop-punk songs when feminism was the quickest way to alienate yourself from the then-en vogue garage-rock bros. Their lyrical honesty, humour and hit-making sensibilities have built the band a fiercely devoted fanbase over the years, one that has followed them from basements to dive bars to sold-out shows at Seattle’s Showbox. Every step along the way has been a seamless progression – from silly songs about Tonya Harding and psychic cats to calling out catcallers and poking fun at entitled weekend-warrior tech jerks on their last two records on Hardly Art, 2014’s NVM and 2016’s Lost Time.

This Mess Is a Place, Tacocat’s fourth full-length and first on Sub Pop, finds the band waking up the morning after the 2016 election and figuring out how to respond to a new reality where evil isn’t hiding under the surface at all – it’s front and centre, with new tragedies and civil rights assaults filling up the scroll of the newsfeed every day.

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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