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 Travelling Band... Aldous Harding... William the Conqueror... Wolf Parade... Lost Horizons... Skinny Lister + Beans on Toast... The Burning Hell... Leif Vollebekk... Euros Childs... Lowly... Jesca Hoop... Schwervon!... Charles Howl... David Thomas Broughton... Haiku Salut: Christmas Lamp Show... Honeyfeet... The Deslondes... Liima... Will Varley... Jen Cloher... The Lovely Eggs... Loney dear... Gun Outfit... Spinning Coin... The Handsome Family... The BellRays... Karl Blau... Josienne Clarke & Ben Walker... Brooke Sharkey... Lilly Hiatt... Josh Rouse... Pinkshinyultrablast... I’m With Her... The Breath...

When: 7pm on Friday 17 November 2017
Where: The Deaf Institute, 135 Grosvenor Street, Manchester M1 7HE

We’re delighted to be working with The Travelling Band once again – this time, at the Deaf Institute, with guests Pale Seas!

The Travelling Band, best placed as Mancunian Americana, have released three critically lauded previous albums – Under the Pavement (2008), Screaming is Something (2011) and The Big Defreeze (2014) – and have performed at festivals such as Glastonbury (Other Stage/Park/Acoustic), Cropredy, Green Man, Festival No.6, Kendal Calling, End of the Road and Beautiful Days and spent much of 2016 touring the UK and Europe as Lissie’s backing band.

The core trio of Adam Gorman, Jo Dudderidge and Nick Vaal have been joined recently by Harry Fausing Smith (sax, violin, clarinet) and Sam Quinn (bass) after the departure of original members Mugger (guitar) and Spenny (bass). The line up is augmented by Chris Hillman (guitar and pedal steel) on their energetic live shows, which feature the dual lead vocals of Adam and Jo.

The band have now announced their forthcoming album, SAILS, due 25 August 2017 via Sideways Saloon Records/Kartel. The first taste of SAILS comes in the shape of the single, Into The Water, which serves as an introduction to a new, more expansive approach from the Manchester five-piece.

‘They produce an inventive brand of guitar-laden cosmic aesthetic and sprinkles of trademark Manchester’s musical lineage’ – Clash

‘It’s all here – passionate yet delicate vocals, deep forceful drumming, jangly guitar, fluctuating strings – everything you could ask for from a song that oozes summer’ – The 405

Special guests are Pale Seas. Pale Seas’ debut album Stargazing For Beginners will be released on 6 October. It features their recently released single Into The Night as well as new song Someday. The album was produced by Chris Potter (The Verve/Richard Ashcroft) and Paul Butler (Michael Kiwanuka, Devendra Banhart) and will be available as a gatefold vinyl with gold leaf inlays as well as CD and streams.

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

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

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All shows are 18+ unless otherwise stated.
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When: 7.30pm on Sunday 19 November 2017
Where: Gorilla, 54-56 Whitworth Street West, Manchester M1 5WW

PLEASE NOTE: This show has sold out! For information about future Aldous Harding shows, please sign up for our mailing list at the top of this page.

We’re delighted to be working with Aldous Harding again – this time, at Gorilla, with H. Hawkline!

An artist of rare calibre, Aldous Harding does more than sing; she conjures a singular intensity. Her body and face a weapon of theatre, Harding dances with steeled fervour, gnashing like a Banraku puppet.

Her debut release with 4AD, Party (produced with the award-winning John Parish; PJ Harvey, Sparklehorse), introduces a new pulse to the stark and unpopulated dramatic realm where the likes of Kate Bush and Scott Walker reside.

Igniting interest with her eponymous debut album released just two years ago, Aldous Harding quickly became known for her charismatic combination of talent, tenacity and shrewd wit. The album drew attention and accolades from some of the most illustrious corners of the music industry, receiving 4 stars in MOJO and Uncut, while UK blog The 405 hailed her a ‘toweringly talented song writer’.

Comprising a formidable clutch of songs, 2017’s Party sees Harding shape-shift through a variety of roles: chanteuse, folk singer and balladeer – all executed with her twisted touch of humour, hubris and quiet horror. In other words, she’s having a good time. Stretching her limbs with playful cunning; every note, word and arrangement posed with intellect and inventiveness.

Created in Parish’s hometown of Bristol, Party saw Harding depart her New Zealand base in the antipodes for an intensive two-week immersion in the studio. Articulating her ambitions for Party to Parish was a galvanising process for Harding, with stunning results. The pair developed a near non-verbal shorthand, audibly evident in a raft of musical contributions from Parish. Alongside such special guests as Perfume Genius’ Mike Hadreas (having worked with Parish and toured with Aldous, it only took asking once), there is an exhilarating sense of risk throughout the record as Harding’s muscular wingspan extends. Teased out with inflections of experimental instrumentation and arrangements; Party is always anchored by Aldous’s intimidating command of her own songs.

First single Horizon is a lover’s call to arms, powerful for its brutal simplicity and rawness of feeling, love and loathing colliding to devastating effect. ‘Aldous Harding repeats the line as a mantra, as a truth, as a reality. It’s as if the gift of life is right here, with all its beauty and its limitations,’ said NPR.

Imagining My Man commands an air of delicacy as Aldous explores the curiosity of a lover’s idiosyncrasies; steering listeners into a state of intense intimacy laced with hyperactive shots, dirgey saxophone and Harding’s aching voice. The track is one of two that Perfume Genius Mike Hadreas lends his inimitably sultry vocals to, the other being the intimate Party closer Swell Does The Skull.

Blend sensitively ushers the mood of Harding’s flourishment throughout Party. Its opening lines a nod to the mood of Harding’s last record; sameness is quickly quashed with an electronic drumbeat and the announcement of Aldous Harding as an artist of stirring ambition and trajectory.

The album’s eponymous single Party harks to Aldous’ earlier work; delicately pulling at the threads of a seemingly late-night love affair. Again, it’s not long until the rug is pulled out, with a searing chorus – Harding’s electrifying vocal accompanied by a choir of women and waves of percussive bass clarinet – piercing the balloon of expectations around Harding’s new record with effortless vigour.

Renowned for the captivating state of possession she occupies in live performance, Aldous Harding has won crowds the world over playing alongside Deerhunter, Frankie Cosmos and Perfume Genius, as well as to hoards of eager crowds at SXSW, The Great Escape, Golden Plains and more. Aldous’ 2017 touring schedule spans Europe, the US and the United Kingdom for much of the year.

Tour support comes from H.Hawkline. H.Hawkline (Huw Evans), who released his new album I Romanticize on Heavenly Recordings on 2 June 2017, has previously played with the likes of Foxygen, Gwenno and long-time cohort Cate le Bon. He also recently completed a run of shows with Devendra Banhart and King Gizzard & the Lizard Wizard, as well as a number of festival appearances over the summer.

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

PLEASE NOTE: This show has sold out! For information about future Aldous Harding shows, please sign up for our mailing list at the top of this page.

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All shows are 18+ unless otherwise stated.
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When: 7.30pm on Monday 20 November 2017
Where: The Castle Hotel, 66 Oldham Street, Manchester M4 1LE

Following their appearance with Danny & The Champions of the World in September, William the Conqueror return to headline the Castle in November!

Cornwall trio William the Conqueror have been picking up praise from far flung corners ever since Ruarri Joseph took the step to go public with his erstwhile secret alter-ego. Debut album, Proud Disturber of the Peace, was released in the summer to widespread critical acclaim, and their shows have been steadily winning over fans up and down the country. After a summer of festivals, followed by a tour opening for Loose label-mates Danny & the Champions of the World, the band are now readying themselves for a run of headline shows.

The indie-rock three piece sees Ruarri joined by bassist Naomi Holmes and drummer Harry Harding, channelling classic blues and roots through a grunge/indie filter, with diverse influences including The Doors, Ryan Adams and The Lemonheads.

Praised for their grit and authenticity by the likes of the Guardian and NPR’s Ann Powers, they made their mark at AmericanaFest in Nashville, signing to Loose, and going on to pick up a nomination at the UK Americana Awards 2017, where they shared the stage with the likes of Van Morrison, Richard Thompson and Ethan Johns.

‘Whatever you want to call William The Conqueror does not matter. All that matters is that this group is good. Damn good’ – The 405

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

Support comes from South Island Son. Beginning life in a rehearsal room floating three floors above Manchester’s Northern Quarter, frontman Jonny Woodhead brought together other like-minded stooges to create the quartet, South Island Son.

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

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All shows are 18+ unless otherwise stated.
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When: 7pm on Tuesday 21 November 2017
Where: Gorilla, 54-56 Whitworth Street West, Manchester M1 5WW

We’re delighted to be working with Wolf Parade for the first time – plus FRIGS!

The soaring choruses, rousing anthems, sprawling guitars and chaotic keys that make up Wolf Parade are on proud display over the course of Cry Cry Cry, the band’s thunderous first album in seven years.

That unique combination of sounds and influences, spearheaded by electric co-frontmen Spencer Krug and Dan Boeckner – a complex yet relatable, energetic brew of glam, prog, synth-rock, and satisfying discomfort – helped define 2000s indie rock with three critically celebrated albums, and propelled a growing Wolf Parade fandom even after the band went on a then-indefinite hiatus in 2010.

The upcoming return marks their first to be produced by Pacific Northwest legend John Goodmanson (Bikini Kill, Sleater-Kinney, Unwound) at Robert Lang Studios outside of Seattle, and is accompanied by a renewed focus and the creativity of a band that took their time getting exactly where they needed to be. It’s also a homecoming to Sub Pop, which released all three of the band’s previous albums.

‘The band itself is almost a fifth member of the band, something more or at least different than the sum of its parts,’ says Krug. ‘We don’t know who or what is responsible for our sound, it’s just something that naturally and consistently comes from this particular combo of musicians.’

‘Once we got back together, I was playing guitar, writing and singing in a way that I only do while I’m in Wolf Parade,’ says Dan Boeckner, who shares primary lyrical and singing duties with Spencer. ‘It’s just something that I can’t access without the other three people in the room.’

In the time apart, the band scattered geographically and focused on family and other work – Spencer on his solo project Moonface, Dan on his bands Handsome Furs, Operators and Divine Fits (with Spoon’s Britt Daniel), and Dante De Caro on records with Carey Mercer’s Frog Eyes and Blackout Beach. And that time allowed for an even stronger, tighter band to emerge.

Eventually, Spencer, Dante and Arlen found themselves all back living on remote Vancouver Island, accompanied by a population density less than that of Alaska, and the tranquility that leads to creative emanations like a government-sponsored bathtub race. With Dan on the same coast in Northern California, discussions began about picking things up where they left off.

‘All of our albums are always a reaction to our last one,’ says Arlen. ‘Expo 86 (2010) was about as sparse as we get, which is usually still pretty dense, and this time we wanted to make the palette a little larger.’ Adds Dante, ‘Expo was a real rock record. We just sort of banged it out, which was kind of the point.’ Cry Cry Cry, on the other hand, is more deliberate in its arrangements and embrace of the studio process. ‘If a part was going on for too long it would get lopped, you know?’ says Dan. ‘That being said, there are two very long songs on the record and I don’t think it would be a Wolf Parade record if it didn’t have some kind of prog epic.’

‘I think we’re actually a better band than we were when we stopped playing music together,’ says Arlen. ‘A little bit more life experience for everybody, and people having made a bunch of records on their own.’

The result of this new consciousness is songs like Valley Boy, a Bowie-inflected anthem for which Spencer wrote lyrics after Leonard Cohen died the day before the 2016 election (‘The radio’s been playing all your songs, talking about the way you slipped away up the stairs, did you know that it was all gonna go wrong?’). You’re Dreaming, also influenced by the election and the spinning shock that followed, is driving, urgent power pop that draws from artists like Tom Petty and what Dan calls one of his ‘default languages’ for writing music. The swirly, synth-heavy crescendo of Artificial Life takes on the struggle of artists and at-risk communities (‘If the flood should ever come, we’ll be last in the lifeboat’).

The album carries a sense of uprising that is not unrelated to Wolf Parade’s renewed determination to drive the band forward in uncertain times. Welcome to Cry Cry Cry.

Tour support comes from FRIGS. FRIGS are a Toronto-based band that pair the raw, emotional grunge of PJ Harvey with the immersive, psychedelic post-punk of early Sonic Youth. With each member bringing a unique set of influences, FRIGS create a sound that is hard to pin down and an impression that’s unshakable.

Led by the force of Bria’s vocals, the band have earned a reputation for putting on an hypnotic and visceral live performance. Embracing the mercurial and experimental, their shows are built upon instinct; a vocal growl can unexpectedly give way to a hushed whisper; languid drones boil over into guttural and searing tones.

Maintaining the communal, do-it-yourself spirit of their forbearers, the band bought recording equipment and turned their Toronto apartment into a studio where they wrote, engineered and mixed their 2016 Slush EP and two-sided single Chest / Trashyard.

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

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

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All shows are 18+ unless otherwise stated.
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When: 7pm on Tuesday 21 November 2017
Where: Soup Kitchen, 31-33 Spear Street, Manchester M1 1DF

We’re delighted to be working with Lost Horizons – featuring Simon Raymonde and Richie Thomas!

Currently celebrating 20 years piloting the revered record label Bella Union, Simon Raymonde has scaled another personal peak, a new collaboration with drummer Richie Thomas. They’re called Lost Horizons, and though neither of them have strictly been lost, their stunning debut album, Ojalá, is a rare sighting of two gifted musicians who, for different reasons, have been largely absent from music-making for the last 20 years. Yet the record is proof of a telepathic relationship through music, established when the pair first became collaborators and friends in the eighties.

Ojalá also incorporates a heady cast of guest singers. Some are signed to Bella Union, such as Marissa Nadler, former Midlake frontman Tim Smith, Cameron Neal (Horse Thief), others are long-time favourites of Raymonde’s (Leila Moss of The Duke Spirit and Ghostpoet), or newer discoveries (Beth Cannon, Ed Riman, Gemma Donleavy and Phil McDonnell). And then there is the incomparable Karen Peris of The Innocence Mission, one of Raymonde’s all-time favourites, in her first collaboration outside of The Innocent Mission and solo recordings.

Together, the Lost Horizons ensemble has created an hour of exquisite, expansive and diverse spellcasting, from facets of soul (Bones, featuring Cannon, and Reckless, featuring Ghostpoet) to dreamier invocations like She Led Me Away (featuring Smith) and Ojalá’s lengthiest trip, The Engine (featuring Riman). There’s the odd louder, faster detour, like Life Inside A Paradox (featuring Neal, with Sharon Van Etten on backing vocals, and the first Lost Horizons track to emerge, on a split 7” single with Mercury Rev, for Record Store Day 2016), but the dominant mood is a deep, rich melancholia. ‘It’s just something I’m drawn to,’ says Raymonde. But he was equally drawn to working with Thomas.

Before he started Bella Union, Raymonde was the bassist of the revered Cocteau Twins, where the vein of melancholia went very deep. Even before the band had signed to 4AD, the label were releasing records by the instrumental quartet Dif Juz, arguably the first word in post-rock, 15 years before it became a trend: Thomas was their anchor the engine room of their wondrous free-flow. The two bands became friends, and toured together.

‘Dif Juz are still one of the best live bands I’ve ever seen, and I adore Richie’s drumming,’ says Raymonde. ‘He plays in a really unusual style, with his hands around the wrong way… He’s got a dub-reggae style, but with a jazz feel. He makes the whole drum kit come alive.’

Raymonde and Thomas had made demos together in the eighties, but filed them away – though they did collaborate on Ivy And Neet, found on This Mortal Coil’s second album Filigree & Shadow (1986), with Thomas adding a spiralling saxophone to Raymonde’s improvised piano. But both found their journeys diverging. Long after Dif Juz split, Thomas had toured with The Jesus And Mary Chain, Moose, Felt and, in the nineties, Cocteau Twins. But as he recalls, ‘The business side of music became too painful. I had, too much love for music that wasn’t returned. But Simon has music in his heart and soul, he’s extremely talented, and I wanted to get him making music again. And when the idea of jamming together came up again, I got really excited, which I hadn’t felt about music in ages.’

If Lost Horizons was Thomas’ first recording in 20 years, it was only Raymonde’s second in the same time frame. When Cocteau Twins split in 1997, Raymonde found himself running a record label, and not making music until he joined forces with singer Stephanie Dosen under the name Snowbird, releasing one album, moon, in 2013. ‘I’d found it so hard to get my own music going,’ he admits. ‘Part of my problem was, what was the point of working with another singer after [Cocteaus’] Elizabeth Fraser? It was foolish to think that, but understandable that I’d compare everyone to her.’

In the meantime, ‘I felt obliged to put everything into Bella Union. I was deeply involved in music, just not my own. I always felt Snowbird was more Stephanie’s record than mine, but it was the germ for Lost Horizons, to fill the hole I still felt in my stomach after all these years. And Richie was always my first choice to record with.’

The pair booked just four days in an east London studio, with Raymonde on piano and Thomas on drums, and a simple plan: ‘It must feel like fun, never a chore, and it had to be improvised,’ Raymonde explains. ‘If it never became a record, it didn’t matter. It was all about recapturing that feeling when you’re 15, making music with friends.’

Raymonde added bass, guitar and occasional electronics, turning improvisation into songs, and a second four-day session was booked – the day that David Bowie suddenly died. ‘I didn’t know if I could go through with it,’ Raymonde says, ‘Richie was just as upset, but he said, “Let’s use that energy, and power through,” and I’m so glad we did. That energy and excitement is still on the finished record.’

Thomas added: ‘Better we recorded than watch the news! It became this very positive experience. The music that day had a sensitivity that might have influenced the vocalists. Listening back to the record, it was such an emotional experience for me.’

As all the songs took shape, Raymonde began thinking of singers to suit each, and to his surprise and joy, they all agreed. The same ground rules as the original sessions applied: ‘There were no, “Am I going in the right direction?” conversations. It had to be about the moment, about what felt right.’

Given the role of guest singers, the common ground that Raymonde and Thomas shared, and the love of melancholia, it’s not surprising that Ojalá has something in common with This Mortal Coil – underlined further by the plan to add a bonus disc of ambient recordings that evolved into solo piano pieces, similarly transformed into haunting song, ‘as a quieter contrast to the band pieces,’ says Raymonde. ‘I love the tracks I’m not playing on just as much,’ says Thomas, referring to Frenzy, Fear (featuring Riman), Winter’s Approaching (featuring Nadler) and Stampede (featuring Lanterns On The Lake’s Hazel Wilde). ‘They’re super-emotional. And to be involved somehow in that music made it even more powerful.’

There are plans for a Lost Horizons live event, and the online gift of the instrumental On The Day You Died (which refers to the late Bowie), plus and an EP featuring Marissa Nadler’s two Ojalá tracks and the pair she sung that didn’t make the final cut – which still amounts to 15 tracks (single CD, double vinyl). ‘For me, this was twenty years in the making, and I have a lot to feelings to get out!’ says Raymonde. ‘We didn’t make this record with a commercial view.’

Indeed, Ojalá was made for its core duo’s need to make music, and to create something beautiful, and meaningful, in these dark times. It’s why the record is named after the Spanish for ‘hopefully’ (or ‘God willing’).

‘We live in a time where we need hope more than ever,’ Thomas concludes. ‘And hope’s the last thing you give up on… “We live in hope”. And this record has given me a lot of hope. To reconnect with music, and that feeling of innocence that comes from playing music. And the hope for another Lost Horizons record!’

Tour support comes from Dog In The Snow. Dog In The Snow is the moniker of Brighton-based Helen Ganya Brown who experiments with existential-driven lyrics and layers of off-kilter sounds to create a peripatetic musical landscape. Dog In The Snow finds it inspiration in the juxtapositions: the warm project title goes hand in hand with the grim ending of Kafka’s The Trial.

Inspired by the dark underbelly of Scott Walker, the mortal anxieties of Sufjan Stevens, the glistening soundscapes of Susumu Yokota, Helen also finds influence from her own personal anxieties of being mixed race and a foreigner to her homelands, while exploring self-identity in its culture and ideas. Helen has supported the likes of Real Estate, D.D Dumbo, Barry Adamson (Bad Seeds/Magazine) and also plays with Fear Of Men.

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

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All shows are 18+ unless otherwise stated.
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When: 7pm on Wednesday 22 November 2017
Where: The Ritz, Whitworth Street West, Manchester M1 5NQ

We’re delighted to be promoting the Manchester leg of Skinny Lister and Beans on Toast’s co-headline tour!

Label mates, touring buddies and drinking companions, they make a perfect match. Both bands are hardworking, fun-loving, heavy-touring acts that bring a unique and modern take on the age old tradition of English folk music. Together they are given the opportunity to play on bigger stages and bring their shows to larger audiences. Both bands will be playing full sets. It’s going to be one hell of a party.

For Skinny Lister, this tour will wrap up the worldwide campaign of their third and critically acclaimed album The Devil, The Heart & The Fight. It follows a fully sold out UK tour in May, after another in October 2016, extensive tours of Europe and the USA, and a summer ram-packed with festivals including a prestigious slot on Glastonbury’s Avalon stage on Sunday night.

This tour will also act as the UK album tour for Beans on Toast’s ninth album, released slap bang in the middle of the tour on 1 December. He’ll be bringing a full live band with him plus fiddle, accordion and honky-tonk piano, playing a mix of brand new tunes from the forthcoming album and old classics from his huge back catalogue.

Both acts release music on Xtra Mile Recordings, home to Frank Turner, Against Me! and Will Varley to name just a few. The label prides itself on community and family values as well as punk rock attitude and incredibly good music. All of these aspects will shine through in this awesome collaboration of a tour.

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

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When: 7.30pm on Wednesday 15 and Wednesday 22 November 2017
Where: The Eagle Inn, 19 Collier Street, Salford, M3 7DW

PLEASE NOTE: Both shows are now sold out! Join our mailing list, above, for updates about future Burning Hell shows.

We’re delighted to be working with The Burning Hell once again – for two shows at their favourite pub, the Eagle Inn!

The Burning Hell is the alter-ego of Canadian songwriter Mathias Kom, and the band has been on the road in one form or another since 2007, playing everywhere from the chaos of Glastonbury to the loneliness of the Arctic Circle, popping up in bars, festival tents, living rooms, abandoned bunkers, and a mental asylum in rural France along the way. In its current formation, The Burning Hell has Mathias Kom joined by longtime collaborators Ariel Sharratt (bass clarinet, drums) and Darren Browne (bass guitar, bouzouki).

In the autumn of 2017, The Burning Hell will release their eighth full-length album, Revival Beach, and embark on a tour that will take them from the Rocky Mountains to the Mountains of Mourne, across the Tyrrhenian and the Norwegian Seas, and many other places in between. Always restless, The Burning Hell looks forward to a year of new sounds, new songs, and new people to share them with.

15 NOVEMBER: Support comes from Seazoo, an act that started out as nothing more than a bedroom-recording project in 2013. Surprising momentum built, however, as their Grandaddy/Yo La Tengo/SFA-inspired recordings began to gain support from the BBC. Huw Stephens, Lauren Laverne, Steve Lamacq, Mark Radcliffe have all played previous tunes from the Ken, Car Deborah and JUMBO EPs. Rather excellently, Marc Riley invited them to perform a live session for his 6 Music show. They accepted, ferociously.

Seazoo have brightened up Green Man, Festival No. 6, Lost Map’s Howlin’ Fling on Eigg, Swn, Truck, Canadian Music Week, The Great Escape and even the legendary basketball court that is Maida Vale Studio 3. 2016 saw the band release their first 7″ on the beautiful Too Pure label, and the band will release their debut album in 2017!

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22 NOVEMBER: Support comes from Granfalloon. Granfalloon is the musical project of Manchester-based artist Richard Lomax. Distilling elements of lo-fi, folk and psych into a mix of electronics and delicate acoustics, they released a series of singles throughout 2017 and their debut album, Down There For Dancing, was recently released through The Dogan.

Lomax has released two albums with surrealist collective Johnny5thWheel&thecowards through Sotones Records (Band of Skulls, Moulettes) as well as touring extensively as a solo artist through the UK, Europe and Australia supporting artists as diverse as Emma Pollock, Jamie T and Thomas Truax.

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PLEASE NOTE: Both shows are now sold out! Join our mailing list, above, for updates about future Burning Hell shows.


All shows are 18+ unless otherwise stated.
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When: 7.30pm on Thursday 23 November 2017
Where: Gullivers, 109 Oldham Street, Manchester, M4 1LW

We’re delighted to be working with Montréal’s Leif Vollebekk for the first time!

Some artists go on feeling like secrets long after they’ve started being told. Leif Vollebekk, who released his third album in February is one of these treasures. Born in Ottawa in 1985, he taught himself music using instruments inherited from his grandfather: harmonica, guitar, piano, an old fiddle.

Vollebekk’s latest, long overdue LP, Twin Solitude, is the product of everything that came before: the unending tours, the slow cover songs, the experience of seeing Prince, alone at a piano.

‘I used to think, “This will be kinda like a Neil Young song,” “This will be kinda like a Bob Dylan song,”‘ Vollebekk says. ‘I kinda ran out of people to imitate. And then there was just me.’

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

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

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All shows are 18+ unless otherwise stated.
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When: 7.30pm on Thursday 23 November 2017
Where: The Whiskey Jar, 14 Tariff Street, Manchester M1 2FF

We’re delighted to be working with Euros Childs once again!

Euros Childs is a solo artist hailing from Pembrokeshire south Wales. Having fronted the band Gorky’s Zygotic Mynci from 1991 until 2004, Euros went solo and has released 12 solo albums to date – the last nine having been released on Euros’ own National Elf label. ‘I set up my own record label so that I could never be dropped,’ says Euros. ‘I’m on the label for life.’

His latest album, House Arrest, is due out on 17 November on National Elf. It was recorded by Stephen Black (aka Sweet Baboo) and Euros at Gus’ Dungeon II in Cardiff. The albums includes an ode to a colander (My Colander), the joys of being in a coma (Happy Coma), cannibals dining at an all-you-can-eat restaurant (Crystal and Misty), as well as directions to a whist drive (Whist Drive). Euros plays all the instruments himself: ”I think around 12 or so keyboards were used in the end. Mostly bought in car boot sales and charity shops. One was found in a skip. They’d been hanging round the house for a long time – it was good to put them to use.’

Euros will be embarking on his first UK tour in two years around the release of House Arrest. In recent year’s Euros has toured with a band but this time round things will be different: ‘It’ll be a keyboards and drum machine set up. Which will give me the chance to play material I’ve never played live before – more of the synthesisers based stuff. There’ll be two of us onstage. I’m very much looking forward to it.’

Local comes from The Awful Truth. Manchester’s finest purveyors of the modern folk song The Awful Truth play largely acoustic instruments (upright bass, cajon, flute, harp, violin, Spanish guitar) and sing songs about sex, politics, drink and reptiles. They released their first album, Songs of Love and Lust, in 2015.

This show takes place in the live music basement of The Whiskey Jar, situated on Tariff Street in the Northern Quarter.

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

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When: 7.30pm on Tuesday 28 November 2017
Where: The Castle Hotel, 66 Oldham Street, Manchester M4 1LE

We’re delighted to be working with Denmark’s Lowly again – this time, at the Castle Hotel – with fellow Bella Union artists Hilang Child and Charlie Coxedge!

Bella Union are thrilled to announce Heba, the debut album by hotly-tipped Danish quintet Lowly – as uniquely sensual, rhythmic and mesmerising a brand of modern pop as you’ll hear in 2017: restlessly inventive, exquisitely melodic, and defying easy categorisation.

The band describe their music as ‘noise-pop, and everything in between’. In this case, ‘noise’ refers to the textures and treatments that the quintet mould from synths, laptop and guitar, which give Lowly’s spacious songs unpredictable, shape-shifting qualities, iced by Nanna Schannong and Soffie Viemose’s radiant voices – all brilliantly layered by the band and co-producer Anders Boll, Efterklang’s long-trusted engineer/soundman.

Lowly first met at the musical academy in Aarhus, Denmark, with Staub alongside Schannong (lead vocals, guitar), Soffie Viemose (lead vocals, laptop), Thomas Lund (bass, Moog) and Steffen Lundtoft (drums, percussion). Despite all five studying different subjects, and having their own bands on the go, ‘and having very different tastes’ (the only band they can agree on is Radiohead), they quickly found an enviable chemistry. ‘Though we were not trying hard, Lowly slowly took over,’ Staub recalls. ‘It was just fun and felt so easy, and inspiring.’

Two independently released singles found their way outside of Denmark, inspiring the Guardian to include Lowly in a ‘Five must-listen new tracks from around the world’ round-up, while The Line Of Best Fit swooned to an ‘idyllic, height of summer sonic landscape… total bliss… Nordic pop does not get bigger’.

Having tracked the band for a year, it was after seeing Lowly play the Spot festival in Aarhus that Bella Union skipper Simon Raymonde signed the band, which made its label debut in 2015 with the Sink Way Into Me EP. But it was autumn 2016’s single Deer Eyes that confirmed the giant leap forward that is Heba. Further embellishing the album’s scope and impact are guests Jacob Danielsen on tenor sax and bass clarinet and soprano singer Anna Maria Wierød on Still Life, the album’s spinetingling opener.

‘Lyrically, we start with abstract, but it can get personal too,’ says Staub. The album title Heba is named after the band’s Syrian friend: ‘She moved to Denmark to live with her husband and to be safe from the war in Syria,’ says Staub. ‘We are not a particularly political band, but we recorded the album while thousands of people were fleeing and getting killed. The frustration of Europe and our own country being unwilling to help, and bureaucracy being valued higher than human lives, affected us deeply. There are lyrics about that, but also your average love song, which Heba also is a symbol of.’

‘A remarkable debut, it doesn’t sound like anyone else, it sounds like Lowly, who on Heba are a band completely on top of their own game’ – The Line Of Best Fit, 8.5/10

‘An overwhelming onslaught of beauty’ – Stereogum

‘Jazzy, soaring widescreen pop’ – Brooklyn Vegan

Tour support comes from Hilang Child. Hilang Child is songwriter Ed Riman, a Half-Welsh, half-Indonesian Londoner. The Line of Best Fit said of him: ‘Gorgeous ambient threads with synths so chilling they make your bone marrow frosty.’

Local support comes from Charlie Coxedge. Charlie Coxedge, musician and writer from Manchester, is best known as a member of MONEY. As a solo musician, his compositions weave layers and loops of guitars, synth textures and soft pianos, building from melodic, ambient noises to multi-faceted soundscapes. His debut album Cloisters was released digitally and on limited vinyl via Bella Union in May.

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

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