When: 7pm on Thursday 28 May 2026
Where: Low Four Studio, Deansgate Mews, Great Northern, Manchester M3 4EN

We’re delighted to welcome Carla J Easton to Low Four Studio!

Following her 2023 album Sugar Honey, Scottish songwriter, producer and now filmmaker Carla J Easton (Teen Canteen, Poster Paints, The Vaselines) made an award-winning documentary called Since Yesterday, about the history of pioneering Scottish girl groups. Often a collection of women who hardscrabbled their way through the industry with little more than, as the cliche goes, three chords and the truth, their stories inspired Easton to take a new approach to her fifth album I Think That I Might Love You. She picked up the guitar and learned it for the first time, pushing her keyboard sound to the fringes on an album that’s a celebration of guitar-led music – pop, indie and power. The single Oh Yeah, out 11 February, is the first track and mission statement of this sound.

The single, like the rest of the album, was recorded off the floor at the fabled Chem 19 studio and is an example of the collaborative nature of I Think That I Might Love You. Co-written with Simon Liddell (Poster Paints, Frightened Rabbit) – the rest of the album features collaborations with MALKA (Hen Hoose), Man of the Minch, Stevie Jackson (Belle and Sebastian), Johnny Scott (Chvrches) and outsider indie legend Darren Hayman of Hefner – Oh Yeah was written after Easton and Liddell had gone to see a Teenage Fanclub show.

‘Oh Yeah is the sound of loving someone who doesn’t quite love you back, but giving that love anyway,’ explains Easton. ‘Knowing the cost and paying the price with a defiant smile; beauty with a bruise underneath. It’s a song about reaching outward, leaning forward, heart wide open, and hoping to be caught.’

‘It’s not bitter – I think it’s brave to let yourself glow for someone even if they are half a step away. Musically, there are big Teenage Fanclub guitars, huge strings, and harmonies stacked like confessions you never quite say out loud. It’s the sound of standing in your bedroom, heart pounding, replaying voice notes that don’t say what you hope they will, and still pressing play again. The reckless, gorgeous place where you still believe love might turn around and choose you.

‘It was brilliant to work with Simon again on some new songs!’

Done in under two minutes, Oh Yeah is a Jenga tower of harmonies, 4/4 drums, riffs, melodies that almost threatens to collapse under the weight of its sheer joy but comes out the other side as a celebration of love, friendship and community.

Oh Yeah and I Think That I Might Love You are both produced by Howard Bilerman (Godspeed You! Black Emperor, Wolf Parade, U.S. Girls, The Weather Station).

The album was made with support from Creative Scotland.

Main support comes from Creepy Crawly. Creepy Crawly is the project of Bristol-born and Manchester-based musician Rachel Cawley, weaving bittersweet narratives through shimmering, multilayered songwriting. Her distinctive crystalline vocals guide listeners through ethereal dreamscapes, moments of eerie unease, and the satisfying crunch of ’90s alt-rock melancholy. Growing up in the rural West of England, her music is, in part, inspired by a childhood soundtracked by folk revival artists and traditional British folk music. But the pull of the city was huge and, aged 18, she moved to London and submerged herself in the many worlds of music available to her there – working at venues, writing for music magazines, temping at record labels – and going to a lot of gigs. But, as it so often does, London spat her back out.

And so, during a period of self-reckoning with the question of ‘how the hell did I get here?’, living a life that seemed frighteningly ordinary, she returned to writing songs – tracing out the path of how she found herself in a place she didn’t want to be – and armed with newfound hope and resilience, plotting a route back out of it. The result of this reflective work is her debut album Like a Real Thing, which will be self-released on 30 May 2025 and draws from a diverse palette of influences including Scott Walker, Big Thief, Laura Marling, Anne Briggs, Cat Power, Breeders and Heatmiser.

Opening the show is Broken Chanter. Broken Chanter is the stage name of Glaswegian songwriter David MacGregor. Broken Chanter can be MacGregor on his own or, more often than not, with an array of extremely talented musicians joining him. His latest album, Chorus Of Doubt, (‘Agit-pop with heart, 8/10’ – UNCUT) was released by Chemikal Underground in April 2024 and was on the longlist of 20 for the 2024 Scottish Album of the Year (SAY) Award. Prior to this incendiary new gem of an LP, MacGregor has released two critically acclaimed albums as Broken Chanter – 2019’s eponymous introduction to his new guise (‘A stunning, stately debut’ – The Skinny) and 2021’s Catastrophe Hits (‘Muscular, fast-moving indie-pop’ – The Scotsman).

He spent 2007-2017 as the principal songwriter of Scottish alt-pop darlings Kid Canaveral – a band that could get you to dance, laugh, and weep all in the space of the same set. Their debut LP Shouting at Wildlife was described by The Herald as ‘a Scottish pop classic that should be mandatory in every record collection in the country’, and saw the band perform across a large chunk of the western hemisphere, with the similarly well-received follow-up Now That You Are a Dancer being longlisted for the SAY Award in 2014.

This show takes place at Low Four – a recording studio situated on Deansgate Mews in the Great Northern warehouse. This intimate venue features a fully stocked Cloudwater bar.

This show is a co-promotion with Please Please You and the Brudenell.

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When: 7.30pm on Thursday 28 May 2026
Where: YES Pink Room, 38 Charles Street, Manchester, M1 7DB

We’re excited to be working with Nora Brown and Stephanie Coleman for the first time!

Nora Brown is the ‘brightest young star in old-time music’ (Songlines), playing traditional music focused on southern Appalachian banjo and guitar, with her singing revealing her ‘thirst for storytelling’ (NPR). She digs deep: ‘A reverent nod to deeply-rooted ole-time traditions, and an exhibit of sonic heirlooms carefully amended to meet a modern moment with vintage elegance,’ according to American Songwriter. The New Yorker called her most recent solo record Long Time To Be Gone ‘a disarming collection of traditional laments and exquisite banjo instrumentals’.

Nora will perform in a duo with award-winning fiddler Stephanie Coleman. First brought together by Brooklyn’s tight-knit old-time music community, Nora Brown and Stephanie Coleman share a rich musical partnership that belies their 20 year age difference. Stephanie is a master old-time fiddler, having recorded with and toured internationally over the last two decades with celebrated artists including trailblazing all-women string band Uncle Earl.

Beginning at age six, under the tutelage of the late musician and scholar Shlomo Pestcoe, Brown also counts Alice Gerrard, George Gibson and the late John Cohen, Lee Sexton and John Haywood among her teachers and mentors. Just 19 years old, Brown has released three albums, a single, and an EP on Jalopy Records – all of which have charted on the Billboard Bluegrass Charts during the first week of release. Across each haunting collection of traditional music, Brown’s playing is lucid, confident, and full of grace.

She has toured across the US, Europe, and Japan, playing renowned festivals including the Newport Folk Festival, Cambridge Folk Festival, Roskilde Festival in Denmark, Winnipeg Folk Festival, and Live Magic! in Tokyo. She has performed on NPR’s Tiny Desk twice, TED Salon, WNYC’s Dolly Parton’s America and an official showcase at the 2022 Americana Fest in Nashville.

‘A disarming collection of traditional laments and exquisite banjo instrumentals’ –  The New Yorker

Local support comes from Séamus Óg. Séamus Óg is a boundary-pushing Irish musician from Carrickfergus whose roots in traditional music, storytelling, and island life shape a sound both timeless and strikingly original. Bursting onto the Manchester folk scene with his albums Best Masala Tea and Terry’s Síbín, Séamus has gone on to share stages with the likes of Brìghde Chaimbeul, Chris Brain, Ríoghnach Connolly, and Mikey Kenney.

His most recent release, Haul The Pots (out May 2025), has already earned multiple features and critical acclaim, further cementing his reputation as a distinctive new voice in contemporary folk. A key part of that voice is his rare and self-adapted instrument, the cittern, with shimmering tones, lend his music a hypnotic, otherworldly quality. Supported by BBC, RTÉ, Celtic FM, and Radio Fáilte, Séamus crafts rich, harmony-laden songs that draw listeners into a dreamlike world — where tales of land, love, and longing unfold with quiet power and poetic charm.

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When: 7pm on Saturday 30 May 2026
Where: The Stoller Hall, Hunts Bank, Manchester M3 1DA

PLEASE NOTE: Doors open at 7pm, Danny George Wilson will be on at 7.30pm and The Handsome Family at 8.30pm.

We’re delighted to welcome The Handsome Family back to the Stoller Hall!

The Handsome Family today announce a UK and Irish tour to mark the re-release of their classic album Singing Bones. The album was the sixth album from the husband and wife outfit of Brett and Rennie Sparks and was the first record from the band since moving away from the midwestern alternative country scene of Chicago, Illinois to the desert southwest of Albuquerque, New Mexico. Here their songs became infused with the desert sun and crawling reptiles. Mariachi and Morricone – Western Gothic, if you will. The record was released in 2003.

Ten years later, the desert mystery Far From Any Road was used as the theme for HBO’S True Detective. The song became a worldwide hit. Now for the first time, it will be released on vinyl and deluxe CD, with bonus material.

Rennie Sparks says of that time:

‘It was a hot July afternoon in 2001 when the fire ants attacked me. I walked right over an anthill on my way to trim the cacti. The ants quickly swarmed my leg and began biting viciously again and again. I spent the rest of the day on the couch moaning in pain. Deep within the agony I heard a high pitched sound. I heard the ant queen calling to me from out beneath the driveway. I got up and wrote the lyrics to Far From Any Road. The ant queen’s magic is in every word of every song on this record. She is the hole, the ghost, the wild wind and the fallen peaches. How else can I explain that Singing Bones is still alive and well at 23.’

Since its release, Far From Any Road has accumulated more than 45 million YouTube views and 153 million Spotify streams – a clear testimony to its huge cultural reach and lasting impact.

‘Faulkneresque gothic from the haunting but charming Brett & Rennie Sparks’ – the Guardian

‘Singing Bones is a masterpiece of modern American Gothic’ – The Independent

Tour support comes from Danny George Wilson. Danny George Wilson’s formidable credentials go back to his days in seminal UK roots rock band Grand Drive with brother Julian, a solo album released on Paris-based tastemaker label Fargo Records and six albums of consistently high calibre output on Loose Music with the revolving cast of his Danny & The Champions of the World incarnation. In 2016 the Champs swept the boards at the inaugural UK Americana Awards, winning with Album, Artist and Song of the Year. Alongside Robin Bennett (The Dreaming Spires, Goldrush, Saint Etienne) and Tony Poole (Starry Eyed and Laughing) he released an eponymous album as Bennett Wilson Poole in 2018 (“instant classics… hints of Willie and Levon” Bud Scoppa, Uncut) – bagging another UK Americana Awards ‘Artist of the Year’ alongside being voted Americana UK’s ‘Band of the Year’. Danny’s new album Arcade is due 20 March 2026 on the Loose label.

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When: 7.30pm on Tuesday 2 June 2026
Where: Gullivers, 109 Oldham Street, Manchester, M4 1LW

We’re excited to be working with Case Oats for the first time – plus Wyatt!

Baseball caps and horsetails, porch swings and ‘all else that fails’—these are the lyrical stomping grounds of Case Oats, the group led by Casey Walker and Spencer Tweedy. Transplanted from Missouri to Chicago, Walker has a knack for getting to the ‘gooey heart’ of relationships and experience, of bringing a city-dwelling life back down to earth. With an unadorned delivery and an unflinching eye, Walker relates songs about moving on, about growing up in the Midwest, and about loyalty to desperately flawed people and gratitude for pain, for the way things end up.

Case Oats’ yet-to-be-announced debut album is a well-defined, inviting labour of love. Light on pastiche and heavy on intention, their arrangements, backed by a group of longtime collaborators, put Case Oats on a continuum of porch-sitting, familiar songwriters.

Local support comes from Wyatt. Manchester-based alt-country rock quartet Wyatt have quickly become a staple in the city’s blossoming music scene. Forming in September 2024 by brothers Harvey and Evan O’Toole, and later joined by drummer Joe and trumpeter Emily, their raw, driving rhythms and honest heartfelt lyrics have earned the band a reputation as being one of the UK’s most authentic and exciting hidden gems. Wyatt are carving out their own path with a distinctive and timeless sound that is turning heads north once more.

‘Jeff Tweedy and Conor Oberst passing their respective sad white man torches on to these guys. Amazing use of the trumpet as well’ – Westside Cowboy via Alternative Press

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When: 7.30pm on Thursday 4 June 2026
Where: The White Hotel, Dickinson Street, Salford M3 7LW

We’re excited to welcome Jenny Hval back – this time, to The White Hotel!

Iris Silver Mist is the latest album by Norwegian musician, writer and artist Jenny Hval. Named after the fragrance by Serge Lutens with the same name, the album too moves like a perfume – between flower and smoke, ghostly yet alive.

The album didn’t start with music, but with its absence. When live music disappeared during the pandemic, Jenny Hval was left with a void that was hard to pinpoint until she found herself drawn to perfume. Smelling and collecting, reading and writing: she put away the music, and surrounded herself with the notes and accords of fragrances instead. It was only later that she understood why: she was searching for another way to sense presence, to fill the emptiness music had left behind. When she eventually returned to making music, each song was infused with smells.

On the album’s first single, To Be a Rose, Jenny’s words linger somewhere between speech and song. ‘A rose is a rose is a rose is a cigarette,’ she sings, speaks, to the beat of a drum machine. The rose grows taller with each chorus as the chords change, to the rhythm of the smoke from her mother’s cigarette dancing through the air. Smoke and flowers intertwine throughout the album, so does the parallel between Jenny and her mother. ‘I was singing in my room, she smoked on the balcony/Long inhales and long exhales performed in choreography.’

Many of the songs on Iris Silver Mist were created as a mixtape, as one continuous flow of ideas. Before the songs were recorded, they were performed like this, as long, shapeshifting pieces, as part of the interdisciplinary piece I want to be a Machine. The album has kept this feeling of one song seeping into the next. Field recordings blur the line between music and the world around it, too. In Heiner Müller, we hear the sound of the artist singing to herself while walking her dog in the rain. Spirit Mist includes the hum of the Oslo subway. ‘It is about moving,’ Jenny says about the album, but she means it in a more symbiotic way. Moving into the sound, as one song turns into the next, as she turns into the music, and her perfume does so, too.

Iris Silver Mist is a record about the stage, the music and how it can change us. About the things that touch us, change us, and settle on or under our skin.

Local support comes from Lawyr. Aisling Davis is a sound artist, composer, and researcher from the North of England who merges field recordings, soundscapes and experimental sound. Her work uses sound, sculpture, and installation to navigate history, marine ecology, architecture, underwater archaeology, food security, and utilitarian design. Drawing on recordings from the Arctic and the ocean, she creates immersive works that explore the relationships between environment, memory, and material culture. She also makes work under the name Inland Taipan, and paints under the name Thalia Styx.

This show is a co-promotion with Grey Lantern.

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When: 7.30pm on Friday 5 June 2026
Where: Manchester Academy 3, Oxford Road, Manchester M13 9PR

We’re delighted to be working with Ye Vagabonds once again!

Ye Vagabonds, aka the Mac Gloinn brothers – Brian and Diarmuid – first performed in the streets together as buskers and have since evolved into a robust collective – a sonically unique ensemble featuring layered acoustic and electric guitars, trumpet, upright bass, Moog synthesizer, harmonium, bouzouki, fiddle, and the blood harmony of the siblings’ distinctive, multi-hued voices.

Having been described as ‘being at the fore of a new wave of Irish folk’, they have won Best Track, Best Album and Best Folk Group at RTE Radio 1 Folk Awards.

Their forthcoming and much anticipated new studio album, All Tied Together, was recorded mostly live in an old Galway house, with acclaimed producer Phil Weinrobe (Big Thief, Adrienne Lenker) at the helm and is released in January 2026 via Rough Trade/River Lea.

Tour support comes from Finnegan Tui.

This show is a co-promotion with Please Please You and the Brudenell.

Under 16s must be accompanied by an adult (18+).

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When: 7.30pm on Friday 5 June 2026
Where: YES Basement, 38 Charles Street, Manchester, M1 7DB

We’re excited to be working The Bevis Frond again, plus special guest Gerard Love!

Formed in 1986 in Walthamstow, London, The Bevis Frond is essentially the enduring solo project of guitarist/singer-songwriter Nick Saloman — though over time the live band expanded to include other musicians.

Saloman had built the project around a do-it-yourself ethos: after a serious motorbike accident in 1982 restricted the mobility of his left arm, he used his compensation to buy a four-track portastudio and begin recording music himself. This lo-fi, home-studio root would help shape The Bevis Frond’s distinctive sound.

Over decades he’s remained prolific: by 2024 the band had released more than twenty studio albums, with the most recent being Focus On Nature (2024) on Fire Records in the UK.

Special guest is Gerard Love. Gerard Love is a Glasgow-based singer-songwriter best known for co-founding Teenage Fanclub in 1989. Over nearly three decades with the band he contributed many of their most beloved songs before departing in 2018.

In 2012 he issued his debut solo album under the name Lightships — the album Electric Cables showcased a softer, looser side of his songwriting: shimmering melodies, gentle flutes, and wistful atmospheres in contrast to the more guitar-driven sound of Teenage Fanclub.

Love is currently putting the finishing touches to a new album, produced by Bill Ryder-Jones, under the name Gerard Love & The Magic Influence.

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When: 7.30pm on Thursday 11 June 2026
Where: Hallé at St Michael’s, 36-38 George Leigh Street, Ancoats, Manchester M4 5DG

We’re delighted to welcome Poppy Ackroyd back to Manchester!

Acclaimed composer and pianist Poppy Ackroyd returns with Liminal, her intimate new album released 12 June via One Little Independent Records. Written and recorded during a period of profound upheaval and transition, it marks a return to the core of Ackroyd’s practice, bringing piano and violin back together.

For the first time since 2019’s Feathers, Ackroyd reunites these two instruments exclusively, with every sound on the album drawn from piano and violin alone. Melody, harmony, rhythm and texture are all extracted from the physical bodies of the instruments themselves, from bowed and plucked strings to percussive elements. Working within these limitations remains central to her creative process.

Liminal was written unusually quickly for Ackroyd, composed over a three-month period in which the core structures and musical ideas were laid out. Recording took place shortly after, once she had moved into a new studio space. Piano and violin improvisations were captured alongside scored material, then carefully edited over time. This process of sifting through improvisations to find small, human moments has always been part of Ackroyd’s approach, but here she chose to leave more of the raw material intact, preserving its cathartic qualities.

‘In the last three years everyone I loved most in the world needed me, all at once,’ she explains. ‘There has been new life and death, heartbreak and many other things that are not my stories to tell. I have also moved across the country to a part of the world I have never lived in before.’

Although the album emerged from an exceptionally difficult time in her life, it is guided by a quiet sense of resolve. Ackroyd describes listening to the album while running and feeling herself almost dancing along to it, discovering a joy that was not always present while writing. ‘I had such a chaotic few years, but the only way to cope was to allow things to be messy,’ she says. ‘Embracing the messy and imperfect but still getting things done. I decided to apply this approach to my music making and I found that I still maintain the same attention to detail but without the pressure, and I fell in love with making music again in a whole new way.’

The album was created in close proximity to nature, another first for Ackroyd. Her studio now sits within her home, backing onto ancient woodland. This environment subtly permeates the record, particularly in the quieter tracks where space and resonance play a central role. The cover artwork reflects this setting; a photograph taken by Ackroyd from her studio window on Christmas morning, showing mist hanging in the valley beyond.

As with her previous releases, Ackroyd wrote, performed, recorded, mixed, and produced the album herself, with mastering by Matouš Godík and layout and design by Ruth Keating. Ackroyd has long taken an active role in shaping the visual identity of her records, designing, or creating the artwork for most of her releases. With Liminal, she contributes a cover photograph for the first time.

Liminal opens with ‘In The Mist’, a piece that sets a tone of subtle movement and careful restraint, as gentle piano figures emerge slowly, suspended in space. This atmosphere flows seamlessly into ‘Shimmer’, where repeated patterns create a glistening surface. Soft violin lines hover and blur the edges of ‘Continuum’, a track that develops through gradual layering, with interlocking piano motifs and sustained violin tones creating a feeling of forward momentum.

The music of Liminal breathes and expands, drawing attention to small flourishes in texture and dynamics. ‘For Those Who Wait’ leans into patience and repetition, allowing notes to circle gently, accumulating emotional weight through persistence rather than dramatic change.

The return of the violin is central to the album’s expressive power. Having not played it extensively for several years, Ackroyd found the experience of layering string parts unexpectedly moving. This is especially evident in ‘The Unknown’, where sweeping violin lines rise and fall against a piano foundation, and in ‘Drift’, where flowing string passages create a sense of gracefulness. These tracks highlight the contrast between the piano’s percussive, grounding nature and the violin’s ability to float freely.

“There is this amazing feeling you get when you play with another musician that you know really really well, but when you are playing alongside yourself it’s quite powerful,” she explains. “With the violin you have control over the whole length of the note in a way that you don’t when you’re playing piano. It feels like you can say more. Like singing.”

As the album progresses, moments of rhythmic intensity and release come into sharper focus. Closing track, ‘Between Two Worlds’, brings the album full circle, blending introspective piano writing with expansive violin lines.

That wider world continues to resonate through her work. Ackroyd’s music has featured in countless documentaries and dance productions, including with New York City Ballet, and in theatre, where the National Theatre used ‘The Calm Before’ as the opening music for The Seagull. Her collaboration with Ainslie Henderson, Shackle, won Best British Film at the London International Animation Festival.

In 2025, Ackroyd released Notes On Water, a collaborative project completed during her father Norman Ackroyd’s final months and released shortly after his passing. The work combined Ackroyd’s music with her father’s final etching and served as both a tribute and a means of processing loss through shared creative language.

At its heart, Liminal is about endurance and transformation. ‘There’s a euphoric feeling after doing something you’re scared of,’ Ackroyd reflects. ‘I feel like I’ve been broken in a way I never thought I could be, but I’m also stronger than I ever thought I could be.’

‘Poppy Ackroyd can conjure whole worlds of sound out of the barest essentials’ – Stereogum

‘On par with neo-classical giants Nils Frahm, Max Richter and Hauschka’ – MOJO

This concert takes place in Hallé at St Michael’s – a former Roman Catholic church, which was founded in 1859 and became the heart of the Little Italy Community in Ancoats.

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

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When: 7.30pm on Friday 12 June 2026
Where: Kamera at Lloyd & Platt, 617 Wilbraham Road, Chorlton, Manchester, M219AN

We’re delighted to welcome Later Youth back – to Kamera in Chorlton this time!

Since fronting Manchester indie-folk favourites The Travelling Band, Jo Dudderidge – aka Later Youth – has built a reputation as a sought-after producer, songwriter and session musician, working with an impressive roster of artists including Victoria Canal, Chloe Foy, Rose Gray, Stephen Fretwell, Human Interest, Joyeria, Bette Smith, and longtime collaborator Lissie.

Debut album Living History is the culmination of what has been both a cathartic and a celebratory process. It’s a bold statement with a distinctive character. Sure, parallels with his previous work exist, but it occupies a universe of its own, sonically centred on Dudderidge’s signature Wurlitzer electric piano and unmistakable voice, blending raw, heart-on-sleeve lyricism with a fresh, idiosyncratic style veering from krautrock to alt-country.

There are songs about nights that turned into mornings, heartaches rescued by a harem of Venezuelans, romanticising the myths of past loves, facing mortality, running away from yourself while dreaming of reconciling with the love of your life. It’s nostalgic, but not in a way that wants to go back — more like holding something up to the light to understand it better.

‘Chock full of more hooks and melodies than most indie conventions’ – Mojo

‘A richly textured collection that brims with vulnerability, self-destruction and sonic wanderlust’ – AmericanaUK

Kamera is the brand new venue upstairs at Lloyd & Platt (formerly The Lloyd’s) in Chorlton – by the team behind the Castle Hotel and Gullivers. The pub downstairs offers Indian street food by Chapati Cafe.

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When: 7.30pm on Friday 12 June 2026
Where: Hallé St Peter’s, 40 Blossom Street, Ancoats, Manchester, M4 6BF

PLEASE NOTE: This show has sold out!

We’re excited to be working with Jesse Malin again!

Hailed by Rolling Stone as ‘a gritty troubadour of the streets,’ Jesse Malin released his solo debut, The Fine Art Of Self Destruction, to universal acclaim in 2003, with Uncut dubbing the album ‘an instant classic’ and The Times declaring that ‘there is simply nothing more you can demand from a great rock record’.

Over the next two decades, Malin would go on to release eight more similarly lauded solo albums while building a loyal community of diehard fans across the UK and Europe, spreading the gospel of New York rock and roll and PMA (Positive Mental Attitude) through sold-out headline tours and festival performances everywhere from Glastonbury to Hyde Park.

A true songwriter’s songwriter, Malin has recorded with and covered by Bruce Springsteen and Lucinda Williams, shared stages with The Replacements, The Gaslight Anthem, Green Day and Bob Weir, and seen his songs covered by the likes of Elvis Costello, Bleachers, Counting Crows, Green Day, The Wallflowers, Ian Hunter, Frank Turner, Dinosaur Jr., and more.

In 2023, Malin suffered a rare spinal stroke, which left him paralysed from the waist down. Rather than retreat from the spotlight, he defied the odds and learned to stand again, returning to the stage the following year in America with two triumphant sold-out nights at NYC’s legendary Beacon Theatre before crossing the pond for a pair of sold-out shows at London’s Islington Assembly Hall.

In 2026, Jesse is making his off-Broadway debut in the acclaimed stage show Silver Manhattan, written by Malin and Lauren Ludwig, and produced by ArKtype and David Bason. His first book Almost Grown: A New York Memoir will be published 7 April on Akashic.

Malin will return to the UK in June for a limited three-night engagement in Glasgow, Manchester and London.

Support comes from Bason. His life was saved by rock ‘n’ roll. With one foot in the practical and the other firmly on the creative tip, Canadian-born David Bason epitomises the sometimes paradoxical term, ‘music business’. Equally at home playing guitar on a demo for the New York Dolls or serving as President of an indie label, Bason is one of the few people whose artistic passion can co-exist with an understanding of the bottom line. He talks the language of artists and executives alike.

The son of an English Cambridge grad and a mother who sings in the Ottawa Choral Society, the entrepreneurial teenager got his start as a road manager for a popular Canadian band before working as an A&R coordinator for RCA where he signed The Strokes. Upon the success of that signing, Bason was suddenly very much in demand, and took a job running the music-publishing arm of Roadrunner Records. After running the publishing company for four years, he was asked to start and alternative division of the label. His first signing was The Dresden Dolls, as well as The Cult and his beloved New York Dolls, even playing on the demos. During this time he founded the Universal Music-distributed Stay Gold Records where he signed punk rock records and produced several dub reggae remixes.

Bason spent the next several years overseeing the day-to-day management responsibilities for multi-platinum sellers Thirty Seconds to Mars, and building a successful management stable of Grammy-winning, platinum producer/engineers and now heads the 7S Management West Coast division. A man of many hats, David Bason is a man who can hang with high profile artists as well as industry’s leading executives. Bason knows artists because he is one, writing and recording four solo albums featuring Airborne Toxic Event’s Anna Bulbrook, Sub Pop’s Chad Van Gaalen, Jesse Malin, James Iha, among others. A hybrid performer/executive, David Bason is living the dream while at the same time successfully turning art into commerce, or, as another of his heroes once put it… making cash from chaos.

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

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