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: Chew Magna... The Once... Irma Vep & Band... Odetta Hartman... The Wave Pictures... John Metcalfe... Beans on Toast... Poppy Ackroyd... Advance Base... Group Listening... Laura Gibson... Buke and Gase... Man of Moon... Mugstar... You Tell Me... Kristin Hersh... Tiny Ruins... CC Smugglers... Dan Mangan... Skinny Lister... Steve Gunn... Liela Moss... William the Conqueror... Otoboke Beaver... Simone Felice... Rozi Plain... Josh Rouse + Grant-Lee Phillips... The Unthanks... James Yorkston... Robert Forster & Band...

When: 7.30pm on Friday 18 January 2019
Where: The Eagle Inn, 19 Collier Street, Salford, M3 7DW

We’re delighted to be helping Chew Magna launch their new EP!

Last year, something stirred over Salford. A popic beast set free from sonic slumber, Learning How To Swim seemingly surfaced from nowhere. Little was known about the song’s origins; it could easily have been unearthed as a 90s west-coast, indie-rock artefact. Rumours began to circulate and whispers of the name ‘Chew Magna’ worked their way around the city. Apparently, a few well-known faces from Manchester’s dynamic underground music scene had come together to create a melodic commotion which could be heard bleeding into the still night air around Strangeways.

It was just the start of things to come; the advocates of noise and self-confessed ‘jam band’ were simply territory-marking whilst concocting their blistering debut EP, The White Hotel. “There isn’t a plan or well worked-out approach,’ tells Chew Magna guitarist Simon of the band’s spontaneity. ‘We’re at our best bouncing ideas around and seeing what happens.’ The band’s vocalist and guitarist Laurie affirms; ‘we’ll play the same part for ages, developing it slowly. Chew Magna has a motion of its own, all we have to do is turn up to practice; the songs write themselves.’

Understanding better than anyone, after leaving their former musical outfits behind, Chew Magna know options are better left open. Just as one piece of music ends, another must begin and as with the EP’s angular, zig-zagging tempo of Nailing Jellyish to the Wall which alludes to that famous extract from Sylvia Plath’s The Bell Jar and Sartre’s writings about bad faith, each track is astutely forward-facing and represents what happens when all of life’s available paths are laid out before you.

Recorded in Salford’s own The White Hotel with Magna members Simon and Laurie plus drummer Ben and bassist Joel the band’s sound ricochets off the painted brickwork of the former auto-repairs workshop with decibel-destroying fuzz. Chew Magna may doff their DMs to Sonic Youth, Fugazi, Smashing Pumpkins and Pavement, yet never stray from being as entirely and originally on-point as Protomartyr, Ought and Parquet Courts – even though the band will freely admit to an occasional dunk of their sleeves in the sound of their idols. “Preserve The Servants is a pun on the Nirvana song and love letter to Kurt Cobain,’ offers Laurie. ‘The riff and melody are SO Nirvana I thought let’s write it about Kurt, in heaven, playing poker with Sinatra, chess with Kafka and eating lunch with Sartre!’

Tracked as live and mixed with underground Salford label SWAYS producer Martin Hurley (Ghost Outfit), the EP is bolstered by the raw style of his work with grunge-go-to sound engineer Steve Albini and captures the immediacy of the band’s favourite records In Utero, Goat (The Jesus Lizard) and Yank Crime (Drive Like Jehu). ‘I think we’ve all slaved over recordings in former bands,’ Simon recalls, ‘there’s something more satisfying in listening back to collection of live recordings that really comes together – and quickly – than pouring over them until you hate the songs.’

From The White Hotel to who-knows-where next… for Chew Magna this journey is only just beginning.

Support comes from currentmoodgirl.

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 Saturday 19 January 2019
Where: The Castle Hotel, 66 Oldham Street, Manchester M4 1LE

We’re delighted to be working with The Once again!

Newfoundland has a storied history of stunning songwriters, poets and players. Over the course of the last decade The Once have writ and knit themselves into that story. Within the nine songs on their new album Time Enough, The Once offer some of the most vulnerable and honest material of their career. The up-tempo album opener, I Can’t Live Without You, reflects on women battling with self-image issues and offers wisened words to be the positive change in their own lives. The gritty guitar driven Before The Fall succumbs to the notion that we must accept our past and use those memories to grow. Riff rocker Any Other Way reflects the fact that true love accepts us at our worst but insists we do the work to be our best selves to keep it together.

On this, their fourth studio album, the band stays true to the root strength of their harmony driven sound, while extending the borders into fresh yet familiar territory. They craft a sonically understated, but emotionally fulsome sound that accomplishes what they’ve always done so well: stun listeners with what Amelia Curran calls ‘perfect vocal harmonies, thick enough to stand on’.

‘We approached Time Enough with an open heart and on open mind. We composed apart and came together to Once-up the new material,’ says lead singer Geraldine Hollett of the band’s writing process. ‘We are pretty tough customers so it was scary bringing so much guts to the table, but over the years we have earned and accepted one another’s trust. This album is special because of it.’

The story of The Once is one of growth, propelled by the rare chemistry that comes from a decade of writing and touring together. Their songs have been placed in international film and television, they have YouTube videos with millions of hits, and there’s a trail of trophy nominations and wins from the East Coast Music Awards, the Canadian Folk Awards, and the JUNO Awards in their wake.

Since first hitting the road in 2009, The Once has earned one of the most loyal followings in the country. Ask their fans why they love the band and watch their eyes widen as the words flow. It becomes clear that The Once ain’t regular folk. They’ve built something unique within their genre, and something rare within the fan base that keeps them growing and going strong and they do not take that fan base for granted. ‘We give all we got to them because we know we can’t do what we want to do if they’re not with us,’ says Hollett of those who have shown endless support for the group. It was this resonance with fans that launched their career and it is this deep relationship that continues to inspire the band to travel new paths, explore new territory, and create new music.

Geraldine Hollett’s voice is a large part of the band’s ethereal sound, and there is nowhere it would sit better than in between the rhythmic and supportive voices of Phil Churchill and Andrew Dale, and the lush soundscapes they build. The trio’s instrumentation and vocals meld together like gold, building something stronger together than any one songwriter could muster alone. Their harmonies grab you by the heart, and their music melts what’s left of it. Building on the wave of creative energy that defined their last album, Time Enough is a striking and subtle sea change for the band. Dive in, get lost, click repeat.

Opening the show is Manchester’s We Were Strangers, who have already played alongside C Duncan, Tiny Ruins, Rozi Plain, De Montevert, Kathryn Williams, Lucy & The Caterpillar, Young War and Blue Rose Code. Their song I Believe has already chalked up over 15,000 plays.

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 Saturday 26 January 2019
Where: Gullivers, 109 Oldham Street, Manchester, M4 1LW

We’re delighted to be working with Irma Vep again – this time, with his band – plus guests Handle!

Irma Vep is a loner, a joker, a roamer, a ribald construct riddled with both earnest anxiety and mercurial songwriting talent birthed by a young Edwin Stevens in Llanfairfechan, North Wales. Thrust into life after his mum bought a four track recorder for him, Edwin started recording for the cathartic process rather than the outcome.

Having since fully grown into Irma Vep and now residing in Glasgow, Stevens’ discography has expanded to document every aspect of his music, from ecstatically free group experiments to bare, sparse songwriting that cuts to the quick, shorn of ornament or pretence.

Stevens moonlights in several other groups (Sex Hands, Klaus Kinski, Desmadrados Soldados De Ventura, Yerba Mansa…), bringing with him an instantly recognisable guitar language. However, it’s in Irma Vep that his most life-affirming, troubling and thrilling music is made. Much Irma Vep feels like what ‘classic’ music should feel like if it weren’t so Classic. Each record, each song and each performance exists as an evolving drama.

Edwin has toured the West Coast of America after being invited by Chris Johanson to play his Quiet Music Festival of Seattle and Portland. BBC 6 Music regularly spin his work. He tours the UK and Europe ‘butt loads’.

Irma Vep’s latest offering Evil talks of repression and the consequences of repression, channeling Edwin’s influences of ‘The Rebel, Lou Reed, Katherine Dunn, Dennis Cooper, Michael Yonkers, Gorky’s Zygotic Mynci, Cat Power, Smog, Henry Flynt, Nico’.

‘A wiry, minimalist piece of guitar pop, the surreal word play lends an outsider feel, a true dose of weird-pop that thrills at every turn’ – Clash

‘A stellar piece of wonky psych-pop’ – The Line of Best Fit

‘A bowerbird of outsider music that makes awkward compositions designed to tear you down just to build you up again… explosively euphoric’ – The Quietus

Main support comes from Handle – a new project featuring members of D.U.D.S. and B.E.T.H, offering post-minimal pre-sloppy Latin functional proto-samba. Handle’s EP comes out soon on Absolute Fiction.

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

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 Thursday 31 January 2019
Where: YES (Basement), 38 Charles Street, Manchester M1 7DB

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

Odetta Hartman’s second album Old Rockhounds Never Die is a bonanza of beautiful contradictions: intimate yet fiercely internationalist, spiritual and yet tangible, sweet and also sexy. It convenes with the ghosts of the past while marching relentlessly forwards.

Drawn from experiences as far-flung as riding a train from San Francisco to Chicago with an old-style, rootin’-tootin’ cowboy for company (Cowboy Song), to experiencing the intense natural beauty of Icelandic waterfalls (Dettifoss), it’s a record that taps into the musical traditions of the past while being a collection of songs about living in the moment.

Raised by pioneering parents on the Lower East Side of Manhattan, NYC, Odetta’s milieu was a ‘colourful culture of artistry,’ that included early exposure to community activism, renegade film screenings, poetry readings and trips to CBGB’s. Inchoate punk and hip-hop were aural wallpaper, as were the 45s spinning in the household jukebox featuring her dad’s extensive collection of soul and afrobeat records, as well as her Appalachian mother’s classic country selections. A classically trained violinist with a penchant for back-porch banjo, Odetta combines these variegated sounds of her childhood with her personal passion for folk music and the musicological legacy of Alan Lomax.

Lomax is writ large on Old Rockhounds… at least in spirit anyway. Odetta plays all the instruments on this and her debut 222, which made problematic the changeovers between songs when playing live. Field recordings the singer had collected on her travels were utilised to make such transitions seamless, and so successful was that intermingling of songs and soundscapes that they’ve transitioned into the recording process. It makes for a strangely intimate listen: tingly and a little tipsy: an album for twilight, sitting within the nocturnal hinterland between dusk and somnambulance – candlelit and confidential – a time for stories and secrets.

So far, so old skool. And yet, Old Rockhounds Never Die also embraces modernity without ever sounding incongruous. The mix of manipulated 21st Century beats and the musical traditions of centuries meet at a crossroads and consummate their curiosity without inhibition. It’ll probably not surprise anyone listening to the album then that its a co-production. Odetta writes and performs all the songs while her partner Jack Inslee is in the background bringing the digital dark arts. Experimenting with found sounds and foley, the two have developed a sonic vernacular built around playing around with a-typical instruments. Hartman explains: ‘Many of the beats on the album were recorded in the kitchen: the snare sound is actually a running faucet, or if you hear these glockenspiel bells that’s actually a set of kitchen bowls. Other percussive elements include scissors, a pepper grinder and keys on the radiator.’

Hartman was performing in a 10-piece band when she met Jack, who then challenged her to strip everything back and explore her own singular talent. The first fruits of this experiment were borne on the aforementioned, critically acclaimed 222. In 2015, Stereogum said: ‘Her impulse to mix elements of folk, bluegrass, and Americana with experimental or warped psychedelia is bridged by her strength as a lyricist, and the strength of the record’s producer Jack Inslee.’ Old Rockhounds… takes the blueprint and improves upon it, with songs yet more vivid, sensual and cinematic. Widow’s Peak in particular is peak Hartman, a spooky tale that came to her like a bolt of lightning one day. It’s a gorgeous lullaby that builds stealthily, then – like a levee of violins rather than water – it bursts forth. That special moment was actually originally a mistake in the studio.

‘It was a happy accident,’ says Odetta. ‘We played back all of the test takes together by mistake and fell in love with the wall of sound. I love mistakes in songwriting or recording, because they so often lead to something greater.” The title track, meanwhile, came as a moment of inspiration that seemed to also come from another place. If the singer was the vessel, then luckily Jack was on hand with the tape rolling.

Odetta explains: ‘Jack and I were working on something else;  it was pretty late at night, a couple of whiskey’s in, and I was strumming this shitty backpacker guitar. Thankfully Jack ran the tape, because that track is completely improvised; it just came off the bat. You can even hear me laughing at the end! I think the melody is really catchy and I was doing something with my voice that I’d never done before – kind of jumping up the octave in that old country yodelling style.

‘I re-tracked with a real guitar, wrote different lyrics that were a little more clever, but ultimately you just lose the magic when you try to recreate something so raw like that. Maybe most artists wouldn’t start their record with a scratch take of a demo, but for me it just emphasises that I never take myself too seriously and I always try to have fun.’

If fun is the operative word, then it should also be noted that Old Rockhounds Never Die is an album featuring a dust-bowl murder ballad called Misery replete with gunshots. With Odetta Hartman it’s always about those beautiful contradictions.

Local support comes from Jonny Woodhead – frontman of South Island Son. Setting up home in Manchester’s Northern Quarter, the South Island Son boys have had a busy nine months in office. Since their debut sell out gig, the band have been busy picking up airplay on BBC 6 Music and BBC Introducing, and touring in France following their single Down The Slopes as well as cropping up at festivals during the summer.

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 Friday 1 February 2019
Where: Soup Kitchen, 31-33 Spear Street, Manchester M1 1DF

PLEASE NOTE: This show has now sold out! Join our mailing list, at the top of the page, for updates about future Wave Pictures shows.

We’re delighted to be bringing The Wave Pictures back to Soup Kitchen!

The Wave Pictures return with the promised second album of the year, Look Inside Your Heart – a warm, joyous record celebrating friendship, happiness and drunken party times. Like the first album they released this year, the more contemplative Brushes With Happiness, this one was recorded late at night whilst inebriated back at the tiny Booze Cube Studio in Stoke Newington, live to reel-to-reel tape with no computers of any kind. The album is peppered with giggles and chatter, which adds a sense of spontaneity and place.

As singer and guitarist Dave Tattersall explains: ‘Look Inside Your Heart is intended as a rallying cry in the war against the machines; while a computer may have beaten world-champion human being Lee Sedol at Go, a machine could never have made music as joyful, spontaneous, happy, poetic, broken and rambunctious as this. Look Inside Your Heart is a bullet in the face of all pop-poseurs and robot wannabes, a die-hard continuation of the vulnerable rebel tradition of rock and roll music, a vibrant work of outsider art and a masterpiece of electric folk.’

Twenty years after forming in Wymeswold, Leicestershire as teenagers, The Wave Pictures have gone on to be one of the UK’s most prolific and beloved bands. Fond of classic rock, jazz and blues, they are also one of the most accomplished, with Tattersall’s guitar solos becoming the stuff of legend. They have collaborated with varying bright stars of the musical firmament, such as last year’s rock’n’roll surf-garage-rock project with Charles Watson from Slow Club, as new band The Surfing Magazines, or their ongoing partnership with ex-Herman Dune member Stanley Brinks, or the very close partnership with Billy Childish for 2015’s Great Big Flamingo Burning Moon.

They first experimented with recording an album all in one go, straight to tape with 2016’s acoustic A Season In Hull. They took the concept further with Brushes With Happiness, making sure that it was a magical album that was completely improvised, with no songs written in advance echoing the jazz and blues recordings that they admire.

For Look Inside Your Heart, they tap in to a rich and varied musical palette, with opening track Roosevelt Skyes named as a tribute to the great piano bluesman, an African pop party in the vein of The Four Brothers and The Bhundu Boys. Whilst House By The Beach is a love song intended for the young Elvis Presley to cover in an alternate universe, with a familiar 50s call and response chorus.

Shelly features guest vocals from Holly Holden from Holly Holden y Su Banda, which is a love song in the laid back style of early 70s Grateful Dead. Dodge City Blues uses the words from a beatnik prose poem from the mind of Sam James, as Tattersall explains; ‘the greatest singer-songwriter in New York City, a mysteriously neglected individual possessed of free flowing genius’.

Further wearing their influences on their sleeves but giving them a very distinctive Wave Pictures spin, Hazy Moon sounds like Exile on Main Street-era Rolling Stones with Tom Verlaine on lead vocals, whereas Close Your Eyes Mike recalls Highway 61 Revisited-era Bob Dylan with Nigel Blackwell from Half Man Half Biscuit on lead vocals and Tell Me That You Weren’t Alone sounds like Astral Weeks-era Van Morrison as re-recorded by Jonathan Richman and The Modern Lovers.

The beloved trio of Jonny Helm (drums), Dave Tattersall (guitar & vocals) and Franic Rozycki (bass), further demonstrate their tight bond, weaving effortless melodies with mind bending sonic and emotional force. Look Inside Your Heart is poignant, witty, wise and wonderful.

‘Dreamlike, bluesy and unique’ – the Guardian

‘It’s both epic and frivolous, rather like a gravitas-free Bad Seeds’ – Q

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.

PLEASE NOTE: This show has now sold out! Join our mailing list, at the top of the page, for updates about future Wave Pictures shows.

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All shows are 18+ unless otherwise stated.
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When: 7.30pm on Friday 1 February 2019
Where: Gullivers, 109 Oldham Street, Manchester, M4 1LW

We’re delighted to be working with John Metcalfe for the first time – plus special guest Stuart McCallum!

Producer and arranger to the likes of U2, Coldplay, Peter Gabriel and Blur, New Zealander John Metcalfe is one of the most sought after musicians in the business. In addition to collaborations with a huge range of artists from Morrissey to George Michael and his work in radio/TV, he tours and records as violist with the renown classical Duke String Quartet. He was a member of cult band Durutti Column and, alongside Tony Wilson, launched the pioneering Factory Classical on Manchester’s legendary Factory label. He also performs and records with the Max Richter Ensemble.

Metcalfe’s gorgeous fourth solo album, 2015’s The Appearance of Colour – described as ‘effervescent, divinely beautiful’ by Clash magazine and ‘staggeringly beautiful’ by Mary Anne Hobbs on BBC 6 Music – beautifully unites the disparate strands of his kaleidoscopic musical world. Within the album are powerful rhythmic strings evoking the world of systems music, moments of transcendent solo piano, shimmering electronics and guitar, elements of drum and bass, and of chamber music.

For his live shows Metcalfe has assembled an incredible line-up of musicians from the worlds of post-classical, electronica and folk: the crisp, jazz-influenced beats from master drummer Richard Spaven (Cinematic Orchestra, Flying Lotus), deeply felt groove from Red Snapper’s bassist Ali Friend and the exquisite voice of Rosie Doonan.

Metcalfe’s latest studio album Absence is out now on Berlin’s Neue Meister label.

‘Stunning.. one of the UK’s best, most consistently brilliant artists’ – Drowned In Sound

‘Very beautiful’ – Lauren Laverne Headphone moment

Special guest is Stuart McCallum. A guitarist of considerable facility and creativity, Stuart McCallum rose to prominence playing with the Cinematic Orchestra on Ma Fleur and Live at the Albert Hall, but it is with his own music that confirms his reputation as one of the most vital, creative and soulful guitarists of his generation. His new solo guitar EP, Solitude, explores the subtleties and emotive nuances of the acoustic guitar in a breathtakingly beautiful way.

‘Master guitarist McCallum’s music is heaven sent. Beautifully crafted, warm blooded, folk and jazz inspired magical stuff’ – Written in Music

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

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All shows are 18+ unless otherwise stated.
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When: 7pm on Wednesday 13 February 2019
Where: Gorilla, 54-56 Whitworth Street West, Manchester M1 5WW

We’re delighted to be bringing Beans on Toast back to Gorilla!

Cult folk legend Beans on Toast is coming to town to promote his new album A Bird in The Hand and he’s bringing a full band with him. His 10th studio album, out 1 December, was produced by Mumford & Sons’ Ben Lovett at the legendary Church Studios (Bob Dylan/Radiohead/Adele) and is quite possibly his finest, most accomplished work to date.

This extensive UK tour will see the unique live performer, on stage in his element playing songs from the new record alongside crowd favourites from his varied and extensive back catalogue. Over the course of his huge career Beans has become something of a cult national treasure. What seemed like a throwaway festival act has evolved into something much more important, a voice of truth and honesty, cutting through the bullshit. A consistent and reliable modern-day troubadour, not afraid to speak his mind; always touring, always writing, recording and releasing music. Playing every festival under the sun and always, always, telling it like it is.

Main tour support comes from Jess Morgan. Listen out for the stories in Jess Morgan’s songs. She has been called a songwriter’s songwriter, and her latest album; a tumbler of unfancied, gutsy song. Her melodies will ring in your ears for days and her stories will play on your heart long after that. The album is out with Drabant Music and Jess is currently the Norwegian label’s only British artist. Edison Gloriette is a record about love and loneliness. BBC Wales linchpin Adam Walton said on first play: ‘It’s a blinder.’

Opening the show is Benjamin Folke Thomas. Benjamin Folke Thomas was born in the coldest winter recorded in modern day history in Gothenburg; perhaps his obsession for sad, lamenting country songs was inevitable; and grew up on a secluded island off the coast of Sweden, populated by mainly evangelical Christians. However, Ben never found God. He discovered grunge music instead, and at the age of 11 he was playing drums in a punk band before turning to folk and Americana music after seeing Kurt Cobain’s performance of In The Pines on Unplugged. Steeping himself in Leadbelly, Dylan and Leonard Cohen, by the age of 20 he was an accomplished finger-picker, confident performer, and mature songwriter.

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 14 February 2019
Where: St Michael’s, 36-38 George Leigh Street, Ancoats, Manchester, M4 5DG

We’re delighted to be welcoming pianist/composer Poppy Ackroyd back – this time, to St Michael’s!

In February 2018, breath-taking post-classical artist Poppy Ackroyd released her first full-length album with One Little Indian RecordsResolve. A classically trained pianist, violinist, producer, and composer, Ackroyd turned heads in the neo-classical world with her previous works Escapement and Feathers, as well as her involvement in Hidden Orchestra (Tru Thoughts).

However, Resolve saw Ackroyd receive global acclaim from critics and new fans alike, with a sold out Barbican show and then another at Southbank Centre’s Purcell Rooms to boot. The unique musician returned at the start of the year newly signed to Bjork’s label One Little Indian Records, fresh off the back of an acoustic mini-album Sketches and set to release her brand new self-produced full-length record – her most ambitious and progressive piece of work to date.

The ground-breaking album explores life’s constant challenges, and many of the songs are extremely personal to Poppy. In her own words: ‘Resolve is about the determination to embrace the good things in life whilst dealing with unexpected and challenging difficulties. Finding the light in the dark, facing sadness and loss head on, and developing a growing inner strength.’

Although a keen collaborator outside of her solo work – having created soundtracks for film, dance, physical theatre and radio – Resolve is the first record for which Poppy employed other players, including Manu Delago (Bjork, Cinematic Orchestra, Anoushka Shankar) playing hang, Mike Lesirge (Bonobo, Andreya Triana) playing clarinets and flute, and Jo Quail on cello.

On opening track Paper, the musician creatively recorded and manipulated experimental beats, born from using paper over piano strings. The principal melody on Stems was created using a combination of pianino (a very small toy piano) and wine glasses. The piece sound-tracked a Bafta-winning short animation by Ainslie Henderson. Trains, the lead single from the album, simulates the sounds, movement, speed and changing scenery of a train journey. The track’s accompanying time-lapse video has won 12 awards, including the Gold Movie Awards and South London Shorts.

Ackroyd creates percussive textures from traditional classical instruments, and the result is almost the emulation of an entire orchestra, using very few instruments combined with the artist’s incredible production skills. The intelligent artist works by recording improvised contemporary classical piano motifs and then rearranging and manipulating these sounds digitally. The result is a fantastic fusion of acoustic and electronic in a post-classical setting.

‘Resolve puts her comfortably on par with neo-classical giants Nils Frahm, Max Richter and Hauschka’ – MOJO

‘Occupying a space somewhere between Nils Frahm and warped electronic composer Anna Meredith’ – Q Magazine

This will be one of the first public concerts in St Michael’s since its recent re-opening, having been closed since 2004. The Roman Catholic church was founded in 1859 and became the heart of the Little Italy Community in Ancoats.

AGE RESTRICTION: This show is 14+. Under 16s must be accompanied by an adult.

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

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All shows are 18+ unless otherwise stated.
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When: 7.30pm on Tuesday 26 February 2019
Where: Gullivers, 109 Oldham Street, Manchester, M4 1LW

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

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

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

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

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

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

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

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

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

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 26 February 2019
Where: The Castle Hotel, 66 Oldham Street, Manchester M4 1LE

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

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

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

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

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

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

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

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