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: Saint Sister... Aidan Moffat & RM Hubbert... The Travelling Band... 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... Josh Rouse + Grant-Lee Phillips... The Unthanks... James Yorkston... Robert Forster & Band...

When: 7.30pm on Friday 14 December 2018
Where: The Castle Hotel, 66 Oldham Street, Manchester M4 1LE

We’re delighted to be working with Saint Sister again – with guests We Were Strangers!

Saint Sister, formed in November 2014, is the creation of Morgan MacIntyre and Gemma Doherty. Their music draws from early Celtic harp traditions, 60s folk and electronic pop to create ‘atmosfolk’ – a mix of soulful vocal harmonies, dreamy synth and electro-acoustic harp.

Momentum quickly built for the band early on. A month after their formation they were asked to perform on TG4 (Irish national TV), and shortly after opened Whelan’s for Arcade Fire’s Will Butler. Their debut EP Madrid, recorded with Alex Ryan (bassist with Hozier), was released in November 2015 and within its first year reached over 1 million streams on Spotify. It received favourable support from Irish radio, leading to playlisting on RTE1. It was also championed by Huw Stephens and Phil Taggart, eventually being playlisted on BBC Radio 1 and on German national radio, 1Live.

2016’s Tin Man came out as part of Communion’s Singles Club and received continued support from national radio, both at home and abroad. The track was nominated for song of the year by the Choice Music Prize and the band named Best Irish Band in 2016 by the readers of the Irish Times. They performed this single for a televised performance in St James’ Church for Other Voices. The band’s third release, Causing Trouble, was released in June 2017. The single favoured well on radio and was playlisted across Germany, Belgium and The Netherlands.

Since their formation, the band have toured extensively throughout Europe. They made their US debut in March 2016 with multiple showcases at SXSW, and have had notable appearances at numerous festivals including BBC Introducing at Glastonbury, Latitude, Electric Picnic, Longitude, The Great Escape, Reeperbahn Festival and Eurosonic. 2017 saw the band support Lisa Hannigan on a 20-date European tour as well as a headline show at the National Concert Hall, Dublin. In September the band opened for The National in the Cork Opera house.

2018 has seen the band travel to Sweden for a Stockholm headline as well as perform at Where’s The Music festival. They performed at the National Concert Hall, Dublin and the Barbican as part of the Imagining Ireland series. The band embarked on a tour of the USA in March with a sold out show in Brooklyn, NYC as well as shows in Rockwood Music hall and a second appearance at SXSW. An intimate April show in St John the Baptist church sold out in 12 hours and this summer the band look forward to playing the main stage at Body and Soul ahead of their debut tour of Australia in November.

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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When: 7pm on Friday 14 December 2018
Where: Soup Kitchen, 31-33 Spear Street, Manchester M1 1DF

We’re delighted to be presenting Aidan Moffat & RM Hubbert’s Xmas show!

It’s the most wonderful time of the year! And in the old tradition, Aidan Moffat & RM Hubbert invites you to gather round the fire for Ghost Stories for Christmas.

These are the ghosts of love, haunting happy homes and fairy-lit bars; these are the ghosts of memory, of haunted mirrors, pagan festivities, and unforgettable friends. As with this year’s critically acclaimed debut album, Here Lies The Body, Moffat’s quiet, pensive storytelling finds a perfect partner in Hubbert’s intimately intricate, flamenco-flavoured guitar. Across eight new original compositions and two deftly executed covers, here they offer an alternative view on the Season To Be Jolly.

The album began with an idea for a song – forthcoming single A Ghost Story for Christmas. Originally intended as a one-off, seasonal release, it proved such fun to write that soon they had enough songs for an EP. ‘Then, on a nice, sunny, summer morning, I phoned Hubby and suggested we just do a whole album,’ says Moffat. ‘We were really enjoying it – there’s something pleasantly perverse about recording Christmas songs in summer clothes – so we just kept going.’ There followed an intense few weeks of writing and research, with Moffat taking lyrical inspiration as always from the life around him, but which also found him adapting a classic Hans Christian Andersen fairytale and an essay by the king of modern Christmas himself, Charles Dickens. The album also features their cover of Yazoo’s synth classic Only You – a favourite from their youth and one of Moffat’s oft-tweeted late-night comfort hits, and already a popular number in their live show (and, of course, a Christmas Number One for The Flying Pickets in 1983) – and the set was topped off with a sombre rendition of Mud’s 1974 hit, Lonely This Christmas. ‘There really wasn’t any other song it could have been,’ Hubbert says of this choice. ‘It sums up the album well!’

The album also finds the duo expanding and experimenting with their sound, with eerie bowed guitars, dreamscape doo-wop, and a piano-led tale of a looking-glass ghost. ‘I had some words that I felt would suit a piano backing, so I challenged Hubby to write something for piano and he spent two weeks on YouTube learning to play it,’ says Moffat. Joining them for the first time on violin and vocals is Jenny Reeve, a long-time Moffat collaborator, most recently with Arab Strap and his Where You’re Meant To Be project; ex-Delgado and longtime friend of the duo Emma Pollock on choral duties; and the band’s live drummer, David Jeans, also of Arab Strap and many more. Returning to augment the sound is John Burgess on clarinet and flute, while a young family member waits to offer a final seasonal message.

So come close and gather round! Pour a drink and take a seat! The fire is roaring, the chestnuts are roasting, the children are laughing – and it’s time to tell Ghost Stories for Christmas. To celebrate their seasonal release, Aidan Moffat & RM Hubbert will be playing special Christmas shows, including this date at Soup Kitchen.

Special guest is Carla J. Easton. Carla J. Easton is the indomitable princess of DIY pop with a post-punk ethos, fast emerging as one of Scotland’s significant voices and prolific writers from Glasgow’s rich musical landscape. Producing wondrous, synth-soaked and uncompromising symphonic pop, Easton started out writing in the now cult-like Myspace kids Futuristic Retro Champions before founding the Spector-esque wunderkind girl-group TeenCanteen. A productive 2016 saw the release of two critically acclaimed albums: TeenCanteen’s Say It All With A Kiss (longlisted for the Scottish Album of The Year 2017); and her debut solo album Homemade Lemonade, released under the alias ETTE (Bandcamp’s #4 Album of 2016). Championed by BBC 6 Music’s Marc Riley, Easton has performed across many key festivals and showcases both in the UK and internationally including The Great Escape, Kendal Calling, Xpo North, Festival No. 6, Indietracks, Wickerman, T in The Park, Electric Fields, POP! Montreal (Canada) and Indiefjord (Norway).

Opening the show is Strike The Colours. Jenny Reeve’s Strike The Colours follows up previous albums The Face That Sunk a Thousand Ships and Seven Roads with Flock – released this November.

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

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When: 7pm on Saturday 15 December 2018
Where: YES (The Pink Room), 38 Charles Street, Manchester M1 7DB

We’re delighted to be promoting The Traveling Band’s show at new venue, YES!

Indie rockers The Travelling Band return to their hometown on Saturday 15 December, playing a special one-off homecoming show at Manchester’s exciting new music venue venue YES. This end of year spectacular will feature special guests, friends and collaborators and rounds off over a year of shows around Europe promoting songs from their most accomplished album to date, SAILS. The band will be diving into their rich back catalogue for forgotten gems as well as trashing a few Christmas favourites to help keep Noddy Holder’s grandkids in school.

Focused around the songwriting talents and production skills of Jo Dudderidge and Adam Gorman, and the rhythmic driving force of enigmatic drummer Nick Vaal, with Sam Quinn on bass and Harry Fausing Smith on guitar, violin and sax, The Travelling Band have forged the idiosyncratic sound that Marc Riley once described as ‘Mancunian Americana’. The band’s latest album SAILS mines a rich seam of influences, with key album track Last Night I Dreamt (of Killing You) and the grungy Wasted Eyes highlighting the band’s love of American indie rock, but still with that Mancunian twist nodding to Elbow and I Am Kloot. Mopping Forwards draws on their time spent in East Nashville and the almost Satie-like melancholic ballad Loser belies the darker turn that Jo and Adam’s lyrics have taken.

‘Their rousing crescendo was something akin to Bruce Springsteen in full flow with glorious saxophone and fist pumping tempos’ – Louder than War

‘Reminiscent of early Band Of Horses or even My Morning Jacket’s ventures into the deep South’ – Clash

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

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When: 7.30pm on 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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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.

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

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When: 7.30pm on 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

Local 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.

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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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.

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

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

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.

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

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

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

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

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

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When: 7pm on Wednesday 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.

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.’

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.

Attend on: Facebook


All shows are 18+ unless otherwise stated.
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