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: Francis of Delirium... King Hannah... Jesse Marchant... Dog Daisies... Fuzzy Lights... bdrmm... The Burning Hell... Haiku Salut... Ben Caplan... Joep Beving... Mik Artistik’s Ego Trip... Will Varley... Sam Kelly & The Lost Boys... Willy Mason... Lindsay Munroe... Natalie Bergman... Saint Sister... Seatbelts... Moulettes... Skinny Lister... Lauren Housley... Penelope Isles... Rachel Sermanni... The Dears... Peggy Sue... Admiral Fallow... Lubomyr Melnyk... We Were Promised Jetpacks... BC Camplight... James Yorkston... Tommy Alexander... Rachel Baiman... Aoife O’Donovan... Brendan Benson... Heartless Bastards... The Surfing Magazines... Josh Rouse + Vetiver... Smoke Fairies... Douglas Dare... Lael Neale... Simone Felice... Efterklang... Dana Gavanski... Beans on Toast... The Sheepdogs... Roddy Woomble... The Weather Station... Sam Amidon... Robyn Hitchcock... The Beths... Pictish Trail... Sondre Lerche... La Luz... William Fitzsimmons... Kristin Hersh... The Besnard Lakes... Tré Burt... Andy Shauf... Charlie Parr... The Lovely Eggs... The Handsome Family...

When: 7.30pm on Tuesday 19 October 2021
Where: The Castle Hotel, 66 Oldham Street, Manchester M4 1LE

We’re delighted to be working with Francis of Delirium for the first time.

Born out of a bedroom, Francis of Delirium was created by 18-year-old Jana Bahrich (Vancouver, CA) who later invited drummer/producer Chris Hewett (Seattle, USA) to help her form an indie rock band. Based in Luxembourg, together they synthesise grunge and folk to deliver a powerful sound that supports Jana’s high energy vocals and her genuine passion to connect with each member of the audience; intimacy and vulnerability lie at the heart of her lyrics.

First appearing back in January with the instantaneous track Quit Fucking Around, they followed it up a few months later with the more reflective but equally potent Circles (‘An incredibly powerful catharsis, a controlled yet palpable expulsion of pain’ – The Line of Best Fit).

During this time however, world events have meant that Francis of Delirium haven’t been able to tour but determined not to be held back, their debut EP (All Change) is coming out on 19 June on Dalliance Recordings (Gia Margaret, Wilsen, Common Holly) with a firm promise to hit the road as soon as it’s deemed safe for them to do so.

Support comes from Piles of Clothes. Piles of Clothes is the musical project of Midlands-born, Leeds-based songwriter Andy Crowder. For fans of acoustic guitars, vocal harmonies and self-deprecating songwriting.

Buy tickets now. Tickets are available from Dice.fm, 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 Wednesday 20 October 2021
Where: YES (Pink Room), 38 Charles Street, Manchester M1 7DB

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

Sometimes a band arrives out of nowhere, with a fully formed sound ready to fill a stadium. King Hannah are one of those bands. The Liverpool band led by the creative force of Hannah Merrick and Craig Whittle have arrived with Tell Me Your Mind And I’ll Tell You Mine, an EP that is both soothing in its moods and intoxicating in its rushing soundscapes, containing a sound that is both brand new and completely mature. Their neon guitar lines and intimate torchlight vocals put the everyday on a pedestal, lifted by melodic licks that swell into dense and swirling atmospheric textures.

Tell Me Your Mind And I’ll Tell You Mine sounds like late nights and early mornings, from the beauty and closeness of acoustic guitar in opener And Then Out Of Nowhere, It Rained, to the final immersive thicket of distorted guitars in Reprise (Moving Day). In between, Meal Deal is smoky backroom Americana transposed onto the precarity of finding somewhere to live; Bill Tench feels like melancholic euphoria of travelling in fast cars at night – drums flash past like lines on the asphalt with angular guitars. Crème Brûlée is a moody fugged-out ballad for the everyday, and The Sea Has Stretch Marks conjures a whirling post-rock exploration of cinematic memories. King Hannah lean in to immersive moments in their music. ‘We want people to get lost in the music,’ says Craig.

Craig formed King Hannah before Hannah knew anything about it. He had seen her performing years before, but they didn’t meet until she was assigned to show him the ropes at the bar job they’d both taken on to get by while still making music. He immediately pestered her to play some music with him, and they started a routine, spending the hours before work at Craig’s house, where for a long time Hannah could not pluck up the courage to play him her own music. ‘That went on for a year,’ said Hannah, while Craig just waited patiently for her to play. When they finally got to writing their own songs together, everything clicked into place.

Both had played in bands before, but until they started King Hannah, neither had found what they were looking for. Hannah grew up in Tan Lan, the world’s smallest village in North Wales, and can’t remember a time when she didn’t want to be a singer. Craig started playing guitar age 13, and was taught Jackson Browne songs by his older brother. Within a year he was playing in bands. All this changed as soon as they formed King Hannah. ‘It’s just about finding the right people. When I go to Craig with some chords and lyrics, he just gets it,’ says Hannah. ‘If we hadn’t found each other, I don’t know where we would be,’ says Craig.

Led by Hannah and Craig, the density of their sound comes from the combination of their guitar and vocals with support from Ted White, Jake Lipiec and Olly Gorman. Inspired by the vocals of Mazzy Star and guitars of Kurt Vile, Hannah writes lyrics first thing in the morning and lets her mind spill onto the page, and they contain all the raw vulnerability and mundane reflections of that mental space. This vulnerability is something Hannah feels acutely on stage, but is also what makes their music so magnetic. ‘There’s nothing pretend about us,’ she says – the grit in their sound and her voice speaks volumes. ‘We don’t want to sound clean or polished,’ says Craig, ‘we want to sound real, and dynamic and authentic.’

Tour support comes from Belgian melancholic soothing folk singer-songwriter Camille Camille.

This show is a co-promotion with Now Wave.

Buy tickets now. Tickets are available from Dice.fm, 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 23 October 2021
Where: Gullivers, 109 Oldham Street, Manchester, M4 1LW

PLEASE NOTE: Due to the current situation, Jesse Marchant is cancelling his upcoming UK dates, including his Manchester show on Saturday. We are working on a rescheduled date in the future, with details of that to follow as soon as that date is confirmed.

We’re excited to be working with Jesse Marchant for the first time!

In the early days of January 2020, Jesse Marchant was standing in the sun, looking out onto the Pacific. On a 10-day stint at a friend’s vacant Hollywood bungalow, in the nostalgic glow for a golden time, he was hoping to crack open a batch of songs he’d been carrying around a while. Just down the street was the apartment where he had lived over a decade ago, writing what would become his first record, in a period that he recalls a creative flood. But there were troubling changes now, difficult to ignore. Homeless encampments littered the sidewalks where before there were none, and the mood in the air was strained. The cocoon of his nostalgia was fracturing.

And with that his reluctance to reminisce, as memories flood his 5th LP, finding the songwriter traveling through time to recall the near-death experience of his youth & a hotel suite bender before he would come to meet his wife. Varied are these experiences as were the backdrops of his writing. A hazy stay in a stream-side Catskill cottage after the California trip, months at home in Brooklyn, with protests and riots consuming the city, and a nightly firework occupation of the neighbourhood that lasted months. Explosions, lockdowns, electricity, anger & angst. Finally, a summer of isolation in the forest, and the news that he would become a father.

The songs on Antelope Running paint the portrait of a man consumed with compassion, looking back. His acceptance and longing are interwoven, yielding a depth of writing that is not only more significant than any of his past efforts, but also more clear.

The best example of this appears in the album’s title track, the meandering 7:45min masterpiece Antelope Running, which reads as a road letter to a loved one, recalling songs from Joni Mitchell’s travelogue, Hejira. It begins with Marchant recounting banal details of a morning run in Texas and ends in metaphysical revelation, with Antelope running alongside his car on a sunset drive through Wyoming. He talks of death and dying, of the will to keep it at bay: “I hope the night won’t fall too soon on you / I wish the same, that the night don’t come too soon for me”, and of regret: “I should call you up and share these silly stories, like I never do”. These heavy themes are interspersed with comedy to save it all all from getting self-serious, in a balancing act so skillfully executed that it recalls the master works of Leonard Cohen or Bob Dylan.

The same agility is shown in balancing sentiments of love with biting critique, in the many verses long Century, which recounts the glorious day of a monumental life event before progressing to address urgent social issues: “I saw you scowling in the corner so I came on by / And again it would be your night to starve or feed / I said, I know you’ve been having it hard but I was hoping that for just tonight/ You could feel happy for me / All I wanted was this bright day alive without your sentiment dragging me down to your place / Wishful thinking”.

D. James Goodwin (Bob Weir, Kevin Morby, Bonny Light Horseman) returns to co-produce the album with Marchant (this, their 3rd collaboration), while also performing occasional musical parts. The two create a landscape so varied that it is often difficult to determine what genre they are working in. There are passages that sound like Mingus (Antelope Running), others that harken Joy Division (Far Away / Heartache), or On the Beach era Neil Young (Hatchet of Destiny). Most perplexing about this sonic collage, is in fact how congruent it is. The songs don’t feel out of place next to one another, and the attentive listener is richly rewarded by diving deeper, while a casual one can be contented to play the album quietly in the background.

It forms a blanket of warmth and intrigue, familiar, with unexpected turns and changes, at times reminiscent of Scott Walker’s, Scott 3 & 4. With respect to the same reference, Marchant’s baritone is deep and and clear, mixed loud as he allows himself a greater vocal range and freedom than ever before. From a low croon to falsetto, he freely dances notes through lines or passages. Clarinet arrangements by Stuart Bogie (Arcade Fire, Antibalas, Fela!) occasionally overtake moments of songs in a manner so beautiful and arresting that it is difficult not to pause in surrender and listen.

Jesse’s longtime drummer Jason Lawrence and bass player Logan Coale (Taylor Swift, The National, Now Ensemble) return to form the rhythm section, and the recordings comprise mainly of live takes from a Sept. 2020 session at Goodwin’s Isokon Studio in Woodstock, NY.

Pianos and Marchant’s signature arpeggiating electric guitar structures form the root of many of the songs, along with classical and acoustic guitar. Also prominent is Marchant’s heavy use of his Sequential Circuits Prophet synthesizer which forms the basis for An Accident (from 3 perspectives), an urgent pop song that stands alongside Don Henley’s Boys of Summer as its brooding and more menacing sibling. The monolithic closer, The Stream Rushes On, also features the synth exclusively, along with delayed programmed drums and Jesse’s vocal, as it patiently unfurls into its subtle, yet grand ascension. It is a love song that will no-doubt capture the hearts of teenagers from the ’90s, as it recalls high school slow-dance ballads of that era. Nothing Compares 2 U or Everybody Hurts.

With that sentiment that Marchant ends the record, leaving the listener in the embrace of its nostalgia, rich and filled, as on finds oneself after a long day at the beach on a well-earned holiday. Sunburnt, relaxed, and looking back one’s past with affection.

Local support comes from Caoilfhionn Rose. Caoilfhionn Rose (pronounced Keelin), is a singer, songwriter and producer who was born in Manchester, England, with family roots in Northern Ireland and Yorkshire. Emerging from a diverse music scene, she ties together remnants of Manchester’s musical past with its evolving present.

Caoilfhionn released her second album Truly on 9 April on Gondwana Records, which was co-produced by Kier Stewart of The Durutti Column. It moves through a tapestry of curious musical inflections; nods towards folk, jazz, ambient, electronica and even a subtle influence of psychedelia. Rose’s song writing draws from a diverse palette of influences, including Building Instrument, Rachel Sermanni, Alabaster DePlume and Broadcast.

Buy tickets now. Tickets are available from Dice.fm, 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 Wednesday 27 October 2021
Where: The Castle Hotel, 66 Oldham Street, Manchester M4 1LE

We’re delighted to be promoting Dog Daisies at the Castle!

After the propulsive guitar-driven rush of his debut LP Eagletism, Dog Daisies a.k.a Ste Hudson seeks nocturnal adventure on his latest album. 2019’s Eagletism was a late-summer surge up the M6 northbound; anthemic indie-pop and frazzled electronics crackled together over themes of time-travel and the great outdoors. Described as like the film Stand by Me put to music and set on a motorway, it featured on critic’s end-of-year lists and garnered repeated spins on BBC 6 Music.

Moonbathing, out 29 October via Bingo Records, whilst equally cinematic, is a far darker, introspective record.

‘As a kid, I used to fall asleep in a creaky captain’s bed with a ghetto-blaster next to my head. All my favourite albums were ones I could fall asleep to. Each night I’d set off and see how far I got before nodding off.’

Like dreams, the songs manage to be at once emotionally direct, yet wrapped in a foggy midnight magic.  Lyrics and melodies leave a trail of breadcrumbs pointing homewards, yet the music is portentous and jagged, like a maze to be navigated.

‘I wanted this record to feel like a journey in the dark, parts of it to feel familiar and comforting and other parts to feel disorientating.  Lyrically, some of the songs say lots of things at once. I think this is because I’ve always felt conflicted about pretty much everything- how to be a good person, how to smile when you feel doomed… whether to have toast or cereal for breakfast. I hope it captures that late-night feeling when the world seems frozen tight, you can hear the blood pumping through your veins in your pillow and your mind is racing.’

Piano features prominently, recorded by drummer/producer Zac Barfoot (Sun Drift) at his grandparents’ house in Silverdale, Cumbria and during after-hours recording sessions on the baby grand of the local coffee shop. The rest was finished at Ste’s home in Lancaster save for a few trusty contributions from various friends including a ripping French horn solo on single Fenham Carr from old label-mate Ben Hall of Mr Ben and the Bens.

In Moonbathing, Dog Daisies offer insight into an alternate world to that in Eagletism, equally realised but opposite in mood. Still effortlessly emotive and lyrically complex, Hudson’s latest work presents a murky underside to the Dog Daisies people know, which, once you are invested, reveals itself as thought provoking and beautiful.

‘The real deal’ – No Fun Magazine

‘A little bit sweet’ – Marc Riley, BBC 6 Music

‘Filled with gloriously life-affirming moments, [Eagletism] strikes the perfect balance between quirky, esoteric musings, and good old-fashioned instant indie-rock’ – Secret Meeting’s Albums of the Year

Local support comes from Granfalloon – the musical project of Manchester-based artist Richard Lomax. Lomax makes a hybrid of alt-folk acoustica, and lo-fi electronica – weaving oddball elements, such as Omnichords, acoustic guitars, and vintage drum loops, into dreamy songs and cinematic soundscapes. Their album RGB is out now.

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

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All shows are 18+ unless otherwise stated.
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When: 7.30pm on Friday 29 October 2021
Where: Gullivers, 109 Oldham Street, Manchester, M4 1LW

We’re delighted to welcome Fuzzy Lights back – for their first Manchester show in eight years!

Fuzzy Lights were formed in Cambridge in 2004 as a duo of Rachel and Xavier Watkins. From initial experiments with violin and guitar loops they expanded into a four-piece for their near-instrumental debut album A Distant Voice in 2008.

In 2010 they released their second album, Twin Feathers, as a settled quintet, weaving together elements of pastoral psych-folk and noise-rock. The album received critical acclaim, being named ‘Underground Album of the Month’ in MOJO and receiving four-star reviews in Uncut and Artrocker. Several tracks from the record featured across BBC 6 Music shows, and the same year they played at the End of The Road Festival.

In 2011, they retreated to a farmhouse in Dedham Vale to write new songs, and the fruits of these sessions were later recorded live to tape at a Limehouse studio. Released in February 2013, Rule of Twelfths was a more direct album, cinematic in essence while carrying the ghosts of wall of sound productions. It too was well received, with Uncut magazine declaring ‘a work that sweetly lulls the listener with delicate folk numbers before ambushing them with surging orchestral noise. It’s this contrast… that makes Rule of Twelfths so effective’.

Following on from a series of events performing semi-improvised film soundtracks the group went into hibernation for a number of years, emerging only briefly to act as soundcarriers for legendary former Can frontman Damo Suzuki.

Behind the scenes, Fuzzy Lights worked on intertwining improvised jams with deliberate and personal songwriting, re-emerging with Burials, a collection of delicate yet weighty tunes that is the band’s most compelling statement to date.

‘The musical battle between the fuzzy and the lights makes Fuzzy Lights special’ – MOJO

‘Subverting genre expectations and folk melodies’ – Financial Times

Local support comes from Alf Whitby. Alf Whitby is the alter ego of Manchester-based songwriter Andrew Keaveney. His alternative folk style revolves around a core of voice, guitar and piano, drawing influence from both traditional folk (Nick Drake) and more modern alternative styles (Sufjan Stevens). He will be playing live this autumn to support the release of his sophomore EP, A Sedentary Life, (available now on Spotify), which will be brought to life by an accompanying stringed and vocal section.

Book tickets now. Tickets are also available from Dice.fm, Ticketline.co.uk, Wegottickets.com and on 0871 220 0260.

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All shows are 18+ unless otherwise stated.
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When: 7pm on Sunday 31 October 2021
Where: YES (Basement), 38 Charles Street, Manchester M1 7DB

PLEASE NOTE: This show has been postponed until October 2021. Original tickets remain valid and all other details are the same. It’s sold out – but watch this space for details of future bdrmm Manchester dates.

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

Hull/Leeds based five-piece bdrmm release their much anticipated debut Bedroom on 3 July via Sonic Cathedral.

The 10-track album was recorded late last year at The Nave studio in Leeds by Alex Greaves (Working Mens Club, Bo Ningen) and mastered in Brooklyn by Heba Kadry (Slowdive, Beach House).

It’s a hugely accomplished debut and a real step up both sonically and lyrically from their early singles, which were rounded up on last year’s If Not, When? EP. Musically, there are nods to The Cure’s Disintegration, Deerhunter and DIIV, while the band reference RIDE and Radiohead. There are also echoes of krautrock and post-punk, from The Chameleons to Protomartyr, plus the proto-shoegaze of the Pale Saints’ The Comforts Of Madness, not least in the cross-fading of some tracks, meaning the album is an almost seamless listen.

As a result, Bedroom becomes an unexpected and unintentional concept album, running through the different stages of a break-up set against the backdrop of the ups and downs of your early twenties. ‘The subject matter spans mental health, alcohol abuse, unplanned pregnancy, drugs… basically every cliché topic that you could think of,’ reveals frontman Ryan Smith. ‘But that doesn’t mean they ever stop being relevant. It’s a fucker growing up, but I’m lucky enough to have been able to project my feelings in the form of this band, surrounded by four of the best people I’ve ever met.’

Sonic Cathedral · bdrmm – Is That What You Wanted To Hear?

And that band name, in case it needs explaining, is pronounced the same way as the album title. ‘I never thought I’d get to the stage where I would have to explain it so much,’ says Ryan. ‘We have been pronounced as Boredom, Bdum and my old boss actually thought we were a ska band called Bad Riddim. We’re all sarcastic cunts, so Bedroom spelt correctly seemed like the perfect title.’

He’s right. The perfect title for the perfect debut album.

Local support comes from crush. Manchester four-piece crush wield their own brand of heady and hypnotic music – harbouring echos of shoegaze and 90s alternative to create something entirely their own. Their new single So Strange is out on 22 October – you can pre-save it and get acquainted here.

This show has sold out! Watch this space for details of future bdrmm Manchester dates.

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All shows are 18+ unless otherwise stated.
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When: 8pm on Monday 1 November 2021
Where: Night & Day Cafe, 26 Oldham St, Manchester, M1 1JN

Ahead of the show, please read this message from the band.

We’re delighted to be welcoming The Burning Hell back to Manchester!

Canadian garage-pop oddballs The Burning Hell are known for tour schedules as densely packed as their lyrics, and they’re certainly no strangers to adversity on the road, having completed an unofficial world-record-breaking tour of ten shows in ten countries in 24 hours, and in a more typical year playing everywhere from Belarus to the Yukon to the Faroe Islands to far above the Arctic Circle in Norway.

But the coronavirus pandemic has kept them unusually grounded, and their upcoming tour dates in November 2021 are the result of two consecutive reschedulings. Band members Ariel Sharratt and Mathias Kom released a duo album of labour songs for the gig economy called Never Work on 1 May 2020, but they’ll be taking the full band on the road with them this autumn, playing songs from Never Work, new songs about birds and the apocalypse from their upcoming record, as well as plenty of older favourites.

The Burning Hell has always been a joyous, celebratory live band, and after a year and a half of pacing around inside, they’re more eager than ever to hit the road again and play and sing their hearts out wherever they go.

Tour support comes from Paper Beats Scissors. Under the moniker Paper Beat Scissors Tim Crabtree constructs delicate and intricate tapestries of songs. Their complexity both belies and serves their simple aim: to create a point of emotional connection and communication with the listener; To hold a space to disappear, briefly, inside the spells they cast. Growing up on the dull and dulling periphery of rainy, post-industrial Northwest England the companionship Crabtree felt first listening to, then playing along with his favourite music was everything. The start point for Paper Beat Scissors was a desire to reproduce the catharsis he felt as a teenager getting lost in melancholy Radiohead songs or Michael Stipe’s blurry incantations on early REM records – artists whose seeming isolation was at the heart of the creation of its opposite: a true connection with their audience. During a year out studying in Eastern Canada the project found a ready audience and snowballed such that Crabtree made the trans-Atlantic move permanent.

The intimate eponymous 2012 debut (mixed by Arcade Fire drummer Jeremy Gara) sparked praise from the BBC and Rolling Stone. Tim has since thrived through restlessly exploring possibilities to expand and deepen the connection with his loyal listeners. The electronically-flecked follow-up Go On was sandwiched between orchestral explorations – a symphony performance in Nova Scotia that spurred a 2018 project crisscrossing the country performing his own arrangements with local chamber ensembles. The 2019 album Parallel Line zoomed back in to a core of acoustic guitar and string quartet. In these locked-down days the explorations take the form of a much-beloved weekly stream that resembles a community gathering more than an anemic digital concert. Ultimately, leave him alone with just his voice and a guitar and the connection comes through clean and true. Spring 2021 sees the release of his first recording in Spanish – the EP La Mitad – that looks to reach out and make new connections with the Spanish speaking world.

Buy tickets now. Tickets are available from Dice.fm, 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 3 November 2021
Where: The Deaf Institute, 135 Grosvenor Street, Manchester M1 7HE

We’re delighted to welcome Haiku Salut as part of their ‘Lamp Show’ tour to showcase new album The Hill, The Light, The Ghost.

Haiku Salut are an instrumental dream-pop-post-folk-neo-everything trio from the Derbyshire Dales. The group consists of multi-instrumentalists Gemma Barkerwood, Sophie Barkerwood, and Louise Croft. Between them, Haiku Salut play accordion, piano, glockenspiel, trumpet, guitar, ukulele, drums, and melodica. Their music also features electronic elements, which they refer to as ‘loopery and laptopery’.

Influenced by the evocative film soundtracks of Yann Tiersen and Benoît Charest, the genre-melting electronica of early Múm, and the impressionistic writing of Haruki Murakami, the band released their debut album Tricolore in 2013, to critical acclaim. The album was awarded four stars by the Guardian, Uncut, Mojo, Drowned In Sound, and many more, and in the summer of 2013, the trio won the Green Man Rising contest, and opened the main stage at that year’s Green Man Festival. In November 2013, the band toured the UK in support to Lau. They later wrote about the experience in their debut book, Japanese Poems Steal Brains, a fully illustrated collection of haikus, which told the story of the band to date.

Haiku Salut’s second album, Etch And Etch Deep, was released in July 2015, to similar acclaim. The album was awarded four stars or above by the Observer (‘the album Four Tet might have made after Rounds’), the Guardian, Mojo, Uncut (‘both warmly familiar and completely, fearlessly new’), NME, Clash, Drowned In Sound (‘with luminous vibes and electronics that chime, strum, sparkle, dance and glow, the trio evoke worlds within our own’), The Financial Times, God Is In The TV, Gig Soup (‘one has to wonder if the band haven’t only created a masterpiece but also a genre that is their own’), The 405, London In Stereo, The Skinny, and many more.

Haiku Salut are famed for their mute performances, allowing the music to cast its magical spell. One memorable live review described them as ‘an experimental orchestra made of loop pedals, accordions, melodicas, and god knows what else. It feels like watching Mary Poppins pull another instrument out of a never-ending bag.’ In April 2013, the trio debuted their Lamp Show, in which they are accompanied by a stageful of vintage lamps which are programmed to flash, fade and flicker in time to the music. The band have since toured the Lamp Show around the UK, playing in a host of unusual venues – a library, a ballroom, a theatre, a Victorian swimming baths, and several churches. They are yet to play a planetarium but it’s only a matter of time.

Haiku Salut featured on the 2017 Public Service Broadcasting album Every Valley.

Haiku Salut’s third album There Is No Elsewhere was released in 2018 on PRAH Recordings to critical acclaim (‘Formidable and fragile, beautiful and fascinating’ – Drowned In Sound. ‘Exactly what electro-pop can and should sound like in 2018’ – Exclaim). They collaborated with Aaron Bradbury and Robin Newman to create a virtual reality immersive video to single, Occupy.

Haiku Salut recently toured their original contemporary score to Buster Keaton’s 1926 film The General as part of the BFI’s Comedy Genius season.

The band release their fifth album, The Hill, The Light, The Ghost, via How Does It Feel To Be Loved?, on 27 August 2021.

Haiku Salut are supported by PRS Foundation’s Women Make Music.

Special guest is Paige Kennedy. Paige Kennedy is an artist and producer based in Manchester, where they have been playing their energetic mix of funk, electronic and indie infused alt-pop for two years. Recently they made the top 5 out of over 3000 applicants for the Green Man Rising Competition 2021.They’ve also received wide support from BBC introducing and 6 Music, particularly Tom Robinson. Kennedy has been working on new material during lockdown, and is releasing an EP this summer, supported by two singles. The second single Arthur is dropping on 12 August.

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

Buy tickets now. Tickets are also available from Dice.fm, 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: 8pm on Wednesday 3 November 2021
Where: Night & Day Cafe, 26 Oldham St, Manchester, M1 1JN

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

Ben Caplan is both the roar of the hurricane and the eye of the storm. He has an uncanny ability to channel both wild abandon and quiet introspection. His songwriting pulls from many diverse influences but both his music and his lyrics regularly draw from his Jewish heritage. Often mixing biblical imagery and klezmer inflected melodies, Caplan re-appropriates ancient sounds and themes with a decidedly contemporary twist.

Ben released his first studio album in 2011, and has spent the last ten years recording music and performing to ever growing audiences in music clubs and theatres around the world. For the ten year anniversary of his first release, Caplan has recorded a retrospective collection of stripped back re-interpretations of songs from across his catalogue. The album, entitled Recollection, will be released in October of 2021, followed by an extensive European and Canadian tour.

Tour support comes from Gabrielle Papillon. Award-winning artist Gabrielle Papillon’s Shout is a triumph. It is propelled by equal parts synth, big pianos, and anger, exploding in thoughtful, danceable art-pop anthems of uprising, hope, and a delirious celebration of self. It is for the ones who are itching to bust out of their shells, of the boxes other people have built for them. For the awkward dancers, and the crowd-averse. For everyone who ever does anything brave even when it is hard.

Buy tickets now. Tickets are available from 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 6 November 2021
Where: Hallé St Peter’s, 40 Blossom Street, Ancoats, Manchester, M4 6BF

PLEASE NOTE: This show has been postponed until November 2021. All other details are the same, and original tickets remain valid.

We’re delighted to working with Joep Beving for the first time!

Joep Beving has been one with the piano from an early age. He was forced to end his musical studies at the conservatory and instead continued at university to get a degree in public policy and public administration. However, his love for his instrument never perished. Where once his goal was to hit as many notes per minute as physically possible, his style of playing has changed over the years, searching for a particular aesthetic essence. His path was illuminated by a piano that Beving inherited from his grandmother when she passed away in 2009. This German instrument insisted on a more gentle touch and a gracious pace, which eventually led Beving to adapt to a more classical vocabulary to tell his story.

This story started to manifest itself relatively late in life, when in 2014 at age 38, he was forced to stay home from work and decided to answer the draw of his piano. In search of tranquility of mind and some form of essence, music started to present itself that he had never played before in his life. Minimal pieces that he later once described as ‘simple music for complex emotions’. Turned down by the only label he approached, Joep decided to self release his debut album Solipsism in 2015.

The sound of his piano found its way to the ears of Deutsche Grammophon’s A&R manager Christian Badzura when visiting his favourite bar in Berlin. This led to the signing of Beving to the world’s foremost classical label and consequently the release of equally successful sophomore album Prehension in 2017, making Joep one of the most listened to living pianist in the world at that time.

He has attributed much of his music’s broad appeal to the stream of consciousness in which some of the pieces were conceived. Claiming that the music is already out there and that one has to ‘just’ create the circumstances for it to land. In 2018 he took this idea one step further with the release of Conatus – about which he said: ‘If you see music as a living organism then it is not unthinkable that it has its own innate inclination to continue to exist and enhance itself.’ On Conatus, Beving sees compositions from his first two albums travel through the minds of artists he admires (a.o. Suzanne Ciani, Collin Benders, Andrea Belfi) and result in new pieces of music adding new layers and dimensions which would serve as the upbeat to his next major solo project as would become apparent in April 2019.

As part of the art piece Franchise Freedom by acclaimed artist duo Studio Drift, Joep travelled to Burning Man at the end of 2018 to perform in the desert of Black Rock City in front of his largest audience to date. Inspired by the display of human creativity and inclusivity he returns home to finish his third solo album.

April 2019 saw the release of Henosis, Beving’s closing chapter in a trilogy of albums – marking the end of an intensely personal four-year spiritual and philosophical exploration.

On Henosis the Dutch composer continues his minimalist and at times romantic style of writing, but this time explores new territories. It sets off where his sophomore album Prehension left us, the warm intimate sound of the Schimmel piano. With the help of producer Gijs van Klooster and through collaborations with Cappella Amsterdam, Echo Collective and Maarten Vos, Beving opens up new musical worlds using orchestral and electronic sounds alongside the familiar piano.

His debut album Solipsism investigates the self and how it is related to the other by trying to show we have a shared understanding of what it is to be human. For Prehension Beving describes realising he had zoomed out from the individual level to the level of the collective. Henosis is the last step, in which Beving’s destination is the vastness of the cosmos – that great, black void – in search of ‘ultimate reality and emptiness of the mind’. Asked about the album Joep says:

‘I envisioned it as a journey into the cosmos, far away from the self where it had started. In search of what is fundamental in reality, beyond the immediate perceivable. Henosis means oneness or unity with the source of all that is. The outward journey reflects the inward journey, much as the build up of our inner workings reflects that of the macro-cosmos. Once that idea starts to dawn on you, the level of connection deepens beyond imagination.

‘Everything is connected. Think about it. If you see the other as merely a physically alternate representation of yourself it will be very difficult not to feel some form of empathy. The same goes for any other life form. I realise it is not all that straightforward and I don’t want to postulate this as being the truth. However, to me this realisation has come closest to a somewhat hopeful and admirable version of it. It completes the circle that started with a growing sense of alienation from reality I dealt with at the time of Solipsism, to a growing sense of becoming one with it.’

In November 2019 Henosis was awarded with an Edison Award in the Neoclassical category.

Tour support comes from Evadney. Growing up in the UK in a big Caribbean family, Evadney’s sound has been shaped from hearing old school soca and calypso tunes, to his love of bold artists like Bjork, Kate Bush and Grace Jones, and later studying the likes of John Cale, Stockhausen and Musique concrète during his MA in Music Composition at Goldsmiths University. Debuting two stunning EPs of poetic electronic-pop odysseys on Black Acre Records, Evadney captured his own outsider experience. Led by his unique vocals, the politics of sexuality, identity and Evadney’s intersectionality are played out across cinematic pieces of work.

Hallé St Peter’s, located on Blossom Street in Ancoats, is a Grade II-listed, deconsecrated church, which was built in 1859. Having stood empty for decades, it was recently restored to provide rehearsal and recording space for the Hallé orchestra.

This show is sold as unreserved seating. This show is a co-promotion with DHP Family.

Age restriction: 14+. Under 16s must be accompanied by an adult.

Buy tickets now. Tickets are available from Dice.fm, Ticketline.co.uk and on 0871 220 0260.

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All shows are 18+ unless otherwise stated.
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