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: Andy Shauf... Angel Olsen – Leeds... Alice Boman... Lindsay Munroe... Erland Cooper... Peggy Sue... Honey Harper... the glowe... Happyness... Joep Beving... Leif Vollebekk... Ariel Sharratt & Mathias Kom (of The Burning Hell)... The Dears... Scott Matthews... Tokyo Police Club... The Lovely Eggs... Aoife O’Donovan... Moulettes... Born Ruffians... Dana Gavanski... The Handsome Family... The Beths... Pictish Trail... Mr Ben & The Bens... Douglas Dare... Smoke Fairies... Roddy Woomble... Joan Shelley... The Lovely Eggs... BC Camplight... Penguin Cafe...

When: 7pm on Tuesday 1 September 2020
Where: Gorilla, 54-56 Whitworth Street West, Manchester M1 5WW

PLEASE NOTE: This show has been postponed from March to September. Original tickets are valid and all other details remain the same. Here’s a message from Andy:

‘Dear fans,

‘I am very sorry to announce that we have had to reschedule our upcoming European dates in light of the recent developments with the COVID-19 virus.

‘It is frustrating for us as a band as I’m sure it is for everyone holding tickets and for all of those that have worked hard to make these shows happen. Despite this, we feel that it is the safe response to what has become a pandemic.

‘All tickets will be honoured for the new dates, while refunds are also an option and available at the point of purchase.

‘Thanks for your understanding and stay safe,

‘Andy’

We’re delighted to be bringing Andy Shauf back to Manchester – this time, to Gorilla!

Andy Shauf will release The Neon Skyline, his most direct and emotionally-rich work yet, on 24 January via ANTI-, with a European tour following in March and April.

The interconnected songs on The Neon Skyline, all written, performed, arranged and produced by Shauf, follow a simple plot: the narrator goes to his neighbourhood dive, finds out his ex is back in town, and she eventually shows up. As with Shauf’s last solo album, 2016’s The Party, The Neon Skyline is densely layered with an abundance of charming moments. His characters are all sympathetic here, people who share countless inside jokes, shots, and life-or-death musings when the night gets hazy. He offers the first taste, Things I Do, which examines the dissolution of the narrator’s past relationship over tense and jazz-minded instrumentation.

For The Neon Skyline, Shauf chose to start each composition on guitar instead of his usual piano. Happy accidents like Shauf testing out a new spring reverb pedal and experimenting with tape machines forced him to simplify how he’d arrange the tracks. Over the course of a year-and-a-half, Shauf ended up with almost 50 songs all about the same night at the bar. Though paring down his massive body of work to a single album’s worth of material was a challenge for Shauf, the final tracklist is seamless and fully-formed.

Shauf’s attention-to-detail in his writing on The Party evoked Randy Newman and his unorthodox, flowing lyrical phrasing recalled Joni Mitchell. Though that album, which followed different attendees of a house party, was his breakthrough, his undeniable songwriting talent has been long evident. Raised in Bienfait, Saskatchewan, he cut his teeth in the nearby Regina music community. In 2018, his band Foxwarren, formed over a decade ago with childhood friends, released a self-titled album where Pitchfork recognised how ‘Shauf has diligently refined his storytelling during the last decade’.

On top of heartbreak, friendship, and the mundane moments of humanity that define his songwriting, Shauf makes music that explores how easy it is to find yourself in familiar patterns and repeat the same mistakes of your past. His characters wonder, ‘Did this relationship end too soon? Would going to another bar cheer my friend up?,’ or ‘How hard is it to give a shit?’ The songs on The Neon Skyline ultimately take solace in accepting that life goes on and things will be okay.

This is a 14+ show. Under 16s must be accompanied by an adult. This show is a co-promotion with the Brudenell.

PLEASE NOTE: This show has been postponed from March to September. Original tickets are valid and all other details remain the same.

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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When: 7pm on Thursday 3 September 2020
Where: Leeds Beckett Students Union, Portland Building, Portland Way, Leeds LS1 3HE

PLEASE NOTE: This show has been postponed. Here’s a note from Angel:

‘Due to the ongoing uncertainty surrounding COVID-19, and for the safety and health of my fans, band, and crew – I am postponing my Leeds show. We will make an announcement in the coming weeks with new date so I encourage you to hold on your tickets as they will be valid for the rescheduled shows.’

We’re delighted to be welcoming Angel Olsen back – this time, to Leeds!

The descent into darkness is a trope we find time again across history, literature and film — a protagonist plunging further and further into the depths. But there is also an abyss above. There is a winding white staircase that goes ever upward into the great unknown — each step, each turn, requiring a greater boldness and confidence than the one before. This is the journey on which we find Angel Olsen.

Olsen’s flight is both upward and inward. Olsen’s artistic beginnings as a collaborator shifted seamlessly to her magnificent, cryptic-to-cosmic solo work, and then she formed bands to play her songs, and her stages and audiences grew exponentially. But all along, Olsen was more concerned with a different kind of path, and on her vulnerable, Big Mood new album, All Mirrors, we can see her taking an introspective deep dive towards internal destinations and revelations. In the process of making this album, she found a new sound and voice, a blast of fury mixed with hard won self-acceptance.

‘I guess you could say some bold and unexpected things have happened in my life,’ Olsen said. ‘It feels like part of my writing has come back from the past, and another part of it was waiting to exist.’

All Mirrors gets its claws into you on both micro and macro levels. Of course, there’s that singular vibrato, always so very close — seemingly simple, cooed phrases expand into massive ideas about the inability to love and universal loneliness. And then suddenly — huge string arrangements and four horsemen bellowing synth swells emerge, propelling the apocalyptic tenor. Throughout All Mirrors, Angel fully lets in the goth tones that always lurked at the ends of her song craft.

‘In every way — from the making of it, to the words, to how I feel moving forward — this record is about owning up to your darkest side,’ Olsen said. ‘Finding the capacity for new love and trusting change, even when you feel like a stranger. This is a record about facing yourself and learning to forgive what you see. It is about losing empathy, trust, love for destructive people. It is about walking away from the noise and realising that you can have solitude and peace in your own thoughts, that your thoughts alone can be just as valid, if not more.’

The first step of All Mirrors, was conceiving a back-to-basics solo record, which she recorded with producer Michael Harris in Anacortes, Washington. Soon after that was completed, a more ambitious version of the album began to percolate in her mind. This second, more maximalist version of All Mirrors evolved slowly with producer John Congleton, arranger Jherek Bischoff, Swiss Army Knife musician/arranger Ben Babbitt, and a 14-piece orchestra.

‘I was determined to keep it bare bones in order to contrast with the not yet recorded full band record,’ Olsen said. ‘I wanted to have versions of these songs that are completely raw and real in the way some of my earlier recordings are, so that I could have the choice to play alone or with a band.’

While remaking the album with full production and new collaborators, Olsen developed a new relationship with control. And in that process, she developed an even clearer vision of herself as an artist.

‘It’s scary to be your own compass, to trust new faces, to be a stranger — but sometimes that’s the only way forward,’ she said. ‘When you’ve been in a repetitive cycle so long it’s difficult for anyone to see you as someone who could come out of it. When you’ve made an example of yourself that people expect, some voices remind you of that example even when you know in your heart you’ve made changes.’

‘As I see it, in order for an artist to survive some kind of change, change needs to be a constant. For myself that constant change means having some kind of epiphany or clarity expressed in song. I don’t know if it’s something I inspire or attract, or if it’s just in the way I’m looking at my surroundings, but drama is something that surrounds my world and always has. I’m at least happy that I’ve learned to write it down.’

This show is a co-promotion with Now Wave and the Brudenell.

Buy tickets now.

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All shows are 18+ unless otherwise stated.
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When: 7.30pm on Thursday 3 September 2020
Where: Gullivers, 109 Oldham Street, Manchester, M4 1LW

PLEASE NOTE: This show has been rescheduled from February. Original tickets remain valid and all other details are the same.

We’re excited to be working with Alice Boman for the first time!

‘It’s a powerful feeling when you’re in that world and you lose track of time,’ says Alice Boman of the deeply hypnotic state she entered when making her mesmerising and long-awaited debut album, Dream On. This transfixed state is one that she also seamlessly plunges her listeners into. Her deeply textural, atmospheric and immersive sounds – coupled with her fragile yet engulfing and ethereal vocals – create something of a vortex that listeners are sucked in by. A world where ambient, dream pop and folk merge into a unique new form.

The profound sense of quietness that can be heard in her music stems from its simple roots. Initially a project that started at home when she was a teenager, the songs she was making were just ‘sketches’. Yet as soon as other people heard them, it was clear that there was so much more to her talents than simple home tinkering. Two EPs followed, 2013’s Skisser and 2014’s EP II, as did a wave of critical acclaim and an array of TV placements for her music on shows such as Transparent, Wanderlust and 13 Reasons Why. With her new reach, the Swedish songwriter captivated listeners one-by-one.

A period of reflection and concentration on songwriting followed, as did a run of stirring one-off singles made with producer Fabian Prynn: Heartbeat, Dreams and End of Time. Boman now finds herself in a place far away from the artist she started out as. ‘It’s like two different worlds,’ she says. ‘I didn’t even realise that this was something I could do for a living. Things feel a bit more certain now and it’s nice to be able to dive into it fully.’

Despite her debut album feeling fuller and richer, as well as being her most accomplished work to date, Boman’s intimacy remains intact. ‘I didn’t want to lose the nerve of intimacy,’ she says. ‘That’s an important thing for me.’ The songwriting for the album initially began in a similarly isolated and autonomous way. ‘I took instruments and recording equipment to a house in the countryside of Sweden for a few weeks to get away from everything,’ Boman says. ‘To just focus on writing and playing. No distractions. Sometimes you need that distance to get into a flow.’

Local support comes from Matthew Fortunati. Influenced by the music of Elliott Smith, Sufjan Stevens, Pedro The Lion, Bright Eyes and many more, Matthew Fortunati is an Italian American songwriter and composer based between Manchester (UK) and San Gemini (Italy). He first went on stage in March of 2015, supporting anti-folk Canadian artist Oldseed during part of his Italian tour. In May of the same year, he won the Indiepolitana music contest on the coast of the Adriatic Sea in Fano, a town in the Marche region of Italy. The award of the contest consisted in five shows through the country, which gave him visibility and the chance to book further gigs the same year.

In the summer of 2015, he released his first EP, The Best You Can Is Good Enough, with three independent labels: Astio Collettivo, Periferica Produzioni and Waves for the Masses. The fifteen-minute extended play reached the channels of Rolling Stones Italy and Rockit. In August of 2018, with the help of diNotte Records and General Soreness, he releases Super Taller, an eight-track album inspired by the life of his grandfather. In the summer of 2019, shortly after graduating from the University of Salford in creative music technologies, he was commissioned by New Creatives North and Arts Council England to produce a composition for BBC Arts, where he experimented with binaural field recordings, classical ensembles and electronics.

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 Thursday 10 September 2020
Where: Gullivers, 109 Oldham Street, Manchester, M4 1LW

PLEASE NOTE: This show has been postponed from May, and now takes place at Gullivers. Original tickets are valid and all other details remain the same.

We’re excited to be promoting Lindsay Munroe’s biggest show to date!

Lindsay Munroe is a captivating new alt-indie artist based in Manchester. Bold and unflinchingly honest, she pairs swelling synths and swaggering guitars with painfully introspective lyrics, evoking acts like Sharon Van Etten, Laura Marling and Marika Hackman. At once assured and startlingly vulnerable, her music invites you into her world, but on her terms.

After teasing new material at a sell-out hometown show, Munroe is gearing up for the 2020 release of her debut record, produced by Chris Hamilton (LUMP, Torres) and featuring Fern Ford (The Big Moon). Played heavily on BBC Introducing in 2019, she has recently performed at Dot to Dot Festival and toured with the likes of Luke Sital Singh and David Kitt.

‘The Manchester acoustic scene’s most exciting young graduate’ – David Sue, Manchester Evening News

‘A hugely promising debut from an extremely talented new artist’ – IndieLondon

This show is a co-promotion with DHP.

Book tickets now. Tickets are also available from Seetickets.com, Wegottickets.com and Dice.fm.

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All shows are 18+ unless otherwise stated.
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When: 7.30pm on Thursday 24 September 2020
Where: Hallé St Peter’s, 40 Blossom Street, Ancoats, Manchester, M4 6BF

We’re delighted to welcoming Erland Cooper back – this time, to one of Manchester’s hidden gems.

Erland Cooper has announced Hether Blether, the third and final album in a trilogy of releases shaped by the islands where he grew up – due for release on vinyl, CD and digitally on 29 May 2020 via Phases. In addition, Erland has announced a UK tour for the autumn.

Cooper has also shared the first track from the album, Longhope. Featuring new poetry by John Burnside, written after a trip to Orkney with Erland (documented on the BBC Radio 4 programme Wild Music), as well as spoken word from the award-winning musician Kathryn Joseph plus ambient tape and modular synth work from Hiroshi Ebina, the track draws us into Erland’s world with a slow moving portrait video directed by long time collaborator Alex Kozobolis.

Hailing from the archipelago of Orkney in Scotland, the contemporary composer and multi-instrumentalist has so far explored the birdlife (2018’s Solan Goose), the sea (2019’s Sule Skerry) and, on Hether Blether, he turns his attention to the land and its people. Named after a hidden island in folklore, said to rise green and fertile from time to time from the foam. Inspired, in essence, by Orcadian poet George Mackay Brown, filmmaker Margaret Tait and composer Peter Maxwell Davies before him, this final album is a celebration of the Islands’ memory held in timeless landscape, community, myth and mythology. The album looks to the past through the stories of the island and to the present and future through its people.

Hether Blether weaves elements of Solan Goose and Sule Skerry, bringing them together in a full circle around the cycles of the changing seasons. Throughout the triptych, Cooper explores a restorative path in the rhythm and poetry of the every day, deep within a land and community at the edge of the world. On Hether Blether, as on the albums before, song titles are taken from local dialect and nod to the places and stories of the island (Noup Head, Rousay, Longhope) as well as the people themselves (Peedie Breeks, which translates as ‘children’).

Hether Blether’s opening track, Noup Head, introduces the listener to the story of the title track’s hidden island via a young girl that went missing one day. Her family found her in a storm, on an island emerging from the fog. On the new island, she was grown-up, with children of her own. She gives her family a stake to enable them to return to see her, but it was lost in the sea, forever. ‘A cold sting on her skin/that takes her back/to something she forgot/ in childhood,’ reads Kathryn Joseph, deep longing in her delivery of Burnside’s words.

The girl reappears, as memories do, as Hether Blether ebbs and flows. She’s there in Burnside’s poetry on the beautiful Longhope, in ‘the echo of a child/suspended in a web/of kelp and feathers… a long-lost sister, waiting for the tide/to guide her home’. She’s there in the swell of the Arco string quartet on Rousay, named after the island on which the girl was born. She’s also there in the album’s title track, where Erland sings his lyrics against the soft swell of his piano and Moog. ‘From time to time you rise out of the sea,’ Erland sings, himself. ‘Never take your eyes off of me.’

Erland’s own voice is a point of strength and vulnerability on this final part of his trilogy: Solan Goose didn’t feature his vocals at all; Sule Skerry only featured them briefly. Here, they are given room to breathe, to invite us new paths of discovery and exploration. When they hymn ‘a sweet isle in my life’ on Hildaland, we go along with them, finding the inhabitants that were said to retreat to a secret undersea kingdom every winter (just as Erland retreated from the real world through the soft waves of his music).

Hether Blether ends with Cooper singing a lyric borrowed from celebrated film composer Clint Mansell on a song with a title that sounds full of intent: Where I Am Is Here, a work all about time and memory, its repeated phrase ‘love now more than ever’ feels like an urgent demand for our times. It’s a natural end-point for a project that began with one man needing to retreat from the chaos of everyday life, to return to where he came from, taking all of us with him, to the very roots of ourselves.

Its last line, ‘time will show you how’, also reminds us how the past and present have always connected in our lives, bringing our experiences full circle. It also reminds us how deeply we have dived, how we have fished in such rich, vivid water, in the few short years since we met the Solan Goose, ventured bravely to Sule Skerry, and headed further to Hether Blether.

But Cooper hasn’t left the Orkneys behind him just yet. ‘It’s still with me,’ he says. ‘I’m only just coming to terms with where it’s taken me – from a place of necessary escape, to a very different world.’

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.

Age restriction: 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.

Attend on: Facebook 


All shows are 18+ unless otherwise stated.
Designed by ikram_zidane

When: 7.30pm on Friday 25 September 2020
Where: The Kings Arms, 11 Bloom Street, Salford M3 6AN

PLEASE NOTE: This show has been rescheduled from March. Original tickets remain valid and all other details are the same.

We’re delighted to be bringing Peggy Sue to the Kings Arms!

Peggy Sue are London-via-Brighton indie duo Rosa Slade and Katy Young. Founded in 2007, the band have released four albums on Wichita Recordings, culminating in the critically acclaimed Choir Of Echoes, and toured with the likes of Jack White, Local Natives and First Aid Kit.

Fifth album Vices, due autumn 2019, will be their first in four years and the first release on the band’s own Souvenirs Records. Slow Fade, a lo-fi celebration of restlessness (released impatiently in 2017), was an apt first taste of the melancholy optimism that fills the ten tracks of Vices. The single and upcoming album borrow in equal parts from the perfectly constructed pop songs of the 1960s and the understated, noisey guitar experiments of 90s indie bands including The Breeders and Blur.

Peggy Sue’s front-women Rosa and Katy have spent the past four years in the great company of all-female singing group Deep Throat Choir (Bella Union), building Vices gradually all the while in studios across London with the help of producer Jimmy Robertson (Choir of Echoes) and new recruits Dan Blackett (Landshapes), Ben Gregory (GRIP TIGHT) and Euan Hinshelwood (Younghusband).

Tour support comes from GRIP TIGHT. GRIP TIGHT is the musical project of London born, Berlin-based producer and vocalist Benjamin Luke Gregory. Creating darkly hypnotic songs using synthesisers and mutilated vocal samples, his music has garnered airplay from BBC Radio 1 and 6 Music, and has been described as ‘full-blooded and soulful contemporary pop’ (DIY). His debut album is scheduled for release later this year.

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 1 October 2020
Where: Gullivers, 109 Oldham Street, Manchester, M4 1LW

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

Honey Harper announces a string of new UK headline dates in September and October 2020 to coincide with his rescheduled UK and Europe shows. The autumn dates will be the first live performances since the release of his debut album, Starmaker, on 9 March via ATO Records.

The album itself is primarily about the journey to create it and follows his mysterious emergence with Secret from 2017’s critically-acclaimed Universal Country EP (Arbutus Records). The new album’s self-awareness is largely the result of Harper’s inner monologues about his fear of failure, desire for success, and the toll that journey has taken on him and his loved ones. It’s an attempt at honesty through the veil of a country singer lost in the stars. The album also features appearances from Sébastian Tellier, Austra and John Kirby; the contrast of the songs becomes even more apparent and set Honey Harper apart to become the torch-bearer for a revitalised country sound.

Honey Harper, born William Fussell, grew up surrounded by country music in the heart of Georgia. He introduced himself to the country music world with his debut EP Universal Country, a genre-bending project pieced together over multiple years with deep ties to Harper’s Georgia roots. Three years later Harper released Starmaker, his first full-length record which revealed a mature songwriter and superbly gifted vocalist pushing the genre of country music to its outer limits. His critically acclaimed music showcases a multi-faceted new vision of country music and harnesses its most beautiful elements from an outsider’s perspective.

‘A gorgeous kind of spaced-out country that’s anchored by the musician’s clean, androgynous voice’ – The FADER

‘Weightless in sound and heavy in feeling’ – Pitchfork

‘Interstellar country that wraps itself around the horizon’ – Clash Magazine

Buy tickets now. Tickets are available from the bar (no booking fee), 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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When: 7pm on Sunday 11 October 2020
Where: The Deaf Institute, 135 Grosvenor Street, Manchester M1 7HE

PLEASE NOTE: This show has been postponed from May to October. Original tickets are valid and all other details remain the same.

We’re delighted to helping the glowe launch their new album!

Hauntingly beautiful, gritty and uplifting, Manchester-based collective the glowe create intense darkness and light with mountain vocals, shimmering strings and smashed up beats. Influenced by sounds from Bjork, Shostakovich, Kraftwerk and the Balkans.

the glowe is led by Lis Murphy, vocalist, string player and song-writer. Lis performs with Jane Weaver, featuring on her albums Kosmology and The Fallen Watch-bird.

She has also performed with Amadou & Mariam at Manchester International Festival, supported New Order with Jez Kerr (ACR) on their Scottish tour, in festival line-ups at WOMAD, Boomtown and on BBC Radio 3 and 4 with Manchester Chamber Choir.

‘Delivered with dedication and versatility… the glowe made an immediate connection with the audience with their compelling music and on-stage presence’ – Steve Mead, Manchester Jazz Festival

Special guest is Sanja Cin. Sanja Cin’s songs are snapshots in time. Her music naturally embraces influences from music she loves, among them classic pop and folk, as well as music from Brazil to the Balkans. Born in Bosnia and Hercegovina, Sanja grew up in a small Austrian town. After several years spent in Vienna, she landed by surprise in Manchester. Here it is where she recorded her solo EP Bees, together with Manchester-based multi-instrumentalist and producer Alan Keary (alias Shunya), in collaboration with musicians from Austria and Manchester.

Sanja’s music talks about the urgency of life and the ever present resistance towards it, about recognising your own super powers and honouring them by stepping out of the old, over and over again. The songs’ sound is rooted in pop, yet, taking surprising turns at times, playing with structures and melodies, quietly bypassing predefined routes.

As part of the Northern Line Scheme sponsored by Jazz North.

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: 7pm on Sunday 11 October 2020
Where: YES (Basement), 38 Charles Street, Manchester M1 7DB

PLEASE NOTE: This show has being reschedule from April to Ocotber. All other details are the same, and original tickets remain valid.

We’re delighted to be working with Happyness again!

Happyness, formed of core members Jonny Allan and Ash Kenazi, have always been something of an enigma.

Formed as a three piece in 2013, the band quickly gained a reputation as an unconventional and defiantly independent force in London’s alternative music scene. With a staunch DIY outlook and fluid musical roles, they self-recorded their debut LP – lo-fi gem Weird Little Birthday – before ever playing to a live audience. They garnered critical acclaim for their wiry, 90s-indebted arrangements and haunting blissed out melodies, as well as their eclectic lyricism and ability to switch effortlessly between wry, twisted one-liners and aching soulful poetry, which would earn them the NME Award for Best Lyric in 2015.

Numerous festival appearances followed, as well as concert appearances with Mac Demarco, Ezra Furman, The Dandy Warhols and Speedy Ortiz, extensive headline tours of the UK, USA and Europe, an NPR Tiny Desk Session, two KEXP sessions, appearances in various Albums of the Year lists, and an eventual re-release of the LP on Moshi Moshi Records (UK) and Bar/None Records (USA).

The windswept harmonies and tighter, poppier structuring of much-anticipated sophomore album Write In saw Happyness grow from underground goofball phenomenon into established songwriters, and continue their trend of evading stylistic boundaries and defying easy categorisation. The period was marred by health-scares and inter-personal struggles, and after a year of touring the band took an unannounced hiatus, during which time they parted ways with bandmate Benji Compston.

In 2019, after a nearly two-year period, that the band describe as ‘the best and worst years of our lives,’ Happyness announced a handful of intimate headline dates which instantly sold-out, as well as a triumphantly oversubscribed appearance at End Of The Road Festival. The return was marked by drummer Ash Kenazi’s emergence from supporting role into fearless drag queen to co-front the project with singer Allan, as well as a five-piece live line-up comprising of Max Bloom (Yuck), Anna Vincent (Heavy Heart) and Scott Booker Roach (Social Contract).

Beautiful, stormy comeback single Vegetable followed in January 2020, and if it’s anything to go by, the stage is set for a major Happyness renaissance. Sitting in tone somewhere between the ragged euphoria of Weird Little Birthday and the lush balladry of Write In, and with a fresh injection of characteristically mad, artfully self-aware lyrical turns (the song references Chumbawumba, drag queen Jujubee, vaping and Scientology’s E-meter auditing process all in the space of less than four minutes), it seems the band may be entering their most thrilling era yet. A UK tour in April suggests that we can expect a lot more material very soon. And with the London date at Moth Club sold out two months in advance, their biggest headline appearance yet announced at the legendary Scala in November, and the newest version of their screwball vision in tow, it’s as if they never went away. Happyness, to the runway.

Local support comes from Oort Clod. Oort Clod are the bar band from the edge of the universe. Featuring members of Unpaid Intern, the Hipshakes, the Early Mornings, Dream Soda and Blanket Fort.

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 22 October 2020
Where: Hallé St Peter’s, 40 Blossom Street, Ancoats, Manchester, M4 6BF

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.

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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