The Sadies
J.Shakeshaft & The Groupe
Thursday 4th July, 7.30pm
The Sadies released their long awaited new album Colder Streams' in July 2022. It was their 11th album and produced by Arcade Fire’s Richard Reed Parry.

Recorded between 2019 and 2021 at Skybarn in Montreal, Canada, Colder Streams features 11 original compositions engineered and mixed by Pietro Amato except for "You Should Be Worried,” which was engineered and mixed by Michael Dubue and mastered by Peter J. Moore. 
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With guest appearances by Jon Spencer (“No One’s Listening”), Michael Dubue (“End Credits”), Richard Reed Parry (“Message for Belial,” “No One’s Listening” and “Ginger Moon”), and the parents Good, Margaret on backing vocals for “So Far for So Few” and “All the Good,” with Bruce on autoharp on the latter, the cover art is original artwork by The Sadies’ bassist Sean Dean.

The release of Colder Streams will mark the quartet's final studio recording with founding member Dallas Good, who unexpectedly passed away in February. In preparation for the release, in October of 2021, Dallas penned what he coined the band’s “anti-bio” and seemingly said all there is to say about the new album, first noting, “Colder Streams is, by far, the best record that has ever been made by anyone. Ever.” Read the entire bio here.

“The Sadies' world has been shaken,” said the band in a joint statement. “While we struggle with the loss of Dallas - our brother, friend, and bandmate - music has been our source of comfort and coping. We are honoured to announce the release of our new album, Colder Streams.  We are so proud of Dallas and the work that went into this album and look forward to sharing it with you.”

“I was utterly thrilled the Sadies asked me to produce this record,” said Richard Reed Parry, “which mostly meant I just hung around listening to the greatest live band in the country playing their asses off, and then occasionally I’d get off the couch and sing backing vocals. That said, this is The Sadies’ finest album, the one I always hoped they’d make one day and I’m stoked to have been there helping them do it. What an incredible band. “

With a deep fondness and reverence for the best of CBGB—country, bluegrass, and blues—The Sadies are equally informed and influenced by everything from ‘60s garage and psychedelic rock to surf instrumentals and punk rock. Since they first arrived on the North American scene 28 years ago, the Toronto-based roots-rockers have developed, even perfected, a style of music uniquely their own.

In support of the album, the band–Travis Good, Sean Dean, and Mike Belitsky–will embark on a North American and European tour beginning June 17 at Atwood’s Tavern in Cambridge, MA. A complete list of dates is below.


'A flurry of emotion — joyful and pointed — and clattering noise blending into haunting sparseness, this is the record The Sadies have been working on capturing for their entire existence. Thankfully, and with bittersweet timing, they got it done when we most needed them to, making the best record that has ever been made by anyone. Ever.'
10/10 - Exclaim

'This is far and away the best the band has ever sounded on record. ... Then there’s the songs, which are perhaps the strongest collection both Dallas and Travis have assembled since their 2010 masterpiece Darker Circles. The majority of the material here finds the band playing in their muscular, gothic mod-garage mode, with the two brothers singing in perfect, spectral harmony.'
8.4/10 – Paste Magazine

'Its sure-footed '60 psych, garage and country is potently rendered.'
Mojo Magazine

'The Sadies’ nebulous country-rock moves through glistening psychedelia (“Message To Belial”), gorgeous string ballads (“All The Good”) and fierce garage fuzz (“Ginger Moon”)''
Uncut Magazine
Tickets for this show are £18.50 in advance.

You can get tickets online from here.


Kelley Stoltz
Wednesday 10th July, 7.30pm  
During the 2010’s Kelley played live as a sideman with Rodriguez and Echo & the Bunnymen, as the 2020’s dawned he was invited to support Pavement on their big reunion tour. He’s also been heard playing drums live with Robyn Hitchcock as well as adding sitar to Hitchcock's last two albums. In 2022, Stoltz was championed with a live appearance on Marc Riley’s BBC6 show. As producer, he has recorded the new album by Brigid Dawson formerly of the Ohsees.

Between these outside musical projects, pushing past 50 years old and becoming a father for the first time, he has been steadily writing and recording new songs of his own. The result is “La Fleur”, his 18th album, a dazzling collection of 12 tracks chosen from the last two years of songwriting. It will be released in May by Agitated in Europe/UK and Dandy Boy Records in the USA.

Listen / Watch / Watch / Watch
“La Fleur” again finds Stoltz plays nearly all the instruments on the album, though a new friendship with pop guru Jason Falkner has led to Falkners appearance on 2 songs. There’s the requisite 60’s meets 80’s pop rock confections that Stoltz favors with a new focus on out front vocals and perhaps a bit shinier production. Pandemic era blues, politics and fatherhood are lyrical touchstones throughout.

“Reni’s Car” is the jangle rock lead single based on an actual event of Kelley riding around Manchester in the Stone Roses drummers car. “About Time” marries Twin Peaks synths, to Fleetwood Mac and Avalon era Roxy Music in a cautionary tale to Stoltz's young daughter. “Human Events” puts revolutionary prose to a Moody Blues strum that floats off into Osees territory ... and do I hear a nod to Gershwin in there?

In my ears, Stoltz rarely does any wrong, and these comparisons are only just that little fruit to get you curious - he is still one of a kind. An under the radar hero to a few, and still after all these great songs, deserving of more. Climb on the bandwagon - as ever it’s quite pleasing here.
Built around chief songwriters Danny Trew Barton (vocals/ guitar) and Sam Coates (vocals/ guitar), Cowgirl is completed by Jack Jewers and Jack Holdstock. Cowgirl runs a conveyor-belt of future classics; their well-crafted melodies wrapped in walls of wailing guitar fuzz. Running the gamut of garage rock to power pop, Cowgirl’s music shimmers with an inherent pop shine.
Cowgirl release their new album Cut-Offs on August 9th.
Tickets for this show are £12 in advance.

You can get tickets online from here.


The Klittens
Tuesday 23rd July, 7.30pm
After three visits to York for us we figured it was only fair to let Leeds into the best new indie-pop secret from the vibrant Amsterdam scene.
Since their birth in 2018 The Klittens have climbed from the cracks of the Amsterdam underground indie and onto some acclaimed stages. Mixing the catchiness of pop and fuzz with a hint of dark post punk, they've crafted a sound that's truly and twistedly their own.

What initially began as an outlet, both creatively and politically, mutated into a musical life mission for its members. Their DIY approach, from songwriting to booking shows and tour management, is what make The Klittens the ragtag bunch of misfits they are. The band consists of Yaël Dekker (vocals), Winnie Conradi (guitar), Katja Kahana (guitar), Marrit Meinema (bass guitar, not on press picture yet since she’s a recent new band member), and Laurie Zantinge (drums).

Last October The Klittens released the first single ‘Universal Experience’ of their upcoming EP, an upbeat anthem on alienation that explores taking part in “normal everyday” activities that are not quite so everyday and normal to you. Their most recent EP ‘Butter’ (march 8 2024, digi + vinyl) got the attention of magazines such as So Young Magazine, NME, La Blogotheque and Under The Radar, and got support on both BBC Radio 1 and BBC Radio 6. The EP is a follow-up to The Klittens debut-EP ‘Citrus’ which was released in April 2022 and led to international press and shows in The Netherlands, the United Kingdom and throughout Europe.

For ‘Butter’, The Klittens explore their tastes on a further scale and dive deeper into their songwriting skills. The demo of each song was written by a different band member and later developed into a complete whole in the rehearsal room with the entire band. That is why you hear five slightly different ingredients on the EP that were later melted into a five-song EP, an EP called ‘Butter’. 
Tickets for this show are £10 in advance.

You can get tickets online from here.


Marnie Glum
Sunflower Thieves
Thursday 25th July, 7.30pm
Marnie Glum

Marnie Glum is the pseudonym of York-born musician Charlotte Lynch, who was raised by the York folk and open mic scene. While Lynch has gradually dipped her toe into releasing recorded music, she plunged headfirst into live performance, and has cultivated a dedicated fanbase through her captivating live set.

Inspired by the likes of Madison Cunningham, Big Thief and Fiona Apple, Lynch continually stretches and evolves her sound as she hones her craft and takes influence from a wide variety of sources.

While she does not shy away from experimentation, folk remains at the heart of Lynch’s sound, bolstered by meticulous lyrics woven into intricate guitar arrangements. Despite her scrupulous, delicate method of songwriting, a sense of calm ease is felt and maintained across her work.

Marnie Glum’s eagerly anticipated debut EP, recorded in Norway with producer Vegar Nesfossen-Dreier, will be released this Autumn.

'A perfect voice… performed with a warm confidence, and a nice lazy, comfortable and smooth flow.'
Old Man Blues

'She tells kitchen sink dramas and heartfelt soap opera tales with her infectious tunes.'
With Just A Hint of Mayhem

'A masterclass in songwriting'
Katie Spencer

Sunflower Thieves

Sunflower Thieves are childhood friends, Amy and Lily: a self-produced sisterhood, nurturing a unique sound, through ethereal vocals harmonies and storytelling lyrics. The band’s debut EP, 'Someone To Be There For’, was met with huge support from Radio 1’s Sian Eleri, 6Music’s Steve Lamacq and revered tastemaker, Tom Robinson. They have previously played shows with the likes of Flyte, Say She She, Haley Blais, Nell Mescal and Lewis Watson, been longlisted for Glastonbury’s Emerging Talent Competition and named ‘Ones To Watch’ by PRS.

With the promise of much anticipated new music across this year, Sunflower Thieves are exciting ones to watch as they continue creating their own brand of warm alt-indie tracks.
Tickets for this show are £8 in advance.

You can get tickets online from here.


Holiday Ghosts
Sunday 28th July, 7.30pm
Holiday Ghosts - a prolific four-piece of musicians and friends bring their hip-shaking, head thrashing, raw and upbeat energy to their recordings and unforgettable live shows. The result is unadulterated and unclean, unabashed and uncompromised. As drummer, Katja Rackin, and guitarist Sam Stacpoole, share lead vocal duties, their voices come together as one with dispersed harmonies, often joined by rhythm guitarist Ben Nightingale, and grounded by Morgan Lloyd-Mathews tastefully simplistic bass grooves. Call it garagy, jangly, rock n rolly, indie, punky, poppy, whatever you wanty.

Since the birth of the band they have played iconic stages throughout the UK and Europe, from Latitude Festival to Left Of The Dial, from Dot to Dot to Misty Fields from the Pyrenees mountains to the chapels of Chester. They’ve toured with top acts such as WITCH, BODEGA, Shannon & The Clams, Juan Wauters, Black Lips, The Bug Club & more; attracted widespread praise across the press community (KEXP, Brooklyn Vegan, The Guardian, The Independent, Stereogum, DIY, So Young, The Line Of Best Fit, Clash, Gigwise & more), and been consistently spotlighted by BBC 6 Music, with their Album of the Day feature and live interviews. With catchy melodies, fiery lyrics, hard-picked guitars and a DIY punk spirit, Holiday Ghosts have cemented their status in the UK music scene and have big plans for the year ahead.

Tickets for this show are £10 in advance.

You can get tickets online from here.


LOVE with Johnny Echols
Monday 29th July, 7.30pm
LOVE with Johnny Echols makes their annual trip to the UK summer 2024!

LOVE with Johnny Echols sees Arthur Lee’s longest serving band return to the UK to perform classic songs from Love’s first three albums Love, Da Capo, Four Sail and of course Forever Changes as well as some special deep cuts.

Following their farewell tour in 2019 the band hadn’t anticipated a return, but in 2022 the band did just that, as founding member and guitarist Johnny Echols explained, “the unprecedented times in which we found ourselves made us realise more than ever that what the world needs now is LOVE. How could we turn down the opportunity to come back and do it again? We have missed playing for our fans in the UK whom we dearly love.”

In what has now turned into an annual UK tour, Love is set to return in summer 2024. Johnny Echols: “I so look forward to our trips across the pond and performing LOVE's extraordinary music for our friends in the UK. We will, of course, be performing much of Forever Changes, as well as favourites from our extensive catalogue... as well as a few surprises. Don't miss the LOVE-Boat!”

Joining Johnny Echols on stage is Baby Lemonade who from 1993 until Arthur’s death in 2006 performed as his band and became an essential part of the renaissance of LOVE’s music. This iteration of LOVE saw many sold-out tours, as well as back-to-back Glastonbury performances and an appearance on Later with Jools Holland.

LOVE is:
Johnny Echols: Guitar, Vocals    | Rusty Squeezebox: Lead Vocals, Guitar | Mike Randle: Guitar, Vocals | David “Daddyo” Green: Drums | James Nolte: Bass

A Brief History:

Johnny Echols and Arthur Lee were childhood friends whose families both moved from Memphis to Los Angeles. Teenage Johnny & Arthur teamed up to form the groups Arthur Lee & The LAG’s and the American Four before they formed LOVE in 1965. The classic LOVE line up featuring Johnny disbanded in 1968. Johnny reunited with Arthur Lee in 2005 to perform with LOVE once more.

Baby Lemonade formed in 1992 by Rusty Squeezebox, Mike Randle, David “Daddy-O” Green, later adding Dave Chapple to the mix. In 1993 the band landed the gig of a lifetime opening up for LOVE. That show was the last for that incarnation of LOVE as Arthur replaced them with the four Baby Lemonade members. Baby Lemonade released records on Sympathy for the Record Industry, Munster and Big Deal between 1993 and 2001.

Upon their return from a LOVE tour of Europe, in 1996, Baby Lemonade was shocked to find that Arthur had been sentenced to 12 years in prison on a weapons charge. After nearly 6 years in prison, Arthur’s case was overturned and shortly after, at his request, Baby Lemonade began rehearsing for what would be non-stop LOVE touring throughout North America, UK, Europe and Australia between 2002 and 2005 where they enjoyed unprecedented success with sold out tours, back to back Glastonbury performances, Roskilde and Benicassim festival, two sold out shows at the Royal Festival Hall that spawned a live album, and an appearance on the Later with Jools Holland TV Show.

In 2005 the LOVE line up once again featured Arthur’s childhood friend and founding member Johnny Echols on lead guitar who returned after a 37-year absence.
In July of 2005, Arthur was diagnosed with Leukaemia and after a brave battle he passed away one year later. Arthur’s last show was with Baby Lemonade and Johnny Echols on June 23rd at San Francisco’s Cafe Du Nord. The world had lost a true music legend.

Since then, the Love band members with Johnny Echols performed regularly on the West Coast, returning to the UK for the first time in 2016, and have slowly built up an impressive following with many sold out shows.

As MOJO wrote in an extensive feature published in July 2023, Arthur Lee was one of the most problematic characters in rock history, but both Johnny Echols and guitarist Mike Randle both speak of him in the present tense, ‘with an air of wonder and affection’. “I don’t see Arthur as being gone,” commented guitarist Mike Randle, “he’s everywhere!”

And so he is – his spirit lives on in the timeless music he created performed by the longest serving members in the history of Love. And long may it continue.
Tickets for this show are £20 in advance.

You can get tickets online from here.



Tom Robinson Band
Friday 2nd August, 7.30pm
The first Tom Robinson Band emerged amid the turmoil of late 70s Britain - in a time of punk rock, political unrest and economic gloom. TRB became known for the hit single 2-4- 6-8 Motorway, their vocal support of Rock Against Racism and for the anthem Sing If You're Glad To Be Gay, which made the Top Twenty despite a ban by BBC Radio 1.

The original TRB consisted of Robinson on bass and vocals, drummer Dolphin Taylor, keyboardist Mark Ambler and their incendiary guitarist Danny Kustow - who died early in 2019 at the age of 63. They made just two albums - Power In The Darkness and TRB TWO and ended - like the Seventies - just as Margaret Thatcher swept to power.

The current Tom Robinson Band will play a 23 date tour in October/November 2024 showcasing those first two albums, in tribute to the original band members. The setlist has been chosen by fans via an online poll, and will include some album tracks from the era that have never previously been performed live.

Alongside Robinson on bass, the band features Faithless drummer Andy Treacey, guitarist Adam Phillips from the Richard Ashcroft Band, keyboard virtuoso Jim Simmons and Northern soul singer Lee Forsyth Griffiths on acoustic guitar.

"45 years on," says Tom "some of the original TRB lyrics - about division, injustice and uncertainty - still feel depressingly relevant in a world of Trump, Farage & Suella Braverman. I also owe a huge amount to the musicianship of Mark, Dolphin, and Danny back in the day. We're hoping to do that early band - and the songs - full justice this Autumn.” 
Tickets for this show are £22 in advance.

You can get tickets online from here.


Lanterns On The Lake
Friday 23rd August, 7.30pm
Originally formed in Tyneside in 2007, Lanterns on the Lake combine dreamy, melancholic Indie rock with beautiful layers of texture and celestial melodies that thread around intricate instrumentation. Their fourth studio album Spook The Herd was released in February 2020 to critical acclaim and earned a place on the shortlist for the Mercury Prize.

Throughout their career, the band’s music has been used in soundtracks for film, TV (Conversations with Friends, Uncanny, Made In Chelsea, Skins) and the video game Life Is Strange. They have recorded an orchestral live album with The Royal Northern Sinfonia and played shows opening for Explosions in the Sky, Low and Yann Tiersen.

On the 2nd of June 2023, Lanterns on the Lake released their self-produced and much-anticipated new album, Versions of Us.

Listen / Watch / Watch
The album’s nine songs are existential meditations examining life’s possibilities, facing the hand we’ve been dealt and the question of whether we can change our individual and collective destinies.

Singer and songwriter Hazel Wilde has no doubt that motherhood fundamentally shifted her perspective. “Writing songs requires a certain level of self-indulgence, and songwriters can be prone to dwelling on themselves,” she says. “Motherhood made me aware at having a different stake in the world. I’ve got to believe that there’s a better way and an alternative future to the one we’ve been hurtling towards. I’ve also got to believe that I could be better as a person, too.”

Mixed by the band’s guitarist Paul Gregory, in the bedroom of his home in North Shields, there is a sense of time and place that runs deep throughout this record.
Opener and lead single “The Likes of Us” documents the state of things but sublimates observations into a mantra of resolve. It heralds Versions of Us as the band’s most cohesive and concise record yet, with its pervading sense of empowerment encapsulated in Wilde’s startling vocal performances. Her voice now also soars with previously unheard force on an album austere in its beauty, with its shifting sands of searing guitar, fluttering vintage synths and swarming melodic lines, topped with glistening strings from Angela Chan.

On centrepiece “Thumb of War”, she is inspired, almost howling as she leads the band through a woozy song that reframes life as starkly as possible. As the song pirouettes, broadening its scale to contrast the universal with life’s mundane arguments, culture wars and conspiracy theories, there’s a sense of the profound that’s terrifying and liberating. The ultimate exercise in perspective yields hope for future generations.

Each song’s journey is matched beautifully by the band’s performances. The grumbling, staticky synths of “Rich Girls” cede to an ascending, spine-tingling bridge of sinuous guitar and bass. “Vatican” pivots on a bluesy, midnight-black riff from ever-inventive Paul Gregory and a muted bassline from Bob Allan on a song about love’s quiet reliability. “Real Life” hares from the traps, aquaplaning on the surface tension of its fuzzing guitars and chiming central hook - a blast of indie rock on an album full of musical high-watermarks for the band.

Given some of its themes, a biting irony is found in an entire previous version of the record being discarded. Mental health struggles and personal problems in the band had a big impact on how the initial version took shape. “Despite trying everything we could to make it work we reached the point where we just had to stop” Wilde explains. Drummer Ol Ketteringham parted ways with the band, something Wilde says was “heartbreakingly difficult as we were and still are extremely close”. The band scrapped nearly a year’s worth of work, regressing to song demos with just Wilde performing with a single instrument as they began again with Radiohead’s Philip Selway joining the album sessions on drums.

“Philip brought an energy to the songs that reignited our belief in them,” says Wilde. A bravura drumming performance informs the majestic “String Theory”, as Selway adds multiple rhythmic elements, driving in lock-step with the band on a song that finds solace in the multiverse theory. “Within a few weeks we had a whole other version of the album and things felt very different,” Wilde continues. “We had changed the destiny of the record.”

It’s a heartening idea. Despite the difficulties in its genesis, Versions of Us is the most empowering album yet from the band. In exploring whether we can change fate or are doomed to repeat the same mistakes in life, this powerful collection of songs ultimately alights on hope. As closer “Last Transmission” fractures and falls apart over its final two minutes – its wreckage gracefully burning up in the atmosphere – its narrator finds that, “in the last gasp of this old world / You know I think I found the beauty and the good”. It’s also never too late to change course.

 Tickets for this show are £18 in advance.

You can get tickets online from here.

Kassi Valazza
Sunday 25th August, 7.30pm
Kassi Valazza’s latest album Kassi Valazza Knows Nothing is a spellbinding collection of songs that dangle like protective magic talismans, catching dreams and glinting light. She hypnotizes listeners with a sturdy, yet gentle, voice and painterly songwriting imbued with an independent spirit.

Though her music plays country cousin to British folk, calling to mind greats like Sandy Denny (Fairport Convention) and Karen Dalton, a Southwestern American streak carves its way through these solemn, sweetly sung melodies like a canyon.

‘Kassi Valazza Knows Nothing’ is an album of subtly brilliant songs. This is sure to be one of the best country albums of the year, drawing from country and folk tradition to shape something fresh and unique.'
Americana UK

'A little while back I featured a standalone single from Kassi Valazza that found her injecting a sense of Cosmic Americana into Country’s trad trappings. Just over a month later the Portland songwriter offers up news of an upcoming album, Knows Nothing, and the first single, “Watching Planes Go By.” This time there’s still a country countenance but the song is cut with a sense of ‘60s UK folk, nodding to works by Fairport Convention and Pentangle alongside the darker folk musing of Americans like Susan Christie or Karen Dalton. The song’s midsection blisters into a torrent of rhythm and guitar that pulls this far from the ordinary modern country single, rippling with a turbulent tension.'
Raven Sings The Blues
Tickets for this show are £15 in advance.

You can get tickets online from here.

 Robyn Hitchcock
Sunday 1st September, 7.30pm
With a career now spanning six decades, Robyn Hitchcock remains a truly one-of-a-kind artist: surrealist rock ’n’ roller, acoustic troubadour, poet, painter, and writer .  From The Soft Boys’ art-rock and The Egyptians’ Dadaist pop to solo masterpieces like 1984’s milestone I Often Dream of Trains and 1990’s Eye, Hitchcock has crafted a striking oeuvre rife with recurring marine life, obsolete electric transport, ghosts, cheese and what one writer has described as ‘morbid eroticism’.
Watch / Watch / Watch / Watch
Born in London in 1953, Hitchcock attended Winchester College and the City & Guilds Art School before moving to Cambridge in 1974. There he worked his way up from the folk clubs to found Dennis & The Experts who metamorphosed into The Soft Boys in 1976. Though light years away from first wave punk’s revolutionary clatter, the band still manifested the era’s spirit of DIY independence with their breakneck reimagining of British psychedelia. During their original lifetime, The Soft Boys released but two albums, among them 1980’s landmark LP, Underwater Moonlight. “The term ‘classic’ is almost as overused as ‘genius’ and ‘influential,’” declared Rolling Stone   upon the album’s 2001 reissue. “But Underwater Moonlight  remains all three of those descriptions.”

Hitchcock launched his solo career with 1981’s Black Snake Diamond Röle, affirming his knack for idiosyncratic insight and surrealist hijinks. 1984’s I Often Dream Of Trains fused that approach with autumnal acoustic arrangements which served to deepen the emotional range of his songcraft. Robyn Hitchcock and The Egyptians were launched that same year and immediately lit up US college rock playlists with albums like 1986’s Element of Light. Cited as an influence by REM and The Replacements, he signed to A&M Records in 1987 and scored early ‘alternative’ hits with “Balloon Man” and “Madonna of the Wasps.” Hitchcock returned to his dark acoustic palette with 1990’s equally masterful Eye before joining the Warner Bros. label for a succession of acclaimed albums including 1996’s Moss Elixir and 1999’s Jewels For Sophia.
The Soft Boys came together for a second go-around in 2001, releasing Nextdoorland on Matador Records to critical applause. Hitchcock joined the Yep Roc label in 2004, releasing collaborations with like-minded friends Gillian Welch and Dave Rawlings (2004’s Spooked) and legendary producer Joe Boyd (2014’s The Man Upstairs). Beginning in 2006, Hitchcock released a trio of albums backed by The Venus 3, featuring Peter Buck, Scott McCaughey, and the late Bill Rieflin.
Robyn moved to Nashville in 2015 and gravitated to the Music City community, recording 2017’s Robyn Hitchcock with an array of local talent including co-producer Brendan Benson. In 2019, he joined forces with XTC’s Andy Partridge for the four-song EP, Planet England.
Music aside, Hitchcock has appeared in a number of films, three of them by the late Jonathan Demme: 1998’s concert documentary Storefront Hitchcock as well as roles in 2004’s The Manchurian Candidate  2008’s Rachel’s Getting Married.
Locked down in Nashville by the global pandemic of 2020, he and his partner Emma Swift began their Sweet Home Quarantine livestream series, broadcasting weekly sets with their two cats, Ringo and Tubby. They also launched their own label and press, Tiny Ghost. 2021 saw the publication of Hitchcock’s first book, Somewhere Apart: Selected Lyrics 1977-1997, featuring 73 songs and 34 illustrations in a beautiful cloth-bound edition. In 2022 his first album for Tiny Ghost ‘SHUFFLEMANIA!’ was released, recorded at home during lockdown with long-distance collaborators including Johnny Marr (Manchester) Sean Ono Lennon (New York) Kimberley Rew (Cambridge) and Davey Lane (Melbourne).

June 2024 will see his second book “1967 - How I Got There and Why I Never Left” published in the UK by Constable. To accompany this Tiny Ghost will release “1967 - Vacations in The Past” an album of the pop hits of that year covered by Robyn on acoustic guitar with some of his friends in Cambridge and Melbourne.

Meanwhile a collection of new songs is due for release in early 2025.

“I like to keep busy”, says Hitchcock: “We have all eternity to not exist.” 
Tickets for this show are £20 in advance.

You can get tickets online from here.



Jake Xerxes Fussell
Monday 2nd September, 7.30pm
Reared in Georgia and now settled in North Carolina, Jake Xerxes Fussell has established himself as a devoted listener and contemplative interpreter of a vast array of so-called folk songs, lovingly sourced from a personal store of favorites. On his latest album, When I’m Called—his first LP for Fat Possum, and his first as a parent—Fussell returns to a well of music that holds lifelong sentimental meaning, loosely contemplating the passage of time and the procession of life’s unexpected offerings.

The album was produced by James Elkington and mixed by Tucker Martine. In addition to Elkington, it features the playing of Ben Whiteley (The Weather Station), Joe Westerlund (Bon Iver, Califone), and others. Blake Mills contributes guitars on several tracks. Joan Shelley and Robin Holcomb provide backing vocals.

Watch / Watch / Watch
'…Fussell is the rare contemporary to approach folk in its pure form, shunning self-penned compositions about bummer relationships to concentrate on material handed down from bygone, hardened times.'
The New Yorker

'(Fussell) is one of the great magpies of American song, collecting forgotten, tarnished gems with a folklorist’s zeal… his renditions aren’t so much cover versions as composites…'
The Guardian

'…maybe the leading interpreter of American folk music right now.'
Ann Powers, NPR 
Tickets for this show are £15 in advance.

You can get tickets online from here.


Jeffrey Lewis & The Voltage
Monday 2nd September, 7.30pm
'Weird? Very... but also downright inspiring"'
**** - Rolling Stone

'Jeffrey Lewis is an amazing musician, and if you don’t know his songs you probably have a hole in your heart that can only be filled by his words… I did!'
Regina Spektor

The mind-spinning indie-rock/folk/art of Jeffrey Lewis & The Voltage developed when songwriter and comic book artist Jeffrey Lewis began recording homemade cassettes in New York City in 1998; his critically acclaimed, unusual and word-dense songs lead to Jeffrey signing to Rough Trade Records in 2001 (record label of The Smiths, The Strokes, Belle & Sebastian, etc.), and the project evolved into a live touring cult sensation around the world. Creating a brilliant style of scuzzy urban indie-rock-folk, like a 21st Century mash-up of Sonic Youth, Pete Seeger and R. Crumb, Jeffrey’s band has played countless gigs all over the world, including playing as the opening act for icons like the Mountain Goats, Daniel Johnston, Stephen Malkmus & The Jicks, Dinosaur Jr, The Fall, Dr. Dog, Pulp, Roky Erickson, The Vaselines, and more.

Their most recent official album is “Jeffrey Lewis & The Voltage: Bad Wiring” released on Don Giovanni Records (USA) and Moshi Moshi Records (internationally) in November 2019 (garnering rave reviews), but Jeffrey has also digitally self-released four DIY albums from his apartment since the pandemic started. With or without bandmates Jeffrey continues to wring folksy spiel and garage bohemianism from his ramshackle guitar, while incorporating his often politically subversive visual artwork and cartoons into live appearances. Some of these audio/visual projects have been hosted by the History Channel website, such as “The Story of Sitting Bull,” a Jeffrey Lewis illustrated song which won a Webby Award in 2011 for “Best Writing on the Internet.” Jeffrey's “The Story of Keith Haring” was commissioned by the Museum of Modern Art in 2021.

As of 2024 the 4-piece line-up of Jeffrey Lewis & The Voltage includes Mallory Feuer on violin and keyboard, Kait Pelkey on bass and Brent Cole on drums.

Watch / Watch


'Hands down my favorite contemporary songwriter.'
Ben Gibbard (Death Cab For Cutie)

'Jeffrey is the best pure songwriter I know of... 'Sad Screaming Old Man’… is one of my favorite songs ever written.'
David Berman (Silver Jews)

'Ramshackle and beautiful noise… Lou Reed’s natural successor as punk poet of the New York streets.'
Louder Than War

'Bizarre but brilliant'


'Jeffrey is the only artist I've sent fan mail to.'
Jens Lekman

'Really great and impressive and inspiring and exciting... There's not a lot of people that can tell a story and use language like that in music.'
Will Oldham
Tickets for this show are £18 in advance.

You can get tickets online from here.


Lætitia Sadier Source Ensemble
Tuesday 3rd September, 7.30pm
Laetitia issues a call to the traumatized civilizations of Earth: we’re urged to finally evolve past our countless millennia of suffering and alienation. Her songs score the complexities and harmonies within this directive: organ, guitar, bass, synth, trombone, vibraphone, live and programmed drums, and a vocal assembly of men and women billed as The Choir, working intricate chord/tempo/and dynamic changes, as Laetitia’s empathic presence leads the way.

Watch / Watch
Over the course of her career, spanning three-plus decades, Laetitia Sadier has never shied away from the hard topics, or stopped advocating for the possibility of self determination and emancipation in the face of the powers that be, conscious or unconscious. This is an essential part of the foundation she co-built with Stereolab, showcasing her spiritual, scientific and sociopolitical inquiries. She’s continued this process with Monade and under her own name and as a writer/singer/and musician whose every album acts as a report on her journey of the self through time, space and the collective.

On Rooting For Love, the report is set alight by the heat of a turbulent world, collapsing institutions and Laetitia’s fully engaged process of expression as well as orchestration. The opening number, “Who + What” elucidates the central issue of the album: a call for a collective striving for Gnosis – an inquisitive outlook that will lend clues to the traumatized civilizations of Earth, allowing us to evolve away from millennia of alienation and suffering and towards the achievability of healing. The musical arrangements help to embody the layers of the issue, as with “Who + What”’s combination of organ, synths, guitar, bass, trombone, drum programming, vibraphone and zither, all working along intricate paths of chord and tempo changes. Leading from the inside is the implacable presence of Laetitia Sadier, herself interacting with a vocal assembly of men and women billed as The Choir. The regular reappearance of The Choir throughout Rooting For Love is a reminder of this music being one of a people in critical mass, in addition to an evolution that continues to deepen the rich harmonic fields in which Laetitia plays.

Past wounds are addressed again and again in the libretto, as the music provides a transformational balm to aid the healing process. The melodic funk of bassist Xavi Muñoz leads a Chic-adjacent slink to the occasional dance floor vibes and no-wave rockouts, while Hannes Plattemier and Emma Mario take turns in mixing the tracks and informing the far reaches of the material, with vibes, additional drum programming and synths alongside a talented cast of players and singers from Laetita’s Source Ensemble and beyond.

Whether drawing inspiration from Zen Shiastu training, or the lyrics of Véronique Vincent, (lyricist and singer for Aksak Maboul, and once upon a time, lead singer of the Honeymoon Killers), Laetitia faces the truth without flinching. The shadows, whatever stuff they are made of - individual and collective, present and ancestral - need to be recognized and acknowledged, because the more we heal within ourselves, the more undivided we become in the face of looming Neo-fascist/Neoliberal narratives polluting the inner and outer landscapes. As with the cover image of the winter tree mirrored by the word patterns of Rooting For Love, Laetitia maintains that how we heal the world that’s coming, and what we make of it, will be a co-creation. The quality of our imagination, the orientation we give our thoughts and the capacity to bring love to ourselves and the world are a first step.

Alongside of her collaboration with Modern Cosmology, last year’s incredible What Will You Grow Now?, as well as her continued tours with a reformed Stereolab, Rooting For Love finds Laetitia back in the world, once again urging all our grounded inner alignment and heart power to make us better equipped for creating what’s to come.


'An antidote to the corporate pop that forces us to be joyful, Rooting For Love offers a genuine alternative without being militant or hideously self aware.'
8/10, The Quietus

'For an artist working with such a recognizable palette, Sadier manages to keep painting in bold and striking colours. In terms of the production, this is decidedly Sadier’s best-sounding solo album to date.'
8/10, Dusted Magazine

'I dig a conceptual framework but to be honest my enjoyment of Rooting For Love has little to do with earthbound concerns and everything to do with sheer escapist pleasure in form and grain.'
The Wire

★★★★ - Mojo Magazine

★★★★ - Uncut Magazine
Tickets for this show are £12.50 in advance.

You can get tickets online from here.


Mary Lattimore
Walt McClements
Friday 6th September, 7.30pm
Mary Lattimore and Walt McClements are two of contemporary music's most renowned innovators. Each has managed to expand the perception of their instrument’s capabilities. Lattimore inventive harp processing and looping has brought the instrument to a new audience. Her prolific run of celestial solo albums and evocative film scores have redefined the instrument in the modern consciousness. Her genre-agnostic collaborations include work with Kurt Vile, Steve Gunn, Jeff Zeigler, Meg Baird, Bill Fay and Thurston Moore. McClements, who tours as a member of Weyes Blood, is an acclaimed composer in his own right, sculpting glacial atmospherics from the accordion. The Los Angeles based duo became quick friends on overlapping tours, sharing both a drive to push the sonic possibilities of their instruments and  roots in North Carolina. Mary Lattimore and Walt McClements debut collaboration Rain on the Road blossomed out of that time spent on the road together, capturing the liminal existence of touring life in deeply cinematic compositions.

Watch / Watch / Watch
Recorded in the cozy setting of McClements’ apartment during a rainy December in LA, Rain on the Road unfurls as a series of sonic vignettes, rolling landscapes hewn from longform improvisations for harp and accordion. Embellished with additional instrumentation such as the shimmering constellations of hand bells on “Stolen Bells” that glisten like lights on wet pavement, or the stately piano figures on “The Top of Thomas Street”; their pastoral pieces manage to paint vivid images.

Lattimore and McClement’s patient listening opens up space for small textures or allows the formation of soothing hypnotic cadences. The duo’s subtle use of field recordings woven into the album’s lithe atmospheres evoke their travels transporting the listener. Their sonic snapshots include an unexpected morning encounter with bears at Lattimore’s family cabin near Asheville. The resulting music is beautifully unhurried, meditative and joyously expansive.

The duo’s mastery of their respective instruments and their collective explorative nature belies the delicate complexity of their music. Their humility and their joy permeate every note making Rain on the Road – a beautiful listen.
Tickets for this show are £16 in advance.

You can get tickets online from here.


Former Champ
Sunday 8th September, 7.30pm
Durham indiepop-punks Martha return with their fourth album, and it might just be their best one yet. With their endlessly radiant hooks dialled up to maximum setting, paired with another heart-rending and relatable lyric sheet that reflects on the universal scars of the pandemic years, Please Don’t Take Me Back is the work of a band in the form of their life. It’s also an instant classic – one that’s both smartly prescient and warmly addictive.

Recorded at Nottingham’s JT Soar by ‘Bad’ Phil Booth (The Cool Greenhouse, Rattle, Grey Hairs), Please Don’t Take Me Back is a timely collection of deliciously catchy pop songs about ‘resisting the feeling that the good days are behind us’.

Two things set these songs apart. Firstly, the sense of resolution the band provide by working through these fears to find what positivity they can – making this the go-to record for your ongoing existential crisis in 2022. Secondly, there’s the effortless brilliance which ensures every melody cements itself to your memory from the very first listen – album closer “You Can’t Have A Good Time All Of The Time” might be their breeziest singalong moment yet, all wrapped up in a song about the planet’s ongoing environmental catastrophe. You’ll hear echoes of The Housemartins, The Weakerthans, Cheap Trick and Heavenly in their sound, but ultimately it sounds like Martha found a way to turn their strongest features all the way to 11. What better way to process the aftermath of the past two years?

Watch / Listen

While their previous record – 2019’s Love Keeps Kicking – saw them remaining defiant in a world that seemed to be breaking apart, Please Don’t Take Me Back explores the scattered fragments of what followed and tries to make sense of how we navigate the smoking remains.

First formed in the small village of Pity Me, Durham, in 2011, Martha released their debut EP the following year on guitarist Jonathan Cairns’ DIY label, Discount Horse. Tours on both sides of the Atlantic soon followed, along with two albums for the UK’s much-missed indiepop stable Fortuna Pop: 2014’s Courting Strong (also released in the United States by Salinas Records) and 2016’s sophomore effort Blisters In The Pit of My Heart (via Dirtnap Records in the US). In the meantime, the band became figureheads for the UK’s DIY pop scene by balancing their obvious talents with a clear set of ethics – anti-capitalist, first and foremost – and an open-hearted warmth that’s often absent from the foreground of punk rock.

Please Don’t Take Me Back is a fine addition to Martha’s discography; their most life-affirming yet and a welcome ripple of light at a time when it’s often difficult to see past the darkness. Listen and love: the beat perpetual drives on. 

Former Champ

Former Champ is a five-piece group from Glasgow, featuring Irish vocalist Claire McKay (Martha Ffion) and members of Savage Mansion, Catholic Action and Hound. Channelling the melancholy storytelling of The Replacements, the guitar interplay of The Strokes and the emotive indie pop of Alvvays the band formed in early 2022 after years of going to each other’s gigs as fans, and years of talking about forming a power-pop quintet over pints of Guinness after the show.

Tickets for this show are £14 in advance.

You can get tickets online from here.


Andrew Wasylyk & Tommy Perman
Tuesday 10th September, 7.30pm
Andrew Wasylyk’s cinematic compositions have been nominated for the Scottish Album of the Year Award and been awarded BBC Radio 6 Music’s Gideon Coe’s Album of the Year. He has collaborated with former National Poet for Scotland, Liz Lochhead, and written soundtracks for Radio 4. Tommy Perman’s work as a musician and DJ has taken him across the world, with numerous record releases under his own name and with experimental group/arts collective FOUND, alongside visual works at the Sydney Opera House and National Museum of Scotland.

The pair have orbited each others worlds for a number of years through audio-visual collaborations spanning record releases, films and sound installations. With their first collaborative album as a duo expected later in the year on Clay Pipe Music, the spirit of the project channels through on new single, ’Communal Imagination’. Wasylyk’s trademark searching piano chords float above Perman’s distinct juddering rhythms, conjuring a Balaeric abstraction of Basil Kirchin. Elsewhere, saxophones and choral vocals climb above fluttering Juno synths in a unifying chorus.

A intimate, transcendental audio visual performance by two artists at the height of their creativity.
Tickets for this show are £15 in advance.

You can get tickets online from here.


Mock Tudors
Flip Top Head
Friday 20th September, 7.30pm  
Mock Tudors is the latest band from Tom Diffenthal (Family Selection Box, Mr Ben & the Bens), Ben Hall (Mr Ben & the Bens) and Richard Birkin (Hot Souls). Combining a power-pop knack for a hook with a bombastic stage presence that subverts the excesses of glam, the Tudors stumbled onto the pub stages of Sheffield in early 2021 and have barely got down since.
Tickets for this show are £10 in advance.

You can get tickets online from here.


Steve Wynn
, Yorkrise @ Bluebird
  Saturday 21st September, 7.30pm
Steve Wynn  first UK solo tour in over ten years with new album and book Steve Wynn, leader and founder of the Dream Syndicate, will be touring the UK this September in support of I Wouldn’t Say It If It Wasn’t True, his debut book, a memoir for Jawbone Press as well as “Make It Right,” his first solo album since 2010, to be released on Fire Records. Both the book and new record will come out on August 30, just a few weeks ahead of the tour.The book details the winding path from growing up a music fan and pre-teen bandleader in Los Angeles through the formation and ultimate dissolution of the Dream Syndicate at the end of their first era in 1988. There are stops along the way for tales of cross-country greyhound trips to track down Alex Chilton to wild, off-the-rails tours with U2 and R.E.M. and the epic heart-of-darkness making of the band’s controversial second album Medicine Show and plenty more. The album is a similarly, reflective and intimately revealing collection, written and recorded in tandem with the writing of I Wouldn’t Say It If It Wasn’t True.Wynn promises a one-man show blending songs from and inspired by the book along with a narrative structure of readings from the book and storytelling, adjunctly extrapolated from those passages. Fans can expect a selection of evergreens and rarities from the Dream Syndicate’s 80’s catalogue along with illuminating covers and reflective numbers from the new album as well, all adding up to one tall tale of a past revisited. Steve says, “I don’t see this show as a stodgy reading or as a random selection of songs but rather a tiny play of sorts, a way of giving a flesh and blood companion to the book. I’m looking for that magic place where, say, Lenny Bruce and Spaulding Grey and Ray Davies and Bob Dylan and maybe Hedwig might meet in a dimly lit cabernet on the back streets of Hollywood. I’ve never done this kind of show before but if I can hit all those markers, I’ll be happy.”Steve Wynn will be selling and signing copies of I Wouldn’t Say It If It Wasn’t True (book) and “Make It Right” (CD/LP) after every show.

Tickets for this show are £17.50 in advance.

. You can get online fromticketshere


Ryley Walker
Sunday 22nd September, 7.30pm
*This is a seated show with all seating unreserved*

Ryley Walker began his career in the early 2010s, after moving from Illinois’ provincial town of Rockford, and settling into Chicago’s independent scene. After a slew of cassette and vinyl releases, Tompkins Square put out his debut album in 2014, which was then followed up by the Dead Oceans released Primrose Green a year later. His most recent album, Course in Fable, was released on his own Husky Pants Recordings label in 2021.

Having toured with the likes of Richard Thompson, and with a supporting slot for Dinosaur Jr. forthcoming—as well as a tremendous Bert Jansch tribute show behind him, wherein his hero Anne Briggs called him the ‘c word’—Walker has rubbed shoulders with the very best.

While, in the past, his desire to be as great as his influences may have dogged and hindered him from bringing his own personality to his music, now, Walker’s music is undeniably his. A mix of Twitter and sobriety may be partially responsible. “Music is an exciting thing I get to do because I’m alive and well. I take every opportunity I’m given very seriously; I’ve gotta pay tribute to that by staying alive and being as good to the people who love me as I can,” he said. 
Tickets for this show are £18 in advance.

You can get tickets online from here.


Pictish Trail
Wednesday 25th September, 7.30pm
Over summer and autumn 2024, Pictish Trail will be performing a select series of stripped-back shows, playing songs from across his 5 album back-catalogue on acoustic guitar and sampler, accompanied by Semay Wu on cello, Gillian Fleetwood on harp, and Susan Bear on keys and bass guitar.
'One of my favourite artists.'
Lauren Laverne, BBC 6 Music

Throughout his career Pictish Trail has resolutely furrowed his own path, steadily creating a unique catalogue of recordings & performances, while eschewing the blueprint of the predictable singer-songwriter in favour of something untidily intriguing.

Island Family is the fifth album from Isle-of-Eigg dwelling electro-acoustic psych-pop artist Johnny Lynch aka Pictish Trail. A strange, unpredictable, sardonic and yet deeply personal record inspired by all from Fever Ray to The Flaming Lips, Liars, Mercury Rev and Beck, Island Family is Pictish Trail’s contrarian view of arcadia; a search for the euphoric in the bucolic.

Secret Soundz Vol.1 & 2, his critically acclaimed first pair of albums, were gloriously eclectic slices of lo-fi folk-pop later revived as a deluxe double-vinyl by Moshi Moshi. Future Echoes, was released to further acclaim in 2016, winning the public vote for Scottish Album of the Year (SAY Award) in 2017, and reissued as a deluxe edition on Record Store Day in 2018 by London-based taste-makers, Fire Records. In 2020 Johnny released his 4th LP, Thumb World, a voyage to the outer rings of Pictish Trail’s mind at its darkest, funniest & most inventive – described by Clash as “his most dazzling, most exceptional yet”.

When not putting out his own music as Pictish Trail, Johnny Lynch is a fulcrum of the British independent music community. Through his label Lost Map, he champions a diverse and idiosyncratic array of extraordinary talent, helping to elevate the likes of Rozi Plain, Alabaster dePlume, Bas Jan, Callum Easter and Free Love.
Tickets for this show are £16 in advance.

You can get tickets online from here.


Terry Reid
Band On The Wall, Manchester
Sunday 29th September, 7.30pm

Wednesday 2nd October, 7.30pm
‘A triumph…Terry Reid’s voice has the power to provoke an intense reaction…’
**** - The Times

‘…Astonishing by any standards: spine tingles, hair prickles on back of the neck…’
The Independent

Terry Reid, ‘Superlungs’ as he’s affectionately known, is without doubt one of the greatest rock/soul voices this country has ever produced or is indeed likely to. A Terry Reid concert should be a cherished memory for any self-respecting fan of the greats of British music.

Terry turned down the front man’s job with Led Zeppelin, recommending his mate Robert Plant instead, a similar offer and rebuff to Deep Purple. Aretha Franklin’s stated that The Beatles, Rolling Stones and Terry Reid were the best England had to offer in 1968. He underwent two World Tours with The Rolling Stones, US tours with Cream, UK tours with Jethro Tull and Fleetwood Mac, The Isle of White Festival in 1969 and Glastonbury in 1970, played at Mick Jagger’s wedding, before soured record deals resulted in Terry leaving Britain for America nearly 40 years ago.

All true, but the full story includes numerous collaborations with Graham Nash, covers of Reid songs by Marianne Faithfull, The Hollies, The Raconteurs (the hugely popular ‘Rich Kid Blues’), film soundtracks, including a song in George Clooney’s recent film ‘Up In The Air’, and a catalogue of 6 studio albums, including the seminal album ‘The River’, re-released to critical acclaim in 2002 and the 1976 Nash produced ‘Seed of Memory’. A Reid song ‘Horses Through a Rainstorm’ also features on CSN’s box set.

Watch / Watch / Watch
More recently, Terry’s been working with up and coming French band Shine and The Alabama 3. Following a Glastonbury return in 2009, he played a three night residency at Ronnie Scott’s in London, one of only a handful of non-Jazz artists invited to help mark the legendary venue’s 50th Anniversary. He played to packed houses, critical acclaim, and returned in 2010 and 2011 to sell out 3 consecutive nights.

In May 2011, he toured Ireland for the first time in 30 years and released a new live album ‘Live In London’ which included several previously unreleased tracks. Uncut Magazine presented a show featuring Terry at The Jazz Café and he toured England, including several sell-out shows. A return to Glastonbury, headlining the Spirit of 71 stage followed.

2012 turned out to be an important year for Terry Reid. In May 2012, Rumer featured Terry’s song ‘Brave Awakening’ on her new album Boys Don’t Cry, (which entered the UK Album Chart at No3). Terry returned to the Isle of Wight Festival for the first time since 1971 in June. In August ‘America’s Got Talent’ Winner in 2010, Michael Grimm, included Terry’s song ‘Without Expression’ on his latest album, Gumbo. In the spring, DJ Shadow had invited Terry to write the lyrics to a new track for his forthcoming ‘Reconstructed’ album – This became the song ‘Listen’. 
Tickets for this show are £25 in advance.

You can get tickets online for Manchester here and for York here.


A Hawk & A Hacksaw
The Golden Lion, Todmorden
Monday 30th September, 7.30pm
A Hawk and A Hacksaw was founded in Saumur, France in 2002 by Jeremy Barnes, the drummer of Neutral Milk Hotel, who, completely burnt out by playing the drums, picked up the accordion and became obsessed with folk music from Romania, Hungary, the former Yugoslavia, and Turkey. The band’s name is a reference to Don Quixote, intended as a reminder that while the path chosen is a fool’s quest, there is always the possibility of beauty and discovery along the way.

In 2004 Barnes moved home to New Mexico, and met his partner in life and music, violinist Heather Trost. Their first conversation was about Bela Bartok. The pair toured extensively in the U.S. and Europe, and eventually further afield, to Brazil, Turkey, Australia, Japan. They released a good amount of recordings in an era when CDs were sold at shows and one could carry a large amount of them in carry on luggage. In 2005, they helped a fellow native New Mexican, Zach Condon get a record deal, and played on his debut album. He named his project Beirut.

That same year, Barnes travelled to the far Northeast of Romania, to the Roma village of Zece Prajini, where he recorded with the brass band Fanfare Ciocarlia. Barnes and Trost moved to Hungary in 2006 and worked extensively with four Hungarian folk musicians, Ferenc Kovacs, Béla Ágoston, Zsolt Kürtösi, Unger Balázs. They moved back to New Mexico in late 2008 and continued touring, working with a variety of musicians from different parts of Europe and the U.S. They were finally able to play in Bucharest in 2010. In 2011 and ’12, they toured cinemas with a new soundtrack to Sergei Parajanov’s classic film “Shadows of Forgotten Ancestors.”

Barnes and Trost began releasing their own records and releases from around the world on their label Living Music Duplication around this time. They worked with Turkish Roma clarinetist Cüneyt Sepetçi, the Sayat Nova Project, former Taraf De Haidouks accordionist Marin Sandu, Thor Harris, and Calexico drummer John Convertino, among others. In 2015, they worked with the BBC Concert Orchestra and the Berlin based classical ensemble Stargaze on larger orchestrations of their music, and curated the Transmissions festival in Ravenna, Italy.

In the past few years, the pair have taken a break from touring, but still release music. Heather Trost has released three solo records to critical acclaim. They have recently written music for film director Peter Strickland among others. Trost has developed a thriving piano and violin studio in Albuquerque, while Barnes worked with incarcerated and refugee youth and then began teaching drums and engineering records for other musicians. They are very excited to be back on the road this coming Autumn
Tickets for this show are £13 in advance.

You can get tickets online from here.

Chime School
Tuesday 1st October, 7.30pm  
The love-affair with San Francisco is real. Chime School are the latest in a run of acclaimed Bay Area groups to hit the UK. Marrying the pristine jangle of electric 12-string guitars with nervy, hooky songs, Chime School conjures a unique and instantly recognisable form of indie pop, rooted in the buoyant, driving pulse of the genre’s 1980’s and 90’s forebears, while still locked in a kaleidoscopic stare with its 1960’s originators.

Listen / Watch
Guided by San Francisco musician Andy Pastalaniec, Chime School began as a solo home recording project, paying homage to the formative jangle of The Byrds by way of early Primal Scream; the production and pop sensibility of Biff Bang Pow and The Razorcuts; and the spirit of great singles labels like Creation, Subway, Postcard and Sarah. Though it would have fit with any of those labels, Chime School found a natural home with Slumberland Records, releasing a self-titled debut in 2021, and a follow-up 7” single in 2023.

In its wake, Pastalaniec assembled a live group comprised of Bay Area indie vets, touring up and down the US West Coast, playing with many of the contemporary indie cognoscenti, from labelmates The Umbrellas; The Reds, Pinks & Purples; and Papercuts; as well as Cindy, Blues Lawyer, The Smashing Times, and others.

Their sophomore LP is slated for release this summer on Slumberland Records. Outsider Artists are delighted to present the first UK tour for Chime School, tickets for all dates are on sale now!

'This is so addictive, so instantly classic. At this point we feel like we should have a direct line from San Francisco straight to our hearts.'
Monorail Music
Tickets for this show are £10 in advance.

You can get tickets online from here.


Thursday 3rd October, 7.30pm  
Green shoots have burst forth from Parsnip, let’s warmly welcome the Australian group’s sophomore album ‘Behold’. Recorded across three sessions over the last three years, ‘Behold’ is a testament to Parsnip at their most creative, catchy and collaborative. This album showcases the multi-talents of all four members, with spirited performances adding dazzle to the thirteen tracks. Paris Richens lets the bass playfully roam. Carolyn Hawkins tumbles feeling into the drum rumble. Stella Rennex’s guitar soars alongside her saxophone work, whilst a sprightly keyboard is tenderly attended by Rebecca Liston. Everyone sings amidst this lush canopy.

Watch / Listen
Patience, environmental cues and internal signals are integral for a garden to flourish. The same can be said of the conditions necessary for ‘Behold’ to emerge. It is an album gleeful in reassessment, changed priorities and anticipation. The roots are deeply anchored to mystery, drinking up a hidden wonderment that lies within. ‘Monument’ is a twist of melody and mania, “For what am I? But a channel of light” they attest amongst the whoops and hollers. ‘The Babble’ sounds like Ray Davies playing Wordle for enlightenment. In fact most of these songs are pointing the way towards growth and understanding. ‘Turn to Love’ is mesmeric and timeless, thoroughly serene and perfectly judged. Parsnip write songs as a form of communion with the intangible in our increasingly delusory world, but there is always a gentle reminder; don’t take anything too seriously! “My head is gonna split in two, fix it with flour and glue” they demand on ultimate bop ‘Papier-Mâché’, this juxtaposition of mature resolve with childlike astonishment packs a more powerful punch.

On ‘Behold’, Parsnip explore both the inner and outer realms of consciousness with quick wits and some seriously quality jangle and jolt. ‘The Light’ is a whip smart workout, sprouting naturally from the propulsive nature of their debut album ‘When the Tree Bears Fruit’ (2019). ‘Placeholder’ is also devastatingly honest and channels The Field Mice as it buries itself like an arrow into your heart. The production is ambitious, with 12-string and acoustic guitars, percussion, piano, saxophone and harmonium all sitting comfortably in these outstanding songs. Drawing comparisons with Dolly Mixture, Sara Goes Pop and Look Blue Go Purple, Parsnip are an animated ensemble, full of life, emotional complexity and humour. The laughter in the dark is real, but then the sun comes up and we all must meet the day. Even the flowers turn their faces. Behold!
Tickets for this show are £10 in advance.

You can get tickets online from here.


Euros Childs
, LeedsBrudenell Social Club
 Thursday 10th October, 7.30pm
Euros Childs has been making music for over thirty years, as a solo artist and as the frontman of Gorky's Zygotic Mynci. He's released 19 solo albums to date, most of which have appeared on his own National Elf label. Since 2019 Euros has also been playing keyboards and lending his voice to Teenage Fanclub, appearing on their last two albums.This tour will mark Euros’s return to the stage with a band for the first time in seven years. He’ll be joined by long term collaborators Stephen Black (aka Sweet Baboo) Stuart Kidd (Kidd, The Wellgreen) and Selma French (Morgonrode, Frøkedal).Expect a show full of life, zest and humour that draws on Euros's extensive back catalogue as well as songs from his forthcoming album Beehive Beach, due in October.

/ / WatchWatchWatch
Tickets for this show are £20 in advance.

. You can get online fromticketshere

Pom Poko
The Crescent
, York 
Wednesday 16th October, 7.30pm
Pom Poko return with their third album Champion released by Bella Union this summer.Pom Poko are growing up. On Champion, a monumental slice of reflective and life-affirming post-punk, vocalist/lyricist Ragnhild Fangel Jamtveit, bassist Jonas Krøvel, guitarist Martin Miguel Almagro Tonne, and drummer Ola Djupvik are the closest they’ve ever been, both personally and in terms of their hermetically tight four-piece rock instrumentation. When most bands call each other “family”, it’s a bit of a cliché—but with Pom Poko, after years of touring the four corners of the world and instituting a stringently democratic songwriting process, they really have evolved into one highly-synchronized unit, whose mission is to stay as true to their artistic values as possible while continuing to explore the farthest reaches of their slightly chaotic, always exhilarating sound.

Listen here!
“It feels like we’re maturing and growing up together,” explains Ragnhild. “By the time this album comes out, we’ll have been a band for eight years. It’s like we’re evolving. When you’re not grinding with the band all the time, you gain an appreciation for what you’ve built. It's like a very weird and really lovely little gang to hang out in. I almost feel like we’re superheroes—it’s like being a part of Powerpuff Girls.”Champion is Pom Poko’s third LP, after their blistering debut Birthday in 2019, and 2021’s critically acclaimed Cheater. Both albums served to cement the band’s sound: Ragnhild’s high-pitched yet crystal clear voice punctuating the rest of the band’s ferocious onslaught of noise, which fluctuates from post-punk to math-rock and everything in between.“We made Birthday during insane amounts of touring where we were giving every bit of our life to the band,” says Ola. “For practical reasons, we’ve recently had to take a break from regular interactions with each other. Martin became a Dad so we obviously couldn’t rehearse for a while. It sounds kind of cheesy, but you don’t know what you’ve got till it’s gone. I just assumed that the feeling I had playing with Pom Poko was just what it’s like playing in bands—but it’s what it’s like playing in our band.”This growing appreciation for playing together translates directly to the music. While Pom Poko still maintain their razor-sharp edge, there is a new-found maturity that bleeds through the slashes of acerbic guitar blasts and elastic basslines. Champion has more space than their previous records, more room to experiment. “It's a bit less cluttered,” says Martin. “You maybe wouldn’t put it on at the spa or something, but it's not as quick-firing as a lot of our other stuff has been—songwriting-wise and production-wise, it’s more to the point.”

.Tickets for this show are £15 in advance.

You can get tickets online from here

The Crescent, York 
Thursday 17th October, 7.30pm
Divorce share new single 'Gears', their first music of the year, which is produced by Catherine Marks (boygenius, Foals, Wolf Alice). Also announced is news of their biggest UK headline show to date at London’s Islington Assembly Hall in October, and two very special hometown headline shows at Nottingham’s Bodega, all of which follow a packed Spring and Summer live schedule that includes SXSW, a UK tour with Everything Everything, and a raft of international festivals.Finding themselves on the lips of many tastemakers heading into 2024, drawing international media support and becoming fixtures on the BBC 6 Music playlist, Divorce have already been out on the road in support of both Bombay Bicycle Club and The Vaccines this year, on the heels of 2023’s acclaimed EP Heady Metal. Lauded as a striking portrait of insecurity upon release, it marched through everything from nervy and fluttering meditations on learning to be comfortable in your own skin, to wracked documents on the bubbling frustration that comes with the flaws we know we possess but cannot fix.A restless band by nature, new single ‘Gears’ is about juggling identities and responsibilities, and the emotional cost of trying to be all things to all people. Fitting then that ‘Gears’ itself reveals two sides, initially all soft and melodic before transforming into something jittery and intense on top of which singer/guitarist Felix Mackenzie-Barrow contemplates “I don’t remember when the gears got stuck”, while it surges to its dramatic crescendo. Of the new single, he offers: “Gears was written when I’d just moved to London and was working very long hours whilst trying to keep up with increasing band commitments for Divorce. I was spending all of my time working or playing shows and couldn’t maintain any kind of social life or keep up with the spending a social life felt like it would cost. The song came out of those frustrations.”With ‘Gears’, Divorce once again prove themselves to be greater than the sum of their parts, with a theatricality, drama, poise and undeniable talent for gripping composition.'Their music might come firmly from the tangled depths of the heart, but they’re also relishing every win they can whilst putting it all out there.''Awash with satisfying harmonies, their country-chamber-pop exudes familiarity and sophistication to soften that irreverent, punchy lyricism.''Their knack for theatricality, ambition, passion for their craft and unique storytelling ability have allowed them to experience a lightning rise.''Genre-mingling instrumentation that boasts a sweet blend of country and indie-folk.'



'Their music might come firmly from the tangled depths of the heart, but they’re also relishing every win they can whilst putting it all out there.'

'Awash with satisfying harmonies, their country-chamber-pop exudes familiarity and sophistication to soften that irreverent, punchy lyricism.'
The Independent

'Their knack for theatricality, ambition, passion for their craft and unique storytelling ability have allowed them to experience a lightning rise.'
The Line of Best Fit

'Genre-mingling instrumentation that boasts a sweet blend of country and indie-folk.'
So Young
Tickets for this show are £13 in advance.

You can get tickets online from here


The Lovely Eggs
, HullThe Welly
Saturday 19th October, 7.30pm
, YorkThe Crescent
Sunday 20th October, 7.30pm
For The Lovely Eggs being in a band is a way of life. It’s about art. It’s about creativity and expression. It’s about following your own path and doing things your own way. Holly and David operate on their terms, spewing out music, records, art and television shows before piling in the van and tearing round the country to perform a load of live sold out shows.Their wild and wilful independence sets themselves apart from other bands and despite having no management, booking agent, record label or publisher their album “I am Moron” shot to Number One in the Official UK Independent Charts and they continue to sell out shows across the country. “I am Moron” bears the fruit of their second collaboration with Grammy award winning producer Dave Fridmann, their latest being new album “Eggsistentialism” which was released in May 2024 to critical acclaim and bagged a Top 10 spot in the Official UK Physical sales and Independent albums charts.

/ / / 'The Lovely Eggs are not just surviving, they’re thriving''Bleak truths with giddy Popsike, bubbling defiance''Their best album yet''The sound of a band who’ve put heir whole lives into their art'⭐⭐⭐⭐ MOJO   ⭐⭐⭐⭐⭐ LOUDER THAN WAR   ⭐⭐⭐⭐⭐ HI-FI CHOICE   ⭐⭐⭐⭐ SHINDIG   ⭐⭐⭐⭐ FAR OUT   ⭐⭐⭐⭐⭐ NARC   ⭐⭐⭐⭐ THE PUNK SITE   ⭐⭐⭐⭐ LIFESTYLE MAGAZINE   ⭐⭐⭐⭐ XS NOIZE   8/10 UNCUTThe band’s two recent singles “Nothing Everything” and “My Mood Wave” both reached Top 40 in the UK Official singles sales charts, with “Nothing/Everything” reaching number 2 in the UK vinyl charts. It was accompanied by a music video from internationally acclaimed artists Wood and Harri-son.The pair have collaborated with Godfather of Punk Iggy Pop on single “I, Moron” which swiped the number one slot in both the Official U.K. Physical and Vinyl charts. Iggy Pop is a fan of the band and dedicated one of his BBC 6 Music shows to The Lovely Eggs’ work.Holly and David have also released their own TV show: EGGS TV, embarking on a televisual odyssey through alternative art, music, spoken word and underground culture. Teaming up with artist Casey Raymond, the 6 part YouTube series sucks you spiralling down the plughole into The Lovely Eggs’ distinctly off the wall universe, featuring guests Ian Mackaye, Gruff Rhys, Stewart Lee, John Grant, Cate le Bon, Maxine Peake, John Cooper Clarke, and loads more.With releases across the world, The Lovely Eggs have played hundreds of gigs around the UK, USA & EU. They have produced 7 albums & recorded more than 10 live sessions for BBC 6 Music & Radio 1.With observational and often surreal lyrics, The Lovely Eggs have a powerful raw sound that creates the sonic illusion of a band twice their size. They have become known for their ferocious yet joyous live performances.  Operating in a world when true authenticity is hard to find, The Lovely Eggs are one of the most exciting, innovative and genuine bands around. Welcome to their world. Welcome to Eggland.WatchWatchWatchWatch

The Guardian


John Kennedy, Radio X

Louder than War

 Tickets for this show are £18 in advance.

.You can get for Hull & York ticketsherehere


John Francis Flynn
The Trades Club, Hebden Bridge
Monday 21st October, 7.30pm
Tuesday 22nd October, 7.30pm
The release of his second album Look Over the Wall, See the Sky last The November kicked off a huge start to the year for Dubliner John Francis Flynn.

John masterfully unpicks traditional songs and rearranges them with an emotional force. They float in a surreal space between the past and the present, the analog and the digital, between love and tragedy..The unconventional use of instruments and jagged arrangements gives the work a magnetism by drawing you into its curious orbit of experimental folk.

Look Over The Wall, See The Sky is a re-imagining of traditional Irish music: powerful, hopeful and free. John Francis Flynn is a singer and multi-instrumentalist who creates contemporary music using traditional and folk material. His debut album “I Would Not Live Always” was released on Rough Trade imprint River Lea Records in 2020, earning rave reviews and winning 2 awards at the RTE Folk Awards.

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 Tickets for this show are £16 in advance.

You can get tickets for Hebden Bridge here & York here.

The Wave Pictures
Wednesday 23rd October, 7.30pm  
 When The Purple Emperor Spreads His Wings is the new double album from The Wave Pictures. The title means ‘spring’ - that day when all the butterflies burst into life. A new beginning. As songwriter, singer and guitarist David Tattersall explains: “There is always a strong sense of time and place in The Wave Pictures’ songs. It soon became natural to group the songs that I was writing by season. The album has 4 sides: one for each season. The songs ‘take place’ lyrically within that season. The album begins in Summer and ends in Spring, to represent the cycle of life.”

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While some tracks were recorded before the pandemic, others were written by David during the enforced lockdown - working prolifically as ever, writing a song a day when no one could go out, and The Wave Pictures couldn’t play music together. On fire with inspiration, with the spirit and fearlessness of William Blake in mind, the result is a collection of songs that celebrate poetry and the album-as-album form itself. David says “The seasonal/annual track-listing relates specifically to the year we lost from our lives due to COVID. As is often the case in The Wave Pictures’ songs, a small moment in time gets drawn out over three minutes. This is because in memory a fleeting moment, a millisecond, can sometimes be stronger and more important than a whole year.”

Whether written pre or post lockdown, the songs on the album are an effort to make pop music, Wave Pictures style. When The Purple Emperor Spreads His Wings packs in a record number of songs under three minutes on a Wave Pictures release than ever before - and that’s no accident! But just because the songs are the length of classic smash hit singles, you still get a whole lot of Wave Pictures – Dave’s legendary guitar solos, acoustic picking and solid gold song-writing, plus country harp, mandolin, blues harmonica and more. All of the band, David, Franic Rozycki (bass) and Jonny ‘Huddersfield’ Helm’ (drums) love rock and roll, classic country, 70’s rock, soul and folk, and this album celebrates a little bit of all their musical loves, some rediscovered during extra lockdown listening time.

Indie legends Guided By Voices snippet pop song mania, in particular, showed how The Wave Pictures could take their classic influences and allow them to harness the power of pop more than ever before. The band entertained themselves playing Dave’s poetically inspired songs while thinking about all kinds of records they were listening to: Sun Rockabilly, African guitars, Neil Young country, and plenty of the sounds of the 60’s golden age of British music: the crazy fun of The Who and the creepiness of The Yardbirds. This is the perfect album for those people who still wonder who is better, The Beatles or The Rolling Stones. The answer is really secret option C: The Wave Pictures!

After recording 2018’s two albums Brushes With Happiness and Look Inside Your Heart on reel to reel tape in the tiny Booze Cube in Stoke Newington, and in the case of Brushes, not rehearsing and then improvising the songs while recording them, the band returned to Rochester to record the new album at Ranscombe Studios. Both their 2016 album Bamboo Diner In The Rain and 2015’s collaborative effort Great Big Flamingo Burning Moon with Wild Billy Childish were recorded there, as well as David and Franic’s surf-garage-rock-super-group The Surfing Magazines, featuring Charles Watson of Slow Club, whose second album Badgers Of Wymeswold was released in 2021 and was recorded between sessions for The Wave Pictures own album. In contrast to The Wave Pictures’ aforementioned albums recorded quickly at The Booze Cube, When The Purple Emperor Spreads his Wings was recorded and mixed in ten days, although started in 2020 and not finished until after the final lockdown was lifted, it was actually recorded over an even longer period of about ten months.

Released in stages, the first full season to be made available from the album will be Autumn, available on December 10th. The season starts with ‘Samson’ a Yardbirds style psychedelic garage rocker, named after the Samson rolling tobacco, the strongest around and with a picture of a lion on the package. Inspired by Robert Bresson’s film Pickpocket, this song tells the story of a lonely man having a midlife crisis when he learns by telephone that his father has died.  

‘This Heart Of Mine’ was the first single from the album, an autumnal country song about time travel, space travel, and memory, musically inspired by Neil Young.

Lead singer David Tattersall associates Autumn with the horrors of going back-to-school after the joyous nothingness of summer holiday. In ‘Douglas’, all the horrible playground routines play out - we are always just one move away from Lord of the Flies. Musically, this song was inspired by The Who.

Autumn is also a time for romance, as exemplified by ‘Jennifer’, musically reminiscent of Zimbabwean groups such as The Four Brothers and The Bhundu Boys, and sung by The Wave Pictures’ dreamy and romantic drummer, Jonny ‘’Huddersfield’’ Helm. The “dream a little dream” coda brings to mind Walt Disney’s Cinderella, when all the little cartoon birds flutter around her: that’s how romantic Jonny Helm is.

And finally the end of Autumn is upon us. With its double tracked vocals, squealing, ripping, lead guitar, ‘Smell The Ocean’ is set by the sea as winter approaches and the days are getting short. Played as if by Lou Reed backed by Crazy Horse.

Winter follows shortly.
Tickets for this show are £18 in advance.

You can get tickets online from here.


Oisín Leech
Thursday 24th October, 7.30pm
We're very pleased to be working with Oisín Leech for the first time as we take him to the very intimate surroundings of the Hyde Park Book Club in Leeds in October. Half of Irish duo The Lost Brothers, Oisín focused on some solo material during lockdown and realised it in Donegal with friend and collaborator Steve Gunn at the controls. It's a beaut record.
Beside Trawbreaga Bay, in Co. Donegal, on the north coast of Ireland, in an old schoolhouse, with a suitcase full of hired recording gear, Oisin Leech strums gently on an acoustic guitar and watches the tide pull the water away from this ancient inlet. The thickness of Oisin’s voice soothes the old world room as the sound waves bounce around in the land where his ancestors still live and still wander.  
This is a scene from the makings of Oisin Leech’s first solo album Cold Sea. After a musical history that led Leech from the street punk bands of yesteryear through an ongoing seven-album stint with folk duo The Lost Brothers, he found himself for the first time working on songs to sing alone.

The thought of performing songs with no accompanying harmony and minimal arrangement led Leech to soul-search for new expressions and ways of playing. Throughout the great pause of the pandemic, after his family had gone to bed, Leech sat by the fireplace experimenting with open tunings. The poems of Seamus Heaney and Leech’s own history as a studied playwright inspired the words. In his mind, the songs became imagined vignette films playing behind closed, guitar eyes. After writing nearly 40 new songs in this fashion Leech wrote “October Sun” which would become the foundation for Cold Sea.
“All of a sudden I had a collection of songs that told a complete story. Looking back I see I had created a new world.”
Seeking a producer for the record, Leech made a list of several people he’d like to work with. The first was guitarist and songwriter Steve Gunn, who happily accepted after hearing a demo of 'October Sun'. Leech was sitting on a dream of making the record in Donegal Ireland, a county significant to Leech because it is the place from where his ancestors come from. Pitching this idea to Gunn sparked the first of several serendipities circling the Cold Sea sessions - Gunn had always wanted to visit Donegal to connect with his own familial roots in the region.
Oisin and Steve have just met up and begun their odyssey through the Irish countryside to the coastal school house they intend to convert into a recording studio for a five-day session. On the first night of the journey, they make a stop off in Downings, Ireland where Steve’s grandmother had lived before emigrating to America. They pay a visit to the Olde Glen Bar where Steve’s great-grandparents met. They soon jump in on a traditional pub jam, sharing songs and drinks into the night. Some of Steve’s distant cousins happen to be at the bar that evening. The synchronicity of the journey continues further as someone recommends Oisin and Steve visit a local music historian of sorts named Billy Robinson. Billy has worked with artists like Clannad and John Lee Hooker in the past and happily lends the two total strangers some vintage recording gear, including a ’70s U87 microphone that winds up contributing greatly to the sound of the record.
One of the first things the listener may notice about the Cold Sea album is its tremendous warmth. Each song was recorded effortlessly in just a few takes and adorned gently with synthesizers and guitar from Gunn. Several songs feature contributions on the upright bass by current Bob Dylan band stalwart Tony Garnier. M. Ward plays guitar on “October Sun” and there are strings by stellar Irish fiddler Roisín McGrory and bouzouki by Irish folk legend Dónal Lunny throughout. It is a friendship record but even at its most collaborative, Cold Sea remains centered around the humble acoustic guitar and woollen blanket vocals of Leech.
“Music is a feeling for me. If music makes you feel a certain way, that’s what matters”. Oisin exclaimed to no one, on a pier-side, watching the sun change on the open water.
Leech read Bruce Chatwin’s Songlines while dreaming up the songs on Cold Sea. The book tells of the Aboriginal Outback tradition of songs as maps; they had the belief that the land was ‘sung’ into existence. The album acts in this fashion to express the landscape and atmosphere of where it was made. Intellectually the songs are about many things, including the healing power of the ocean, but in essence they come from deep within their songwriter. “Every time I sing each of these songs a very very clear film starts in my head”, says Oisin. The album's opener “October Sun” plays like a colourful landscape painting rich with sadness just beyond understanding.
The song “Colour of the Rain”, with its odd guitar tuning and carefully scored bass part from Garnier, poetically traces chapters of Leech’s life that unfold in a flash of the northern lights, often visible from Donegal. Leech spent months finding the words to express these feelings.
The song “Trawbreaga Bay” originally had 20 verses before Leech trimmed it down to an easy 3. On the album's instrumental explorations, one can easily smell the air of the northern coast -particularly the song “Maritime Radio” which embodies the region while finding poetry in a radio shipping forecast. With this firm sense of setting, Cold Sea carries a somber and comforting tone that rolls over the listener in healing waves.
Both Oisin and Steve do not hesitate to use the word 'magic' when describing both what happened in Donegal and the music that resulted. There is no other way to put it. 
Tickets for this show are £14 in advance.

You can get tickets online from here.

Junior Brother 
The Fulford Arms, York
  Sunday 27th October, 7.30pm
Alternative Folk mainstay Junior Brother boldly stakes out new Folk-inflected ground with a fresh and daring single, “The Men Who Eat Ring Forts’. The brand new release follows on from June’s epic “Junior Brother’s Favourite” EP, and 2022’s highly acclaimed Double LP The Great Irish Famine, with its ‘Wry songs of anxiety and frustration’ (The Guardian) described by MOJO Magazine as being ‘Truly unforgettable’. Now, this new single boldly signposts an exciting new chapter for Junior Brother’s stunningly distinctive sound.Taught yet expansive, the new single sets the tone for Junior Brother’s third album, currently being created with Producer extraordinaire John “Spud” Murphy (black midi, Lankum), set for release next year.“The song is possessed with the fervour of the dispossessed,” explains Junior Brother, a.k.a. County Kerry’s Ronan Kealy. “‘The Men Who Eat Ring Forts’ is a twitch of frustration, spat into modernity’s hollow wheel before it clears the way. Sacred things unseen to the suits are still there for them willing to look.

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Tickets for this show are £12.50 in advance.

You can get tickets online from here.


Stick In The Wheel
Monday 28th October, 7.30pm
The radical East London duo are known for their intense live shows exploring the raw holler of folk, synths, spoken word and intricate rustic dobro guitar.

Full-force reworkings of centuries-old work-songs speak to contemporary issues of class, using multi-layered sonic palettes to deeply reflect hidden histories, told with a razor-sharp authenticity.

Stick In The Wheel have created their own London vernacular, a contemporary roots music that celebrates the collective stories and traditions of the city - conjuring the past to point toward the future.

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'Combinations of sound that are unexpected and completely unique, discordant interludes and ragged-edged drones: these aren’t the things you might expect to find on a folk album. But we live in accelerated times, and if music doesn’t change, it will die out. No one recognises that fact quite so keenly as Stick In The Wheel, who continue to be one of the most groundbreaking and unpredictable acts in any of the countless genres they move between.'
KLOF Magazine

'Tonebeds For Poetry demonstrates their liberating lack of preciousness, offering a full force reworking of sources, seeking to unroll lost threads and find new forms. Wonderful stuff.'
The Quietus

Tickets for this show are £16 in advance.

You can get online from See Tickets here.


Tom Robinson Band
Friday 1st November, 7.30pm
The first Tom Robinson Band emerged amid the turmoil of late 70s Britain - in a time of punk rock, political unrest and economic gloom. TRB became known for the hit single 2-4- 6-8 Motorway, their vocal support of Rock Against Racism and for the anthem Sing If You're Glad To Be Gay, which made the Top Twenty despite a ban by BBC Radio 1.

The original TRB consisted of Robinson on bass and vocals, drummer Dolphin Taylor, keyboardist Mark Ambler and their incendiary guitarist Danny Kustow - who died early in 2019 at the age of 63. They made just two albums - Power In The Darkness and TRB TWO and ended - like the Seventies - just as Margaret Thatcher swept to power.

The current Tom Robinson Band will play a 23 date tour in October/November 2024 showcasing those first two albums, in tribute to the original band members. The setlist has been chosen by fans via an online poll, and will include some album tracks from the era that have never previously been performed live.

Alongside Robinson on bass, the band features Faithless drummer Andy Treacey, guitarist Adam Phillips from the Richard Ashcroft Band, keyboard virtuoso Jim Simmons and Northern soul singer Lee Forsyth Griffiths on acoustic guitar.

"45 years on," says Tom "some of the original TRB lyrics - about division, injustice and uncertainty - still feel depressingly relevant in a world of Trump, Farage & Suella Braverman. I also owe a huge amount to the musicianship of Mark, Dolphin, and Danny back in the day. We're hoping to do that early band - and the songs - full justice this Autumn.” 
Tickets for this show are £25 in advance.

You can get tickets online from here.

Monday 4th November, 7.30pm  
North Carolina–based songwriter Rosali makes songs that take their time in revealing their full power. What might appear to be restrained, introspective compositions will stretch slowly outward, snagging your attention with a sideways guitar lead or an exceptionally raw lyric you didn’t catch the first time around. Her softly glowing music is deceptively fluid, able to appear patient and refined at the edge of unraveling.

Rosali - the North Carolina-based songwriter and guitarist Rosali Middleman - released her new album, Bite Down, on March 22nd.

Rosali’s Merge Records debut, captures her in the midst of a transition. “I started writing the majority of Bite Down after moving to North Carolina in the fall of 2021. The album traces two cross-country moves, including saying goodbye to my longtime home of Philadelphia,” Rosali explains. “I resolved to bite down on the proverbial bullet; sink my teeth into the flesh and bone of being in the world, devouring the obstacles in my path and gloriously savoring all that is on offer - good and bad. Give me another serving, another moment, another challenge, give me another chance to meet life with insatiable hunger.”

Bite Down finds Rosali collaborating again with Omaha’s finest —David Nance (bass, guitar), James Schroeder (guitar, synth), Kevin Donahue (drums, percussion), the same band she enlisted for 2021’s beloved No Medium.  They are joined in-studio by Destroyer collaborator Ted Bois (keys). Bite Down showcases the urgency and ambition in their collaboration—a band pushing each other not just to expand on what they’ve already done together, but to break through into altogether new territory. Bite Down was also co-produced and mixed by Schroeder and Rosali.

Of lead single “Rewind,” Rosali says, “I want what I do with my time to matter and to reject regret for even the difficult moments are worthy in how they reveal wisdom and initiate growth. I would do it all over again (i.e. rewind) knowing the challenges in life are not meant to be disdained, as much as the joys and pleasures are not meant to be the goal. Being present allows us to become more whole and rounded as people, with love being the way to move through. Not just the romantic kind but all the forms of love, desire and excitement that push us through to the next day.” The song is accompanied by a self-directed video.

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'Bite Down, then, is a rare record. It excels both as a richly resonant, often deeply beautiful gem. It is singer-songwriter introspection and a high octane field recording from an unusually fertile and harmonious gathering of five likeminded musicians at the seam where hip country rock meets the wide-eyed extemporisations of contemporary cosmically inclined psych-rock.'
9/10, The Line Of Best Fit

'The centrifugal force is Rosali's calm, deep voice, belying her lyric's nervous energy and drama, balancing vulnerability with resilience.'
4/5, Mojo Magazine
Below, Dan Bejar of Destroyer waxes poetically on Bite Down:

Bite Down makes me think about singers and bands that throw themselves hard into the storm, the way the Rosali quartet does. The calm of her voice over top of the band’s raging—it is the emblem of songs that live to put themselves in harm’s way. But it’s not harm. It’s just that you have to play hard to get at these goods. The calm of Rosali’s voice, the straight talk of her inner search vs. the wildness of the band, the sonic storm she rides in on. That’s their sound.

The Mowed Sound. It’s hard to talk about these last couple Rosali albums without talking about them. They play free and wild and relentlessly melodious. They rip and create space and fill it up with what seems like reckless abandon, but listen carefully or listen for a while and you’ll find them paying real close attention to each other and exactly what the song demands.

Breezier songs like “On Tonight” and “Rewind” sound like they’ve fought their way to get to that sense of ease. Maybe that’s the Mowed Sound “sound”—hard-won ease. Then add to that Ted Bois’ patented Rhodes sleaze (see sinuous title track “Bite Down”) steering the record into late-night corners; the incredible “Hills on Fire” (maybe the centerpiece of the album), the guitar-ripping and the singing taking turns in reaching new levels of intimacy. It feels listened-in on, exposed and invented on the spot. It is also simply a staggeringly beautiful song. There are a few of those on the album. In contrast, “My Kind” is a raucous, hand-delivered classic; the band throws tables over. For the most part, this is a moodier record than No Medium. It has the same sound of “I’ve traveled through fire to deliver you these songs,” but it is also quieter, more nocturnal. The quiet dread of staring down an open road, and the excitement of that.
Tickets for this show are £12.50 in advance.

You can get tickets online from here.

 The Howl & The Hum
Friday 15th November, 7.30pm
“This is deathbed songwriting, everything you’d only express when you know you’re about to die,” Sam Griffiths says. “It’s what you wish you might have said, without worrying about the consequences.”

As The Howl & The Hum, Griffiths has spent the best part of the last decade honing this capacity for raw, vulnerable storytelling combined with music that artfully traverses everything from finger-picking folk to indie, country and electronica. With the release of his second album, Same Mistake Twice, Griffiths confronts the pain and chaos of recent tumultuous years across 12 tracks of his most direct songwriting to date. Surviving the breakup of his band, the global pandemic and reckoning with his future in music, Griffiths opens with the lines “I never make the same mistake twice/ I always aim for a third time,” before spiralling into finely-spun tales of dread, anxiety and self-destruction. “It took me a few years to get back to writing,” he says. “I wanted to be able to look back and laugh at my anxieties at what I was going through, to fill that pain and difficulty with words and melodies.”

Griffiths’ musical journey began with picking his way through pop punk and indie rock as an angsty teen, before finding his voice after an accidental discovery of Bob Dylan’s Blonde on Blonde in his dad’s record collection. Inspired by Dylan’s poeticism, Griffiths started gigging at open mics most nights during his time studying at York University and gradually built a following drawn to his knack for recounting tales of the curious figures he’d met amid the city’s nightlife. By 2016, he had joined forces with a trio of fellow open mic night regulars to form The Howl & The Hum and the following year the group released their debut EP, Godmanchester Chinese Bridge.

Developing a reputation for charismatic live shows that embodied soft balladry as much as explosive self-expression, the group went on to release their debut album, Human Contact, to critical acclaim in 2020. Produced by Jolyon Thomas (Slaves, Royal Blood, Daughter), the record pushed the boundaries of guitar music across 13 tracks of driving drums, synthesised guitars and atmospheric electronics. “We spent eight years building up to our debut, developing different ways to express what we were writing,” Griffiths says. “We were listening to everything from Radiohead to New Order, Robyn and Burial, creating moments between the electronic and acoustic where it felt like the music was breathing.”

Yet, after the Covid-19 pandemic nixed plans for touring or any onstage fanfare around the release, pressure began to build in the group. With financial demands mounting and few outlets available for their creativity, the band gradually crumbled, leaving Griffiths as the last remaining member. Solo once more, he took to the drawing board to dismantle this recent chaos of debuts and disappointments, channelling a maelstrom of emotion into a remarkable sophomore record that marks a new guise for The Howl & The Hum.

Joining forces with songwriters Elanor Moss and Matthew Herd, as well as producer Joseph Futak, Griffiths drew inspiration from music by the likes of Big Thief, Phoebe Bridgers and Randy Newman. “I wanted to make music that’s quieter but that still holds loud things,” Griffiths says. “There’s an incisiveness and sharpness to the lyrics that cuts through. You don’t need bombast to make someone feel something.”

Travelling from his home in Leeds to Futak’s Hackney studio most weekends from April to November in 2023, Griffiths penned his expressive, soul-searching lyrics before setting them to an expansive range of music. The opening title track sets the tone, with Griffiths singing in a forlorn baritone of whether we would change our mistakes if given the chance, before drums and strumming melodies erupt into an explosive chorus that sits somewhere between Bruce Springsteen’s saxophone-driven euphoria and the dark introspection of The National.

As the record continues, the exposing songwriting never falters. On the finger-picked country influences and sweeping strings of “Pale Blue Dot”, Griffiths is quietly devastating, admitting that “I just want to be loved/ By everyone all the time,” while the thundering guitar riffs of “No One Has To Know” revel in the pleasure that can come from allowing ourselves transgressions. “It’s asking what love means when you’re not feeling good about yourself,” Griffiths explains.

Staring shame directly in the face, Griffiths directly addresses periods of self-destruction that have accompanied the pain of the past few years in the foot-stomping “No Calories In Cocaine”, while the menacing electronic tinges and atmospheric melodics of “The Wheel” confront the trauma of relationships breaking apart and how one person always finds it harder to let go than the other.

The album traverses the raw harshness of Neutral Milk Hotel as much as the unblinking self-reflection of country pioneers like John Prine or Townes Van Zandt. Throughout, Griffiths’ voice is acrobatic and powerfully emotive, even while singing about the most vulnerable of topics. Effortlessly veering between gravelly introspection to soaring falsetto, it is a unifying counterpoint to his themes of anxiety and dread, reaching an apex on “Echo”. Gently building from whispered intimacy to yearning entreaties, here Griffiths touches on the incisive lyricism of Phoebe Bridgers as he sings, “I’m not afraid to die/ I’m afraid of the terms and conditions.” “It was the last song to be written and I’m really proud of it,” he says. “It’s trying to make sense of the story of the band breakup and working out if I’ve been a good person through it all. It’s a question that sticks with you.”

Ultimately, Same Mistake Twice is a joyous and immensely brave new chapter for The Howl & The Hum, one that will also be taken on the road throughout the UK later this year. Encompassing the free musical range of the open mic nights Griffiths started out in, while turning his lived experience inwards to address the pain that comes through personal growth, it is a full-circle progression. “The lyrics are almost too direct, which is what I wanted,” he laughs. “It’s finding the beauty in the pain and looking for forgiveness through it all.”   

In being honest – in singing fiercely of those deathbed songs – Griffiths finds solace in the imperfections that make us all human. Sometimes, we have to make the same mistake twice.
Tickets for this show are £15 in advance.

You can get tickets online from here.


Erland Cooper
Wednesday 20th November, 7pm
A treat for us as we're able to bring classically trained Orkney singer-songwriter Erland Cooper to York for the first time for a super intimate show at the NCEM.

Tickets go on sale on Wednesday 27th March, 10am.
'Nature’s songwriter' – The Guardian

Erland Cooper is a Scottish composer, producer and multi-instrumentalist originally from Stromness, Orkney. As a solo artist, he has released five acclaimed studio albums, including a trilogy of work inspired by his childhood home, as well as themes of nature, people, place and time. His work combines field recordings with traditional orchestration and contemporary electronic elements. Through music, words and cinematography he explores landscape, memory and identity. He develops these themes further by partnering with other artists, writers and poets. Cooper also works across mixed media projects including installation art, theatre and film. He’s widely known for burying the only existing copy of the master tape of his first classical album in Scotland, deleting all digital files and leaving only a treasure hunt of clues for anyone to seek it. The tape was found in 2023 and the album will be released, exactly as it sounds from the earth, this year along with its world premiere of the completed score.


'One of the most unique, consistently engaging composers of his generation.'

'Exploring the place where electronic and classical music can co-habit.'
The Quietus

'Cooper’s project serves as a commentary on the disposable nature of music and the immediacy in which it is delivered.'
The Times 
Tickets for this show are £22.50 in advance.

You can get tickets online from here.


The Hanging Stars
Saturday 23rd November, 7.30pm
*This show has been rescheduled. All original tickets remain valid.*
On A Golden Shore arrives as The Hanging Stars reflect on a year of triumphs. With an Americana Music Association Bob Harris - sanctioned award and a Nashville sell-out in Third Man’s Blue Room with Jack White approvingly looking on, they’re a leading light in the UK Cosmic Americana cohort.
Their standing has allowed them to pay less attention to any preconceptions of what they are ‘supposed to be’. On A Golden Shore - their fifth album and their second for the pioneering Loose Music, following 2022’s Hollow Heart - finds them definitively themselves and presents a set of disparate songs whose fundamental linkage is the band that made them.

On A Golden Shore was recorded at Edwyn Collins’ Clashnarrow Studios with Sean Read producing. Singer/guitarist Richard Olson, drummer Paulie Cobra, multi-instrumentalist Patrick Ralla, plus freshman bassist Paul Milne – laid down the album’s backbone over eight days. Mostly recorded live, even the solos done as a piece. Much is first take because trying better, it never worked as well. Pedal-steel player Joe Harvey-Whyte created and added his parts at his London studio bringing ‘shimmery psychedelic goodness’.

Smartly sequenced On A Golden Shore proceeds in clusters of songs; commencing with the free and easy choogle of ‘Let Me Dream Of You’, encompassing the sunny glam of ‘Sweet Light’, the baggy Balearic waft of ‘Happiness Is A Bird’, the pan pipes and bongos of the exotic ‘Golden Shore’, through to the rolling banjo of ‘No Way Spell’ and the celestial cascades of ‘Heart In A Box’. Fashioned instinctively On A Golden Shore is ultimately an album of sensation as much as thought, filled with fleeting moments of blissful excess, and stumbling, rushing flutters of sound; its evanescent psychedelia, divine choruses, and shards of strings combine into an infectious, compelling Cosmic Heartbreak Boogie.
Tickets for this show are £14 in advance.

You can get tickets online from here.


Mick Head & The Red Elastic Band
Tuesday 10th December, 7.30pm  
Michael Head (Pale Fountains, Shack, The Strands) & The Red Elastic Band return to York this December. His new, Bill Ryder-Jones produced album Loophole, promises to be a creative milestone document for the much-fitted Liverpool songwriter, performing live here with his great band, right on the top of their game.


Static-fuzz seventies guitar riffs, cowbell and bursts of brass herald the imminent arrival of Michael Head and The Elastic Band’s latest album as they release the glammed-up, Bowie and Ronson-indebted rush of The Human Race. Aptly evoking the renewed artistic vitality of the cherished songwriter, who this year celebrated the 40th anniversary of the release of his first album with The Pale Fountains, the track comes ahead of the release of the 12-track, Loophole album, released on Fri 17 May 2024 on Modern Sky.

As much matter-of-fact documentarian of life as it passes in front of him as he is a poet and healthy, new world-conjuring fantasist, Head’s work rate has accelerated to provide fans with an unprecedented two albums inside two years. With a catalogue of well-documented missteps and blameless, release-delaying mishaps dotted through his life with not only The Pale Fountains but also later, feted bands Shack and The Strands, a sense of personal and artistic equilibrium arrives at the same time as his timely suite of beautiful new songs.

Having already revealed the evocative song sung from his own cradle, Ciao Ciao Bambino, the ‘Toxteth Ghost Story’ that is Shirl’s Ghost, a forbidden romance in Connemara, the vivid picture-painting, 90’s tour story of Ambrosia and straight-up, from-the-heart  Tout Suite, the latest track released from Loophole adds another level of expressive Bill Ryder-Jones-produced musicality cut with evocative lyricism.

Head says of the track: ““The human race is from the perspective of someone who’s not from our world. Sent from the Gods to see how civilisation is baring up.”

After passing through major UK cities on a recent domestic tour to bring some of Loophole’s songs to the stage before they have arrived in fans’ homes or added to playlists, Head and his band continue to announce live dates that make special events of each appearance. While announcing a series of special SOLD-OUT album shows at St Michael-in-the-Hamlet Church in South Liverpool at the end of this month, Head looks ahead to the year-ending, career-defining high of a night at Liverpool Philharmonic Hall on Fri 13 December 2024.

With more live dates rumoured, fans are also still held in suspense as to what may lie in store between the covers of Head’s autobiography. Although delayed by a year, Head continues to delve into his storied past to finish the chapters of Ciao Ciao Bambino: A Magical Memoir, to be published by Nine Eight Books on Thu 14 August 2025. Inevitably beginning in his 1960’s childhood in inner-city Liverpool and traversing decades of observation as music, fashion, film and more found and fell out of trends, the book promises a tour through seven decades of British popular culture as it does a hand-held stroll into every important moment of the songwriter’s life and career.

Loophole was recorded at the celebrated YAWN Studios in West Kirby in the company of Ryder-Jones, and features all of The Red Elastic Band’s gifted musicians, Phil Murphy (drums), Tom Powell (bass), Nathaniel Cummings (guitars/backing vocals) and Martin Smith (trumpet).

9/10 – UNCUT
★ ★ ★ ★ – MOJO
★ ★ ★ ★★ – Record Collector
★ ★ ★ ★ – Classic Pop
 Tickets for this show are £25 in advance.

You can get tickets online from here.


The Magic Numbers
Wednesday 11th December, 7.30pm  
The Magic Numbers are an UK-based four piece comprising two pairs of siblings (Romeo and Michele Stodart, Sean and Angela Gannon) who are known for their unique harmonies, melodic hooks, songwriting craftsmanship and timeless sound.

Their Mercury Prize-nominated self-titled debut album was released in 2005 to outstanding critical acclaim, and contained top ten hit singles such as 'Forever Lost', 'Love Me Like You' and 'Love is a Game'. It went on to sell over a million copies worldwide, making them one of the nation’s best-loved bands. They have earned a reputation for their exciting and uplifting live performances, leading them to tour the world, building a loyal fan base, as well as supporting the likes of Neil Young, Brian Wilson, Radiohead, The Flaming Lips, The Who, U2, Elbow and Bright Eyes amongst many others. The Magic Numbers have released five successful albums to date, and are currently working on new music.

The band have also become known for their collaborations with a diverse range of artists over the years - from Romeo writing and producing songs for the late Jane Birkin, Natalie Imbruglia, Ren Harvieu to co- writing ‘Close your eyes’ with the Chemical Brothers for their Grammy-Award-winning album ‘Push The Button’, and producing Billy Bragg’s most recent album. His sister, Michele Stodart has released three critically acclaimed solo albums, and is also an award-winning artist and collaborator.

The Magic Numbers' outstanding musicianship, blood harmonies and skilfully crafted songs, make them a truly unique, exciting and unmissable live band. They continue to tour the world building their audiences and explore new ground in the studio together producing albums.
 Tickets for this show are £25 in advance.

You can get tickets online from here.


Katherine Priddy
Wednesday 26th February, 7.30pm  
TSince Richard Thompson chose Priddy as “The Best Thing I’ve Heard All Year” in Mojo Magazine on the strength of her 2018 “Wolf” EP, her star has risen exponentially. Winning fans from Guy Garvey, Mark Radcliffe, Stuart Maconie and the late Janice Long and garnering glowing press reviews across the board for The Eternal Rocks Beneath including The Observer, The Sun, Uncut, Songlines, Folk Radio UK and more, Priddy crossed genres, charting at number 1 in The Official UK Folk Chart and number 5 in the Official UK Americana Chart, and rounded off 2021 on Mojo’s Folk Albums of the Year list.

She is in demand as a performer and collaborator, playing Cambridge Folk Festival (where she won the prestigious Christian Raphael Prize), Glastonbury (where she appeared on the coveted BBC2 TV coverage), Green Man, End Of The Road, Beautiful Days and the BBC Proms. As well as sell out headline tours, Priddy has been chosen to support world class artists including Richard Thompson, The Chieftains, Loudon Wainwright III and Vashti Bunyan.

In 2022, she took her music worldwide with a series of shows in Australia, including a performance at Port Fairy Folk Festival, plus a showcase in Kansas City USA as part of Folk Alliance International. 2023 saw no sign of her momentum slowing; highlights included a new single on Chrysalis Records as part of a Double LP of Nick Drake covers from artists such as Self Esteem, Aldous Harding, John Grant, Bombay Bicycle Club and more, as well as a show supporting Guy Garvey at The Roundhouse.

Now, Feb 2024 saw the release of her eagerly awaited second albums: The Pendulum Swing. Once again recorded in Birmingham by producer Simon J Weaver, guest musicians comprise John Smith (lead guitar), Harry Fausing Smith (strings), Marcus Hamblett (brass/double bass), George Boomsma (guitar, backing vocals, co-writer on track “Ready To Go”), Polly Virr (cello) and even a brief appearance from Priddy’s family members right at the end of the album, in keeping with its themes.

The Pendulum Swing was greeted with critical acclaim in the press as it landed at #1 in the official UK Folk Charts. It saw the likes of Iggy Pop, Guy Garvey, Craig Charles, Mark Radcliffe and Gideon Coe giving it a spin whilst RTE in Ireland added tracks to their recommendations list for 3 weeks running. With her biggest headline tour to date selling out most cities and her reputation growing, she was asked to perform on the legendary Later with Jools Holland (aired 25th May).

She now returns for the final run of The Pendulum Swing Tour in March 2025.

'Utterly brilliant…one of my favourite voices in contemporary music.'
Guy Garvey

'One of The Albums of the year'

'Deserves a Grammy'

'simply brilliant'
★★★★ - MOJO

'a rich, poised second album'

'One of the most exciting Singer songwriters in the UK'
 Tickets for this show are £18 in advance.

You can get tickets online from here.