UPCOMING SHOWS





Lankum
Paula Ryan
The Crescent, York
Tuesday 22nd May, 7.30pm

Lankum (Lynched) are a four-piece traditional folk group from Dublin, Ireland, who combine distinctive four-part vocal harmonies with arrangements of uilleann pipes, concertina, Russian accordion, fiddle and guitar. Their repertoire spans humorous Dublin music-hall ditties and street-songs, classic ballads from the Traveller tradition, traditional Irish and American dance tunes, and their own original material.

‘Cold Old Fire’ was recorded in August 2013, and although fundamentally an album of traditional Irish song, heavily influenced by Irish legends such as Frank Harte, Planxty and The Dubliners, subtle traces of the group’s collective influences can be detected, from American old-timey music, ambient techno and psychedelic folk, to black metal, punk and rock n’ roll.

Since then, the group have completed a six week coast-to-coast tour of the United States, as well as performing in the last two years alongside some notable artists, including Blackbird Raum, Harry Bradley, Daoiri Farrell, Fred Fortune, Mike Gangloff, Paddy & Séamus Glackin, Barry Gleeson, Landless, Lau, Leyla McCalla, Jem Mitchell, Liam O’Connor & Seán McKeon, Morgan O’Kane, Lisa O’Neill, Tim Scanlon and Skipper’s Alley.

The band played a blinding set at Celtic Connections festival, where they were snapped up for both Cambridge Folk Festival and Sidmouth FolkWeek 2015. A live TV appearance on the Later With Jools Holland and a sold out UK followed.

‘The most convincing band to come out of Ireland for years!’
***** The Guardian

‘Anarchic, yet connected, rootsy and gutsy… I love their music, it is just so damn good!’
Mike Harding

‘Cold Old Fire is a sure contender for any Irish album of the year lists.’
Songlines


Tickets for this show are £16 in advance.
 
You can get tickets in person from the venue and Earworm Records in York, Jumbo Records in Leeds or online from here.

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Wussy
The Castle Hotel, Manchester
w/ Good Grief
Thursday 24th May, 7.30pm

The Crescent, York
w/ Dead Bird 
Friday 25th May, 7.30pm

Wussy formed in 2001 when retired Stonemason, Chuck Cleaver (formerly of Ass Ponys) and Lisa Walker began playing together as result of a dare. The duo’s first performance was largely unplanned but went without incident, so Mark Messerly was recruited on bass and later Joe Klug on drums. The band’s newest member, pedal-steel player John Erhardt, has enabled Wussy to truly come into its own. Cleaver and Walker share singing and songwriting duties, trading lead vocals, harmonising, and singing in vocal swoops and patterns on top of each other, sharing tales of the supernatural combined with day-in-the-life portraits, both disquieting and tranquil.

Wussy have evolved over the last decade to become forerunners of New Midwestern Psychedelia. The band are known both for their songwriting and varied sonic palette, often drawing comparisons to admitted heroes, Television, Velvet Underground, Crazy Horse and Yo La Tengo. Wussy have recorded sessions for BBC 6Music’s Marc Riley/Gideon Coe and KEXP. They have showcased at SXSW and CMJ, and have supported several tours for fellow Ohioans Afghan Whigs and Heartless Bastards, as well as sharing the stage with bands such as Yo La Tengo, The Breeders, Best Coast, Mudhoney, Shonen Knife, Okkervil River, The Mekons, COME, Wreckless Eric and Jeffrey Lewis.


Website / Watch / Listen  
 
Press:

‘If Michael Stipe Co-wrote songs with Morrissey…then hired Niel Young, Crazy horse and the Cowboy Junkies to play them, and asked Kevin Shields to mix them, then the results would be… a bit like Forever Sounds’
The Sunday Times

‘Wussy’s ragged Ohio racket hits biblical proportions on ‘Forever Sounds.‘’
**** SPIN Album of the Week

“The album is full of darkly valiant shoegaze, music that is cozy enough to hibernate under.’
Pitchfork

‘In the hands of less adept acts, these parts might be oil and water; but America’s best songwriting band might now be among its best soundscaping ones.’
SPIN

‘Swirling, psych-rock riffs that expand outward seemingly without end’
The A.V. Club

‘If you’re not familiar with the fuzzy


dream pop psych of Cincinnati’s Wussy, you’re in for a treat.’
Noisey

Tickets for the Manchester show are £10 in advance and yo
u can buy them online from here.
 
Tickets for the York show are £9 in advance. You can get tickets in person from the venue and Earworm Records in York, Jumbo Records in Leeds or online from here.

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Superchunk
Brudenell Social Club, Leeds
Monday 28th May, 7.30pm

We're delighted to be promoting one of only three UK shows with mighty Chapel Hill college-rock band Superchunk around the release of their new album, 'What A Time To Be Alive'.

Website / Listen / Listen

The urgency of current events after the demoralizing 2016 election gave Mac, Laura, Jim, and Jon of Superchunk the momentum to make something new sooner than later. “It would be strange to be in a band, at least our band, and make a record that completely ignored the surrounding circumstances that we live in and that our kids are going to grow up in.” Enter What a Time to Be Alive, Superchunk’s first album in over four years. It’s a record, says Mac, “about a pretty dire and depressing situation but hopefully not a record that is dire and depressing to listen to.”

Indeed, like so much of Superchunk’s music in the band’s nearly three decades together, the songs on What a Time to Be Alive meet rage and anxiety head-on with the catharsis and exhilaration of loud punk fire and vulnerable pop energy. Like 2013’s I Hate Music, which focused on death, loss, and the role of music in an aging life, What a Time to Be Alive brings spirit to the frontlines of pain—it’s as defiant as it is despairing, as much a call to arms as a throwing up of hands.

Written almost entirely between November 2016 and February 2017, What a Time to Be Alive was recorded and mixed by Beau Sorenson, who also worked on I Hate Music. The record also has more guest backing vocalists than any previous Superchunk album, including Sabrina Ellis (A Giant Dog, Sweet Spirit), Katie Crutchfield (Waxahatchee), Stephin Merritt (The Magnetic Fields), Skylar Gudasz, and David Bazan.


Tickets for this show are £18 in advance.
 
You can get tickets in person from Crash Records and Jumbo Records in Leeds or online from here.

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GospelbeacH
The Hanging Stars
Gullivers, Manchester
Tuesday 29th May, 7.30pm

The second album from GospelbeacH continues to deftly honor the grand tradition of West Coast rock and roll. This time around it's more 70's FM rock than 60's AM gold, more cosmo than country with a theme of timeless love.

Straightforward, inviting songwriting and singing by Brent Rademaker (a founding member of Beachwood Sparks).

Warm classic production and tight harmonies once again by guitarist/vocalist Jason Soda. Recorded in Los Angeles at Palomino Sound, Jason's new 1970's vintage artisan recording studio. Third GospelbeacH core member Jonny Niemanns cascading piano, organ and mellotron fill out the albums rich sound.

In the tradition of the Troubadour scene of the 1970's Another Summer of Love features some of the GospelbeacH friends and Los Angeles's finest players and singers including, Pearl Charles, Miranda Lee Richards, members of Wilco, Mapache, Eels, and pickers from the Grand Ole Echo.

The album artwork features reflective photography by GospelbeacH guitarist/singer Neal Casal and Allah-Las drummer Matthew Correia.


Website / Watch / Listen

 Press:

Whether you call it power pop, folk rock or alt-country (at times all of these terms apply) GospelbeacH are bursting with melody, with terrific harmonies to boot. This is straight-up genius song writing: honest, brilliantly played and superbly produced.
Louder Than War (9/10)

Aesthetically, what sets this one apart from their debut, Pacific Surf Line, is the sound: more 70’s FM rock than 60’s AM gold. Rademaker’s writing continues to evolve becoming tighter and poppier with a warmer more classic rock feel, nodding heavily towards early power poppers Cheap Trick, Big Star and fellow Floridian ex-pat Tom Petty. Not to worry, those sweet vocal harmonies are still there (along with the cascading guitar solos)…
Aquarium Drunkard

More refined nods to the Flying Burrito Brothers twang that informed Rademaker’s former group, Beachwood Sparks.
Magnet Magazine


The Hanging Stars

London-based psych-folk-country quintet The Hanging Stars will release their second album Songs For Somewhere Else in February 2018. Taking cues from both sides of the Atlantic, they mainline the dying embers of the early 70s psychedelic folk and cosmic country scenes, transforming them into an energized new sound for our times. As the title suggests, the album is about escapism from the everyday, against the cynicism and greed that pervades society. With this album, The Hanging Stars usher the next phase of their musical development, with Richard Olson’s (The See-See/Eighteenth Day of May) astute lyrical observations and honeyed vocals at the fore, backed by the band’s creative musical arrangements. Features guest appearances from members of Brian Jonestown Massacre and Miranda Lee Richards.

Website / Watch / Listen

Tickets for this show are £10 in advance and you can buy them online from here.

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Gill Landry

(Old Crow Medicine Show)
The Crescent, York
Thursday 31st May, 7.30pm

 


We're dead chuffed to be presenting another York show for Gill and this time we're working with our friends at High & Lonesome.

A little over two short years ago, I was set to be married to a woman I loved very much, had just won my second Grammy with Old Crow Medicine Show, and life was good by all perceivable standards. However, I was deeply unsatisfied artistically and needed to leave the band. After the first year of touring my last album, I swore to myself I wasn’t writing another goddamned broken-hearted love song, but then my lover took flight and I found myself alone, worn out, disillusioned, and heartbroken in a way I hadn’t known before. The future was looking like an exhaustingly long walk through a knee-deep tunnel of shit ending in death, so, it seemed like it wasn’t going to be an overly joyous next record after all. BUT, I wanted to find a light in the darkness. This album is more of ‘a map out of the darkness’ than ‘an invitation to it’.

In December, I spent two weeks on the Washington coast at a friend’s place where I wrote over half of these songs. I was alone with the cold wind and rain pounding in from the North Pacific. Then I ended up back in Nashville living above my friend Nikki Lane’s for a few months where I wrote the rest of them. I moved to a cabin in the country outside Whites Creek, Tennessee to record the album and then took it on the road where I finished vocals and bits in Stockholm, The Isle of Skye, and Blue River, Oregon.

I wanted to personally tell the story behind this record, but there are some things I can’t write so freely. Here’s all the name-dropping, self-congratulatory bits that I’d feel like an ass saying myself, written by “a professional."

Website / Watch / Watch


The album follows his critically acclaimed self-titled 2015 ATO debut, which featured appearances by Laura Marling and Robert Ellis among other musical pals. Rolling Stone raved that the record landed at "the four-way intersection between Dylan-inspired folk-rock, atmospheric Americana, dusty cowboy songs and street busker ballads," while American Songwriter hailed it saying “these songs, and especially Landry’s honest performance, resonate long after the last note fades. They beckon you back to further absorb his heartfelt, occasionally comforting, musings on the trials and tribulations of romance-gone-sour. It’s a subject most of us have experienced, can easily relate to and one that Landry explores with taste and subtle, refined passion.” The album earned Landry dates with Ben Harper, Laura Marling, Brandi Carlile, Justin Townes Earle, Warren Haynes, Bruce Hornsby, The Wood Brothers, and more, in addition to festival appearances in the US, UK, & Europe.

'Love Rides A Dark Horse' breaks new ground for Landry with contributions from fiddler Ross Holmes (Mumford & Sons, Bruce Hornsby), keyboard player Skylar Wilson (Andrew Combs, Rayland Baxter), and drummer Logan Matheny (Roman Candle, Rosebuds), the songs explore a more seductive, stripped-down sound built upon a hushed sense of intimacy that calls to mind Leonard Cohen and Tom Waits. The album's tattered narratives cast aside romanticism in favor of reality.

Landry sets the tone from the outset with the alternatingly joyous and ominous album opener "Denver Girls," singing, "If it's not paradise now / Tell me what you're waiting for / Don't you know there is no evermore?" The song features haunting background vocals from First Aid Kit's Klara Soderberg, who joins Landry again later for a proper duet on the driving "Berlin." Additional female vocals appear throughout the album, some from Karen Elson and others from Odessa, their presence a gentle reminder that, as Landry puts it, "it takes two to disagree."

On the spare "Bird In A Cage," Landry searches for escape from the prisons we build inside our own minds, while the classic country of "The Only Game In Town" offers up biting wit in its take-down of love for love's sake. It's a sentiment he explores from a number of angles, perhaps most poetically on "Scripted Love," which looks at the ways we set ourselves up for failure by aspiring to unrealistic standards.

The scope of Landry's songwriting extends beyond just romance, though. On "The Real Deal Died," he laments the performance nature of style-over-substance art, while "The Woman You Are" finds solace in the company of a partner equally alienated by gentrification and sanitization of contemporary culture.

Press:

‘Recorded in a south Nashville apartment and produced by Landry himself, the album pitches its tent in the four-way intersection between Dylan-inspired folk-rock, atmospheric Americana, dusty cowboy songs and street busker ballads. Landry gets a little help from his friends along the way, duetting with British folkie Laura Marling on the lush, lovely "Take This Body" and recruiting fellow Nashville transplant Robert Ellis to add some mariachi-inspired fretwork to "Fennario." The result is a record that's too far removed from Old Crow Medicine Show's old-time rave-ups to stand in that band's shadow — and probably too good, too.
Rolling Stone Country

‘…these songs, and especially Landry’s honest performance, resonate long after the last note fades. They beckon you back to further absorb his heartfelt, occasionally comforting, musings on the trials and tribulations of romance-gone-sour. It’s a subject most of us have experienced, can easily relate to and one that Landry explores with taste and subtle, refined passion.’
American Songwriter Magazine


Tickets for this show are £9 in advance.
 
You can get tickets in person from the venue and Earworm Records in York, Jumbo Records in Leeds or online from here.

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Bardo Pond
Brudenell Social Club, Leeds
Friday 8th June, 7.30pm

We're delighted to be working with legenardy Philadelphian psych-rock outfit Bardo Pond who play their only show outside London on a short European tour.

Website / Watch / Listen

 Bardo Pond was the flagship band of Philly’s “Psychedelphia” space rock movement, which also included the likes of Aspera, Asteroid No. 4, the Azusa Plane, and tangentially the Lilys. Explicitly drug-inspired — their titles were filled with obscure references to psychedelics — they favored lengthy, deliberate sound explorations filled with all the hallmarks of modern-day space rock: droning guitars, thick distortion, feedback, reverb, and washes of white noise. Hints of blues structure often cropped up, but Bardo Pond’s earliest roots lay with avant-garde noisemakers from the realm of free jazz and from New York’s no wave movement and downtown Knitting Factory scene. As their musicianship improved, the band gradually incorporated more traditional influences, but maintained their affinity for the outer fringes of music. Thus, their brand of space rock echoed not just genre staples like Hawkwind and Pink Floyd, but jam-happy Krautrockers (Amon Düül, Popol Vuh, Ash Ra Tempel, Guru Guru) and experimental indie heroes (Sonic Youth, My Bloody Valentine, and especiallySpacemen 3). With a steady stream of releases on Matador, the band stuck around long enough to draw comparisons to the spacier, noisier contingent of post-rockers, like Mogwai and Flying Saucer Attack.

Underground psychedelic superstars for almost the last 20 years, Bardo Pond is Philly’s hometown epic psych band.

'If rock music is to have any relevance in the new millennium, it is bands like Bardo Pond that will make it so.'

Ptolemaic Terrascope.

Tickets for this show are £13 in advance.
 
You can get tickets in person from the venue, Jumbo Records and Crash Records in Person or online from here.

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Night Flowers
Hyde Park Book Club, Leeds
Friday 15th June, 7.30pm


It has been a whirlwind couple of years for London  indie-pop quintet Night Flowers, since these close friends from North England collided with Boston, Massachusetts born vocalist Sophia Pettit  and began forming their irresistible brand of heart stirring, romantic pop. Creating  a joyous combination of intertwining female/male vocals backed by glistening guitars and dreamlike atmospherics that has seen them amass friends, fans and accolades across the world.
 

With several well loved singles, extensive UK and European dates and a Japanese tour under their belts, last summer found them touring the UK with The Pains of Being Pure At Heart and Japanese Breakfast, as well as a main stage performances at End of The Road and Visions.

With a new album due April 2018 on Dirty Bingo Records, this looks set to be Night Flowers’ most exciting year yet, as they hit the road in full support.

Website / Watch / Listen


Press:


‘a vital, present day jolt of electrics to escapist pop’
DIY

‘glimmering guitar music that manages to be bright and poppy without giving up its melancholic mood.’
Stereogum

‘Night Flowers’ gifts for harmony, and their rich, pastel sound seem primed to make this kind of rainy-day pop.’
The Line Of Best Fit

‘Revisiting the dreamiest side of Creation Records’ shoegaze sound.’
Loud And Quiet


Tickets for this show are £7 in advance and you can buy in person from Jumbo Records or online from here.

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Daniel Higgs
(Lungfish)
Hyde Park Book Club, Leeds
Friday 22nd June, 7.30pm

 Daniel Arcus Incus Ululat Higgs is a musician and artist from Baltimore, Maryland on whose behalf superlatives are destined to fail. It’s not that his artistic output – spanning three decades, numerous albums, books of poetry and collections of drawings – simply eludes classification, it defies it. Often we hear that a true work of art is meant to speak for itself, and with the work of Daniel Higgs the maxim rings truer than ever. His art is of the cosmos, we on Earth merely lucky that it happens to be confined to our atmosphere, in our lifetime.

Higgs is known primarily for his work as the sole lyricist and frontman of the band Lungfish, a four-piece dedicated to charting, in this listener’s estimation, nothing short of the evolution of all species, known and unknown. That the band has undertaken this pursuit in the guise of a humble rock outfit, in the absence of any public relations fanfare, metanarrative, or manifesto has been enough to endear them to tens of thousands. They are enshrined as one of America’s last true folk bands, and Higgs anointed as a patron saint to artistic purity.

In recent years, Higgs has released a number of solo outings that can only be described as the ultimate in isolation, worlds away from the hypnotic, communal rock of his band. On Atomic Yggdrasil Tarot, Higgs weaves meditative, casually ruptured drones using acoustic and electric guitar, upright pianos, banjo and jew’s harp, recorded entirely at home on cassette recorder. He pairs the music with a series of paintings that call to mind religious iconography passed through the disfiguring surrealism of Miro.

Higgs has wedded his music and his visual art into a singular being, meant to be encountered as a conjuring force similar to that of the tarot experience. The yggdrasil is the great tree of Norse myth that connects all worlds of cosmology. Passing into Christian folklore, the tree is said to connect heaven and earth. In his relentless pursuit of the indivisible, Higgs travels up and down this spine and hatches a new transubstantiation of sound and image into life-form.


Tickets for this show are £8 in advance.
 
You can get tickets in person from the venue, Jumbo Records in Person or online from here.

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 Josh Rouse
The Crescent, York
Sunday 8th July, 7.30pm


“Like a baseball player who quietly hits 30 home runs every year or a golfer who regularly finishes in the Top Ten, Josh Rouse's continued streak of excellence is easy to ignore and maybe even downplay a little” -- Tim Sendra, Allmusic.com

You don’t have to work hard to enjoy Rouse’s music. His songs present themselves to you with an open heart, an innate intelligence and an absolute lack of pretension. They are clear-eyed, empathetic and penetrating. Without pandering, they seek to satisfy both your ear and your understanding. The verses draw you in with telling detail, both musical and thematic, and the choruses lift and deliver. They resolve without seeming overly tidy or pat.

Josh Rouse was born in Nebraska, and following an itinerant upbringing he eventually landed in Nashville where he recorded his debut Dressed Like Nebraska (1998).  The album’s acclaim led to tours with Aimee Mann, Mark Etzel and the late Vic Chestnut. The followup- Home (2000)—yielded the song “Directions” which Cameron Crowe used in his film Vanilla Sky.

“Every time I’ve made a record, I’ve tried to make it different from the last one,” says Rouse. “I always became fascinated by a different style of music. But at the end of the day, no matter how eclectic I try to make it, it’s my voice and melodic sensibility that tie things together.”

For his breakthrough album, 1972 (2003), which happens to be the year he was born, Rouse decided to cheer up a bit. Noting that he’d earned a reputation for melancholy, he says, with a laugh, “I figured this is my career, I might as well try to enjoy it.” While the Seventies are often identified with singer-songwriters, Rouse was primarily attracted to the warmer sound of albums back then, as well as the more communal feel of the soul music of that time.  The follow up,  Nashville (2005) continued the hot streak and expanded his audience further.

After relocating to  Valencia, Spain with his wife Paz, Rouse has released a steady stream of high quality songs and albums. Subtitulo (2006) contained the international indie folk hit "Quiet Town". On El Turista(2010) he even experimented with writing and singing some  songs in Spanish. In  2014, he won a Goya Award (the Spanish equivalent of an Oscar) for best song for "Do You Really Want To Be In Love," from the film 'La Gran Familia Española.'

His most recent release, The Embers of Time, was one of his strongest—self-described as “my surreal, ex-pat, therapy record.”  Charles Pitter astutely noted in Pop Matters.  “The critics may long for drama and scandal, but The Embers of Time often demonstrates that a simple life could be for the best.”


Tickets for this show are £16 in advance.
 
You can get tickets in person from the venue and Earworm Records in York, Jumbo Records in Leeds or online from here.

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 Sam Outlaw
**Full band show**
+ Molly Parden


Deaf Institute, Manchester
Wednesday 8th August, 7.30pm


The Crescent, York
Thursday 9th August, 7.30pm

 

Sam Outlaw - one of Los Angeles’s only modern country artists – has been riding high on the success of 2017’s sophomore LP, ‘Tenderheart’, his follow-up to the Ry Cooder produced debut ‘Angeleno’, which raised the bar for West Coast country music.

Website / Watch / Watch


Outlaw offers an extraordinary refinement of the artistic identity laid out on ‘Angeleno’. Sonically, the album elaborates on his “SoCal Country” sound: a sun-bleached, Baja-influenced twang that deftly points to country’s neo-traditionalists and LA’s legendary singer-songwriters. Thematically, ‘Tenderheart’ is a thesis on self-discovery and the power of love – from the cinematic mariachi-laced climax on opener “Everyone’s Looking For Home,” to the determined swagger on side-A highlight “Trouble,” to torch song showstopper “Diamond Ring” - Outlaw meditates on his own conflicted quest for peace amidst the chaos of his chosen path.

The 13-track collection of originals was recorded in the San Fernando Valley and co-produced by Outlaw alongside Martin Pradler. Outlaw enlisted many of the same musicians that made his first album, 2015’s ‘Angeleno,’ an undisputed breakthrough and one of the best-reviewed debuts of that year: harmony singer Molly Jenson, pedal steel pro Jeremy Long and guitarist Danny Garcia, along with Taylor Goldsmith (Dawes) and Bo Koster (My Morning Jacket). In addition, ‘Tenderheart’ features local mariachi group Erwin Vasquez and Mariachi Teocuitatlan.

Sam Outlaw has previously landed tours with Kacey Musgraves and Dwight Yoakam, performed on CBS Saturday Morning and last year won  Americana Music Association’s prize for International Song Of The Year.

Press:

‘Angeleno made him a legitimate contender to be the biggest country star L.A. has produced since Dwight Yoakam.’
LA Weekly

‘An instant classic’
NPR Music

‘[Outlaw is] leading the rebirth of L.A.’s modern country scene.’
Rolling Stone Country


Tickets for these shows are £15 in advance.
 
You can get tickets in person from the venues and Earworm Records in York. Manchester tickets here, York tickets here.

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Jim White
w/ Clive Barnes

The Crescent, York
Thursday 6th September, 7.30pm

 

One of a series of live shows we're co-promoting with our friend at High & Lonesome.

Jim White gets around. When he’s not releasing his own critically acclaimed solo albums he splits his time producing records for other songwriters, exhibiting his visual art in galleries and museums across the USA & Europe and publishing award winning fiction.

His sixth solo studio album, the bizarrely titled Waffles, Triangles & Jesus, is a mind-bending joy ride of sonic influences featuring a bevy of his hometown Athens’ roots musicians, plus west coast indie darlings Dead Rock West, and rock and roll maverick Holly Golightly.

Website / Watch / Listen


Prior to Waffles, Triangles & Jesus, White released five eclectic, totally uncatagorisable albums plus another six even stranger side projects. Numerous songs from his back catalog have appeared both in film and television, with his Primus-esque Word-Mule being featured in Breaking Bad, and more recently his cautionary rocker Crash Into The Sun appearing Ray McKinnon’s highly praised Sundance Channel series Rectify.

UK fans may recognise White as the narrator and defacto tour guide for the award winning BBC documentary, Searching for the Wrong Eyed Jesus, a road movie set in the rural South, which the LA Times described as “Decidedly strange, delightfully demented.” Prior to becoming a musician White led an aimless, diverse life, working countless menial labor jobs: dishwasher, landscaper, lifeguard, cook, surfboard laminator, road builder, culminating with thirteen long years driving a taxi cab in New York City.

White is presently at work completing a memoir, Incidental Contact, based on a series of uncanny coincidences that befell him during his days driving that taxi in New York City. Two chapters of Incidental Contact, The Bottom and Superwhite, have been published in the literary music journal Radio Silence, with Superwhite being awarded a Pushcart Prize for short fiction. White was a pro surfer. He served as literary commentator for the National Endowment of the Arts. He was a European fashion model. Samuel Beckett once played a practical joke on him. There’s lots more non linear information that doesn’t really fit the usual bio format. But that’s Jim—he gets around.

Press:


Rough Trade Album Of The Month December 2017

#9 Americana Albums of 2017
★★★★ - Mojo Magazine

Americana Album Of The Month
8/10 - Uncut Magazine

‘Jim White brings a diverse wealth of worldliness to his arcane observations, which on Waffles, Triangles & Jesus finds familiar Americana tropes and sounds given his distinctive twist.’
★★★★ - The Independent

‘White remains one of modern music’s most fascinating artists. A former dishwasher, landscaper, model, lifeguard, cook, surfboard laminator, road builder and taxi driver, White emerged alongside the nascent ’90s alt.country scene as someone making a sound entirely of his own. Across five albums – and his live shows – he’s built a reputation as a consumate storyteller with a DIY aesthetic and an outsider mentality.’
The Line Of Best Fit

Performing alongside Jim will be Clive Barnes:

Clive Barnes is world renowned guitarist, singer and songwriter of rare quality. He has released four studio albums to date the latest of which The Ghost Country garnered rave four and five star reviews with previous album Welcome To Farewell winning Album of the Year in US publication Acoustic Guitar. Clive tours consistently throughout the US and Europe as a solo act and also as guitarist with the likes of Eric Bibb, Joe Cocker and Taj Mahal. He has toured as opening act with Jeff Beck, Alison Krauss, Gary Clark Jr, David Crosby, Dr. John, Gregg Allman, Solomon Burke, The Blind Boys Of Alabama, Seasick Steve, Rodrigo Y Gabriela and many many more.

RTE's Harry Guiren noted in a review of Clive Barnes performing at Vicar Street, Dublin, "Clive is a guitarist who can make one guitar sound like six. Barnes transported the entire, hushed venue across the Atlantic to where the paths taken by the Delta Blues, Tom Waits and Bruce Springsteen all led to his own special territory." 


Tickets for this show are £14 in advance.
 
You can get tickets in person from the venue and Earworm Records in York, Jumbo Records in Leeds or online from here.

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 SLUG
The Crescent, York
Sunday 16th September, 7.30pm


‘Black ramps up the funk on groove-driven art pop gems’
Uncut Magazine

‘Combines Led Zep riffing, squelchy funk and a sprinkling of Odelay-era Beck’
The Times

SLUG the nom de plume of North East merrymaker Ian Black, returns with new album HiggledyPiggledy on 13 April 2018 via Memphis Industries.
 
Website / Watch / Watch


Whereas previous debut album, 2012’s RIPE, was made in collaboration with Peter and David Brewis of Field Music (Ian is an alumnus of the Field Music live band), HiggledyPiggledy was composed, produced and played entirely by Black enabling him to give free reign to his beguiling brand of Dada-rock.

Black taught himself how to produce while making HiggledyPiggledy, by all accounts a terrifying process that drove Black to the edge of sanity. To function he imagined himself variously as Lindsey Buckingham making Tusk, Eno producing Another Green World and Tod Rundgren laying down A Wizard A True Star.  In so doing Black was able to keep an equilibrium and make the record making experience experimental and spontaneous.

The album was inspired by a combination of The Residents, John Carpenter and the soundtracks of Don Cherry (particularly Holy Mountain) and Masahiko Sato (particularly Belladonna) plus the Dada art movement which will be self evident to anyone who’s seen the hilarious and life affirming SLUG live experience, replete with ever changing stage wear (snooker players, sailors, 50s jazz combo) and spontaneous crowd participation.

Black intended HiggledyPiggledy to be a more minimal affair than previous album RIPE, focussed more on rhythm and percussion. Thematically the record was written against the backdrop of political turmoil but really it’s about the strange life Black leads in his native Sunderland, an autodidact outsider living his life in Wetherspoons arguing with some of the questionable attitudes of locals.   Blacks stated aim to “have fun writing truly horrible lyrics”, playing characters “venting in pubs, writing in the character of how some people think and behave”. 
 
HiggledyPiggledy begins with first single ‘No Heavy Petting’ (the title taken from the dos and don’ts at Blacks local swimming pool), consciously written to be an aggressive album opener with and which pokes fun at Blacks own prudish attitude toward trash TV.  ‘Lackadaisical Love’ is another album highlight, one big 4/4 drum beat, fuzzy guitars like Maggot Brain-era Funkadelic, steel drums and fat moog bass. “A song about sex funnily enough” says Black.   Other noteworthy songs include “Dolly Dimple”, a song about the pornography of wealth, power and business all dressed up like a late 70s Bowie record and the Suicide meets Sliver Apples of “Arbitrary Lessons In Custom” about “how we lose touch with people and friends we love and the slow burn of how it happens”.

The results whilst punchy and direct remain rich, strange and sometimes unsettling.  HiggledyPiggledy, then, is a perfect intro to the wonderfully weird world of SLUG.  

Live the band swell to a six piece with Black on guitar and vocals, Andrew Lowther on bass, Damo Waters on drums, Rhys Patterson keys and guitar, and Ricky Murray keys and percussion.


Tickets for this show are £8 in advance.
 
You can get tickets in person from the venue and Earworm Records in York, Jumbo Records in Leeds or online from here.

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Dawn Landes
The Basement, York
Tuesday 16th October, 8pm

 Dawn Landes is a Kentucky born singer-songwriter who has spent many years living in Brooklyn, NY.

‘I was lucky enough to work with the legendary producer Fred Foster for my new record. Fred has been making hits for most of his 86 years. Not only did he produce Dolly Parton's first record (what?!) but he also produced Roy Orbison's biggest hits and some of my favorite Kris Kristofferson songs. I learned so much working with Fred on this record and I'm so very proud of it. We recorded everything in Nashville with the heaviest hitters around... Charlie McCoy, Steve Gibson, Bobby Wood, Eddie Bayers, Russ Pahl, Larry Paxton and more.’

Here's a glimpse of the star power in the studio during our sessions, live at Sound Emporium. Dawn Landes teamed up with Country Music Hall of Fame producer Fred Foster for her new album "Meet Me at the River" which will be released in August 2018.


Website / Watch
 
As a recording artist she has released four full-length albums to date and five EPs. In support of her releases, Landes has toured extensively in the US, Europe and around the world, often sharing the stage with artists such as Ray Lamontagne, Feist, Andrew Bird, José González, The Weakerthans, Midlake, Suzanne Vega, and Sufjan Stevens.

As an instrumentalist, she has toured as part of New York City American roots music band Hem. and Sufjan Stevens' touring band. A producer and engineer, she worked at Stratosphere Sound in New York City and at Philip Glass' own personal recording studio. In 2007 Landes helped found Saltlands Studio in Brooklyn, NY. She has collaborated with contemporaries like Justin Townes Earle, Will Oldham and Josh Ritter in the studio.

Her songs have been featured in commercials, popular films and TV shows, including The Good Wife and House. Landes has performed with The Boston Pops, NYC Ballet and recently at the TED Conference in Vancouver, BC, highlighting her forthcoming musical Row.
 

Tickets for this show are £10 in advance.
 
You can get tickets in person from the venue and Earworm Records in York, Jumbo Records in Leeds or online from here.

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Tom Robinson & Band
perform 'Power In The Darkness'

Brudenell Social Club, Leeds
Tuesday 16th October, 7.30pm

We're delighted to be working with Tom again as he returns to Leeds to perform the politically charged 1978 classic album in full and more.

Website / Listen / Listen

Born in Cambridge in 1950, Tom Robinson first became known in the late 1970s as a musician and LGBT activist with the Tom Robinson Band (TRB) who were early supporters of Rock Against Racism and Amnesty International. In 1977 their Top 5 debut release 2-4-6-8 Motorway became one of the landmark singles of the UK punk era. Other hits included Glad To Be Gay, Up Against The Wall and the band's debut album Power In The Darkness which went gold in the UK and Japan.

As a solo artist Tom had further solo hits in 1983 with War Baby and Atmospherics: Listen To The Radio, and co-wrote songs with Peter Gabriel, Elton John and Dan Hartman.  His 14th studio album Only The Now was released in 2015 featuring guests such as Billy Bragg, John Grant and Ian McKellen. Recent festival dates include Latitude, Green Man and headlining the Left Field stage at Glastonbury 2016.

As a radio broadcaster Tom hosts three shows a week on BBC Radio 6 Music, is a member of the Ivor Novello Awards committee and in 2016 was awarded a fellowship of LIPA to recognition his support for new music artists through BBC Introducing.

To mark the 40th anniversary of 2-4-6-8 Motorway, Tom pays tribute to the original TRB by performing his entire Power In The Darkness album with a classic four-piece lineup. His incendiary live quartet features Faithless drummer Andy Treacey, Richard Ashcroft guitarist Adam Phillips and keyboard virtuoso Jim Simmons plus Tom himself on bass and lead vocals.


Tickets for this show are £20 in advance.
 
You can get tickets in person from Crash Records and Jumbo Records in Leeds or online from here.

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Lisa O'Neill
Oporto, Leeds
Wednesday 17th October, 7.30pm


On her way to heaven, Lisa O’Neill hit “a pothole in the sky.” And so it begins, a perfect way to start this tale, this journey, this album. Because all great things and all great art usually stem from a bump in the road, or a pothole in the sky. This is Lisa O’Neill from Cavan’s third album, following a witty and charming debut (This Is An Album By Lisa O’Neill), and an altogether more cohesive follow-up (Same Cloth or Not) that marked her a serious artist, a contender, a voice, a forked tongue.

This one, however, is the recording Lisa O’Neill needed to make. It’s a recording of “the voice”. The Voice is everything for the folk singer – a conduit for the words, the emotion, the thought process. And if, like me, you ever felt a record needed to be made of an artist’s voice, about her voice, so beautifully focused on, centred on, honed-in on and in love with the voice, then this, friends, is the fucking record. Excuse my French.

This is achieved by the utterly brilliant and stark accompaniment. The drones that underlay the voice seem to egg her on. The doomed dance of the double bass-line grows and growls. The piano trickles manically, spinning in circles like a possessed children’s toy. And that casual drawl starts to sound more like a cracked, wracked, wrought plea full of desperation and fear. And you realise that this is no ordinary record.

O’Neill’s voice goes to all sorts of places throughout the course of this album, and the music provided by Mossy Nolan, Emma Smith, Joseph Doyle and Seamus Fogarty follows her like a dark swirling storm, often bringing to mind the loose impressionism of the Dirty Three. On ‘’Planets’’ O’Neill delivers her most extraordinary vocal and lyrical performance to date. It is remarkable and on this form she could go toe to toe with Nick Cave at his most fire and brimstone. Except O’Neill’s prose is elemental and mysterious, not angry.


Tickets for this show are £10 in advance.
 
You can get tickets in person from Jumbo Records in Leeds or online from here.

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Goat Girl

The Crescent, York
Saturday 27th October, 7.30pm


**UPGRADED VENUE. PREVIOUS TICKETS REMAIN VALID**


Rough Trade Records have just released the self-titled debut album by Goat Girl. Produced by Dan Carey (The Kills, Bat For Lashes, Franz Ferdinand) in his South London studio, the record already has the press hot under the collar and has helped the four piece secure a rather sweet US tour with Parquet Courts and a bunch of fine festival slots in the summer.

Across 19 tracks in 40 minutes, Goat Girl’s debut creates a half fantasy world out of a very dirty, ugly city reality. In the groups words: “Simply put, it’s an album that comes from growing up in London and the first-hand experience of our city’s devolution. We wanted to think of it as this place seen not necessarily just through our eyes, but someone who can’t get past the abnormalities and strange happenings that exist in our city. We think this gives the freedom lyrically and musically to explore unspoken truths and emotions that we all as humans feel.”

This world is populated by creeps and liars, lovers, dreamers and wonderful lunatics. It’s a very English album -- sharp-eyed observations like The Kinks, louche rage like The Slits -- but it’s also full of swampy swaggering guitars and Lottie’s filthy drawl. “It wasn’t exactly intentional to have this warped country sound, but I think that was initially what we were all drawn to and inspired by, bands that existed in a lo-fi,dissonant, scratchy context.”

Goat Girl belong to a burgeoning, close-knit south London scene, born in venues like The Windmill and including bands like Shame, Bat-Bike, Fat White Family, Horsey, Sorry, and many more. They’ve built up a strong live following over the last year, headlining their own UK tours and supporting The Fall, Moonlandingz, and Parquet Courts.

Goat Girl are: Clottie Cream, Rosy Bones, Naima Jelly and L.E.D.

Press:

‘Goat Girl are ready to turn indie music on its head and rip its guts out’
The Guardian

‘Goat Girl are the whip – smart, politicized young Londoners breaking into the big time’
DIY


Tickets for this show are £11 in advance.
 
You can get tickets in person from the venue and Earworm Records in York, Jumbo Records in Leeds or online from here.

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Holy Moly & The Crackers

Brudenell Social Club, Leeds
Friday 23rd November, 7.30pm

 The Deaf Institute, Manchester
Saturday 24th November, 7.30pm

The Crescent, York
Sunday 25th November, 7.30pm

We're dead chuffed to be helping our Geordie buddies on their biggest ever UK headline tour in the autumn with shows in Leeds, Manchester and York. Tickets for all three are available online from the links above.

Watch / Watch / Watch

Newcastle’s Holy Moly & The Crackers are one of the country’s hardest working bands.

You might call that a cliche, but how many others can you name that have covered the thousands of miles and played the amount of shows that HM&TC have, in just two years? Oh, and they’ve managed to write, record and release a critically-acclaimed album and start their own record label in that time too.

Lead singers Conrad Bird and Ruth Patterson met when they were teenagers in 2008 and Ruth was in the midst of adapting to a diagnosis of chronic arthritis. Ruth, at one stage cited for an orchestral career on the violin, had not played for two years. But, encouraged by their mutual passion for music, she battled through the new limitations to relearn her instrument and discovered a love and skill for singing.

Not long after the couple met costume designer and accordion player Rosie Bristow they started to perform Irish, American and Balkan folk songs together at open mics and dive bars. They were cutting their teeth, learning the ropes.

By 2015 the trio had moved to Newcastle and met jazz/funk bass player, Jamie Shields, and Tommy Evans - who would give Keith Moon a run for his money - on drums. The gang began to blend their love of the folk tradition with a contemporary rock sound, influenced by a wide range of artists - from Cold War Kids to Gogol Bordello and Jack White.

Since then the bombastic folk rockers have been on what seems like a never-ending tour,; playing over 300 shows, 60 festivals (including Glastonbury, Secret Garden Party, Wilderness, Boomtown and Bestival) and tearing through trips around Italy, the Netherlands, France, Portugal and Germany. Wowing their raucous and ever-expanding fan-base with instrument-swapping, squeezebox-growling, fiddle-shredding, brass-howling hoe-downs, the group have been able to hone a sound that is organic and invigorating - forged in the sweat and heat of the live show.

In 2017 Holy Moly & The Crackers stepped up a gear. They signed a deal with Wipe Out Music Publishing and, working with producer Matt Terry at the legendary rock studio VADA, recorded and released Salem - a record that’s been described as “a new kind of sonic madness” by music magazine and long time supporters, Narc.

The album has taken them to new heights, and has seen the band’s idiosyncratic blend of folk and contemporary rock playlisted across Spotify, clocking up close to a million streams in the process*, as well as receiving rotation on BBC Radio and RadioX. The album’s hooky rabble-rousing lead single ‘Cold Comfort Lane’ has been featured internationally on adverts and TV shows, including E4’s ‘Tattoo Artist Of The Year’.

Now it is 2018. 22-year-old Nick Tyler has joined on guitar. Classically trained but influenced by psychedelic and DIY punk in equal measure, he is the final piece of the multifarious puzzle that is Holy Moly & The Crackers - the final Cracker, as it were.

This year HM&TC will release two stand-alone singles, recorded by Matt Terry and mixed by Dan Austin (Pixies), and back the songs up with with major international festival appearances, including a main-stage appearance at Beautiful Days and Colours Of Ostravia in the Czech Republic, before embarking on their biggest UK headline tour to date in November.

They will also head back into the studio to record their next album and continue their relationship with Matt and Dan, both of whom use dynamic formulas combining tight, pop sensibility with the naturalism of garage rock and folk/roots.

The last two years have been a whirlwind and you might think that it’s time to take a breather. But HM&TC are not that kind of band. The road is their home and they’ve got their foot to the floor.

Press

“One of Newcastle’s finest bands have upped the game on their new album”
The Crack

“This is one of the most original sounding albums doing the rounds at the moment”
God Is In The TV Zine

“A cauldron of swirling dark rock potions”
R2 Magazine

“Turn it on and turn it up. This one’s a rager”
No Depression (USA)


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