Festival – 2000 Trees 2019

2000 Trees Festival, Upcote Farm Cheltenham, 11th – 13th July 2019

Picture if you will a farm in rural countryside, transformed into an award winning festival location where you can walk the length of the site in 10 minutes, catching big names and new music, choosing from the best selection of festival food around and taking in the friendliest atmosphere you’re likely to encounter. No need to worry about carrying or losing money as the cashless system works a treat, just have your wristband scanned to pay. Families, fancy dress, diehard punks and metal-heads, they’re all here and they’re all having a brilliant time. You can only imagine the amount of work and preparation that goes on behind the scenes because the team and volunteers at 2000 Trees have thought of everything and everyone – artists, crowd, vendors, security, the whole crew seem to love being here. It’s a beautiful setting and there’s more diversity in the types of music on offer than many people realise.

2019’s event even brought the sun out of hiding, along with an enormous string of new and established artists. Whether it’s to catch a favourite band or discover a new one, 2000 Trees is a massive recommendation. Just be aware that when you’ve been once it’s very hard to not pick it up as a habit that’s hard to kick. Here are some highlights from Friday from a huge selection of what went on this year…

Deux Furieuses getting the day off to a solid start on the Axiom stage – powerful riffs and no holds barred drums belying the fact that they are only two.

Fresh from playing a string of sold out shows together, Gouge Away (The Cave) and Slow Crush (Neu) filled their respective marquees, with both receiving a great crowd reaction.

Lice have gained a well deserved reputation for their live performances and this was no exception – a stand out set of satirical art punk on the Neu stage which saw some excellent bookings this year.

You have to have your photo taken and take some of your friends by the Trees sign – it’s the law.

Carnage in The Cave. Bringing Belgian noise rock and their own language, Raketkanon are not to be missed live; for fans of vocalists crowd surfing in doughnut inflatables, this is not the time to forget your earplugs.

Time out to recharge the batteries at the beautiful Forest acoustic stage with a chilled set from locals Watercolours and some indie psych back at the Neu stage from Indigo Lo.

2000 Trees crowds are the friendliest crowds – unicorns not compulsory.

A long way from home, Australia’s Hands Like Houses pulled in a big crowd on the main stage who provided an equally big UK welcome.

Still on the main stage, the classic mix of 2000 Trees and Pulled Apart by Horsesalways a pleasure to see them individually; together is hard to beat. Stage jumps, circle pits and a guitar accompanied dive into the crowd are what Trees is all about.

Everyone welcome, dress code whatever you please. (By the way, any discarded rubbish disappears after each set, kudos to the litter picking team).

Really happy late afternoon vibe for Get Cape, Wear Cape, Fly – packed marquee too at the Axiom.

Fast becoming firm favourites on the indie punk scene, Heavy Lungs put on a frenetic show, catch them in a smaller venue while you can, this time the Neu stage grabbing the spotlight again.

So, with this year’s 2000 Trees all packed away, it seems fortuitous to think a long, long way ahead and be aware that next year’s is already in the making. 9th – 11th July 2020 – put it in your diary, you won’t regret it.

Early bird tickets are available now.

Words and photos by Siobhan

15th July 2019



Live – The Howlers at The Hope & Ruin

The Howlers / Dog of Man / B. Spanks, The Hope and Ruin Brighton, 30th June 2019

Kicking off Sunday night at The Hope and Ruin, B. Spanks put on an impressive one man show, vocally reminiscent of the Pete Shelley school of sardonicism and with a definite nod to the nostalgia of DIY new wave – one to keep an eye out for.

Next on, Brighton locals Dog of Man brought infectious psych punk hooks, much laughter and talk of Stormzy and sweaty men to the table. If Violent Femmes had switched the xylophone on Gone Daddy Gone for an accordion it might have sounded like this. They’ll be back at The Hope and Ruin for their album launch party on 16th August if you want to hear for yourself.

Headliners The Howlers have been making waves on the live circuit with their aggressively energetic shows and have been on my must see list since catching them at Icebreaker and Portsmouth Psych Fest earlier in the year. Recent single La Dolce Vita has helped to cement their reputation as an important part of the new UK underground scene.

Desert rock, garage rock, call it what you will, The Howlers are a force to be reckoned with live, a heady mix of frenetic drums and twanging guitar befitting of a modern day western soundtrack – A Fistful of Reverb in the making perhaps.

There’s still a chance to catch the band on their current run of tour dates throughout July in Nottingham (5th), Manchester (6th), Sheffield (19th), Portsmouth (20th) and Hull (30th). Get along if you can and definitely watch this space – it looks like this is the start of something special.

Further details on live dates and other news from The Howlers here

Words and photos by Siobhan

3rd July 2019


Live – Hey Colossus at The Loft

Hey Colossus, The Loft, Southsea, 7th June 2019

Hey Colossus have been melting minds for 16 years now, and I’m led to believe that this is their first time playing in Portsmouth. It’s chucking it down with rain outside, but The Loft is absolutely rammed with eager punters tonight. The temperature is rapidly rising, and by the time the sextet hit the stage, most of us are already drenched in sweat. This is going to be good.

Tonight’s 10 song set draws chiefly from the band’s last four studio albums – Four Bibles (2019), The Guillotine (2017), Radio Static High (2015) and In Black and Gold (2015) – with an unreleased song thrown in for good measure. Sisters and Brothers gets things off to a steady start before the three pronged attack of new tracks, Four Bibles, Palm Hex / Arndale Chins and Memory Gore bring a heaviness and groove that sets the tone for the rest of the evening.

Hop the Railings deviates slightly by adding the motorik pulse of krautrock legends, Can, to proceedings before unreleased track Medal brings the noise once again. After that, it’s just one giant slab of noise rock after another, and the band really start to hit their stride.

Frontman Paul Sykes is clearly enjoying himself as he dances around and uses his microphone stand to engage with audience members filming on their phones. The rhythm section consisting of bass player, Joe Thompson, and drummer, Rhys Llewellyn, are the tight driving force that makes this band one of the best around. The addition of Chris Summerlin (Grey Hairs, Kogumaza, Haress) to the three guitar line-up adds another dimension of well-crafted tone and volume that ensures that last song, Back in the Room, is a bona fide skull crusher to end the night on a high.

Hey Colossus have worked incredibly hard to get where they are today, and they’re on a roll at the moment. Go see them in a small venue like this before they become colossal.


Sisters and Brothers
Four Bibles
Palm Hex / Arndale Chins
Memory Gore
Hop the Railings
Black and Gold
Experts Toll
Wired Brainless
Back in the Room

You can find more tour dates and the latest news from Hey Colossus here

Words by Ryan Howarth
Photos by Hannah Mesquitta

11th June 2019

Live – Utopia Brighton

Utopia All-Dayer, The Green Door Store, Brighton, 8th June 2019

After a successful first year in 2018, the Utopia all-dayer was back with a vengeance at the weekend. Brighton’s much loved Green Door Store was transformed with psychedelic light projections by Innerstrings and played host to a great selection of live music throughout the day.

Prior commitments meant that I had to skip the opening acts but I’m reliably informed that Buddha Blood and Rainn Byrns got things off to a flying start and, having seen Mystic Peach before, I can vouch for the quality of their live performance. Happily, I arrived in time to catch Public Body – made up of familiar faces from other Brighton bands, their combined forces result in some infectious post punk tunes and drew a good crowd still early in the day.

Next up, John Myrtle proved a popular choice with a definite 60s lilt to his stories within songs. From How Can You Tell If You Love Her to Cyril the Slug, everyone was pretty much captivated from start to finish.

It’s rare to have an event like this without at least one act dropping from the bill and sadly Kagoule were unable to play as planned on the day. Disappointing as they’re always on point live and also, when you only have two females on the line-up, it’s a damn shame to lose one of them.

Nonetheless, no complaints about their replacement as local duo Skinny Milk were drafted in at the eleventh hour and played a blistering set as expected, an excellent substitution.

Beachtape’s fuzzy indie tracks have seen them become an established feature on the Brighton scene and continued support for them is apparent with tracks old and new in Slow and Fix It Up equally well received.

Much anticipation for new project Nancy turned out to be well deserved. Another familiar face on the local circuit was preceeded by the rest of the band set up on stage and a single mic stand placed strategically in the crowd. With live appearances starting to pop up, the mystery frontman has been revealed as Tigercub’s Jamie Hall but, make no mistake, this is a far cry from heavy grunge and ripped jeans territory. More akin to The Cramps mix of raucous punk and laid back lounge swaying, Nancy raised the pace and atmosphere in the venue to a different level; one to watch for sure.

Always compelling live, Hotel Lux bring a turbulent hybrid of post-punk and pub rock, lyrics writhing in humour of the bleakest variety. They were a big favourite on the day and it’s not hard to see why. Dystopian disdain at its best, Hotel Lux never disappoint.

And so to the headliners, Heavy Lungs. The band launched straight into Half Full and Jealous; the crowd launched straight into a mosh pit. Reminiscent of early Killing Joke, the Bristol four piece lived up to their reputation for providing a raw assault to the senses and a certain ordered chaos throughout the room. It’s a positive note to end the day on, the last charge of the party brigade before curfew.

I can’t fail to mention the impeccable timing throughout the day. Despite having 10 bands to accommodate and relatively short gaps between sets, everything ran to schedule, almost to the second (having the set times projected onto the wall between acts is also a stroke of genius). Add to this a nicely assorted mix of artists on the line-up and a really friendly crowd and Utopia can tick off their second successful outing on their way to becoming a regular event on the  Brighton music calendar.

Words and photos by Siobhan

10th June 2019

Book Club – David Byrne: How Music Works

With so many great books about and by musicians on the shelves, it’s difficult to gauge which ones will make the read as compelling as the music. Here, Ryan Bell reviews one of his favourites…

David Byrne: How Music Works

David Byrne’s How Music Works is much like his music. Whether it’s his solo work, his collaborative recordings with Brian Eno or St Vincent, or as the frontman for influential art-rock group Talking Heads, he is a consistent creator of music that is ambitious and intelligent yet enjoyable, and his foray into the world of music literature is no different.

Similar to the genre fusions found in the music of Talking Heads, Byrne chooses not to craft a by the numbers autobiography, instead he flirts between the role of rock raconteur, music history professor and pop culture sociologist, amalgamating observations, anecdotes, ideas and concepts gathered from his thirty plus years in the music business. Whilst this could result in the book becoming arrogant or rambling, his writing style is informative yet conversational, with a great sense of “believe me, I’ve seen it and done it” authenticity and an enthusiasm that can rarely be doubted, leading How Music Works to be a surprising breath of fresh air to read.

This can also be attributed to the nonlinear structure of the book, with each chapter focusing on a different musical talking point such as technology, collaborations, live performances, etc. Byrne states in the preface that he feels there is still a certain rhythm to the book, though acknowledges the merit of allowing for reader permitted chapter hopping, appealing to those readers with a shorter attention span. David Byrne writes attractively throughout, however I am such a reader, and the option to jump to learning about the recording of Remain in Light over Byrne’s thoughts on music industry finances, without the result of a jumbled narrative, was refreshing. 

Naturally, you would pick up the book because of the name attached, Byrne has made a career out of being one of pop music’s most revered auteurs, and some of the most enjoyable parts of How Music Works come from his success in pairing his music history research with his own personal observations. Reading about the televangelists who inspired the Talking Heads hit Once in a Lifetime, or his time spent watching Japanese theatre for the infamous “big suit” from the legendary Stop Making Sense live shows is enthralling, particularly after witnessing his spectacular American Utopia show, which only wet the appetite to learn where he gathers his inspirations from.

As well as these, Byrne is fascinated by the wider context of how shapes sound, how geography and performance and listening spaces can affect and influence the sonic nature. He describes the uneven wall, scattered furniture pieces and low ceiling that gave legendary punk club CBGB a “remarkably good sound” and how the percussive character of African tribe music would have turned to “sonic mush” in the stone walled gothic cathedrals of the west in the middle ages.

The book is typical of Byrne, as whilst other rock/pop musicians might opt for the sexy warts ‘n’ all page turner, his eyes and ears are tuned, almost academically, towards the physics and working parts behind music’s past, present and future. Knowing that some might scoff at the idea that by doing so he is ridding the art of its enjoyment, he insightfully remarks in the preface that “knowing how the body works doesn’t take away from the pleasure of living”.

There is a wide range of ground covered in How Music Works, which at times can leave it feeling a little uneven and scattered, but it’s rarely pretentious, he never gives the impression he is writing about anything for any reason other than it fascinates him. Its structure is particularly suited for travel reads or coffee table pick-me-ups, with his knack for great pop song writing translating into cushioning the trickier moments with anecdotes and titbits, and the musical wanderlust shown throughout his career making his search for the mechanics of sound eclectic and colourful.

Words and photo by Ryan Bell

16th May 2019

Festival – Portsmouth Psych 2019

Portsmouth Psych Fest, The Wedgewood Rooms, 4th May 2019

Making a welcome return this weekend, Portsmouth Psych Fest stormed into its third year with an event packed with another amazing array of artists. Throughout Saturday, eighteen acts played across the main stage in The Wedgewood Rooms and its more compact counterpart in the Edge of the Wedge, hosted by local collective Calamity Cratediggers. Kicking things off at the Edge, Fat Earthers, The Howlers and Number 9 gave us a glimpse into how diverse the day was going to be, from psych-punk to desert rock to 60s’ infused psychedelia all in the first few hours.

Over on the main stage, Drusila impressed once again with their unapologetically 80s’ tinged electronic dance tracks – big things ahead for this local duo surely.

With the room transformed by vibrant liquid colour projections from visual artist Inner Strings and psych mascots in the form of graffitied mannequins by street artist My Dog Sighs, the scene was set for poetry-fused guitar tunes from Freya Beer, melodic indie-pop from Mystic Peach and the unlikely but irrepressibly fun blend of Cumbian psych provided by Los Bitchos.

Back at the Edge, Japanese Television were a joy to hear and see, the self-proclaimed space surfers proving that lyrics aren’t always a necessity. Sleep Eaters continued the momentum, a great live band bringing Americana flavoured garage to the table, followed by post-punk four piece Egyptian Blue.

Space age psych up next from Brisbane’s Nice Biscuit, just about managing to squeeze everyone onto the stage, easily managing to impress.

Picking up the pace, Brighton’s GURU produced the most animated set of the day with plenty of crowd interaction and discordant tunes galore.

Over on the main stage, Black Country, New Road gave a more sombre performance pulsated by dark set vocals, before the costumed krautrock-influenced beats of Snapped Ankles lightened the mood and continued the mystery behind the woolly headed noise-lords.

Concluding proceedings at the Edge of the Wedge, Scalping provided some heavy techno-punk before handing over to the grittily wonderful world of Glasgow’s Sweaty Palms, an intriguing melee of cowboy hats, garage guitars and saxophone worthy of any stage headliner.

The last two acts on the Wedgewood Rooms stage completed the eclectic mix. Brooding shoegaze over industrialised visuals from The KVB followed by an energy filled set from indie rockers Yak brought the festival to a suitably intense close.

Joining the legion of psych fests up and down the country, Portsmouth has firmly staked its place amongst the more established events. The line ups every year so far have been solid from start to finish. When tickets go on sale for next year there’s really no need to wait for announcements on who’s playing; just buy one and thank yourself later.

Keep up to speed with Portsmouth Psych Fest here

Words and photos by Siobhan 

7th May 2019

Live – Suede at Brighton Dome

Suede / BC Camplight, Brighton Dome, 23rd April 2019

Suede… the story behind the band’s rise, fall and emphatic comeback has been told many times. Still, there’s an intrigue as to what they might do next. With latest album The Blue Hour released last year and a huge tour underway, one thing’s for sure – Suede are far from done yet.

Opening support on this tour has largely come from the much lauded BC Camplight. The man behind the tunes and the piano is US born singer-songwriter Brian Christinzio; his tale of starting a new life in the UK, gaining a record deal then being deported before winning back his right to live here sounds like a fine set of lyrical fantasy but in this case is all true. Having had to pull a couple of dates through illness, it was good to see him back and well, providing an eclectic start to the evening with tracks from his latest album Deportation Blues.

The anticipation for Suede’s arrival on stage is met with a suitably atmospheric outpouring of smoke and dramatic lighting, from which the band emerge to the strains of haunting new track As One. The capacity crowd, many of whom have been there since doors, are rewarded with an ample dosage of songs spanning an incredible 30 years. It’s not long before some older material surfaces in the set – We Are The Pigs and So Young reminders that there is a back catalogue here worthy of its place in the music history books. As a frontman, Brett Anderson appears to have fallen into Neverland as his endless energy and off stage excursions seem no less enthusiastic then they ever were.

Anderson gives a thank you to the crowd, rightly noting that without a great crowd it’s hard to have a great gig. And the respect is clearly mutual; there are moments where he talks to the audience or during stripped back songs (Everything Will Flow / Europe Is Our Playground) that you could hear a pin drop, no background chat, no need, still it’s a welcome change to the annoying conversational hum that often accompanies performers. But then Suede have never been your average band. Oddly labelled with the Britpop tag in the early days, their refusal to conform has seen them become something of an institution on their own terms, an institution that puts on a show to be remembered as it turns out.  After a quick break, the band return to finish the evening with a huge singalong to The Beautiful Ones followed by closing track Life Is Golden, a track that Anderson says he wrote for his son but which it is likely everyone there is happy to take as a message for themselves. From the start, Suede were something a bit different, something a bit special. Turns out they still are.

Click here for remaining tour dates and all things Suede related

More from BC Camplight here

Words and photos by Siobhan

25th April 2019

Live – Tugboat Captain at The Green Door Store

Tugboat Captain / Ciel / Probably Oslo / Bébe, The Green Door Store Brighton, 10th April 2019

What to do on a cold Wednesday night by the sea? This week at least, the answer was pretty simple. Bringing optimistic melodies and a bassoon of impressive proportions, Tugboat Captain arrived in town taking their DIY tour to top local DIY venue, The Green Door Store. Headlining a four act line up, the multi vocals and instruments spread across the band brought a refreshing dose of charm and catchy tunes to the floor.

First on, Brighton’s Bébe offered up gentle pop refrains and managed to squeeze all seven members onto the stage, pulling in a good crowd.

Next up, Probably Oslo quickly pulled everyone back in from the bar, upping the tempo with a set full of indie tunes and chats with the audience.

The penultimate act, Ciel, gave a beautiful performance with the purest vocals from Dutch artist Michelle Hindricks. Bringing to mind the likes of Cocteau Twins and Slowdive, definitely a band to look out for.

And so to Tugboat Captain. With a great turnout for a midweek gig, they seemed completely at ease and in sync with each other and the crowd, latest single Be Strong, Smoke Less proving both popular and a fine opportunity for high kicks. An early broken bass string could have been the spanner in the works but Nat from Probably Oslo came to the rescue with a substitute and, in time honoured fashion, the show went on. It’s clear to see that Tugboat Captain’s hard work is paying off – a great night with a lovely atmosphere. If you’re quick there’s still time to see them at The Smokehouse in Ipswich tonight and The Victoria in London tomorrow.

Links to all bands here:
Tugboat Captain    Ciel    Probably Oslo   Bebe

Words and photos by Siobhan

12th April 2019


Live – The Slow Readers Club at The Haunt

The Slow Readers Club / BRIDGES / Greenness, The Haunt Brighton, 9th April 2019

With 3 albums under their belt and an ever growing following, it’s surprising that this is The Slow Readers Club’s first year as a full time band. They’re certainly making the most of their new situation, currently working their way through a massive 48 day tour, arriving last night at The Haunt in Brighton.

Opening set from Brighton based duo Greenness offered a welcome antidote to the wind and rain outside, hypnotic electro acoustic tunes creating a relaxed atmosphere with a whiff of Massive Attack / The Sugarcubes. Check out their new EP Cyclicity for more.

Next on and upping the indie guitar quota, BRIDGES have been filling the support slot for the last week and look to have picked up some new fans who clearly recognised their material. A well fitting choice whose energy and humour set things up nicely for the main event. Latest single Amor is out now.

And so, as the strobe lights kick in to the sound of Donna Summer’s I Feel Love under The Haunt’s huge glitterball, you could be forgiven for thinking you’d turned up on 70s’ disco night. However, as the members of The Slow Readers Club take to the stage things come crashing up to date with the writhing pulse of Lunatic, an instant crowd pleaser. Next up is Lives Never Known – reminiscent of John Foxx’s Europe After the Rain, it continues a steady stream of singles and album tracks spanning The Readers’ career so far.

The band are a long way from their home town of Manchester but it doesn’t seem to matter where they play, they take an army of loyal fans with them. Having seen them play festivals at both ends of the country in Glasgow and Portsmouth, I can attest to the fact that the chants of ‘READERS! READERS!’ never dim wherever they are. There are people in the crowd who are following them around on as many dates as they possibly can, seeing their favourite band and catching up with friends old and new at the same time.

As the songs continue through the popular Supernatural, Start Again and Lost Boys to closing track On The TV, there is no let up in enthusiasm and the crowd respond in kind. It’s a clever juxtaposition created between hard hitting lyrics and ridiculously catchy riffs that make this a band to take notice of. The Slow Readers Club have always sounded like they were made to fill arenas and have a fan base dedicated enough to make sure they don’t regret that decision to make this their full time career. Catch them while you can.

Check out Greenness and BRIDGES and get the latest news on releases and live dates from The Slow Readers Club

Word and photos by Siobhan

Live – IDLES at Brighton Dome

IDLES / Crows, Brighton Dome, 29th March 2019

Some years ago, with a bit of time to kill at a festival, I wandered into a marquee to see what was going on. Even pre-IDLES’ mania, the band clearly had a strong following. Joe gave a shout out to ‘our bassist who can’t be here tonight’ and the crowd started chanting ‘Dev! Dev! Dev!’ It was loud, chaotic, late in the day and, not knowing who they were or any of their names, I thought they were yelling ‘Dead! Dead! Dead!’ A bit taken aback that this seemed like a shout of joy, I wondered what I’d stumbled into. It turned out that joyful shouting was pretty appropriate as things became clearer and I came out at the end with a chance encounter having turned into a festival highlight.

Fast forward to March 2017 and an army of people trying to find tickets for their sold out show at 100 capacity venue The Albert in Brighton, coinciding with but presumably booked way before the release of Brutalism. A night to remember, new fans picked up along the way and the start of widespread acclaim for the five piece now described by The Guardian as ‘Britain’s most necessary band’. It’s to their credit and fits with their ethics that their sold out show at Brighton Dome was booked with the same promoter and drew the same crowd (just with about 1700 of their friends joining in this time).

Opening up on the night, Crows made their second trip to Brighton in a week. Giving a formidable performance as always, their songs filled with brooding darkness had the crowd onside straight away. The support slots on this tour will doubtless open them up to a new audience and, with their long awaited debut album Silver Tongues picking up positive reviews and plaudits, perhaps it’s finally time for Crows to get the wider recognition they deserve.

With the instantly recognisable percussion and bass of Colossus filling the room, IDLES took to the stage to a huge welcome roar. If anyone had concerns that the band couldn’t scale up the usual chaos and interaction of their shows they would have been kicked straight into touch. The larger venue served only to magnify what’s gone before; a wider stage for Joe to pace, longer guitar leads to allow the forays into the crowd to go further, a bigger crowd to surf. Second up, Well Done lightened the mood and had the Dome jumping and singing along in full voice.

With no let up in pace and energy from the band or the crowd, we were treated to tracks old and new; Mother, Never Fight a Man with a Perm, Exeter and Samaritans all firm favourites and each sounding great. Despite the continuous mosh pit and conveyor belt of surfers, the atmosphere was good-humoured and offered up a bit of much needed positivity in a climate where oppression has been all too prevalent lately.

Where IDLES go from here is anyone’s guess. Right now they are more than holding their own as their reputation and following continue to soar and things don’t look like slowing down any time soon. Defining IDLES sound and ethos isn’t easy but their album titles do a decent job – Brutalism and Joy as an Act Of Resistance sum them up pretty well. Another step on the upward journey of chaos, another night to remember. Well done indeed.

See what else IDLES and Crows are getting up to here

Words and photos by Siobhan

1st April 2019


Live – Calva Louise at The Prince Albert

Calva Louise / Kid Kapichi / Short People, The Prince Albert, Brighton, 13th March 2019

In Brighton for the last night of their UK tour and fresh from the shouts of acclaim for their debut album Rhinoceros, Calva Louise had a crowd full of anticipation squeezed into The Prince Albert.

Local support from Short People got the evening off to a solid start. Fronted by Rich Fownes (ex Eighties Matchbox B-Line Disaster / Clever Thing), their mix of rock and folk-punk eased us nicely into a memorable night in the making.

Kid Kapichi have been the main support throughout this tour which, conveniently for them, ended up pretty close to their home town of Hastings. Bringing along their own army of fans, their set was an absolute stand out ball of noise from start to finish. It’s a confident headliner that picks a band who are this good live to play before them. Firmly on the would love to see again list.

As the Countdown music hit the speakers, it was time for Calva Louise to show why they’ve gained a glowing reputation on the live circuit. With a pretty accurate prophecy, they hit straight into I’m Gonna Do Well, energy levels set to max from the outset. Sounding like Bis with Topper Headon on drums, their brand of indie-punk is refreshingly feel-good.

As the packed room got hotter and hotter, Jess stated that the temperature reminded her of home in South America; that didn’t stop her from jumping off the stage to join the party taking place in the audience. On or off stage, the trio were totally engaging and created a brilliant atmosphere with loads of reaction and reciprocation from the crowd.

Finishing up with the punchy Getting Closer, the set appeared to be over but the chants of ‘one more song’ received an unexpected rendition of Eleanor, despite being past curfew and with instruments already unplugged – clearly not a pre-planned encore but much appreciated anyway. We live in an age where social media can elevate a band’s status beyond its capabilities but, in the case of Calva Louise, you’d very much better believe the hype.

Check out more from  Calva Louise,  Kid Kapichi and Short People

Words and photos by Siobhan

18th March 2019

Live – She Drew The Gun at Patterns

She Drew The Gun / Man & The Echo, Patterns Brighton, 8th March 2019

Straight from a support slot for The Coral, She Drew The Gun have been selling out gigs across the UK on a headline tour of their own. If their final night in Brighton on Friday was anything to go by, they’ll need to be booking bigger venues for the next one.

First up, Man & The Echo warmed up an already busy crowd with a set full of soulful reflections on modern life. Sounding something like The Style Council might have if they’d been pulled into shape by Richard Hawley and generally been a bit less concerned with striped blazers, the four piece entertained with some strong tracks, things notably stepping up a gear with latest single A Capable Man, well worth a listen.

The brainchild of Louisa Roach, She Drew The Gun are currently touring as a very complimentary five piece. Kicking straight into recent singles Resister and Something For The Pain, the band began their journey through the myriad of genres and musical influences that make up their discography. With hints of Elastica and Republica pulsating through the more upbeat tracks, there is a much deeper, darker tone to Between Stars, reminiscent of Portishead mixed with spoken word, not a phrase you get to use often. 

Louisa’s vocals are compelling, the lyrics full of powerful social comment and the tunes infectious, a stroll through indie, melodic psych pop and poetry with just a hint of country thrown in for good measure. She Drew The Gun thoroughly deserved the capacity crowd, catch them if you can before they head off into the stratosphere, rising stars for sure.

She Drew The Gun website
Man & The Echo website

Words and photos by Siobhan

11th March 2019

Live – Allusinlove at Komedia Studio

Allusinlove / Mantra / Grymm, Komedia Studio Brighton, 13th Feb 2019

With new music and a new name, Allusondrugs are no longer and Allusinlove have very much taken over. With fresh songs shared back in November, the band are currently working their way through a string of dates across the UK before heading to Europe. On Wednesday night they hit the stage at Brighton’s Komedia Studio, grunge rock still at their core but with a more accessible edge, latest single All Good People translating into an instant live anthem. Excellent openers for the evening came from locals Grymm and London’s Mantra, both pulling in a good crowd and making a strong case for getting along early for the support bands.

Check out our gig gallery below…





Click through for the latest from Allusinlove, Grymm and Mantra

Words and photos by Siobhan

15th February 2019

New Music – Good Cop Bad Cop

Good Cop Bad Cop – Silk and Leather

Put together Milburn vocalist Joe Carnall with Arctic Monkeys drummer Matt Helders and you might expect a guitar driven, full on indie outpouring. But the Sheffield pair have some surprises up their sleeves…

Taking a different musical path, Joe has moved towards electronica, his vocals sounding smoother against a synth backdrop. He has written and played all instruments excluding drums on Silk & Leather, the noteworthy debut single from new project Good Cop Bad Cop. With demos complete, he sent them across to Matt thinking he ‘would be into it’ which resulted in the two working together and Matt producing the record in his home studio in the Hollywood Hills, a stark contrast to its birthplace in South Yorkshire.

With Milburn’s last album Time produced by Bill Ryder-Jones, Joe is no stranger to artist production and this new venture confirms that Matt’s skills range way beyond the drum kit. He explains this new string to his bow: ‘I’ve become progressively more interested in production over the years but have perhaps never been brave enough to take the first steps; Joe’s project seemed like the perfect place to start’. Joe describes the experience saying, ‘It was great for both of us as we could afford to make mistakes without a huge bill to pay at the end. It really was just two old friends spending time together and making music in a glorified garage’.

From what is presumably a glorified garage like no other, the pair have come up with something reminiscent of 80s’ synth pop with a current twist and the forthcoming self-titled album will surely be highly anticipated by fans and the industry alike.

Tickets for upcoming tour dates have largely sold out despite having only been announced a few days ago but look out for spares or returns for the following locations in April:

13th – Glasgow King Tut’s
15th – Manchester Yes
16th – Leeds Belgrave Hall
18th – London Hoxton Hall
19th – Sheffield Crookes Social Club
21st – Nottingham Bodega
22nd – Bristol Thekla

Watch the video for Silk & Leather now – you can receive an instant download of the single when you pre-order the album here; you can also see an exclusive Q&A with Joe and Matt – the album release date is scheduled for 29th March 2019

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Words by Siobhan

Photo via Lucid Online PR

8th February 2019