1,467 FRANCIS OF DELIRIUM, May Payne, Bristol Exchange, Monday 28th September 2026

 

Well, my intended week of 4 gigs in 7 nights was reduced by one, as Sports Team fan Logan worked too late last Thursday to allow us to get down The Fleece in time to see them! No time to lick my financial wounds, though, as I was back on it tonight with this band of increasing faves. Luxembourg indie troupe Francis Of Delirium, ostensibly (and also increasingly) the singular vision of captivating talent Jana Bahrich, released their sophomore full-length effort earlier this year in “Run Run Pure Beauty”, and it’s an absolute corker. Once again taking it down a notch in comparison with both previous releases and their more overt shows, this properly showcases a batch of beautifully plangent melodic tuneage, switching from introverted melancholy to buoyant optimism with ease; no surprise it’s currently topping the list of my 2026 new releases. To cap things off, FoD’s touring iteration announced another UK tour, so I snapped up tix pronto. 

So, another sun-visor run down the M4 into the setting sun saw me parking up opposite the venue just after 7.15, running into Bristol gig friend Louise down the front, house left, for some fun gig chat before opener May Payne prompt at 8. A solo acoustic performer, occasionally utilising some eerie synth and effects pedal beats (though happily not too much of that old malarkey) but mainly a big old acoustic, her oeuvre majorly consisted of hushed and deeply personal introspective relationship breakup numbers, laced with extensive and rather entertaining between-song exposition. “I Was Born To Let You Down” (“the only happy song in the set!” according to May) and the more “evil” closing number (apparently written during her period!), which built to a crescendo, were my two highlights, but overall this was a listenable and endearing set from an engaging performer, who was surprised and buoyed by the quiet attentiveness of tonight’s audience!

We were then joined by Matt and his lovely daughter Alice, out on a first time daddy-daughter rock gig! So we chatted until the lights dimmed and Francis Of Delirium took the stage, quickly opening with the plaintive “Aliens”, building to a quiet/ loud undulating riff-fest, with Jana’s clear, high choirgirl voice already a feature, dancing across the surface. “Happy Monday you beautiful fuckers!” she exclaimed before the descending power riffery and almost operatic octave straddling choral vocal of an excellent “Out Tonight”, subsequently praising Bristol at its conclusion as “one of our favourite cities, [and the] best food!” 

That set the tone for tonight, with the “live” version of Francis Of Delirium again imbuing their material (particularly the new album numbers) with a potent, strident and vigorous dynamism, in contrast to the more layered and nuanced approach on the recorded versions, giving the songs an extra dimension in the process. And Jana herself seems to have really grown as a “live” performer, looking more relaxed and voluble, bantering jovially with her back-up boys and with the crowd, including myself on a couple of occasions, when their Briston Maroney support slot here in 2022 (gig 1,237) was mentioned! The stately oldie “Real Love” was a soaring early highlight, followed in short order by the groovy NYC new wave-isms of “Little Black Dress” and a more hushed, elegiac yet crescendo-building “Require For A Dying Day”, itself preceded by a stark vignette of Tears For Fears’ classic “Mad World”! We then got some rock theatrics as Jana and bassist Jeff divided the noisy and thoroughly engaged crowd down the middle, the halves competing for loudest reaction to the rabble-rousing punk hurtle of oldie “The Funhouse”; Jana properly energised our side with some expansive gestures of encouragement, but ultimately lost out to the chants of “Jeff Jeff Jeff”!

“We had Gigi’s pizza for tea… but now I think [its’] having me…” moaned Jana before the toughened up “Beautiful Life”, my favourite new one; “Something Changed” and “Higher” were a brilliant late hooky and widescreen double; then the brooding yet decadent dance of “Damned” rounded off the set… well, the planned one, at least… Jana then invited requests from the rowdy audience for an unplanned encore, ultimately settling on the quiet/ loud grungy riffery of “Ballet Dancers” and strident fist-pumping terrace chant of “Quit Fucking Around”, which ultimately closed out a rather excellent set. Drummer Denis (amazingly) heard my shout over the raucous cheers and handed me his list; we then joined quite the biggest merch queue I’ve seen at this venerated venue, Alice and I buying the same t-shirt (!) and myself grabbing list signatures and quick chats with both Jana and support May. Gathered my breath before a roadworks-diverted run home through inky country backroads, finally joining the M4 at J18 and hitting the ‘don at ¼ to midnight. Never mind, this was a fantastic show from a band really finding their feet “live”, energising and enthusing the Exchange crowd like few other  bands. Francis Of Delirium; direct, dynamic and delirious!

1,466 DEATH CAB FOR CUTIE, Pool Kids, Bristol Prospect Building, Wednesday 23rd September 2026

 

Looking for a redemption of sorts here, although I’m always happy to trust Ben Gibbard and Death Cab For Cutie… my last time out with these veteran Seattle cerebral alt-rock pioneers (whom I see as second in command to The National in the serious, black-jeans clad US alt-rock Underground stakes) unfortunately wasn’t the best, the understated and murky sound at The Royal Albert Hall (of all places) letting them down badly. 3 years on from that night (March 2023, gig 1,273), however, they announced a UK tour in support of new release “I Built You A Tower” which might just be their best album since the early noughties (the cover even sharing an orange colour scheme with my favourite DCFC album, 2002’s “The Photo Album”), their usual personal and contemplative songwriting quality being underpinned with a distinctly more upbeat, almost “rock” vibe. DCFC rocking out? I’ve criticised them in the past for doing this, but it seems to suit this new material, so I’m intrigued to hear it “live”, even if this means a trip to the deeply unimpressive warehouse venue that is Bristol’s Prospect Building. At least the sound was OK here, last time out…

So, another launch into the setting sun this week saw me parking up in that same industrial estate as last time out here, bumping into Nick Parker on the way into the cavernous warehouse, and grabbing a house right spot a couple of rows back. Gig buddy Jeremy joined me a few minutes before openers Pool Kids, onstage prompt at 8. A two girl, two guy combo, their frontline brought plenty of hair (!) and even more effort, but their monster riffing angsty and shouty post-millennial emo choruses sounded cumbersome and dated, with little tuneage initially in evidence. The aural equivalent of an artic lorry doing a 3 point turn in a country lane, perhaps? Things improved slightly, the tousled and pneumatic vocalist initiating a hooking call and response for “Hear Me Now”, and the subsequent strident “People Like You” was their best number. Otherwise, a lot of power chords and a head full of angst didn’t equate to anything memorable for me, I’m afraid…

We kept our spot as the place filled and I noticed occasional Nada Surf and Desperate Journalist gig face Julian standing close, so I had a brief chat with the man. Death Cab themselves were equally prompt on at 9 to the strains of Kraftwerk’s “Computer World”, vocalist Gibbard sporting an OMD t-shirt to underline the synthpop connection. The opening salvo of the taut, regimented rhythm of “Riptides”, the battering ram drumbeat of “Roman Candles” and the crashing clarion call of oldie “The New Year” sounded great, clear and crisp, with Gibbard’s slightly high register, nuanced yet emotive vocals at the fore. “Thanks for coming,” he announced before the jagged, herky jerky oomph of excellent newie “Punching The Flowers”, “this band is called Death Cab For Cutie, it’s an honour to be back!”

That set the tone for a dynamic, impressively delivered and happily splendid-sounding set from these US alt-rock groundbreakers, encompassing the wide breadth of their varied canon and sonic template. And Gibbard, dynamic and kinetic, swinging his guitar around as if he was in the Seattle Mariners’ on-deck circle (!), was the focal point throughout; mainly taciturn and only once introducing a song with its’ title (!), he kept the band focussed and the set rattling through at an impressive rate. “Black Sun” was moody and contemplative, the acapella final hook being reverentially sung back by this devoted crowd, followed by a rare between-song foray to the mic for Gibbard to praise Bristol’s jerk chicken! Newie “Pep Talk” was a lush, melodious early highlight; the heartbreak ballad “I Will Follow You Into The Dark” was delivered beautifully by Gibbard’s voice and acoustic only, also featuring a mid-song debate on the merits (or otherwise) of audience singalongs (!); the subsequent “I Will Possess Your Heart” saw dramatic blood red lighting illuminate the band, augmenting the song’s lengthy and menacing opening build; and “How Heavenly A State” saw the band cut loose and rock out good and proper to this growling, almost gothy newie. However a later “Trap Door” was probably my overall highlight; restrained, undulating yet absorbingly melodic with a dissonant, emotive piano outro, and for me the best of the new numbers on display. 

The hooky singalong “Soul Meets Body” and the spoken verses of the crescendo-laden Americana of “Foxglove Through The Clearcut” rounded off a swift 1 hour 25 set; then a 4 song encore was capped with the slow burn intro of “Transatlanticism”, building a head of steam to a pounding and thunderous crescendo, the band taking deserved bows after putting in a proper shift. One ridiculously easy list later, Jeremy and I parted at our cars, a quick egress seeing me back on the ‘don before midnight. A splendid set of prime US alt-rock from this enduring band tonight; thanks Ben and Death Cab For Cutie for justifying my trust!

1,465 THE TUBS, Bramwell, Bristol Exchange, Monday 21st September 2026

 

Tubs list courtesy of gig friend Louise (see write-up below); Bramwell list is my own!

My hectic September continues apace, this one kicking off a week of 3 gigs in 4 nights (and 4 in 7) with a debut outing on my Dance Card – finally! – for South Wales’ finest, The Tubs! Led by vocalist Owen Williams, whom I’d seen do time with both C86 revivalists Joanna Gruesome (with the Popguns waaaay back in 2012, gig 846) and the very fine Ex Void on an Alvvays undercard in 2023 (gig 1280), the Tubs have produced 3 splendid albums of hectic and robust jangle alt-rock, giving reverential nods to the likes of The Byrds, early R.E.M and even the harder-edged popcore of Husker Du, with their most recent, albeit slightly more understated and less frantic affair “Hard Life” nonetheless still making concerted efforts towards becoming one of my favourite releases of 2026. No less a luminary than my Boston friend and Pills mainman Corin Ashley had commended them with the comment, “I always wondered what The Buzzcocks fronted by [legendary folkie] Richard Thompson would sound like…”, so tonight promises much… 

Initially though, it seemed it might not happen at all, as I woke with a painfully nagging headache. A restful day and copious Anadin Extra seemed to diminish its’ effects a little, so I wandered through the alley at 6.15, Beef driving us West into a glaring sunset and parking opposite the venue just after 7. We met gig friends Alfie and Louise for early chats, and were later joined by Jeremy outside as I sought fresh air to clear my head. Wandered into the well-airconned venue just before 8, and support Bramwell joined us promptly on the hour. They were excellent from the off and totally apposite supports for The Tubs; opening with the resonant C86 Razorcuts pop of “Airport” which burst into a considerably more upbeat chorus with splendid 2 part harmonies from vocalist Tom and bassist Avalon, their set was poppy, upbeat, summery, bouncy and oh-so-jangly (if anything, a little too jangly, guitarist Niall’s ferociously strummed instrument being very prominent and occasionally a little harsh-sounding in the mix). Referencing the likes of Teenage Fanclub (the stripped back laze-guitar of “Captain Sensible”), the Wedding Present (the supersonic strum of “I’m A Bee”) and even 90’s faves 18 Wheeler and The Hormones (the hooky, harmonic highlight “Problems”), their bright indie powerpop was right in my wheelhouse and happily swept away my headache. The more regimented drum pattern of closer” You’re For Me”, the Byrdsian psych jangle dropping to half speed to finish, was a punctuation point on possibly the best young band support slot I’ve seen since Youth Play. Superb!

I took a breather outside again, having a passing chat with Bramwell bassist Avalon, before rejoining the folks down the front, house left, as the place filled for The Tubs’ entrance at 9. The laconic bearded Williams muttered, “we’re the Tubs…” before the clarion call riff of the slightly countrified, Thrills-like opener “Hard Life” segued into a more typically frantic and frenetic “Who’s Gonna Love You Now”. Drummer (and Big Jeff lookalike) Matt Green then found his mic, responding to his own suggestion that a new album tour cycle required new album banter with the classic line, “why is Turkey the only country with its own Delight?!”

This set the tone for the performance, the Tubs’ splendidly delivered jangle-fest set being shot through with in-band banter and comedy throughout, mostly emanating from behind the drumkit. The brilliant “Just An Illusion” recalled the undulating gallop of R.E.M’s classic “Driver 8” and a subsequent “Narcissist” was almost first album Smiths-like in its’ understated yearning melody; the quicksilver tumble of “Freak Mode” (“the dancey song, [so] let’s boogie!” ordered Green) was preceded by the drummer’s tale of coming 3^rd in a Yard of Ale competition in Ipswich (!), and the optimistic 1^st album Del Amitri love song vibe of “Stoop To Me” saw Green claim a bird-shit near miss earlier in the day was “a good omen for the tour”!

But my highlight was to come; the insistent thrust of “Chain Reaction” segued into the darker and broodier, almost Huskers-like punk rock of “Heaven Or London”, the standout track for me on the new album and a great way to end a breathless set. After a quick lurk at the side of the stage, the band returned for a couple of encores featuring more quips and laughs and the baroque proto-folk opening of a change-of-pace “Fade To Black”, to round off a fine performance topping off at about an hour overall. Louise grabbed the sole Tubs list so I contented myself with a pic of it before we bade farewell to our companions and hit the road, back just after 11. A couple of fine sets then, another excellent find in Bramwell, and in The Tubs’ Matt Green, probably the most voluble and talkative drummer I’ve seen “live” since the days of Velvet Crush’s Ric Menck. So overall a very fine way to launch my 3 in 4 week!

1,464 TONY VISCONTI AND WOODY WOODMANSEY’S HOLY HOLY, Bristol O2 Academy, Friday 11th September 2026

 

I’m absolutely bloody hopeless, me… my full intention, after retiring last September on less income than my last job so needing to tighten the purse-strings, was to go to fewer gigs in 2026. A target of low-40s was mooted, rather than the copious 59 I attended in 2025. So where do we stand right now? Well, on target to equal – or even exceed – last year’s total, if you’re interested…! And this is exactly the type of gig I should have declined, insofar as it’s a band I’ve seen recently (last May, gig 1,388); Holy Holy, David Bowie’s veteran 1970’s acolytes Mick “Woody” Woodmansey (drummer for his 70’s band Ziggy Stardust and the Spiders From Mars) and bassist/ producer Tony Visconti, keeping the Bowie material “live” onstage, along with an ensemble cast of expert players and Heaven 17’s excellent vocalist Glenn Gregory. It was a great gig last time out, but money-wise I really should have knocked this one back… however the “Final Tour” strap-line for this jaunt persuaded me otherwise. Woodmansey and Visconti are 76 and 82 (!) respectively, so no surprise that they may be packing in this “live” malarkey. So OK then, one final time…

Fellow Bowie devotee Beef was up for it as well, so off we went, parking up in the usual Trenchard Street multi story but noting the pre-payment facility had been removed. Bah! Let’s hope the app works as easy as claimed… into the O2 Priority queue, grabbing a barrier spot house right on entry, pretty much in the same place as last year, and coincidentally, next to Jude and Liv, the same mum and daughter combo as last year! There also with friends Mark and Sarah, some lively Bowie-centric chat (mainly led by Jude, AKA “The Thin White Duchess (!)”) easily swallowed up the wait until 8.30, when the lights dimmed after a fiddly back line check, and the brooding synth tones of “Low”’s “Warsawa” again heralded the 8-piece band onstage, Mr. Visconti looking a little frail and clearly being helped on by a roadie. The louche figure of vocalist Glenn Gregory took the stage last, inflecting the serious lyric of the desolate, apocalyptic funereal march opener “Five Years” with suitable gravitas, then the jagged, grandiose and tempo changing psych classic “Width Of A Circle” kicked matters into a higher gear, Gregory announcing, “just so you don’t forget, we have 2 legends [in Visconti and Woodmansey] onstage tonight!” 

Once again, this virtuoso band of expert players delivered a consummate performance of this fabled and oh-so-familiar material, happily concentrating on the Master’s early 70’s input, repeatedly mining the likes of “Hunky Dory”, “Ziggy Stardust” (the stomping glam riffery of the title track being dispensed early with aplomb, Visconti ruing at its conclusion, “I could have been a Spider…!”) and “Aladdin Sane” for choice cuts. The Berlin café sleaze of “Time” drew an almost coquettish vocal from Gregory before the soaring build to the choral hook; a soaring, singalong “Changes” featured some lovely sax licks from Visconti’s daughter Jessica Lee Morgan; and guitarist James Stevenson (who was excellent throughout) gave a heartfelt tribute to former Spider Mick Ronson, dedicating a beautiful and note-perfect “8 Line Poem” to his memory and to his daughter Lisa, present tonight, the audience rapt and suitably reverentially hushed.

Woodmansey himself then took centre stage on the jagged and rhythmic “Panic In Detroit”, delivering a drumming tour de force, then fellow “Aladdin” cut “Drive In Saturday” was again a stunning highlight, the doo-wop sway ceding to a joyous singalong choral hook and some lengthy-held vocal notes from Gregory. The Heaven 17 frontman (who throughout balanced an energetic and kinetic frontperson performance with a reverence for both of his veteran bandmates and the source material) then delivered the lengthy exposition into Holy Holy’s history, particularly following the great man’s untimely demise, the subsequent piano-led “Life On Mars” emotive, emotional and quite, quite magnificent. Set highlight? Of course… 

The none-more-glam cosmic folk rocker “Moonage Daydream” brought the set to a close, the band then returning with an ebullient Gregory remarking, “can you imagine how much fun this is for me? I should be down there [in the crowd], I’m just a fan…!”. The stark, elegiac “Where Are We Now” (the sole non-70’s choice tonight) weaved a sombre spell, before final number “Rebel Rebel” rounded off the evening on a more appropriate buoyant, singalong and inclusive vibe. The band then took a deserved bow after a near 2 hour set, with Messrs Visconti and Woodmansey directly thanking the audience, Tony deadpanning, “it’s amazing that Woody and I lived long enough to do this!” and Woody himself demonstrating a nice line in “fuck”s!

A roadie handed me a ripped up setlist in 3 parts (no worries, that’s why we have Sellotape!) and I met Gloucester friend Simon and his lovely wife Sarah for a brief chat, then Mr. Woodmansey himself outside, grabbing a word, handshake and signature from the predictably besieged but friendly drummer. Our app payment was happily easy, and we then inched down the hill to the Bearpit, but had a good run afterwards, home for 11.30 reflecting on the show. Another amazing night in virtuoso musical company, maybe for that one last time, celebrating the life and works of one of the, if not THE, most influential musical and cultural icons of our time. ”Icon” is a sadly overused word these days, but it suits David Bowie like no one else; I often call him “the man who invented music” and given his influence on pretty much everything I listen to, he might as well have been…! A gig I should have knocked back? Maybe, but hoo boy, am I glad I didn’t!

1,463 THE 2026 SWINDON SHUFFLE, Swindon The Victoria, Thursday 10th and Saturday 12th September 2026

 

It’s September, it must be Swindon Shuffle time… However, due to another gig and other family commitments, my sampling of the wares dished up this year by the now-20 year running local original band multi-venue, weekend-long showcase was going to be potentially brief… but hey, at least it would be better than 2022-2024, when I was absent from the whole shebang altogether! This time though, my intent from the outset was at least to catch up with an old friend in an old/ new band, plus some visiting Oxonians who’d impressed last time out, and maybe…. just maybe… sneak out on Saturday for some more Orange…!

So, Thursday saw me driving up the hill for my 9^th Swindon gig of 2026 (again, a vast improvement on last year’s measly 2!), dumping the motor behind the Donk after a slight parking-mare and hitting the Vic just before 7.45. A quick chat with Shuffle Head Honcho Ed and old mate Paul C, before LOOPHOLE, first band on tonight, took the stage. They immediately set out their stall with a indie pop opener with jazzy pop notes and impressively strident vocals from strong female lead Romey Smogur. This set the tone for a similarly tuneful set which also featured elements of Kula Shaker psych-Britpop (“Girl”), pastoral St. Etienne/ Cardigans vibes (the big chorus of “Latch”) and even some 80’s wine bar jazzy pop stylings. I particularly enjoyed their broodier, darker final number “Escape” (which they’re apparently playing in a forthcoming new band showcase at the Royal Albert Hall!) but could have done without the slightly jarring cover of Jet’s stomping “Are You Gonna Be My Girl”; overall, though, this was a listenable and well-delivered set for such a young band, Romey in particular demonstrating bundles of charisma and a fair set of pipes. Nice! 

Took a watching brief as the BLOWBACKS, that aforementioned old/ new band, set up… Led by friend Gareth of the very fine Abstraction Engine, my only previous Blowbacks viewing was a short cover song set at “12 Bands Of Xmas” waaaay back in 2013 (gig 899), before I even knew the man. For this newly resurrected Blowbacks iteration, however, it seemed he’d roped in all of his fellow AE bandmates, plus saxophonist Kitty, which promised – and happily delivered – much. “Back Yourself” led the charge and set the tone with a robust and layered slice of proto psych Britpop, the rest of the set largely following suit, with late period Beatles and more obviously “Giant Steps”-era Boo Radleys influences looming large. Conversely, this meant the set felt much more coherent than their parent band’s usual fayre (AE are a fine band but can tend to be somewhat stylistically scattergun), with the sweeping, symphonic (and short!) “Ever Decreasing” and brash indie banger finale “Spin A Coin”, which cut the engines midway through before accelerating to a frantic and noisy crescendo outro, also highlights. A little ragged and unrehearsed at the edges, sure, but who wants note-perfect anyway? This was a fine way to celebrate Gareth’s Shuffle Anniversary, the man apparently having appeared on the first ever Shuffle bill! 

A few words with Gareth and the rest of the Abstraction (Blowbacks?) boys, and I was back in situ, house left, for WILDERNESS STATES at 9.20. They’d impressed with some brooding yet epic and widescreen indie at the Castle in July (gig 1,454) and maintained that favourable impression with a vignette set of similar pastoral, brooding yet stately alt/ indie, building to their trademark soaring choruses, showcasing another impressive female voice in Shauna Reed. Opener “Split” was a suitably windswept and open number building to a strident hook; the elegiac “Molasses” was drum-powered to an impassioned choral delivery from Shauna; and a later “Black White Red” was again my highlight, a more upbeat coruscating pseudo-goth jangle with a proper choral gallop. The change of pace closer “Bonny Bear” was an initial slow burn, picking up momentum to a more strident final crescendo, rounding off another fine and evocative set from these “honorary Swindonians”, Shauna commenting, “we’ve played Swindon a few times now – we love it!”

STAY LUNAR were on in short order at 10.15; I’ve enjoyed them at past Shuffles but tonight they seemed a little anodyne after the stately majesty of Wilderness States and bullish buoyant psych of Blowbacks, so after a couple of their nonetheless layered wall of Smiths/ Aztecs indie jangle numbers, I left them and the increasingly full crowd to it, joining various folks outside for a chat and some cool air. Back in for SL’s penultimate number which was a little different, more textural and shoegazey in feel, and a more metronomic riff-fuelled closer. Strong finish then, maybe I should have stayed for the full set… anyway, that was it for me, so I headed off home, mission accomplished after the Blowbacks and Wilderness States’ sets! 

Shuffle Friday was always going to be a miss from me as it clashed with my previously booked Holy Holy reprise in Bristol (gig 1,464) and Saturday looked awkward; however after some family rearrangements I was able to slip out about 20 to 10, hitting a full Vic room just as I SEE ORANGE were setting up. Happily, the Vic was running to time and Giselle (who’d complimented my Pixies teeshirt as I moved to the front, house right) kicked the band into gear with an urgent Veruca Salt-alike “La Bruja”, drummer Charlie Hart already propelling this post-grunge powerpop number purposefully along. The brooding bass intro of “Love Me Too” ceded to some savage slashing Nirvana-like quiet/ loud riff dynamics, the band initially struggling with some slightly muddy and murky sound but powering through with their trademark dynamism. Giselle plugged their album before a down and dirty, almost bluesy “Crow Field”, which also featured a sneering choral vocal and abrupt mid-song buffer stop, before a build to a noisy crescendo. Giselle then dodged a flying drumstick, squealing, “[Charlie] always tries to kill me!” before an excellent “Wine Boy”, guitarist Cameron effortlessly switching from its’ almost jangly strumalong verse into the roaring choral riff. Giselle exclaimed to the full room, “It was a pleasure to play for you tonight!” before strident sleazy set closer “Mental Rot” rounded off another rousing and dynamic I See Orange set, which hopefully won over some new fans tonight.

And that was me Shuffled out! A quick chat with both old friends Rich and Helen May, and compliments to a buoyant band, before my brief Saturday Shuffling was over, home before 11! Overall, a bit of a toe in the water this year due to circumstance, but hopefully I’ll be able to immerse myself more fully next time. Either way, congratulations to the Swindon Shuffle for its 20^th Anniversary – see you next year for the 21^st!

1,462 I SEE ORANGE, Adders, Sad Cult, Swindon The Victoria, Thursday 3rd September 2026

 

It’s déjà vu all over again, as they say! A swift 28 days after seeing impressive new local newcomers I See Orange up the Vic (gig 1,456), I’m back here again for them! This time it’s the actual Album Launch Party of their debut full-length effort “Pining For Apollo”, which, happily for us latecomers (my jumping-on point with them being January’s “Swinterfest”, gig 1,426) scoops up a number of previously released tracks into a part debut, part retrospective for these local grunge-adjacent 90’s referencing alt-rockers. Either way, along with the likes of Grandmas House and Man/Woman/Chainsaw, I See Orange are proving to be one of my favourite “live” new band discoveries this year, so here we go again…

Feeling a little achey still after Tuesday’s Shannon/ Narducy gig, I left it late heading up the hill, luckily still finding a free loading bay parking spot at the top. Into a sparsely attended venue at 20 past 8; maybe folks were anticipating another couple of poor ISO support acts as per last month’s gig… me, I’m always happy to support the support, but was also hoping that tonight’s lot would be better than last time. So here goes… first up, Weymouth trio Sad Cult kicked off with a bludgeoning riff heavy sleazoid grunge opener “Let’s Drive”, setting the tone for a 90’s influenced noisy and hard rocking set well suited to tonight’s headliners. Initially more Corgan than Cobain (particularly the vocalist’s slightly reedy tones) and with some mid-set numbers putting the riff before the tune and thus a little heavy going for me, they nonetheless finished strongly with a Radish-like “Perfect Perfume”, then their best number in a drumroll-powered and dynamic “Outcry” and similarly stompy closer “Hate/ Love”. Fine finish; let’s have some more like that, lads!

Took some I See Orange merch (that new album/ CD, plus a splendid black tee) back to the car before main support, painfully young 4-piece Adders. Their opening salvo consisted of a couple of incoherent, breakneck-fast numbers recalling “Shiiine On” regulars Deja Vega, before slowing things down with some quiet/loud emo/grungy dynamics, and one final number which nicked T Rex’ “20^th Century Boy” riff. A little stylistically schizophrenic, then, and with a paucity of tunes (either that, or they were buried underneath the speed onslaught), they suffered in comparison with the openers (who at least seem to have a more defined musical identity), but props to them; they’ve certainly got time on their hands to develop…

Happily, the place was fuller by 10 p.m, as I See Orange finished their line check and vocalist Giselle greeted us with a, “hello everyone!”, outlining their intent to play the album in full and asking us to come closer (I was stage front, house right – couldn’t have been more closer, me!). So, opener “Allow Me” set the tone with 90’s post-grunge dynamics aligned with a downbeat brooding vibe and almost snarling vocals from the kinetic Giselle, and “Mental Rot”, next up, (the singer commenting, “weird to play this [live favourite] so early in the set – but we’re keeping to the album [order] for you…”) was its’ usual Veruca Salt sleazoid strut, Giselle’s vocals a more coquettish, particularly on the “you make me feel… incredible!” choral hookline.

Judging by tonight’s performance, “Pining For Apollo” should be a fine listen, particularly blasted out in the car on a late night journey home. Referencing those 90’s grunge guitar years and with a slight lack of tempo variation, sure, but the hooks will win out on record, and certainly the band’s dynamism and verve and particularly Giselle’s warm, welcoming charisma will keep me coming back “live”. “La Bruja” was an early highlight, an urgent and upbeat Riot Grrrrl sleaze-fest; Giselle complained, “I’m regretting wearing this dress – I can’t move as much as I normally do!” before a spookier “Hexed” which featured an impressive choral squeal from, the singer; and “Wine Boy” continued to underline its’ status as my likely favourite ISO number and candidate for my “Best Of 2026” CD with its infectiously groovy growling 90’s vibe.

A later “Doll Guts” was more slow-burn, recalling Scarce’s classic “All Sideways”, before “Violent Reunion” was almost Husker Du-like in its’ thrashing cacophonous crescendos, imposing guitarist Cameron (against whose frame his guitar looks tiny!) riffing away furiously and dynamically. Profuse thanks from Giselle preceded a more structured and almost powerpop closer “Slept At Last”, rounding off another fine set from a band quickly delivering on their promise. Caught up with gig buddy Jo afterwards, before brief chats with the band, wishing them luck on their weekend London headliner, then home for 11.30. I hope this album provides the launchpad they deserve, but whether they break out of the ‘don or not, I’ll be déjà vu-ing I See Orange at every available opportunity!

1,461 MICHAEL SHANNON, JASON NARDUCY and friends play R.E.M’s “LIFE’S RICH PAGEANT”, Bristol Thekla, Tuesday 1st September 2026

 

“A brilliant night’s rock was then ultimately climaxed with heartfelt thanks from Shannon, [and] a promise to return next year to tour “Life’s Rich Pageant” (my favourite R.E.M album! Yay!)”… These were my comments from one of my top gigs of last year, namely the project band of Bob Mould’s right-hand man Jason Narducy and imposing, lantern-jawed US actor Michael Shannon (plus seriously proficient backing band) tearing Bristol Thekla a new one with their rendition of hallowed US alt-rock pioneers R.E.M’s “Fables Of The Reconstruction” album, plus a smattering of deep cuts from the Athens, GA. legends’ back catalogue for good measure (gig 1,397). No way was I going to miss a subsequent run-through of “Pageant”, my favourite R.E.M album (hell, one of my favourite albums by anyone, full stop), so as soon as this gig was confirmed waay back last November, they had my money!

Anticipation high, I set off early to try to get a decent spot at 6.30 doors, ultimately securing a stage front position underneath the hanging speakers, house right. Chatted with folks down the front, including a young female couple who were primarily there to support Sloan bassist Chris Murphy, in the band tonight! Jeremy arrived shortly afterwards and we caught up before roadies did a final line check just after ¼ past 7! This was going to be an early one, then… Sure enough, the lights dimmed and a mournful “Abide With Me” emanated from the PA as the band took the stage at 7.30 prompt, launching into the rock-solid beat of “Pageant” opener “Begin The Begin”, Shannon’s low, gravelly tones already a feature and suiting the number perfectly. “Begin” segued seamlessly into the hurtling rollercoaster of a blistering “These Days”, likely the best double-whammy opener I’ve seen “live” this year, causing me to break out into as much whirling dervish dance as my 61 year old bones could muster. “So amazing to be back on this boat!” exclaimed Shannon at its’ conclusion, “we’re glad to start [our UK tour] here!” Glad to have you, folks! 

“Life’s Rich Pageant” stands out for me in R.E.M’s canon not just due to an utterly stellar set of tunes (“Side 1” in particular featuring 2 of my 3 all-time favourite R.E.M tracks), but also by the fact that it feels like a band finally finding their identity, a crossroads album transitioning the band from their more introspective jangly/ gothic Americana roots, and into a more thrillingly expansive rock dynamic, with Michael Stipe’s vocals particularly much more to the fore, paving the way for their elevation to stadium level fame. It’s an album I return to again and again, so was hoping Shannon, Narducy and co. would step up accordingly and do it proper justice “live”. And hoo boy, did they, and then some… “Fall On Me” was plaintive, yearning and utterly beautiful; “Cuyahoga” the majestic highlight of the “Pageant” run through for me, both elegiac and euphoric in equal measure; and “the dance song” of “Underneath The Bunker” saw Shannon throw shapes behind the squeezebox flamenco rhythm and Narducy’s haunting “whoo” backing vocals, rounding off side 1 of the album – or, “the Dinner Side” as Shannon had recently been advised by a reporter at Newport Folk Festival (“you knew already? Oh…”). “The Supper Side” continued with quality levels maintained; “Flowers Of Guatemala” was a mournful breath-catching elegy, followed by the banjo intro to a brilliantly jaunty and silly “I Believe”; “What If We Give It Away” was preceded by Shannon advising, “a bit of trivia – R.E.M never performed this “live”!”, a punter then shouting “fuck ‘em!” and Shannon brilliantly retorting with, “we’ll relay the message…”; and the unhinged punk rock of “Just A Touch” required – and received – a similarly dynamic, wild-eyed performance from the singer.

The shortest of breaks, following a rapturous ovation at the end of album closer “Superman”, saw the band back on, promising to, “go all over the catalogue”. The early descending Byrds-ian jangle of “Gardening At Night” was an irresistible groove; “Murmur”’s “Moral Kiosk” saw both Shannon and Narducy indulge in Adam Ant-like yodels over its’ angular, off-kilter rhythm; and “How The West Was Won” a brooding spaghetti Western soundtrack shimmer. Following an unplanned “Burning Down” (Shannon deadpanning, “we’re on a boat, and this is about a tragedy on a boat”) we got the news we were hoping for, Shannon coyly asking, “would you like us to come back and do “Document”?” to cheers of acclamation, the subsequent “taster” of a savage, cascading “Fireplace” drawing an exemplary elastic-limbed performance from drummer Jon Wurster. The singalong “Great Beyond” then rounded off a quite stunning 1 ½ hours of prime rock, this brilliant band playing these hallowed tunes with both reverence and (dare I say it?) ownership. 

A 4 song encore saw Shannon and keyboardist Vijay Tellis-Nayak deliver a beautiful, affecting “Nightswimming” before a couple of juddering wah-wah-led “Monster” numbers rather incongruously rounded off proceedings (“Monster” never being amongst my favourite R.E.M albums, I must admit…). Never mind, this was still a fabulous performance and for me, likely the best set of 2026 not by American Hi-Fi…! I grabbed a list and chatted with folks, receiving compliments on how much I’d been dancing (my shirt? Full Cleo – and then some!). Bade farewell to Jeremy before brief conversations with both Narducy and Wurster, got my list signed by both and a pic with the drummer (whom I've also seen behind the kit for Superchunk and Bob Mould!), then peeled off my soaking teeshirt and drove home, back in the ‘don for an early 10.30. As I said, quite the most stunning set, even better than my very high expectations, with the band doing “Pageant” full justice. Back next year with “Document”, it seems, and, in Shannon’s words, long may this “strange and beautiful adventure” continue!

1,460 GRANDMAS HOUSE, Oxford Truck Store, Monday 24th August 2026

 

Yet another short-notice gig booking, this, but unlike recent ones, it was always my intent to catch this lot… female Bristol quartet Grandmas House had been invading my Facebook algorithms for a while now, the title track of their debut album “Baby, You’re A Winner” practically taking a drill to my subconscious with its’ frankly obscenely catchy “behave, behave” hook, growled out by the caustic, gravelly tones of vocalist Yasmin Berndt over an early Teenage Fanclub/ Dinosaur Jr. heavy laze rock riff. I’d put their Thekla Autumn date on my “possible/ probable” list, but I was definite about booking for the preceding CD release/ signing tour, my only question being, Oxford or Bristol? My preference was always for the more accessible Bristol Rough Trade, but that date fell on the final day of an intended short family trip to Devon, whereas Oxford was the Monday before departure. My mind was made up when my daughter invited friends around for tea on that Monday, asking if I could be elsewhere that evening. So, Oxford it is, then!

Cognisant of the habitual parking problems that plague any trip to Oxford and particularly one to a venue along Cowley Road, I set off at 4.30 after a doctor’s appointment, the usual A420 slog behind lorries getting me into an eerily deserted Tesco Cowley Road car park about ¼ to 6! The corner Truck Store, a little walk down Cowley Road, was closed with folks milling around outside whilst the band finished the soundcheck on the shop window stage, then on entry just after 6 I headed straight to the back for a much-needed loo stop, disturbing the band hanging out in the toilet stairwell! Quick stop later, I inveigled my way near the front of the shop, left of the stage and by a small speaker. Not much time to take in my surroundings as the band, all decked out in their seemingly trademark white shirts, black trousers and jazzy ties, squeezed onto the cramped stage at 6.20! “It’s like a greenhouse in this window!” mock-complained Yasmin before the drum intro of the upbeat yet dark and macabre opener “The Table”, followed by the morose bass opening to “Blue Oblivion”, drummer Poppy Dodgson initially taking lead vocals before the abrupt mid-song change of pace to the slower laze rock hook. Guitarist Polly Jessett then noticed, “there’s the cutest dog watching us through the window!” before the slow-burn, brooding “Hurricane”, Yasmin remarking at its’ conclusion, “that was a lot of [guitar] picking for me! I’m normally rhythm… was it OK? I need a compliment after each song!” 

It soon became apparent that there was much more to Grandmas House than one insidiously catchy grunge hook. Swapping around seemed to be the order of the day, both genre-wise with their material varying from slow, almost gothy New Wave and raw post-punk, through Velvets/ Violent Femmes mysterious murder ballad stuff, through to grungy and catchy hooks, and instrument and vocal-wise, guitars being traded with impunity and the band taking turns for lead vocals, although the most striking remained Yasmin’s authoritative and guttural growl, part Patti Smith, part Jake Burns (!)… “Dog”, even stripped back, was an unhinged Pixies “Vamos”-esque Tex-Mex gallop which I’d imagine utterly rocks fully amped-up; the “mood killer!” “I Miss That House” was a creepy little ballad, heralding a trio of more eerie mid set wallows; and “Dance” was a more upbeat crescendo-laden beast with a more dynamic and vibrant vocal from Yasmin. And throughout it all, the band were very laid-back and chatty, interacting with the crowd (particularly one uber-fan behind me), and Yasmin constantly checking the songs sounded ok in this more low-key acoustic setting, thanking the faithful for investing in the new album; “we’ve had a lot of freeloaders on this tour!” 

“Baby You’re A Winner” however was inevitably my set highlight, a taut, almost Gang Of Four-like rhythmic riff and repetitive, brain hugging verse line, leading up to that massive main chorus hook. Pretty much a shoe-in for my “Best of 2026” CD, it unsurprisingly elicited the most raucous cheer of the evening at its’ conclusion. A more pastoral, yearning number in “Spring” (apparently a difficult one to play) rounded off a splendid 45 minute vignette showcasing an inventive and varied new band. Equally chatty and friendly afterwards, as they appreciated my compliments on “Winner” and agreed with me about Oxford’s travel difficulties and how ace fellow Bristolians Hunny Buzz are! Back to the car for 7.30 and booking myself a ticket for that Thekla gig (!), then home an hour later to catch up on my Monday TV quizzing. Another 2026 band of great promise, then, so I can end on the very same note as my write-up on the Man/ Woman/ Chainsaw in-store show a couple of weeks ago (gig 1,457), that being the “Dirty Boat” will be rocking for their November gig, no messin’… in fact, expect the Thekla to be Grandmas House!

1,459 THE POPGUNS, Oxford Jericho Tavern, Tuesday 19th August 2026

 

I seem to be taking up a number of last-minute opportunities to go along to gigs at the moment, and here’s another one… My regular gig buddy Andy “Beef” had brought this one to my attention some time ago, and I’d ummed and aahed about it; the hosts, Brighton’s buoyant post-C86 indie jangle popsters The Popguns, were a band I liked fine back in the day, a couple of their more dynamic singles particularly landing well with me, whilst acknowledging they never consistently hit my female-fronted band “sweet spot” in the same way as my particular darlings of that era, namely The Parachute Men and the Heart Throbs, did. So this one remained unbooked and a potential doubt on my part, until…

Beef raised it with me again on the way to the Man/ Woman/ Chainsaw gig last Monday (gig 1,457), and it then dawned on me that the gig fell on a night that my wife was staying over in London with the daughter of the house, taking in 3 (!!!) musical shows over 2 days! So, given the choice of shit Tuesday night telly on my own (Logan likely being up in his room as usual) or a gig, the rock won out and I booked up! Felt a bit crappy in the morning, but after a quiet day I was up for it, so wandered through the alley to Beef’s mums, where he and his mate (and our driver tonight) Andy (yup, another one) were waiting. The 3 of us then picked up Dean after a weird google maps diversion, and attacked Oxford from the North, finding a free street parking spot by St. Margarets Church, a 10 minute hike from the venue. Got there at 7.20 and met Andy’s sister Min and husband Mark outside, then repaired to the fabled old Jericho upstairs room, scene of so many noted 80s/ 90s gigs (including 4 by the afore-mentioned Parachute Men, in whose honour I was t-shirted up tonight!) being greeted by a Monty Python homage (“Crucifixion?”) from Popguns guitarist Simon Pickles on the desk, before grabbing a seat and whiling away the wait with some old school gig chat. 

Beef had bumped into Popguns vocalist Wendy Morgan in the corridor, who’d given him the heads-up that they were due on at 8.30, no support. So he and I took a spot down the front of the stage, house left, along with an ample and expectant crowd of veteran indie fans. The 5 piece band took the stage through the crowd at 8.40, Wendy last with a breezy, “good evening!” before the robust guitar jangle of an equally brisk and bright “Because He Wanted To” both kicked off proceedings, and pretty much set the sonic template for the set. “It might have been 1991 when we were last at The Jericho Tavern?” queried Wendy, prompting a debate between the front row locals before an ironically titled “Finished With The Past”, then the undulating melodic chorus of a pacey “Put Me Through It” was an early highlight.

“It’s mine and Simon’s Silver Wedding Anniversary today!” announced Wendy to cheers, the subsequent indiepop groove of “Gasoline” featuring the entirely appropriate hook of, “I’m happy how my life turned out”. Odd that they’d choose to note such an auspicious occasion by playing in front of a few dozen folks in Oxford, but the “happy couple” celebrated fittingly, Wendy’s voice the key feature throughout, grown slightly softer through the years but still capable of strident power, and underpinned by hubby Simon’s intricate and undulating jangly and 80’s influenced fretwork, giving more than a nod to the likes of Johnny Marr. “Who Never Found Love” was a slight outlier for the set (“a bit of a heartbreak song; that’s a surprise coming from The Popguns,” announced Wendy), being a pastoral, slow burn and delicate ballad; “Still A World Away” was a bouncier indiepop number with a yearning vocal hook and a big crescendo outro; and a looser, almost funky “Every Dream” saw Wendy brandish a borrowed tambourine, Wendy mock complaining that it was harder to play then her usual one! 

But they’d saved the best for last; the trio of “Landslide”, “Bye Bye Baby” and my favourite “Waiting For the Winter” were all tough, dynamic and fast-paced soaring indie bangers to round off an hour of very entertaining and well-played upbeat and largely wide-eyed optimistic jangle pop from these scene veterans, much better than I’d anticipated. They even got tempted back onstage by the enthusiastic reception for a 2 song encore culminating in a singalong, swayalong “Someone You Love”. Brief chats with the band and signatures on my set-list afterwards, then a considerably easier walk back to the car (we must have taken an unnecessary dog-leg on the walk there!), home about 11.30. Last minute, yes, but entirely worthwhile in the end… Happy Anniversary to Simon and Wendy, and thanks for a good night’s indie-pop entertainment!

1,458 JIMMY EAT WORLD, Rise Against, Get Up Kids, Jay Som, Cardiff Castle, Saturday 15th August 2026

 

They’re back again in the UK, and this time after an absence of, erm, barely over a year! Our early 2000’s “live” favourites, Arizona’s affable emo/ powerpop crossovers Jimmy Eat World, announced a 25^th Anniversary US tour of their seminal breakthrough album, 2001’s “Bleed American”, which predictably was our jumping-on point for the band along with most everyone else, despite their likely wandering past us at the backstage door of the Seafood gig in Boston the previous year (gig 463, our subsequently blowing out their headlining set to go see Evan Dando instead!). Anyway, they then happily decided to bring this 25^th Anniversary party across the pond, announcing a slew of big outdoor gigs, including one at Cardiff Castle, scene of American Hi-Fi’s recent triumphant return on the Frank/ Soup undercard (gig 1,450). So we booked up for another trip across the Severn Bridge to see the Jimsters before it quickly sold out. Woah…

As the date approached, however, Rach decided this big outdoor day was a bit ambitious for her, and unfortunately we couldn’t find a short-notice replacement. Ticketmaster resale was similarly useless, being allegedly unable to shift the ticket despite it being a sell-out. Bah! So it was Logan and I off down a sun-baked M4 to the ‘diff, parking up by the CIA again and wandering through a busy city centre, entering the castle grounds via the North entrance for 4.30. Already well attended for this early stage, and with the ground baked by the Summer heatwave to a parched and dusty crisp (today being mid to high 20s but feeling hotter), so we sought shade and seating on a grassy (!) knoll by the manor house, listening to opener Jay Som from a distance. The alias of US singer Melina Duterte, she and band played a pleasant but insubstantial and eminently forgettable half hour of drifting US indie folk, which would have been better suited to Lilith Fair or an Alanis support, but here was no more than background noise to mine and Logan’s conversation.

We took a wander in, pitching up halfway back, house right, for US emo veterans Get Up Kids, next up at 6.30. Opener “Satellite” set the tone, a brisk, breathless and fast number with a similar descending verse riff to The Cavedogs’ classic “Tayter Country”, and high register, yearning vocals from stocky bearded vocalist Matt Pryor. “Valentine” was a later outlier, slower, moodier and almost touching, before an earnest, stomping “Red Letter Day” led into the more expansive, Menzingers-like newie “New Colonial”, my favourite of the set by some distance. Decent if generic post-millennial pop punk stuff overall, but a little taciturn for my liking and delivered in somewhat of a hurry, as if Get Up Kids were looking to Get Off quickly… 

We then went looking for some water, finding a water station by the bar, then popped back in for main support Rise Against at a late-feeling 7.45, following a fiddly soundcheck. A fellow punter who’d recognised me from the Frank/ Soup gig (“you’re the guy going mental for American Hi-Fi, and you fucked off straight after their set!” Guilty as charged, m’lud…) had given us the heads-up on RA and particularly vocalist Tim McIlrath, and he was spot on, McIlrath an energetic and all-action focus from the off, hopping on and off a set of 3 plinths at the front of the stage, rabble-rousing and exhorting singalongs to their earnest, sincere nu-millennial Offspring-like politico-punk. A stomping mosh emerged for second number “Satellite” (yup, both RA and Get Up Kids had songs titled “Satellite” early in their sets!), and the emo post-hardcore of “Ready To Fall” saw a call-and response with the crowd. McIlrath was also very talkative, acknowledging his job to get us warmed up and constantly praising the headliners, and also delivering a stark, mid set “Swing Life Away” part-solo. A couple more slam dance-inducing punky blasts including closer “Saviour”, and more thanks from McIlrath to Jimmy (“I first saw them in 1997!”) rounded off an entertaining main support set.

I took a not-so quick loo run (squeezing through folks to get there and back – yup, this was a busy one!), returning to find Logan had squeezed down to about half a dozen rows back from the stage. Good view! Darkness fell with a particularly abrupt thud as Jimmy Eat World took the stage unheralded at 9, lining up abreast in front of a bank of 12 lights. “What’s up everybody! We’re Jimmy Eat World,” greeted affable, black-clad vocalist Jim Adkins, the band then easing in with the militaristic drums of an understated “Clarity”. A more urgent “Blister” picked up the pace and elicited an early singalong after a frankly leaden and throwaway “Your New Aesthetic”, but it still felt the band were playing within themselves at this point, even “Lucky Denver Mint” (which followed Adkins enthusiastically announcing, “We’re celebrating the 25^th Anniversary of our album “Bleed American”!”) pleasantly chugging but lacking oomph. This gig needed a proper jump-start, and boy, was it about to get one… 

At the conclusion of “Mint”, drummer Zach Lind abandoned his stage right kit as 2 sets of roadies untethered the light banks and moved them offstage, Lind then reappearing on a new kit on a drum riser at the back of the now fully-exposed stage. Straight into the pounding drum intro and strident, slashing riffery of a brilliant “Bleed American”, heralding the start of the album run-through… and the place went nuts, a vigorous circle pit emerging next to us and completely subsuming my mosh-bound son in a cloud of dust. The blistering “A Praise Chorus” unbelievably took it up a few notches, this old bugger even braving the dust cloud to join the boisterous yet welcoming pit, Adkins incredulously praising the crowd response with “Thank you so much! When we were working on these songs we were proud of them, but had no idea that anyone would care!”

“Bleed American” is undoubtedly Jimmy Eat World’s finest recorded moment, an absolute no-skip album of the highest quality and deserving of its’ status as not only their breakthrough and defining album, but a classic of the emo punk genre. That said, it is notably front-loaded with the more upbeat numbers, the power chord strum of “The Middle” and rolling backbeat drum-powered “Sweetness” all moshpit catnip early doors, before the later, more contemplative “Side 2” numbers, such as a poignant “Hear You Me”, which saw me finding my son in the pit and stand shoulder to shoulder singing along, for a real proud dad moment. The quiet/ loud dynamics of “Get It Faster” kicked up some more dust, before Adkins revealed, “we were sleeping on floors one minute [before “BA””], then “Top Of The Pops” the next!”, then the ringing chimes of the slow-burn “Cautioners” saw a number of female punters dance and twirl in the pit, one girl being held aloft by myself and a couple of beefy chaps like a ballerina in “Swan Lake”. A lovely moment. 

The hushed, introspective “My Sundown” brought the album to a close, the band taking a  break before a 5-song encore featuring an incendiary “Pain” and the herky jerky rhythm of a fantastic, soaring singalong “Big Casino”, which joined “A Praise Chorus” and “Hear You Me” in my “top 3” favourite numbers of the night. By this time, we’d extracted ourselves from the dust cloud for more water and a watching brief near the back, so at the opening bars of slow-burn set closer “23” we slowly headed off, through a boisterous city centre (lots of footy fans already here for tomorrow’s Community Shield!) to the car, driving home for just after midnight while Logan slept off his moshpit efforts. Feeling battered and coughing up dust all the next day, but well worth it for another brilliant Cardiff show (2 in succession!) from Jimmy Eat World, this time doing absolute justice to a seminal album in “Bleed American”!

1,457 MAN/WOMAN/CHAINSAW, Bristol Rough Trade Records, Monday 10th August 2026

 

For the second Monday in a row, I’m scooting down the M4 for a CD release show at Bristol’s Rough Trade Records, but this one promises to be quite different from last week’s… I  was recommended South London sextet, the curiously named Man/Woman/Chainsaw, by a Spotify algorithm earlier this year, and I’m pleased to say they pegged me right in this instance! Far from the crashing metallic aggressiveness that their name implies, this four girl, two guy bunch offer something more eclectic and beguiling, and much more melodic, initial listens to their material variously recalling the likes of Blondie, Alvvays and even my 90’s faves The Heart Throbs in their spooky harmonic tuneage (hmmm, I have been playing a lot of Heart Throbs stuff on Spotify this year: I wonder if that was behind the recommendation?), and even oldies such as Nick Cave, Leonard Cohen and Patti Smith in their more brooding moments. I did say eclectic, right? Anyhoo, I’d booked for their impending Autumn Thekla show before tix became as scarce as rocking horse poo, but they then added a release show for debut album “Cannonball” in Bristol too. So, two for two, then…

This lot had landed firmly in Beef’s wheelhouse as well (he was a Heart Throbs fan of old too…!), so I wandered round to his mums and he drove us down a sun-kissed M4 (the 2026 heatwave Summer furnace still on full blast). Got to our usual Rupert Street landing spot, however, to discover signage suggesting it had gone over to QPark app payment only! “The Tyranny of Apps” (tm. me!) strikes again, as I then took 20 minutes trying to download, validate via my google, my bank and my email (so much for “making parking simple”) and then totally fail to log our session… however we then found a QPark employee outside who said it hadn’t been fully installed so that was a complete waste of time! Well, at least tonight’s parking was free… However, that delay, plus our queueing up in the wrong queue at the gig (in the bar queue, which stretched outside, as opposed to the entry queue, which didn’t!) meant that we got in the already busy – and hot! – back room at 10 past 7 for this sellout gig, straining for a view from our halfway-back spot. Bah!

Anyway, the 6-piece Man/Woman/Chainsaw crowded onto the small stage at the appointed hour, standing line abreast apart from drummer Lola Cherry, and proceeded to play all of the album in chronological order, with one exception… This meant they led in with their most melodic pure “pop” number, the choral harmony barrage of “Only Girl”, the electric violin touches of the excellently named Clio Starwood already to the fore. In fact, the violin was front and centre for much of the set, offering a real point of distinction to the Man/Woman/Chainsaw sound, particularly giving their slower, broodier numbers such as the subsequent “Canyons” and even the more piano-led late night jazz bar smoocher “Lighter” a haunting, eerie air. 

As I mentioned, Man/Woman/Chainsaw are quite the eclectic bunch, the violin and occasional piano contributing to this, but also material-wise, as they veer from that “Only Girl” pastoral pop, through growling Cohen/Violent Femmes-esque murder ballad territory (an early “Goddamn, Lizard Man!”) and Rialto-like 60’s B Movie menace (“Flick Of The Wrist”) to outright, riff-tastic wig-out grunge (“The Thing”). Also frequently swapping vocal chores between front persons Vera Leppanen and Billy Ward, this gives the band and tonight’s set a varied and oft-schizophrenic air, which is nonetheless snatched from the precipice of deliberate art-wank pretentiousness by the strength of the songwriting, a neat trick for such a young band. And as for that “exception”… A word of thanks from an otherwise taciturn band preceded easily their best number (and a shoe-in for my “Best Of 2026” compo CD), the upbeat synth pitter patter and overlaid dual line choral harmonics of “Nosedive”, the coruscating and hypnotic outro build also recalling Stereolab, and rounding off an inventive and intriguing, if occasionally uncomfortably hot 45 minutes set.

By now, Beef and I were holding a watching brief at the back, so were in a decent spot for the signing sesh with the band in the store afterwards. A quick chat with a friendly bunch, keyboardist Emmie-Mae Avery particularly taken with my red suede creepers and my justification for wearing them – life’s too short to wear crap shoes, indeed! Back home therefore about 9.30 to again catch up on my Monday night TV quiz binge before hitting the hay. So yup, what a difference a week makes… much louder, much busier, yet still a fun evening out, this time with a highly inventive and promising new band in Man/Woman/Chainsaw. The “Dirty Boat” will be rocking for their November gig, no messin’…