1,468 BUFFALO TOM, Gerard Love, London Village Underground, Saturday 10th October 2026

 

Back on the gig trail at last, although this one could be a case of kill or cure…! I’ve (mostly) managed to shake off a really bad case of old school dirty flu/ chest infection which had sadly caused me to miss a couple of pre-booked gigs last weekend (a “Dirty Boat” duo of Man/ Woman/ Chainsaw and Violet Grohl. Bah!) and I’m ready to resume my Autumn Dance Card events. And “mine hosts” for the return, for the 14^th time of asking, are veteran Boston alt-rock legends Buffalo Tom! Their moment in the post-grunge “industry feeding frenzy” 90’s sun having long passed, they however retain a solid cult following in the UK and happily return to these shores regularly to satisfy us devotees. This then represented a swift return after only a couple of years away (2024 in fact, gig 1,349), for no other reason than to play a gig or two. Fair enough, then, so tix were sourced for the London show (their nearest to the ‘don) before it quickly sold out. 

This Saturday date up the Smoke meant that I was finally able to take my son Logan to see the Tom. We did however have a few late logistical bumps to overcome; Tim dipped out late due to family reasons, our old Skoda had already been ruled out as it was effectively written off after a potentially massive service bill, so it briefly seemed that we were going in Logan’s van! However, Jami (who’d also been suffering with the flu this week) decided they weren’t well enough to attend their scheduled Shakespeare show with mum, so we pressed Rachel’s Peugeot into action! Logan and I therefore set off after his rugby game, parking in Hayes and Harlington, Lizzie lining it to Liverpool Street and hitting the venue just after 7 p.m. doors. No time to admire the run-down cave-like subterranean warehouse feel of this “new” venue, however, before the support was on at an indecently early 7.15! Said support was Mr. Gerard Love, formerly of Teenage Fanclub and scribe of some of their most memorable early material; this being the reason the Fannies themselves no longer play the tunes in question. No such restriction for Gerard though; so we got heavily muted and hushed versions of “Star Sign”, “Don’t Look Back” and “Ain’t That Enough” in a 7 song set, delivered with delicate, stripped back understatement by Gerard’s fey, lilting singing voice and lightly strummed guitar, plus Tom (the former TFC man deadpanning, “this is Tom, I’m Gerry…”), a multi-instrumentalist who provided suitably pastoral backwash accompaniment from his synth/ xylophone and flute set up. Pleasant stuff but a bit soporific overall; nice to hear those venerable old numbers again, shame there wasn’t more oomph…!

We’d squirmed to a barrier spot, extreme house left in front of the speakers, my already needing to use said barrier to remain upright. We soldier on regardless; The Tom swiftly took the stage dead on 8, affable singer Bill Janovitz thanking us for our early attendance before easing into chunky, chuntering opener “Summer” and a subsequent, spritelier “Treehouse”. “You look well! All packed in!” quipped Bill before the descending riff of a ragged but groovy “Helmet”, the singer already leading the charge with kinetic Townshend-esque arm-whirls and regular intense off-mic vocalising, although drummer Tom Maginnis also put in a decent shift, the underlying clattering drum patterns of a mid-set highlight double of “Tangerine” (Bill also eliciting a call and response haiku singalong from an initially reluctant crowd, remarking afterwards, “that was a spirited singalong – after some cajoling!”) and oldie “The Bus” propelling the set along impressively. 

The plangent chorus and herky-jerky rhythm of “Sodajerk” led into a surprisingly groovy mid-set highlight of “All Be Gone”; then the gig was curtailed for 10 minutes due to a medical emergency in the crowd. Unfortunate, but unsurprising; I was feeling quite faint myself by this point, and sweating profusely just standing in my barrier spot! Happily, the person recovered and the band could return, Bill advising, “we’ve got a hard 9.30 curfew – so this is our encore!” The brilliant, driving and descending sweep of “Dry Land” was my overall highlight tonight, before the sweeping emotion of “I’m Allowed” and a fine “Taillights Fade” thereafter saw the Tom introduce Gerard Love onstage for a welcome if (again) understated run-through of the Fannies’ classic “Sparky’s Dream”. A necessarily truncated performance was capped with a reverential run-through of Grant Hart’s “2541”, completing a trademark winningly ragged yet big-hearted Tom set. Our polite shouts for a list were ignored but Logan reached over and grabbed Bills’ list anyway! Chats with fellow punters Scott (who’d been sharing our corner spot and filming for an absent friend) and old friend Lisa (who got a stage shout out from the band and never noticed!), before a painful and exhausting hike back to the tube, my plantar fasciitis playing up good and proper. A lengthy-feeling tube ride got us back to the motor, a swift run home getting us to the ‘don at 12.30, late kebab teas in tow. Hurting – a LOT – the next day, but as ever, a typically raw, emotive and inclusive rock show from Buffalo Tom was worth the hassle!

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!