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’…

1,456 I SEE ORANGE, King Attitude, Misanthropic Vision, Swindon The Victoria, Thursday 6th August 2026

 

I am gratified to note that, for the first time in a while (probably my first viewing of Raze*Rebuild back in 2016, in fact), one of my, if not my overall actual, favourite new band finds this year comes from my home town Swindon! (Well, the ‘don via Mexico, in the cast of vocalist Giselle Medina, but still…). I See Orange impressed greatly at Swinterfest earlier this year (gig 1,426) with some hard and heavy grunge-influenced tuneage and riffery; familiar elements, sure, but delivered with enthusiasm, verve and no little talent, with Giselle’s strident tones a feature. Further listens to their material at the gym inveigled their songs even further into my consciousness and put them firmly on my gig radar, hence my grabbing a ticket for this one-off Thursday Vic showing, in advance of a first full-length album release…

So I trundled up the hill just after 8, parking in the free spot around the corner from the Town Gardens and wandering in just as openers Misanthropic Vision were kicking into their set. Definitely not my cup of heavy nu-metal and screamy emo, I’m afraid, with their numbers also rather jarringly seeming to change tempo mid-song without any proper flow, giving the impression of being Frankensteined together. A shame, as the ebullient female vocalist actually had a decent voice when she put her mind to it, but instead seemed to prefer that tuneless nu-Metal howl. I abandoned their set after 3 numbers, as did Dean, so we sat in the quieter bar and chatted before Beef turned up. Back in for King Attitude, a more veteran band of post-hardcore/ UK82 purveyors splitting their set between originals (a one chord wonder about a visit to the STD clinic typical of their oeuvre) and covers (roughhouse rants through The Stooges “No Fun” and a superfast “White Riot” nonetheless pricking up my old punk rock ears). Again, a bit hard on the ears for me, so back to the bar, chatting with regular gig friend Jo and also old Chiseldon gig buddy Paul!

From the (faintly) ridiculous to the sublime; engrossed in conversation, Paul and I then heard I See Orange’s set kick off, so we quickly repaired to the back room venue, sneaking through an ample but not packed crowd to a spot down the front next to big ISO fan Beef, house right. Said opener, “La Bruja” was a cracking opener, hitting the ground running with a strident Scarce/ Veruca Salt post-grunge powerpop vibe. “Morbid”, next up, slowed the pace slightly with a clapalong dreampop guitar opening, ceding to a roaring chorus and thunderous outro, Giselle taking aim at the crowd with a couple of bubble guns (!), and the quiet/ loud grungy growler “Love Me Too” was preceded by Giselle’s explanation of the premise of the song, as a love song for Kurt Cobain!

In fact, Kurt’s ghost and grunge rock legacy permeated this set like words through a stick of rock, with many of the numbers on show tonight sharing that quiet/ loud grunge dynamic and thrashy power chord base. However, I See Orange are more than simply Nirvana copyists; inspired by that era and attitude, there are other 90’s indie and alt-rock elements and references on show, and as previously mentioned, their hooky choral builds are delivered with energy, dynamism and vitality, with the gregarious Giselle in particular a flexible, kinetic focal point. “Simply” had more of a Pixies-ish creepy bass intro leading to a Dia Del Muertos funereal march; the bass intro of “Fairy”, next up, was a nod in homage to Joy Division’s “Transmission” before its more sleazoid Iggy feel; and following a more mellow and introspective “Bones And Gold” (“a more sentimental type of song,” remarked Giselle, also apparently only its’ second “live” outing), “Wine Boy” was probably my set highlight, a sturdy and upbeat slab of growling 90’s powerpop.

A couple of new numbers (“not even on the album!” according to Giselle, hard-hitting drummer Charlie Hart asking, “how does it go?!”) in the edgy “Upstairs” and the riff-powered gallop of “Cold Blooded” led us up to set closer, Giselle challenging us to “go crazy! Locos!” to the Veruca Salt-esque sleazoid rocker of “Mental Rot”, rounding off an impressive, strident and powerful yet surprisingly proficiently delivered set. A quick chat with old colleague Stella afterwards, before chatting all things Kurt and 90’s rock with post-grunge student Giselle for awhile, then last man out of the venue (!) and home about 11.30. A band to loom large in my gig radar in future, then (probably starting with their Album Release Show at the same venue next month!), I See Orange may not just be the best band in Swindon right now, but one to hopefully break out of the ‘don in future for greater things. I for one will be watching closely…