When he calls, Bob Mould is finishing work on his 15th solo album, Here We Go Crazy. A distillation of the unfailing melodic skill, the emotional lucidity and dynamic fluency he’s developed over more than four decades, it’s also a typically bold realignment of his sonic paradigm. Its turbulent vignettes are scored by Mould’s familiar bruised tunefulness, but the sound is pared back to its fundaments, 11 songs blistering past in just over 30 minutes. “I’ve stripped things back to what excited me as a young guitarist,” he explains. “The energy, the electricity.”

Part of the inspiration for this more primal aesthetic is the heavy itinerary of touring he’s lately undertaken, several years spent circling the globe, either in the company of bandmates Jon Wurster (drums) and Jason Narducy (bass) or just by himself. “I was really throwing myself in the songbook and feeling where the audience is at,” he says. “And they were really responding to this very simple, just-me-and-a-guitar setup. And I thought, maybe I shouldn’t be overcomplicating things, ‘word’-ing or ‘craft’-ing it up. Just grab for the simple bits of life we still have control over: our emotions, our relationships.”

After shows, Mould would hang out signing merch and talking to fans. “Sometimes people bring a lot of their lifetime emotional content to me,” he says, “like they’ve compressed all this coal into a tiny little diamond. Sometimes I’m surprised at the weight of it, the heaviness. I’m like, ‘I’m here for you. I’m listening.’ I’m shocked and grateful they share so readily with me. I don’t know what I did to earn that trust.”

Mould has earned that trust with every record he’s made, channelling his own “lifetime emotional content” for songs of wisdom, honesty and volcanic intensity. His first band, Hüsker Dü, bared his angst over furious noise and turbulent melody, an indelible influence on generations that followed. But by the time Nirvana infiltrated the mainstream, Bob Mould had already moved on, having sequestered himself in a farmhouse to lick his wounds and learn new ways to sing his songs. His solo debut, 1989’s folk-rock masterpiece Workbook, was a record of depth and sophistication. Then he pulled another sharp turn, his power-trio Sugar alloying his most melodic songs with his fiercest noise, yielding his most commercially successful work yet.

Over the solo career that followed Sugar’s own mid-90s flameout, he’s displayed a maturing gift for songwriting, transcending the ‘alternative’ tag and recognised alongside key influences like Pete Townshend and Pete Shelley. He’s adrenalized classic forms, alchemised angst into something addictive and powerful. “I’m just trying to figure myself out,” he says. “After 64 years of life – 55 spent writing songs – it’s what I do.” The concepts that shaped the songs of subsequent albums reflect those years. The ruminative Beauty & Ruin (2014) and Patch The Sky (2016) were written in the wake of losing his parents and other loved ones. 2019’s Sunshine Rock was a homage to the early Capitol singles of the Beatles and the Beach Boys, constant companions through his turbulent childhood. The terse, political Blue Hearts (2020) was written and recorded amid the dying days of the first Trump administration.

Here We Go Crazy, meanwhile, arrives at another moment of uncertainty, a time of disruption and fear. Mould sees the songs unfolding like the three acts of a play, each act exploring distinct but related themes. The first handful of songs concern “control versus chaos”, Mould explains. The opening title track contrasts images of nature – deserts, mountains, fault-lines – with the tumult of human life. Inspired by a riff that Mould says “sounded like a fistfight”, ‘Neanderthal’ is “a snapshot from inside my head as a young kid: growing up in a violent household, everything being unsettled, feeling that fight-or-flight response at all times,” while ‘Breathing Room’ is “about feeling isolated, cramped-up, and literally needing that breathing space”.

The furious, dynamic ‘Fur Mink Augurs’ signals the second act, where the darkness descends. The song channels claustrophobia, and “the cold, crazy, late-winter feeling I grew up with in the Adirondacks and in Minnesota. When the cabin fever really sets in deep – when the permafrost is set and it never gets warm – you become frayed, and things can really unravel, quickly.” ‘Lost Or Stolen’ chronicles lives undone by “people losing themselves in their phones,” Mould explains. From this focus, he pulls back and digs into “ideas about depression, addiction, self-medication and collapse… The words just fell out of me.” This anguished middle-passage of the album concludes with the cathartic ‘Sharp Little Pieces’, exploring “the end of innocence, the idea of a young child’s trust being violated. For those of us who lost trust as children, it disappears in a flash, and we spend years struggling to regain that innocence. And maybe it never comes back.”

The song ends bluntly (Mould says the album’s “lack of sophisticated ornamentation is key – I was trying to stay out of the way of the songs, to strip away all the things I used to think were important, all those extra colours and complexities. I didn’t want to get deep into decorating the tree. I wanted to keep it simple, to use the simplest words”), raising the curtain on the closing act. The theme here is lifting oneself out of the darkness; ‘You Need To Shine’ is a song about “looking for the bright sides, the good parts of life, despite everything that’s happened”, Mould says, a sentiment borne out by the song’s spirited holler that “all that madness doesn’t matter anymore”. ‘Thread So Thin’ is “about trying to protect the one you love, and trying to feel protected”, Mould explains, while the closing ‘Your Side’ is a powerful love song from the edge of the darkness, Mould howling “If the world is going down in flames, I want to be by your side”. “We're heading into a great unknown here,” Mould says, of the wider geopolitical and climate anxieties that inspired these songs. The message here is, simply, focus on that which can save you and deliver you from this moment. “This album talks a lot about uncertainty, helplessness, being on edge,” Mould adds. “How much can we control? How much chaos can we handle? In the end, the answer, the remedy, is placing your trust in unconditional love.”

Mould knows Here We Go Crazy is an album freighted with darkness; “There’s soothing melodies, and there’s lyrical discomfort,” he deadpans. “It’s manic, frantic, complex.” But no one ever came to Bob Mould for good news, for the easy answers. Pop music runs through his veins, as surely as the electricity that drives his chiming hooks into the realms of distortion, but he’s here to give you the truth, his truth. To give you songs that ring true when howled against a tornado of guitar, that compress all that “lifetime emotional content” into some kind of sonic diamond. There’s eleven of those precious gems here, sculpted to make the heaviness easier to bear, somehow. Treasure them.

This is a 14+ event (Under 18s to be accompanied by an adult)

Brudenell Social Club

Bob Mould

Bob Mould - See A Little Light

Gigs

Leeds

Critically acclaimed psychedelic Montreal four-piece rock’n’roll band the Damn Truth return to the UK touring in November 2025.

In 2021, the band released their critically acclaimed breakout album “Now or Nowhere.” Produced by legendary Grammy Award winning Bob Rock (Motley Crue, The Offspring, Bon Jovi). On March 14, 2025, the band released their new self-titled album, “The Damn Truth” (also produced by Bob Rock) which features their brand-new single “All Night Long.”

The band consisting of Lee-la Baum (vocals, guitar), Tom Shemer (guitar), PY Letellier (bass) and Dave Traina (drums) have toured the UK multiple times and performed at summer festivals including Steelhouse, Winterstorm and Planet Rockstock.

After extensively touring the UK and Europe for the last four years, The Damn Truth return with their self-titled fourth album, The Damn Truth, and, once again, produced by the legendary Bob Rock. The new self-titled album is the culmination of 12 years of hard work and constant touring. The Damn Truth are a perpetual and virtually unstoppable rock and roll machine.

Fuelled by two Top 40 singles on the Canadian Active Rock Charts (“Love Outta Luck,” “I Just Gotta Let You Know”), the new album marks the next level in their relationship with Bob Rock. He has pushed the band in all areas of playing, writing, and refining the Damn Truth signature sound, most evident in the revelatory power of Lee-la Baum's vocals as evidenced on the mystic, almost Zeppelin-vibed “The Willow;” the full on bittersweet romance of “Better This Way;” the social conscience of “The Dying Dove;” the cautionary “If Don't Make It Home;” and the hell yeah rabble rousing “All Night Long.”

The Damn Truth have added some extra lanes on their rock'n'roll highway as they explore new musical scenery, but the destination remains the same: organic loud rock experienced best in a crowded concert hall dripping in sweat.

The Damn Truth are regular staples on the UK’s biggest classic rock radio station Planet Rock. They first came to prominence on Planet Rock with the title track single from their 2021 album “This Is Who We Are Now” which was also played on BBC Radio 2’s Rock Show. Recently, the band have experienced airplay on Planet Rock with tracks from their latest album with the singles “I Just Gotta Let You Know,” “Love Outta Luck,” and “Better This Way.”

The band have won Tracks of the Week on Classic Rock Magazine’s Louder Sound several times. This month, Classic Rock has published a feature entitled “Six Questions with The Damn Truth.”

The Damn Truth have been championed by the British music press with extensive magazine coverage in Classic Rock, Rolling Stone, Guitarist, Blues Matters, Powerplay, Fireworks, Blues in Britain, HRH, and R’N’R Magazine.

“The Damn Truth are a fresh revivalism of the psyche music scene from the mid 60’s,” says Rock Bands of LA’s editor Jeff Laufer.

“Critics and fans alike praise the Damn Truth’s regeneration of the hard rock sound and values,” continues Laufer. “Bob Rock found a spirit within the band that he hadn’t experienced for many years. He saw something special… an artist with burning talent that needed the right direction to break wide open…like lightning in a bottle.”

The Damn Truth have extensively toured Europe and North America and opened tours for Z.Z. Top (and partied with Billy Gibbons in his pyjamas), The Sheepdogs, Glenn Hughes, Styx, and Rival Sons. In 2021, they were special guests on Joe Bonamassa’s Keeping the Blues Alive Stream-A-Thon.

“Accept no substitute, The Damn Truth are probably the finest rock ‘n’ roll band on the planet right now.” – Metal Planet Music

“One of the best shows I’ve seen this year.” – Music News

“With a near sell-out crowd, the band delivered an electrifying set that left the audience buzzing with excitement.” – Rock News

The Damn Truth

Parker Barrow

Turin Brakes are releasing brand-new studio album ‘Spacehopper’ in May 2025. Produced by Grammy-winning Guy Massey, Spacehopper is the band’s first new music in over three years and marks Turin Brakes’ 10th studio album. A big milestone for a band who released their debut album over 24 years ago - The Mercury Prize nominated The Optimist LP which catapulted them into the mainstream and achieved Gold status in the UK. The title track Spacehopper from the new album is available everywhere now.

South London 4-piece Turin Brakes was founded by childhood friends Olly Knights and Gale Paridjanian and is today made up of Knights, Paridjanian, and long-term collaborators Rob Allum and Eddie Myer. They followed The Optimist with their most commercially successful album ‘Ether Song’ in 2003 which hit the Top 5 in the UK Official Album Charts. Arguably more sonically adventurous than their debut it features the Top 5 hit single ‘Pain Killer (Summer Rain)’.

They are a band that understands the art of longevity and ‘Spacehopper’ promises to be a worthy edition to a rich and sonically diverse catalogue of albums. To date, Turin Brakes have racked up seven top 40 singles, six top 40 albums and over a million record sales worldwide.

Turin Brakes

Rain City

Tom McGuire & the Brassholes are a funk soul powerhouse from Glasgow. Combining rich arrangements with meticulous songcraft and untouchable in live performance, the band is carving a niche of their own. Since their debut in 2019, the band has steadily built a dedicated following with their high-energy performances and unique, genre-blending sound.

Their latest album, A Name For Everything I’ll Ever Be, is a bold, new chapter. Inspired by frontman Tom McGuire’s profound journey into fatherhood, this album pulses with raw emotion and a deeper, more powerful message than anything they've released before. With three albums under their belt, A Name For Everything I’ll Ever Be reflects their growth both personally and musically.

The bands music is full of vitality, the sound of a new niche being cut, classic pop sensibility with high musicianship values and rewarding arrangement and rich production. But at the root, soulfull song, telling stories and sharing experiences of joy, turmoil, loss, celebration, sadness, happiness, confidence, frailty. All told hyper distilled and delivered in finely honed funk pop parcels of aesthetic joy. Tom isnt pulling punches on this run. Playing every song like it’s the last time any song will ever be played by anyone anywhere, the music performed by this band matters.

Tom McGuire & The Brassholes

Oh Savanna

Tom McGuire & the Brassholes

TOUCAN

Crosstown Concerts Presents...

Stone Foundation

plus Ian Prowse Solo

This is event is a 14+ event only. 14s to 17s must be accompanied by an adult.

Crosstown Concerts

Stone Foundation

Hold on to Love

Ian Prowse Solo

FORM Presents

POP WILL EAT ITSELF

\+ city dog

16+ only. U18s must be accompanied by an adult. 

FORM

FORM Presents

Pop Will Eat Itself

Pop Will Eat Itself - Get the Girl! Kill the Baddies!

city dog

BOOTLEG BLONDIE is the official Debbie Harry & Blondie tribute band, the only Blondie tribute to play the legendary CBGB’s in New York City before it's demise in 2006 and to have the honour to be mentioned on Blondie’s 11th album ‘Pollinator’.

Lead vocalist Debbie Harris appeared on two shows for BBC1 when she was picked out of 15,000 applicants to represent Debbie Harry on ‘Even Better Than The Real Thing’ hosted by Paddy McGuinness.

The show drew in nearly 4 million viewers on the pilot episode alone.

‘Good luck with your show!’ **DEBBIE HARRY**

'Playing with Bootleg Blondie was very emotional' **CLEM BURKE**

‘Thank you for your support’ **CHRIS STEIN**

'Hey Debbie and Andy congratulations, rock the house!' **DEBBIE HARRY AND BLONDIE**

This is a 14+ event

Bootleg Blondie

“the Arctic Numpties whip up the audience into a crowd-surfing frenzy…you can feel the hours spent studying their near name sakes” The Guardian

Arctic Numpties are Yorkshire's very own tribute to the Arctic Monkeys with an authenticity that is hard to beat.

The 'Numpties' give audiences the ultimate Arctic Monkeys experience, passionately replicating the Sheffield icons' sound and look.

Covering everyone's favourites from all seven albums, the Arctic Numpties are a must see for any Monkeys fan. The best you ever had!

Royal Monster are cemented as the definitive tribute to Royal Blood. They have developed their craft since 2016 and have even received praise from Mike Kerr (Royal Blood front man) in an interview with Kerrang!

Arctic Numpties & Royal Monster

Arctic Numpties

"My career has been a lesson in patience," says Annahstasia, having cultivated her musical language between blazes of intimacy and independence across different lives, locations, and iterations, loves lost and gained, expectations evaded and recreated. The rising troubadour's proximity to love — for and from others, in society at large, and deeply within herself — guides the spirit of her soulful, poetic folk songcraft. Love is the elemental constant, alongside her distinctly resonant voice, shading the singer-songwriter's music since her earliest self-taught recordings, back when a 17-year-old Annahstasia Enuke was discovered and propelled into the pressures of an industry that nearly stifled her greatest strengths. Artistic resilience, gratitude, and dedication to process have yielded Tether, Annahstasia's full-length debut on art-forward indie label drink sum wtr, a collection of beaming torch songs, orchestral hymns, and astral anthems that feel lived-in, drawn from the human experience and the spectrum of love.

Annahstasia assembled the pieces of Tether slowly and with deep intention; she's carried these songs with her on the road, sang them for friends and strangers, and evolved them over time alongside her personal revelations. "The song is written, and then I have to live with it and see if I really believe what I'm saying," she explains. She brought material to sessions at the storied Valentine Studios in Los Angeles, joined by producers Jason Lader (ANOHNI and the Johnsons, Frank Ocean, Lana Del Rey), Andrew Lappin (Cassandra Jenkins, L'Rain, Luna Li), and Aaron Liao (Liv.e, Moses Sumney, Raveena) and a range of accomplished musicians, including featured guests aja monet and Obongjayar. The recording became instinctual, done only in live takes to capture the feeling of the room, the community of the music. The sequencing was just as essential; she arrived at a flow with shifting energies and poignant arcs. The instrumentation swells, at times understated and others supremely lush, and through each arrangement, Annahstasia's voice rings true, open-hearted, and free. "I've come into the power of my voice as a medium," she says. "As a tool of expression, I am able to shape the emotional space around me."

Lyrically, Annahstasia embraces the nuance of poetry, inviting listeners to engage in words laced with meaning, whether ruminations on romance or social constructs. She sees the opener "Be Kind" more as a poem than a song, "a reflection upon the beauty of the mundane and the grandeur of everyday life…a reminder to myself and others to be kind to each other." The track's minimalist atmosphere picks up where 2024's Surface Tension EP left off, with her vocals left bare and up-front, exploring the capacity of her gift with newfound latitude as strums, strings, and keys enter the frame.

The palette expands for "Villian," welcoming drums, brass, and horns into a sweeping nod to healing. "We are all made of both shadow and light. From some angle, we have all been the villain of the story," she adds, suggesting that often, the only way to move on is through understanding that "we are all trying our best, negotiating survival." At its triumphant peak, above gospel-like shouts, she delivers the reprise with a smile: "Take it / Take it back / This dull knife of memory / I still hear your voice inside my head / Says that I'm the villain of the story."

Album centerpiece "Slow" emerges from a chance connection with London-based Nigerian musician Steven Umoh, aka Obongjayar. After exchanging DMs, Obongjayar came to one of her shows, and the two artists talked for hours afterward; "he was like a lost brother," she says. Later, they wrote and demoed the track in the living room of her Airbnb in London, where they huddled around a single ribbon microphone. "I'm just playing the guitar, and our eyes are locked; it was very sensual and intense." Emboldened by one another, their voices orbit and coalesce, trading verses on the signals the universe sends us ("I heard it on the wind / To go slow"), harmonizing the last stanzas ("What's the worst that can happen / If we just let it happen"). Without proper album plans at the time, the song sat for a while; then, in another cosmic chance, Obongjayar happened to be in town during the Tether sessions. Annahstasia reflects, "It was a beautiful experience to have us all in the room. The artistry, the moment, a real acceptance of African art where these two Nigerian musicians are coming together and making something very tender and pretty outside genre expectations."

Later, Annahstasia finds a kindred spirit in aja monet, the NY-based surrealist blues poet and her new labelmate, who lends stunning prose and voice to "All is. Will Be. As it Was." Given only the prompt of "open air," monet wrote the lines on the ride to the studio. Together with Annahstasia on guitar and Ashley Fulton on piano, they captured the piece in its purest form as if bottling a breeze.

Annahstasia described the EP prelude to this culminating set as a "romantic war," and the artist truly thrives amidst and after drama. She taps into a punk sensibility for "Silk and Velvet" — "I'd say it's punk in the sense that it is really dry, really stark and selectively dissonant." A clashing of cello and piano mirror pointed lyrics about "living with the hypocrisy of having revolutionary ideologies but consumerist tendencies." The tension comes full circle on "Believer," a song she's been trying to get right for years, now finally recorded in the right place with the right people. Nearly every instrument on Tether returns in full force; towering percussion, jagged guitar lines, and howling singers encircle Annahstasia at the mic as she enters a fantasy of rock stardom. "I love how in making a record, you get to make a film and pick which direction to take it. Now I have this version that I blast in my headphones, play air guitar, and pretend I'm performing it for 100,000 people." The sheer power of Tether is the result of patience, and it's not hard to picture such a dream realized in good time.

Annahstasia

Power

Cleo Reed

Like their name suggests, Model/Actriz seek to channel raw emotions into striking new forms. The band’s surface glamor is supported by nerves of steel, leveraging their focus into moments of wild abandon. Since their songs roar to life off the back of blistering guitar, relentless drums, and pummeling bass there’s an expectation that Model/Actriz aim first and foremost to be shit-starters. But their instrumental muscle couches a searching heart and the Brooklyn quartet have long made a mission to reconcile undefinable feelings by charting a ferocious new path through sound, one that brings jagged emotions back into full, sweaty alignment with the listeners’ bodies.

Their debut record Dogsbody was sexy, dark, and humid, full of eerie passages and veiled menace. Songs like “Amaranth” and “Mosquito” were hot house scenes cast in foreboding half-shadow, with frontman Cole Haden as the hero at the center of its shifting, sultry gloom. The figure he cut was reassuring and ominous, both an experienced guide who could light up the music’s dim corridors and a haunting presence who was inextricably bound to them. The lyrics found him fumbling around in its darkness to become the person he is today – scarred, but made stronger in pursuit of its seduction.

Model/Actriz’s sophomore album Pirouette, which was co-produced and mixed by Seth Manchester and mastered by Matt Colton, their collaborators on Dogsbody, swerves out of the maze and directly into the spotlight. It is Dogsbody’s equally accomplished, but much more self-possessed sister record – thumping and immediate rather than dark and obscure. The light it casts off originates from within, and reflects a band that’s not only grown into its strengths but conquered its demons. Haden no longer vamps from the shadows but at the very front of the stage – and often in the very thick of the crowd – commanding the music’s chaotic center with a poise that channels Grace Jones and Lady Gaga.

After much critical acclaim and an exhausting tour to support the record, the band sought to reinvigorate their visceral live shows that invite that audience into a shared room of carnal ritual. Pirouette is both a natural progression and a calculated reset, a move toward reasserting their command as artists by peeling away the smoke and mirrors to become brighter, heavier, and more direct. The pop thread running throughout the album allows the crowd to witness thumping club music in the spirit of cabaret and manifest the catharsis that comes with hitting the dancefloor.

The word “Pirouette” literally dances on the tongue and few lyricists delectate in the flavor of words as expertly as Haden does. “Like ‘matinee’ or ‘seraglio’” he pouts on “Departures,” “all I want is to be beautiful.” The beauty Haden pines after on Pirouette is the kind that’s forbidden until you give yourself permission to indulge, and even then, it’s an enjoyment that’s tempered by a history of shame. On standout track “Cinderella,” the singer’s strutting bravado suddenly gives way to crushing vulnerability – as he stares into a love interest’s eyes, he recounts the childhood shame of backing out of having a Cinderella-themed birthday party, a psychic scar that he’s still able to trace over years later. Even though the memory still aches, the song’s driving force is a willingness to be vulnerable, to extend his arms out for love even if it risks courting hurt.

These lapses, where style and cleverness can’t paper over roiling emotions, are what gives the record its awkward grace. It’s elegant when a ballerina does a pirouette and shameful when a faggot attempts the same, but Haden isn’t defensive or cowed anymore; he grew into the diva he once worshipped growing up as a queer kid, singing along to a pantheon of pop icons like Britney Spears and Mariah Carey. Throughout the record, past and present chafe against one another until Haden claims them as part of a

larger tapestry: present day DeKalb station giving way to the Delaware of his childhood, the sexually commanding adult only a memory away from the panicked preadolescent confessing a crush. Throughout Pirouette, Haden isn’t merely strutting through the music but commanding the whole narrative of his life.

The inventiveness of the band’s cohesive musicianship is evident on “Poppy,” with Haden’s lyrics capturing the full scope of their ability to fluctuate between instrumental squalls and barreling, dissonant dance music: “as flesh is made in marble/as marble captures softness/as softness holds a violence/within a pure expression.” Aaron Shapiro, Ruben Radlauer, and Jack Wetmore are a fearsome unit, rearranging the floor and the ceiling of rock music, with punishment and uplift coming from the jagged but interlocking complexity of each band member responding to one another. What should be a fist-fight is instead a well-oiled machine: the knife edge of Wetmore’s guitar shimmering and lacerating from one moment to the next, Radlauer establishing a firm floor only to open a chasm beneath your feet, Shapiro driving his bass backwards and forwards, taking the texture from burnished to bruising and back again.

One of the most oppressive divisions in music is how certain sounds are mapped onto and parceled off from the listener’s body, a fracturing that on Pirouette the group set out to reconcile and transcend. “Be embodied,” Haden whispers at the beginning of “Departures,” as the trill of Wetmore’s guitar and the thump of Radlauer’s drums activate your senses from both high and low ends. As the song builds to a blaze, it triggers elbows and knees, shoulders and hips, as punk aggression surrenders to club- pop. Like their music, Model/Actriz grapple with the thorniness of assuming one’s self to arrive at stunning new ways to be free.

Model/Actriz

Suntan

Mun Sing

This is an 14+ event

Futuresound

Brògeal

Bywater Call – Soul, Grit, and Blues-Rock Powerhouse Returns to the UK this November

Plus special guest Dan Patlansky LSS⚡️

Get ready for a soul-stirring, high-energy ride as Bywater Call, the electrifying 7-piece Southern Soul and Roots Rock sensation from Toronto, Canada, returns to the UK!

Fronted by the powerhouse vocals of Meghan Parnell and driven by the fiery guitar work of Dave Barnes, Bywater Call has been making waves across the globe, earning nominations from the Independent Blues and Maple Blues Awards, including Entertainer of the Year and Best Female Vocalist.

Their live performances have set European festival stages ablaze, including a show-stopping set at the legendary MOULIN BLUES festival in the Netherlands—where Meghan’s vocals were hailed as among the finest in blues and roots music today.

But Bywater Call doesn’t just play the blues—they ignite it. From headlining festivals across Europe and North America to sharing the stage with legends like Joe Bonamassa and Blackberry Smoke, their commanding live presence is second to none.

UK fans got a taste of their firepower in 2024 —leaving audiences hungry for more. Now, Bywater Call is back, ready to unleash their full blues-rock force on a tour that promises to be an unforgettable experience. Plus special Guest Dan Patlansky LSS⚡️

“On record, Dan Patlansky is superb, but on stage, he takes it to another level.” – Music News

Critically acclaimed and award-winning South African singer-songwriter and guitarist Dan Patlansky is set to return to the UK, bringing his brand-new Loop Station Show Electric ( LSS⚡️) —a fresh and innovative take on the solo live performance.

This is not your typical one-man show. Loop Station Show Electric will feature all the energy, dynamics, and firepower of Dans show. Every song will be reimagined and delivered in an exciting new way—all electric, all live, all Dan.

Over the past few years, he has been refining his craft, writing new material, and pushing his musicianship to new heights.

“The time away from touring gave me a rare opportunity to focus on my playing, singing, and songwriting like never before,” says Patlansky. “This new show reflects that growth, and I can’t wait for UK audiences to experience it.”

With a reputation for jaw-dropping live performances, Loop Station Show Electric promises an unforgettable night of world-class blues-rock innovation from one of the genre’s most respected modern guitarists.

Bywater Call

“The Dream Machine are one of my favourite bands. They bridge the gap between pop stars and psych punks effortlessly. Small Time Monsters is an incredible album.” James Skelly, The Coral

“Taut, melodic tunes that lean brilliantly into that classic scally cocktail of psych, garage and guitar jangle… a leap forward both in terms of lyrics and songwriting. Expect great things.” Shindig! 4\*

The Dream Machine follow the release of their phenomenal second album Small Time Monsters with news of their biggest ever UK tour.

Following recent support shows for The Coral, The Lathums and The Charlatans, The Dream Machine open for Noel Gallagher’s High Flying Birds at his massive Cardiff Castle gig on Wednesday July 17th (alongside The Big Moon). Following that, they will play a hometown album launch party on Saturday 20th July at The Jacaranda Club - ticket and album bundles are available here.

Small Time Monsters is out this week on Run On/Modern Sky. It features the singles Frankenstein and Cindy’s Eyes alongside nine brand new songs, each of them a psychedelic story of everyday life set to the kind of indelible melodies you’d hear blasting out from the milkman’s radio. Small Time Monsters cements the Liverpool band’s reputation as one of the country’s most consistent and compelling young bands. Small Time Monsters was recorded at Kempston Street Studios, Liverpool and was produced by Chris Taylor and James Skelly (The Coral).

The Dream Machine are Zak Mcdonnell, Matthew Gouldson, Jack Inchbord, Harrison Marsden and Isaac Salisbury.

The Dream Machine

Adult Contemporary

Pablo's Paintings 

SJM Concerts Presents

The Guest List

Plus Support

This is an 14+ event (under 16s to be accompanied by an adult)

SJM Concerts

 The Guest List

Spawned in the era of warehouse raves The Sabres of Paradise were lauded as the pioneers of a new wave of dance / electronica. Formed in 1992 The Sabres, originally a studio partnership of Andrew Weatherall, Jagz Kooner and Gary Burns, were prolific at remixing artists including Bjork, Leftfield and New Order before signing Warp Records to concentrate on their own sound. In 1993 they released their debut LP ‘Sabersonic’ with NME including it in their albums of the year. The album featured Smokebelch I, a timeless piece of blissful Balearic joy with the ethereal Smokebelch II - Beatless Mix being featured on countless "Chill Out" comps.

The Sabres' Haunted Dancefloor LP followed in 1994 with the NME listing it in their top albums. The LP featured a collaboration with Portishead while other tracks were remixed by Depth Charge, LFO, Nightmares On Wax and The Chemicals Brothers. Along with Kooner and Burns, The Sabres Live band consisted of Richard Thair (Red Snapper), Phil Mossman (LCD Soundsystem) and Nick Abnett (The Aloof) while Weatherall would support as the tour DJ.

Weatherall's untimely passing in 2020 brought renewed attention to his musical legacy and significant influence as a producer, subsequently The Sabres once again found themselves in the spotlight. Now, 30’ish years on from the band’s seminal LP releases and the original touring band are back on the road helping to cement Andrew’s legacy bringing the Sabres’ sound to new audiences and old fans alike.

The Sabres Of Paradise

The Sabres of Paradise

NME’s ones to watch, Eades, combine the creative values of Wilco, Sonic Youth and Sparklehorse, with the immediacy of The Velvet Underground and The Clash. Eades have evolved over years of continually touring around the UK and Europe, finely poised between indie rock and alternative 90s. Their tight self-produced sound is glued together by the vocal swapping and storytelling partnership of Harry Jordan and Tom O’Reilly. The narrative of the band has crystallised into a winning calling-card, both epic and intimate, capturing the emotional turbulence of finding your place in a world that’s constantly shifting beneath your feet.

This ‘build it and they will come’ approach has already seen enviable successes and support from the likes of NME, DIY, DORK, The Guardian, international radio stations and Abbey Road Studios. Stand-out sets at Rolling Stone Beach, Left Of The Dial and The Great Escape, amongst other tastemaker festivals, mark out the band as serious contenders. HUNGER magazine photoshoot with iconic photographer, Rankin, contributes to their arsenal of collaborations.

No longer green to the industry and working on their own terms - Eades are putting theory into practice. Comfortable in their own skin and taking the wins as they come. There’s no lack of ambition to take their riveting concoctions to the masses. All of this is beholden to a quietly confident maturation, that speaks to a band in complete control.

Eades

Martial Arts

Elwell

LONDON CALLING PLAY THE CLASH

'Clash City Rockers' Tour

London Calling, the world's premiere tribute to The Clash, will be playing the 'A' & 'B' sides of singles released by The Clash between 1977-1983.

The Clash formed in 1976 and are considered one of the most influential groups to come out of the Punk scene.

The Clash released singles throughout their lifetime which did not feature on any of their albums such as 'Capital Radio', '(White Man) in Hammersmith Palais', 'I Fought The Law', 'Complete Control' and more.

An AGMP Concerts presentation.

This event is 14 and over. 14s to 16s must be accompanied by an adult.  Any ticket holder unable to present valid identification indicating that they are at least 14 years of age will not be admitted to this event and will not be eligible for a refund.

AGMP

London Calling Play The Clash

Stereo Mc’s are probably best known for their international Top 20 hit single ‘Connected’, which was released in 1992 and taken from the ‘Connected’ album of the same year. The album reached #2 in the UK Album Chart and also contained the aforementioned hits ‘Step It Up’, ‘Creation’, and ‘Ground Level’, and led to the group winning two Brit Awards for Best Group and Best Album in 1994.

Being childhood friends and neighbours, Rob and Nick formed Stereo MC’s in the mid-eighties, with the pair inspired to make music by their combined love of early hip-hop, funk and electronic music.

The Stereo MC’s initially pressed their first 12” vinyl and started their own independent record label called G Street Records with Kiss DJ Richie Rich and budding entrepreneur Jon Baker.

When G Street attracted the attention of 4th & Broadway in 1989, the duo recorded the debut Stereo MC’s album, ‘33-45- 78’.

Nick said, “When we started getting gigs around that time we thought it would be great to have live drums, even if they made the turntables bounce around. But when we went to the States, the U.S. branch of our record company said, ‘We’re not paying for a drummer to come on tour, because you don’t do that with this type of music’. There were a few barriers to cross before dance music was established as a live music force and was given equal rights in the touring and festival scene. Island Records had a good attitude to developing young acts, though, and we were given time to grow both in the studio and on the road.”

After releasing 33-45-78 the band toured with De La Soul, Living Colour and A Certain Ratio. They then headed to New York to record their second album, ‘Supernatural’ in 1990, bearing the singles ‘Elevate My Mind’ (which made it into the United States R&B Charts) and ‘Lost in Music’ which was a club hit in the UK and US. This success was further cemented when they supported Happy Mondays on a US tour.

Rob said, “If we weren’t on the road or making our own tracks we were remixing for other artists. Life didn’t have a clock, you just worked and vibed until you dropped on the sofa and woke up in your clothes six hours later.”

Stereo MC’s were in demand for remix work from the likes of U2, Madonna, Tricky, Pressure Drop, David Holmes, Terranova and Mo’Wax records, as well as earlier mixes for The Jungle Brothers, Latifah and RZA.

“The summer of 1992 saw us finish our 3rd LP, Connected, which we toured solidly for about 18 months after its release. It was a big success for us and everybody involved and was a beautiful moment in our development. Navigating our way through the aftermath of over-touring fatigue and life catching up with you was challenging, and for a while the creative spark was hard to find, so we went into recluse mode and built our own studio again so we could get out of the music biz domain.”

After making a mix album for the DJ Kicks series on Studio!K7 in 1999, 2001 saw the release of the band’s fourth album ‘Deep Down & Dirty’, followed by a tour that included opening for Jane's Addiction in the US. The album’s title track became Stereo MC’s fifth consecutive Top 20 hit single in a row.

Following recordings for Pias, K7 and Graffiti they continued their long relationship with club music, starting the label ‘connected’ in 2015, initially to release their own new music, but also releasing other artists, and have since become established in the ever-popular Afro House genre. They have also collaborated with some of the biggest current names in house music via releases with Adam Port and Keinemusik and Stil Vor Talent, and have featured guest spots with Re.You, Anja Schneider, Fred Everything and many others.

2025 started in style with 3 dates in the U.S. in Philadelphia ,Brooklyn and Boston and a memorable appearance on The Tonight Show with Jimmy Fallon.

Stereo MC's

I Changed My Mind - Stereo Mcs Rattlesnake Mix

‘These are mind- and limb-blowing songs. Tunes to cherish, dance around like a muppet to and maybe even have a little cry along with. 8/10” - NME

Fully loaded Jesus and Mary Chain-fried fuzz, Moss’s commanding stage presence is truly unmatched; her all but swaggering demeanour, striking looks and heart wrenching (and heartfelt) voice leaves crowds in the palm of her hand". SPIN

“Their swaggering garage-pop hit like a drunk, smoky kiss on the mouth” – The Los Angeles Times

“If you like your rock and roll dirty, unbearably loud and downright f\*cking sexy then The Duke Spirit could be right up your street. Combining the strung-out drone of The Velvet Underground, the all out guitar assault of Sonic Youth, and the dirty blues of prime-era Stones, the band’s debut album is never less than compelling.” - Pop-matters

“Lets rip without missing a beat. Great singer, great band, great album.” - The Sunday Times Culture

“crackles with electricity, charges with raw power, and captivates your body, forcing it to move in ways completely against your will.” - treblezine

London Calling play The Clash

Kawai Desu

The Clash - London Calling

London Calling

LLNN is a Copenhagen four-piece who stand ready to take you on a journey into the unknown realms of outer space with their sound of post-apocalyptic, claustrophobic hardcore mixed up with sludge metal combined with eerie sci-fi elements and massive drones.

The music is bleak and seems set in a dissonant musical landscape with its barrage of drums, guitars, screams and cinematic soundscapes. It’s a havoc-wreaking whirlwind of heavy riffs, waves of distortion, utter destruction and negative moods.

The band has performed at acclaimed festivals like Roadburn (NL), Roskilde Festival (DEN), Desertfest (UK), ArcTanGent (UK) and toured most parts of Europe. LLNN is signed to Pelagic Records (The Ocean, Cult of Luna, Mono, Envy).

In 2021 the band released their 3rd full length and critical acclaimed “UNMAKER” via Pelagic Records.

"Denmark’s LLNN are the latest frontier-bursters to push at the limits of contemporary extremity” - The Invisible Orange

"We can't wait to come back to the UK in November. We screamed and sweated with you at the festivals and you welcomed us with a sold out London show, but it's time now to bring the full LLNN show to the whole of the UK. It's also time to bring you 'Unmaker' in full and really give that album a send off. What's more, our new friends in Pupil Slicer will be joining us and we're beyond excited to hook up with them."

\- LLNN

"PUPIL SLICER are thrilled to be back touring the UK later this year with new music in the works and on the way. We're excited to launch the new era of PUPIL SLICER in style on this co-headliner, playing in some of our favourite venues and cities across the UK alongside the phenomenal LLNN. We've been long-time admirers and they have been blowing the audience away when we've caught them, so this team up seemed like a no-brainer. This run is sure to leave faces thoroughly melted, so we can't wait to see you all soon!"

\- PUPIL SLICER

LLNN & Pupil Slicer

Imperial

LLNN

Pupil Slicer

Worn Out

With five little green bug hats peeking above the stage, Bug Teeth conjure a world just beyond reach - oneiric, spellbinding, and insistent. Harsh guitars and skittering drum and bass rhythms break through hazy ambient dreamscapes, blurring softness with intensity. Lyrics are direct yet poetic, each song a slide beneath a microscope, examining the intimate, the infinite, and everything in between.

Born from a DIY spirit, Bug Teeth began as the electronic bedroom project of front-person PJ Johnson, shaping self-produced spectral melodies. From these delicate, lo-fi beginnings emerged a raw, celestial sound, drawing listeners into its unique gravity. Over time, the project grew into a full band, their live performances both fragile and ferocious, a hypnotic push and pull between distortion and stillness.

Their music bends genre, pulling influences from dream pop, electronic ambience, and breakbeat to craft something that feels both weightless and deeply grounded. Their latest single, Landscaping, expanded their sonic world further, balancing beauty with abrasive grief. With radio and editorial support, alongside a growing cult following, Bug Teeth continue to evolve - shapeshifting, sprawling, and spiriting listeners away into the space between waking and dreaming.

Bug Teeth

One of the UK’s most absurd, yet stand out Heavy Metal acts in the last few years.

“… as you’re headbanging to this majestic metal madness, be aware that you might be doing so in the presence of a band who could one day help British metal take over the world again!” Planet-Loud

“Evil Scarecrow… find themselves on the brink of being a genuinely significant concern on the British scene …” Dom Lawson, Metal Hammer

“We had the most people in the history of Bloodstock get up early especially to see Evil Scarecrow play! If that isn’t testimonial to how incredible this band is, I don’t know what is! Stunning live band …” Vicky Hungerford, Bloodstock Open Air

“’Scream for me Download!’ asks ingeniously monikered Evil Scarecrow (KKKKK) frontman Dr. Rabid Hell. The prop-heavy, self-declared ‘Blue Peter-Metallers’ veer between ‘zero-gravity’ moon-moshing’ and inexplicably getting the overspilling tent to chant ‘eggs’. World domination is only some sticky-backed plastic away” Kerrang!

Evil Scarecrow

The Ballad of Brother Pain

Evil Scarecrow - Crabulon

Andrew O'Neill

It’s been 25 years since the release of “Teenage Dirtbag”, and somehow Wheatus’ now iconic debut single is arguably the biggest it’s ever been. And to celebrate this milestone, the band are returning to the UK and Ireland in November / December 2025 - playing their debut album in its entirety each night.

The last few years have been a true whirlwind for the band. In 2022, Teenage Dirtbag became the cornerstone of a huge TikTok movement. The “Teenage Dirtbag photos” trend has now been embraced by nearly a million people, including celebrities such as Madonna, Lady Gaga, Mark Ruffalo, Lil Nas X, Jon Bon Jovi, Chevy Chase, and countless others, resulting in the hashtag #teenagedirtbag being viewed over 2 BILLION times worldwide. And if that wasn’t enough, in 2023, it surprised everyone again by re-entering the UK Top 40 charts.

Against all odds, this fresh frenzy around the 25-year-old anthem has led the band to recently perform on some of the most prestigious stages of their career: Wheatus have recently shared club, arena & festival line-ups across the world with the likes of Alice Cooper, Blondie, Busted, Everclear, Hoobastank, Living Colour, Phantom Planet, The Wallflowers, Jimmy Eat World, Dashboard Confessional, The 1975, Muse, Jack White, Blink-182, Paramore, Coheed & Cambria, and so many more. In 2023, Wheatus embarked on what might have been an unprecedented 47 date tour of the UK and Ireland that was only a few tickets shy of completely sold out. They performed at Download Festival 2024 to an audience of over 20,000. Brendan B Brown also squeezed in a “Dirtbags Across America” tour, where he played intimate acoustic shows in 49 of the 50 states (Alaska - sorry, working on it). Most recently, Wheatus did massive tours of both the USA and UK with their old friends Bowling For Soup, to some of the largest sold out crowds both bands have seen in their entire careers. The final night of their upcoming tour will be a truly special gig with Bowling For Soup and Punk Rock Factory at the one and only OVO Wembley Arena in London - an absolutely perfect way to end this incredible year.

After their 2020 plans were foiled by you-know-what, Wheatus are committing every waking moment of 2025 to traveling the world to celebrate the anniversary of their debut album that still means so much to so many. In addition to playing their full debut album each night they’ll also be taking fan requests for any other favorites from their three decade career - a ritual they’ve upheld at headline shows for almost 20 years now. It’s a joy to behold. See for yourself.

Wheatus

Teenage Dirtbag

Thomas Nicholas Band

They came from the trees. Now settled in fertile east London, Snapped Ankles maintain the feral energy of the forest.

Snapped Ankles outsider status has always allowed them to hold a mirror up to society. Now the boundaries are not so clear. In the seven years since Come Play The Trees was released, their cult has flourished. Second album, Stunning Luxury, saw the band invited to play the BBC 6 Music Festival and a KEXP session on the back of a sold-out UK tour which culminated with two nights at Village Underground in London. As those who have witnessed the shamanic ritual of their live shows will attest, they are a truly unique, communal experience. Forest Of Your Problems saw the woodwose bring their ancient forest rhythms and high-wire, multi-media live act to ever bigger stages - including Camden’s iconic Roundhouse and SXSW and Desert Daze festivals.

2025 sees the release of new album Hard Times Furious Dancing and their most extensive UK and European tour to date, which includes a London show at legendary nightclub Fabric. It showcases the ‘Forest Rayve’ sound they’ve been road-testing at their club nights and select shows in 2024.

Snapped Ankles

Snapped Ankles - Rhythm Is Our Business - Edit

TaliaBle

Will Varley

Will Varley - The Man Who Fell to Earth

FLAT MOON celebrate the release of their highly-anticipated debut album, ‘Cookin’ Up A Groove’ with a FREE ENTRY headline show at Leeds’ Brudenell Social Club.

After enjoying an exceptionally busy year on tour around the UK, the lunar funk-punk collective return to Leeds for their biggest hometown headliner to date. With free entry for all, Flat Moon invite everybody to join in the festivities!

The band’s LP debut, ‘Cookin’ Up A Groove’, will be released at midnight with the limited first press of physical copies of the album exclusively available for attendees of the show.

Upon reserving a free ticket, attendance is required at the venue by 8:30pm to avoid the ticket being recirculated into the door ticket list. This is to avoid capacity issues.

Optional donations to Medical Aid for Palestine upon ticket purchase are encouraged, either in advance or on the door.

Support from Glass Frogs with more TBA

Flat Moon

Porridge Radio are a London based band from the UK, formed in Brighton in 2015 around band leader Dana Margolin. The band’s powerful live performances and rawly emotive lyrics have garnered a dedicated following, with their previous 2 albums Mercury Prize shortlisted ('Every Bad') and entering the Top 40 ('Waterslide...').

In October 2024, Porridge Radio - with keyboardist Georgie Stott, drummer Sam Yardley and bassist Dan Hutchins alongside Margolin - released their critically acclaimed fourth album, 'Clouds In The Sky They Will Always Be There For Me', on label Secretly Canadian. Produced by Dom Monks (Big Thief, Laura Marling) and recorded live, 'Clouds…' delves even deeper into themes of love, loss, and personal growth.

Brudenell Social Club

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