Caribou // Bristol in Stereo

Live. Music. Culture.

February 2020

â„– 97 // Free

Caribou

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Sat 1st Feb • 10pm

Sat 14th Mar

Fri 24th Apr • 6.30pm

Innovation

The Dualers

The White Buffalo

Sun 2nd Feb • SOLD OUT

Thur 19th Mar

Sat 25th Apr • 10.00pm

Kano

Lightning Seeds

Logan D & Majistrate

Tue 4th Feb

Fri 20th Mar • 6pm

Sun 3rd May

The Subways

Steel Pulse

Mon 23rd Mar

Tue 5th May

Cigarettes After Sex

The Mission

Tue 24th Mar

Fri 8th May • 6.30pm

Ash

The Shires

Fri 27 Mar

Mon 18th May • SOLD OUT

James Bond – in concert

BROCKHAMPTON

The Interrupters Wed 5th Feb • SOLD OUT

Steel Panther Mon 10th Feb • SOLD OUT

The HU Fri 21st Feb • 6.30pm

Ally Pally Student Darts Comes To Bristol Mon 24th Feb

Beartooth Thur 27th Feb

Hot 8 Brass Band Sat 29th Feb • 10pm

Garage Nation Tue 3rd Mar

Testament Thur 5th Mar

Example Fri 6th Mar • SOLD OUT

Oh Wonder

Thur 21st May

I Prevail

Brian Fallon & The Howling Weather

Thur 2nd Apr • 6pm

Wed 17th Jun • 5.30pm

Roachford

Volbeat

Sat 4th Apr • 10pm

Fri 11th Sep • 6.30pm

Hybrid Minds Mon 6th Apr

CASH: Paying Respect To The Man in Black

Caribou

Fri 18th Sep • 7.30pm

Sat 28th Mar • SOLD OUT

Wed 15th Apr

Rend Collective

Rak-Su

Thur 8th Oct

Fri 17th Apr • 6.30pm

Scott Bradlee’s Post Modern Juke Box

Sisters Of Mercy

Lioness ... A.K.A The Amy Winehouse Experience

Thur 12th Mar

Tue 21st Apr • SOLD OUT

Fri 6th Nov • 6.30pm

Stiff Little Fingers

Lamb of God

Soul II Soul

Fri 13th Mar • SOLD OUT

Thur 23rd Apr

Fri 4th Dec • 6.30pm

NF

Feeder

Heaven 17

Sun 8th Mar

Wed 21st Oct

Heels of Hell

O2 Academy Bristol ticketmaster.co.uk 2

Frogmore Street, Bristol BS1 5NA • Doors 7pm unless stated Venue box office opening hours: Mon - Sat 12pm - 4pm

ticketmaster.co.uk • seetickets.com • gigantic.com

o2academybristol.co.uk

February • 2020

book

0117 203 4040 colstonhall.org

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Colston Hall loudly and proudly presents great shows in venues across Bristol Sun 2 Feb SOLD OUT

Tue 18 Feb

Sun 8 Mar

Lisa O’Neill

Daddy Long Legs

Kathryn Roberts & Sean Lakeman

Bristol Folk House

The Louisiana

Thu 6 Feb SOLD OUT

Fri 21 Feb

Anna Meredith Trinity

HMLTD

Sun 15 Mar

Exchange

Yorkston Thorne Khan

Fri 7 Feb

Sun 23 Feb

Sean McConnell

Damien Jurado

The Crofters Rights Tue 11 Feb

Gill Landry The Wardrobe Theatre

Bristol Folk House

St George’s Bristol Tue 25 Feb

Mike McGoldrick, John McCusker and John Doyle Colston Hall Foyer

Bristol Folk House Tue 17 Mar

CocoRosie Trinity Fri 20 Mar

Ziggy Alberts SWX

Wed 12 Feb

YACHT Exchange Thu 13 Feb

Moor Mother Exchange Fri 14 Feb

Fairport Convention Bath Forum

Wed 26 Feb

Sat 21 Mar

A Winged Victory for the Sullen

Princess Nokia + Tkay Maidza

Trinity

Marble Factory

Thu 5 Mar

Sat 21 Mar

Blanck Mass

Andy Shauf

Loco Klub

Fiddlers

Sat 7 Mar

Sun 22 Mar

Andreya Triana

Fly Pan Am

Exchange

Colston Hall Foyer

WED 12 FEBRUARY

FRI 14 FEBRUARY

SAT 15 FEBRUARY

STARSET

KING NUN

EMILY CAPELL

SUN 16 FEBRUARY

SAT 22 FEBRUARY

SWX

THE FLEECE

LOUISIANA

SWX

DUBIOZA KOLEKTIV GENTLEMAN’S DUB CLUB + GARDNA

+ JOE SLATER + KATIE OWEN [DJ]

MON 24 FEBRUARY SWX

PALAYE ROYALE + COUNTERFEIT.

WED 26 FEBRUARY

SAT 29 FEBRUARY

TUE 03 MARCH

X AMBASSADORS

DUB FX

TESTAMENT THE BAY STRIKES BACK

THEKLA

+ TERRELL HINES

4

LOUISIANA

SWX

O2 ACADEMY

+ EXODUS + DEATH ANGEL

THU 05 MARCH

SUN 15 MARCH

TUE 17 MARCH

EXAMPLE

LOUISE REDKNAPP

BAD//DREEMS

MON 23 MARCH

SUN 29 MARCH

RETRO VIDEO CLUB

JARED JAMES NICHOLS

O2 ACADEMY

+ LOCAL + LIVSEY + HAYLA

FRI 20 MARCH O2 ACADEMY

THEYOUNGSUBWAYS FOR ETERNITY + ART BRUT

WED 22 APRIL

SWX

THE CROFTERS RIGHTS

THU 07 MAY

KOMEDIA

THE FORUM BATH

THE SPOKEN WORD & LIVE SHOW

VAN DER GRAAF GENERATOR

BIFF BYFORD: SCHOOL OF HARD KNOCKS

+ DON JAMIESON

LOUISIANA

THE EXCHANGE + COLLATERAL

TUE 12 MAY

THE FORUM BATH

NICK MASON’S SAUCERFUL OFTHESECRETS ECHOES TOUR 5

Dear reader, Editor-in-Chief / Sales Loki Lillistone loki@instereomag.com Deputy / Live Editor Jon Kean Online / New Music Editor Kezia Cochrane Features Editor Dave Rowlinson Local Release Editor Lor Nov Creative Director Larissa Matheus

February is here, bringing with it a slew of tours, events and albums – and it’s with the utmost pleasure that we bring it all to you, in handy A6 form.

Needing no introduction, Caribou leads the charge this month ahead of his fantastic new album, Suddenly, out via City Slang. He explains the diaristic nature of this new output, owing in part to the significant life events experienced since 2014’s Our Love.

Katie Gately, whose impressive, otherworldly productions couldn’t be further from the above, also comes in to explain the “pre-lingual” nature of her music-making process for the upcoming Loom. Elsewhere, cult favourite, Black Marble talks to us about his relocation from NYC to LA, and how it’s spelled RIP to his previous MO. Finally, Shopping chat to us about making some of the most angular “pop” we’ve ever heard.

All this, plus Feb’s most exciting releases, live reviews, detailed concert listings for Bristol’s favourite venues, event highlights and more. One of the people behind the fabled AF Gang even drops by to celebrate their unique and positive corner of the internet - and the difference it’s made to many of our humble lives.

Katie Gately

Contributors:

Geoff Cowart, Matt Draper, Thomas Hannan, Charlotte Krol, Nick Mee, Robin Murray, Tom Phelan, Stephanie Phillips, Ari Sawyer, Craig Simmonds, Elliott Simpson, Simone Skilbeck, Harriet Taylor, Albert Testani, Katie Thomas, Lee Wakefield Cover photo by Mathew Parri Thomas, typeface by Lucas Le Bihan ( Velvetyne ).

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10

14

New Sounds

Katie Gately

18

22

Shopping

Black Marble

26

34

Caribou

Releases

40

42

Events

Full Listings

56

58

Live

Thoughts

61 In Bristol Caribou

Loki: Georgia – 24 Hours

Staff on Repeat:

Jon: Nuala Honan – Slow Down Kezia: Megan Thee Stallion + Normani – Diamonds Lor: Agnes Obel – Broken Sleep Larissa: Igorrr – Very Noise 7

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New Sounds

by Kezia Cochrane

Katy J Pearson

Top Ten: New Sounds Lynks Afrikka – I Don’t Know What I Want HEALTH, xiu xiu – Delicious Ape Swan Meat – Literally Seething Stormzy, Headie One – Audacity Galen Tipton – Big Loud & Violent Bad Gyal – Zorra Dorian Electra – Live By The Sword ishi vu – Metamorfos MIKEY. – Transformer Jimothy Lacoste – finna glow

Get more new music from kezia cochrane every monday at: bristolinstereo.com 10

Stormzy

Katy J Pearson There’s something distinguishably unique about Katy J Pearson’s vocal intonation. Like rarities, Aldous Harding or Joanna Newsom before her, her voice holds a particular and profound magic, unlike anyone else. A face you may recognise as part of the enigmatic Lazarus Kane’s entourage, Katy J Pearson released her first solo material last autumn, having made her mark within Bristol and further afield with a string of impressive live shows.

Laden with lilting country twangs and infectious pop hooks, ‘Tonight’ not only makes for a striking debut single, but also comprises a gloriously timeless sound that is at once crystalline and steeped in a hazy nostalgia.

Coupled with a cover of M. Ward’s ‘Poison Cup’, this first pair of tracks succeeds in encapsulating the melodic potency that Pearson conveys live, in both moments of tenderness and in buoyant, resonant harmonies.

Galen Tipton

Galen Tipton Listening to Galen Tipton’s music feels like stepping into a sublimely intricate and infinite cosmos. With a sound that morphs with mercurial poignancy, their experimental electronic creations oscillate between moments of rippling, chirruping grace and bouncy, highoctane euphoria.

Signed to Heavenly Recordings and with an upcoming tour with Pinegrove, Katy J Pearson is certainly a name we’ll be hearing plenty more from soon.

Last year the Ohio-based artist released Fake Meat – via Orange Milk Records – garnering well-deserved acclaim. Brimming with eclectic rhythms, erratic embellishments and twinkling incandescence, it was a pivotal release. They returned last month, however, with new mini-album, recovery girl, seeing them lean more into the candied, glitchy pop side of their sound, further illuminating their ever-flourishing artistic ingenuity and proving there’s no better time to pay attention to Galen Tipton.

Track: Tonight Live: April 1st (with Pinegrove), SWX. @katyjpearsonband @katyjpearsonband

Track: sissy (w/ rkss) @genderlessgenderfulgirl @galenwctipton

Gloo 11

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Katie Gately words: Charlotte Krol photography: Steve Gullick

When LA-based experimental musician and sound designer, Katie Gately was close to finishing the follow-up to her 2016 debut Colour, her world was suddenly shattered. Her mother was diagnosed with an extremely rare form of cancer that would prove terminal. Shortly before the diagnosis in the spring of 2018, Gately’s mother saw her daughter perform live for the first time. She loved a song that would develop as ‘Bracer’, the visceral panic attack lead single from Gately’s new album, Loom. “I got that feedback and I built the album from there,” Gately explains.

The producer parked most of the ideas explored before her mother’s diagnosis, finding herself writing intuitively about the multifaceted emotions experienced while dealing with a colossal uprooting.

“I haven’t had to experience a lot of grief, which is fortunate, but I wasn’t aware that there was a lot of anger that naturally comes with it,” Gately continues over the phone.

“Luckily, I didn’t want to throw that anger at people. I wanted to throw it at sound. A ‘fuck you’ to cancer. I think that’s exactly what my mother would have done.”

Gately speaks of being ‘hyperactive’ while looking after her mother in the family’s hometown of Brooklyn, where she would use the small hours to work on Loom. “I got hypervigilant – I couldn’t sleep,” she says. “I was almost in a flow state, like a bad flow state.” The album became her response to her mother’s illness, both musically and lyrically. “Every song is in a minor key, quite funereal,” Gately adds, as if to explain how reality informed the music. “On the other hand, there’s an energy: 14

there’s percussive elements and it’s faster in some parts, slower in others. And lyrically, I really wanted to acknowledge the kaleidoscope of things you feel when you’re having this kind of experience.”

She recalls pinballing in panic. “I got very attentive to the way my mother looked, like, ‘uhoh, I think something bad is about to happen,’ and then there was this other side where I was like, ‘Fuck this; fuck cancer.’ But there was also this part where I wanted to understand it: ‘what is this disease, how does it work?’ All of those voices, feelings and memories ended up in the music, she says, such as super processed audio from her parents’ wedding.

Loom is a different beast from Gately’s maximalist debut, Colour; the latter is a sensory overload stuffed with inventive field recordings and bold mutations of sound. On Loom, Gately’s voice is positioned front and centre. Sonically speaking, it’s more occupied by drone and deeply ruminative textures. Her wildly creative sampling remains – from bull whips to machine guns – but their dynamics are softer in the mix and are better suited for nighttime listening (perhaps resultant of Gately’s nocturnal writing routine).

“I feel like music tells me what I’m feeling before I know how I’m feeling,” she says, touching on the process behind creating songs such as ‘Allay’. The album track is a haunting cacophony of overlapping choral vocals, gongs and actual earthquake recordings – representative of the thing that shook her world – and is sung from the perspective of her mother’s disease. “That idea just came very naturally. It’s true that

“I feel like music tells me what I’m feeling before I know how I’m feeling.”

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“I didn’t want to throw that anger at people.

I wanted to throw it at sound.”

cancer will come for you and you won’t get better sometimes,” Gately says. There’s an acknowledgement that composing helped her face and cope with the ordeal.

“On this record, I just sort of intuited what to do,” she continues. “I wouldn’t want to go through the grief process again, but I’m hoping that something about opening up in a big way emotionally will help my future work.

I think I feel, oddly, more confident in trusting myself now. All I’ve really had and trusted is my ear. The way I put things together, I feel it’s pre-lingual. Emotions are bumping into each other and I’m just assessing whether or not they feel right.”

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Ultimately, Gately has made something expressive, beautiful and necessary in Loom.

The record may be dedicated to her mother, but there’s ample space for others to seek solace. “I feel dorky saying this, but the primary thing that motivates me is exactly what I get from other people’s music, which is that it makes me feel less alone.”

Loom is released on February 14th via Houndstooth @katiegatelymusic

@kgsounds

Shopping words: Stephanie Phillips photography: Matt Draper ‘Pop’ is the word of the day for Shopping.

It rears its head in every direction our conversation travels down and contorts each band member’s face into jovial masks each time it is uttered. “We definitely wanted to up the pop factor a little bit,” explains bassist, Billy Easter on their obsession.

Their pop offering can be heard on All or Nothing, the band’s fourth album and their most hip-shaking to date, bringing together the jittery, bass-centric post-punk they’re known for, with a new wave dancepunk, Chicago house, and pop sensibility.

So have the UK post-punk band gone full pop then? Well the answer is ‘probably not’, but it’s a goal that keeps the band fired up.

Easter explains: “I feel like it’s something we’re always striving for. We want to write pop songs, but we write the songs that we write.”

Guitarist, Rachel Aggs (also a member of Trash Kit and Sacred Paws) agrees, adding: “In our heads, any sort of deviation from the most minimal way that we sounded when we first started is radical to us and I think, maybe for someone listening in, it still sounds like us.”

Though Britney mics and synchronised moves aren’t on the cards in the band’s near future, they have come a long way from their scrappy beginnings. Formed in 2012 out of the embers of the short-lived London DIY band, Covergirl, Easter and Aggs, along with drummer Andrew Milk, released their debut album Consumer Complaints, encapsulating an era in DIY punk history with their spiky, tumultuous rhythms.

Following the release of their second album, Why Choose (2015) when they lost their practice space to gentrification and Andrew 18

moved to Glasgow, they pushed through and came back with the elastic funk spirit that was 2018’s The Official Body.

Now with Aggs and Milk both permanently relocated to Glasgow and Easter based in LA, the band are as dedicated to Shopping as they’ve ever been, carving out time to get together and write when they can. It is an approach demonstrated in their fearless new album title, which became a motto for the group during the writing and recording sessions. “It ties back into the whole pop production thing,” says Andrew Milk. “Since we were going to try and do something a bit more poppy sounding, we were just like, ‘sure, let’s just add more. More production.’ There’s a bit of a tongue-in-cheek reference at our own process for the record.”

They haven’t gone full throttle for a Spectoresque wall of sound. Working with producer Davey Warsop, All or Nothing fills in the blank spaces of Shopping’s usually sparse arrangements. They were inspired by artists who reached a wider audience while staying true to themselves, whom they defined as Depeche Mode, Yeah Yeahs Yeahs, and Public Image LTD. The dance-forward outlook can be heard on ‘Initiative’ which reaches a climax of buzzing synths and choral harmonies as Aggs demands you “show some initiative.” ‘For Your Pleasure’ bounces around with even more wild abandon when a crisp sampled snare beat enters the conversation. Creating a record that would appeal to a wider audience and bring even more juddering dancers to their anticipated tours was a top priority.

“We definitely wanted to up the pop factor a little bit.�

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“There was a lot of change in circumstances, a lot of upheaval and risks; risks were a big theme on the record.”

“We were consciously trying to make things a bit more melodic at times because I think it’s quite easy for us to write a certain type of song that’s maybe a bit monosyllabic,” says Aggs.

Though monosyllabic, a Shopping song could always pack out a dancefloor in seconds, even when the subject matter drew on the chaos of the world outside the club. On first listen, All or Nothing sits in the same vein as previous Shopping releases, drawing on the issues of work-life pressures, privacy, identity, and fear of false prophets.

It’s only on further listen that it becomes clearer that worries closer to home were also on the band’s mind. “There are quite a lot of legit personal issues that are going into the songs and the songwriting on this record,” says Milk. “There was a lot of change in circumstances, a lot of upheaval and risks; risks were a big theme on the record.”

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Taking risks has given the band permission to write more openly, and grow into a new sound, expanded beyond drums, bass, and guitar.

It is a growth which fans at their upcoming shows will be delighted to witness, and which bring us back to the word of the day: “Our live set is going to be quite different now,” boasts Easter. “Not giving anything away. It’s going to be more along the lines of a pop show.”

Maybe there’ll be Britney mics after all.

All Or Nothing is released via FatCat on February 7th Live: February 9th - Rough Trade @weareshopping @we_are_shopping

O U T N O W AT J U S T M U S I C , T H O M A N N & M O R E

T H E U LT I M AT E S O N G W R I T I N G H A N D B O O K

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“I’m lucky that I can do things on my terms.”

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Black Marble words: Harriet Taylor photography: Ashley Leahy / Black Marble After trading in a bustling New York for the ‘City of Angels’ three years ago, Chris Stewart continues to reinvent himself under the Black Marble moniker. Continuing as sole member, his latest release, Bigger Than Life sees the project emerge into brighter new territory. Splashes of colour now seemingly pervade on its breezy aural template, proving almost radio-friendly against the shadowy elements of It’s Immaterial that preceded it. So for context, I ask Stewart about his relocation, those three years, and how that time has influenced his latest creation.

“Los Angeles almost seemed like the antiNew York,” Stewart begins. “I wasn’t trying to go somewhere that I thought would be the greatest place on Earth; I was more or less just trying to get away from the things that had become grating about New York.” Whilst the bustling hub of city life is something Stewart insists he couldn’t live without – a small town person, he is not – the atmosphere of the mighty concrete jungle had worn him down over time, and change was necessary for his own career growth.

“The backdrop to my life here is just more pleasant,” he explains, whereas working in New York “would feel like a hostile environment that’s constantly trying to eject you.”

From an outsider’s perspective, this seems entirely believable, but there are still things he undoubtedly misses about the home he left behind. He tells me it “has this branding and reputation,” which in the early days of the project seemed exhilarating, inhabiting a city of world-renowned peers. “Every year you make it there would feel like some kind of a small victory,” and “even if you’re not

excelling, you still feel like you’re a part of that environment.” Yet it’s hard to do this without getting swallowed up by the “hard-working, passé, no BS vibe” of the city. Thus, LA won out as a place he could get “a little more return on [his] investment for the same amount of work” and no longer had to “beat [his] head against the wall” while working on Bigger Than Life.

Yet interestingly, on this subject of relocating, Stewart briefly touches on class politics in his old home – and the US in general. He speaks affectionately about those who emigrated from Europe several generations prior, in the early half of the Twentieth century, seeking a better life and working hard for it, which then steers into how class politics affects art. It’s “more discussed in the UK than it is in the US,” he begins before elaborating, “It should be more of an issue here.”

“The only people who can really afford to put in the amount of time it takes to have success are from wealthy backgrounds. […]

That’s going to have a [strange] effect on the kind of art that people are making and the experiences they’ll be bringing to their work.”

This is probably why Stewart relates heavily to those less prolific, underground synth pioneers. “In the same way that punk was a reaction against more trained musicians, […] it almost feels like they didn’t really care whether or not anybody was listening to these records.” He goes on to explain, “the spirit of DIY, doing something completely on your own terms, and being accepted or rejected based on that [alone]” is what Black Marble is all about, and perhaps how the project has managed to sustain itself against the classist elite.

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Having signed to Sacred Bones to release the new album, he jokes, “I’m definitely like on the overground part of the underground.”

Stewart feels comfortable to diversify his sound with the security that an established audience can now afford him, but is nonetheless humble about his position in the music community. “I’m lucky that I can do things on my terms and when I finish a record, there will be an audience for it.” Being in the driver’s seat has left him relatively optimistic for the longevity of Black Marble, and free to take the project wherever he desires without clinging tightly to past iterations and expectations, claiming that what he already has in the works next sounds nothing like Bigger Than Life.

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“I’m just trying to come up with sounds that I respond to, that make me see pictures in my head, or feel a certain way. You can cycle through a hundred different sounds and not really feel anything, but then you’ll hit one and you’ll be taken somewhere. I think I’m just trying to do that.”

Black Marble plays Bristol this month, with Bigger Than Life out now via Sacred Bones.

Live: Crofters Rights, February 2nd @ blackmarblenyc

@blackmarblenyc

Caribou words: Katie Thomas photography: Mathew Parri Thomas

It’s midsummer in Muskoka, Ontario, or, as Canadians affectionately refer to it, cottage country. Two friends, headphones on, sit side by side on the dock, looking out over the lake as family and friends socialise behind them. The friends are Jeremy Greenspan and Dan Snaith. Snaith, the man behind Caribou and Daphni, is listening to new Jessy Lanza music that Greenspan (Junior Boys) has been working on. Jeremy is listening to a new Caribou album, one that was finished and sent off for mastering just days before the pair arrived in Muskoka for their annual summer holiday.

“You can probably tell I’m a water person,” Dan chuckles as we chat over coffee before this cover shoot on the Walthamstow Wetlands. The wind is bitterly cold today, but Dan is undeterred. By the water — like his yearly retreat to the lakes of Muskoka — is Dan Snaith’s happy place. His landmark 2010 record was called Swim, and the cover of this new project (Suddenly lands on February 28th) is of bright, inviting blue water. In Dan’s words, it’s calm, tranquil, and reflective - an image that represents the music.

It’s been five years since the release of Our Love, a period during which Dan and his family have experienced great change. His family has grown, with the birth of his second daughter, now three. And his family has been struck by loss, with the passing of his brother-in-law.

Second single, ‘You and I’ is a tribute, an ode to the relationship between son and mother. In this sense, Suddenly is a diary, reflecting in the record’s tone and lyricism the things that have been happening in Dan’s life, and in the lives of 26

“Sometimes studio and I’m myself, ‘I can’t this at a f

s I’m in the m thinking to t wait to play festival.�

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those close to him. It’s a diary told in the most intimate way — with his voice, for Suddenly sees Dan’s vocal at the forefront more than ever before.

The album also chronicles his listening, a diary of discovery, so to speak. For Dan, who considers himself a fan first and music maker second, Suddenly brings together “everything that follows my excitement about the music I’ve been hearing.” Where Swim was informed

by London’s bubbling late-night landscape at the time — Theo Parrish in Plastic People, Floating Points, Hessle Audio — Suddenly takes inspiration from a world of woozy, spacious R&B and hip-hop production that’s grown from Drake’s OVO Sound label. On his new record, Dan seeks to strip away familiar rap cadences, leaving behind the “weird, ethereal bits.”

There are plenty of weird, ethereal bits: Suddenly is littered with fuzzy keys, dissonant melodies and affecting string sections.

And as we’ve come to expect from all Caribou music, the record glows with a familiar warmth and softness. Even when Dan Snaith is at his most reflective and melancholy, still he wants for optimism and joy. “That’s what music is for me,” he says gratefully, “it’s to get that feeling of release, and euphoria and happiness.”

Dan might find happiness of his own when he’s making music, but he also delivers moments of euphoria for his listeners too — ask anyone who’s experienced a live rendition of ‘Can’t Do Without You’ as the sun dips over a festival site. We anticipate many more of these moments as Caribou set off on their next string of live shows. With crisp, grooveled percussion, soaring synths and catchy riffs, ‘Ravi’ and ‘Never Come Back’ are custom-built for a festival crowd. Look for those slightly-sunburnt faces, belting the words as if their hearts might burst. “It’s always better when I’m with you,” goes the former. “You and I were together/ Even though we both knew better,” goes the latter.

“Sometimes I’m in the studio and I’m thinking to myself, ‘I can’t wait to play this at a festival,’” Dan says. Whilst he makes Caribou music alone in his basement studio, the band has become one of his favourite things about being a musician. The Caribou live show informs, to a point, what Dan creates in the studio, but he’ll never leave something off a record on the basis it may not work in a live capacity. “I’ve made this deal with myself,” he explains. His method is to produce many (and by many, we mean upwards of 900 for this record alone) thirty-second clips, each representing a potential blueprint for an album track. He ranks the clips in vague order of preference, and then starts to flesh out the ideas, from half a minute to a fully-formed track.

“There’s such potential for me to get lost in the wormhole.”

Kieran Hebden, aka Four Tet, is a crucial part of this process, often, Dan says, rescuing ideas from the bottom of the pile. “There’s such potential for me to get lost in the wormhole,” Dan admits, before jokingly mimicking Kieran’s aghast exclamation of “Dan! Finish this fucking track!” ‘New Jade’, a shimmering cut with wicked drums that speaks of optimism and new beginnings, is one of three or four tracks on the album that Kieran literally saved from the trash. “It’s amazing that we found each other,” Dan says. “He’s like a brother to me.”

Dan Snaith has a PhD in Pure Maths, but he wonders if that gives people a misinformed view of the way his brain works, or indeed the way he makes music. The mathematics we learn in school is logical, methodical, black and white. But beyond school, maths is wildly abstract, a playground of ideas. It’s the kind of mathematician that Dan associates with most.

“They’ve got some kind of beautiful, weird thing going on in their heads,” he says.

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And speaking of beautiful and weird, Dan has an especially heartwarming story to tell about Colin Fisher, the Canadian multiinstrumentalist and improv-virtuoso who has contributed to Suddenly on guitar and tenor saxophone. Dan affectionately describes him as looking like the Buddha, with a crazy hyena laugh. One weekend in the summer, Colin came to stay with Dan to work on the album, picking up a Turkish flute on a stroll down Stoke Newington High Street. Dan’s eyes light up as he recalls a scene in his garden, Colin playing a flute, one daughter bouncing on the trampoline, and the other running circles in the grass. “It made me so happy, to be making music with this wise, amazing person whose ideas I value so much,” he smiles, “and also just for my kids to have this life, where it’s normal for these wonderful, unusual people to drop into their lives.”

still so high to climb,” he sings. Julia grew up vulnerable and isolated in 1950s Britain, later coming out as trans whilst touring with the band. “It was this amazing flowering of her personality,” Dan recalls of her experience. “‘Magpie’ is a letter to Julia, reflecting on how much the world has changed with regards to trans rights and the awareness of trans issues. It would mean so much to her.”

People come into our lives, and they leave our lives too. Sometimes they are taken, and it’s painfully untimely. Such was the case with the late Julia Brightly, who worked with Caribou as their sound engineer for a decade.

It’s now been almost six years since Julia passed away, and Dan has written the album cut ‘Magpie’ for her. “So much has changed, so much is new, and now/ And yet there’s

It’s Dan in a nutshell really: collect lots of shiny ideas, methodically arrange them into a list, deliver something luminous.

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There’s a point in our conversation where Dan refers to himself as a magpie, referring to his tendency to pick up on music from all different times and places. A magpie is extraordinarily intelligent, and, of course, known as a bit of a kleptomaniac with a penchant for shiny things.

At first glance, the bird is black and white, but look more closely and the black feathers glow with an almost iridescent hue of purples, blues and greens.

Suddenly is released on 28th February via Merge/City Slang.

Live: April 6th, O2 Academy @caribouband

@cariboumusic

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THE VAPORS

Soccer Mommy color theory Loma Vista, February 28th

Mostly there was that “I don’t wanna be your feral hog” tweet on sainted Twitter day, August 6th 2019, but there’s also been exceptional music. From the 2017 compilation, Collection, through to 2018’s Clean, the transformation of Soccer Mommy – the nom de plume of Nashville native Sophie Allison – from bedroom project to full band has been a joy to watch, and to listen to.

That being the case, Danny Wright gathered Stephanie Phillips and Georgia Evans together to find out if new album, color theory, sees that trajectory continue...

Have you been a fan of Sophie Allison / Soccer Mommy since Clean?

Stephanie: I really loved Clean and heard about her then. Songs like ‘Last Girl’ and ‘Your Dog’ were stuck in my head for ages.

She seemed to be referencing 90s acts like Liz Phair or Bratmobile, which I really loved.

Georgia: Yes! I love that about her. Her lyrics are incredible too.

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Stephanie: I was so surprised when I found out her age. I’d say she’s well beyond her years, but realistically she’s just found her calling earlier than most do.

With color theory, it’s clear she’s been through a lot. Does it feel like a heavy record?

Stephanie: It’s certainly a melancholy record.

On songs like ‘nightswimming’ and ‘yellow is the color of her eyes’, the trauma she’s coping with becomes more apparent.

Georgia: Though it touches on heavy subjects such as depression, self-harm and terminal illness, it doesn’t feel heavy. The production still has you singing and swaying along, but when you look back and read into it, you can see that actually there’s some pretty dark stuff in there.

I think ‘circle the drain’ is a prime example of this. I also really love ‘royal screw up’ too. I’ve had that in my head for days. It perfectly sums up that feeling of thinking everything you do is wrong.

But the two you’ve mentioned, Steph, are painful to listen to. I had a tear in my eye listening back to ‘yellow is the color...’.

Stephanie: Yeah - it doesn’t leave you feeling depressed. You’re just aware of the sensation and memory.

Georgia: There’s real balance - it’s really beautifully done.

Stephanie: With ‘crawling in my skin’, at first I’m moved by the girl group-style beat, but then, obviously, the image of someone uncomfortable in their skin is deeply sad.

And sonically does it feel like an evolution from Clean?

Stephanie: I think very subtly. She’s clearly still developing her style and knows what works for her. There isn’t anything on color theory that seems out of left field, but there are extra additions that build on her style.

More electronic and atmospheric back‑ ground sounds all add depth to the record.

Georgia: Agreed. I really like the production.

She’s toying with samples now too, so tracks like ‘night swimming’ are really beautiful, with the sampling running underneath, which quite dramatically cuts out as she sings about sinking. There’s certainly a fuller feel to it.

She’s said that every song began with a live take done to tape. Can you hear that?

Georgia: Yeah, I think you can hear it, but she’s clearly got an idea of how she wants to sound, so it doesn’t feel like she’s strayed too far away from what we’re used to.

Stephanie: The essence of her sound has been her and a guitar, so keeping that element raw was a good idea. It also connects color theory back to Clean and makes sure it still feels like a Soccer Mommy release.

She said she wants the album to sound like “a dusty old cassette tape that has become messed up over time” - has she achieved her goal?

Stephanie: Thematically, the album is as relevant now as it would have been 30 years ago,

so in that sense, I could imagine finding this at the bottom of a box of tapes in a local record store. In terms of the production, there’s been great care taken to emphasise the core elements of each song: her voice and guitar.

Nothing has been overly produced or warped beyond recognition.

Georgia: There are points where the samples sound a bit worn or distant, but it’s not too inyour-face and I like that subtlety. Thematically, there’s definitely a timeless quality to it.

You mentioned Liz Phair before, Steph. Are there any other influences you hear?

Stephanie: Maybe more ‘contemporaries’, but there are a lot of similarities with Girlpool.

And in terms of influence, maybe (loosely) bands like Pavement or Jimmy Eat World.

Georgia: I read that she’s a fan of Elvis Depressedly too, and you can kind of see where the lo-fi comes from. (Sandy) Alex G has that same kind of style too.

Stephanie: She’s definitely from the church of less is more.

And the final question - do you think this is an album that will stay with you?

Georgia: Yes - I can’t stop listening to it!

Stephanie: Yeah, I think it will definitely stay with me. Songs like ‘bloodstream’ or ‘crawling in my skin’ keep circling in my head. There’s a lot on this album and it gets much more enthralling with each listen.

Georgia: You hear something different each time you go back. color theory is released on February 28th via Loma Vista Live: Trinity Centre, June 19th @soccermommymusic

@sopharela

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Pet Shop Boys Hotspot x2 Records/Kobalt January 24th

Album Reviews Orbury Common Building The Goddess Temple Self-released Out Now The second EP from the ever-cryptic Orbury Common sees them push their space-tinged soundscapes even further from the Earth’s orbit.

Across its three tracks, the duo click together sounds like inquisitive children, blending ambient electronics with a range of instruments and samples.

Opener, ‘(wo)Menhir’, stutters to life with a distorted electronic hum, gathering additional layers of sound as it moves along, before closing out with a Boards of Canada-like sample of a child counting. ‘New Moon Nudes’ takes things in a heavier direction, driven by a violent, almost ritualistic drumbeat, before ‘Geodessia’ offers the listener a moment to cool down with cooing electronics and soft keyboards. Though brief, it’s hard not to get lost in the world that Building the Goddess Temple teases open.

Elliott Simpson 36

What exactly do you want from a Pet Shop Boys record in 2020? Because, if the answer is “another synth-tastic pop-romp, please,” Hotspot has you covered. Recorded in Berlin’s Hansa studios, made famous by Bowie during his Berlin period, the studio’s influence seems mostly that it’s sonically less ‘digital’ than its predecessor, 2016’s Super.

Which is not to say the duo have gone full analogue, (as if). There’s one acoustic-y number, the sublime ‘Burning The Heather’ (featuring Mister Bernard Butler on jangly guitar duties). As Neil Tennant croons about how he’s “just the singer of the song…,” we can just be glad he is, as the track itself is a reminder that, for those of us who love Tennant’s yearning, emotive vocals, he can still envelop you like an old favourite cardigan.

It’s a feat he constantly repeats on Hotspot, whether hanging out with Years and Years on ‘Dreamland’, or on the more wistful ‘Hoping For A Miracle’ (think ‘Kings Cross’ and you’re kinda there).

The title of ‘Will O-The-Wisp’ might evoke childhood memories of Mavis Cruet for those of us old enough to remember the 80s teatime cartoon (which probably has nothing to do with it, but thanks for the memory anyway), but also seems to contain momentary fragments reminiscent of ‘It’s A Sin’. It’s just in the opening few seconds (before it transforms into an absolute belter), but it’s surely deliberate, designed to remind you that, in the past, present and hopefully future, Tennant and Lowe remain genuine National Treasures.

Simone Skilbeck

HAAi Systems Up, Windows Down EP MUTE 14th February

Australian-born, London-rooted producer, HAAi – real name Teneil Throssell – links with legendary imprint Mute for a new EP, and it refuses to disappoint. Six tracks of sweaty, cramped, digital hedonism, it matches her predilection for working the room with a penchant for sound design that pairs industrial tones with something rather more playful.

Opening with ‘Don’t Flatter Yourself Love’ - its spacious arrangement akin to a soundsystem slowly leering into life – the EP moves through warped heads-down techno chuggers, Aphexleaning atmospherics, and the subtle dub-inflected sparsity of ‘6666’. Probing yet light-spirited, HAAi refuses to be hemmed in.

Ending with that magnificent title track, she is truly laying down a marker, following those sought-after London residencies with a fine, nuanced, and endlessly exhilarating new EP. Robin Murray

Destroyer Have We Met Dead Oceans 31st January

Have We Met is a refinement of the shimmering indie-pop Dan Bejar’s Destroyer perfected on 2011’s Kaputt, and while there’s little to be found that will surprise anyone who’s followed his career trajectory over the past few decades, there is more than enough that will delight.

Continuing the tradition of there really not being any bad Destroyer albums, Have We Met has a number of peaks that put it among Bejar’s best. The gorgeous ‘It Just Doesn’t Happen’ is one of his most rewarding compositions, and of course it’s peppered with the sort of turns of phrase that see him regarded as one of rock’s most skilled lyricists (“The television music supervisor says ‘I can’t believe what I’ve done’…” being a favourite).

Thomas Hannan

Squirrel Flower I Was Born Swimming Full Time Hobby 31st January

What noises have you made when pleasantly overwhelmed by the power of new music – when you expected it to be good, but you didn’t expect it to be quite so good? Whatever quirky sound you made, be prepared to emote that way again when you blast (please, please play it loud) I Was Born Swimming by Squirrel Flower.

Why turn the volume up on this album? Because it is so sensitively produced. You can hear hand movements along guitar frets, as on ‘Headlights’. Its moments of quiet have a profound atmospheric depth and a high emotional volume. ‘I-80’ and ‘Red Shoulders’ provide a breathtaking opening. Later, when she sings, “My body’s buzzing as I start to dance” on ‘Street Light Blues’, yours ought to follow suit.

Jon Kean 37

Nicolas Godin Concrete And Glass

Poliça When We Stay Alive

Because Music 24th January

Memphis Industries January 31st

Godin’s follow-up to Contrepoint is less complex and classically minded than its Bachinspired predecessor, but is again motivated by a single theme, that of architecture – Godin is a graduate in the field and has composed a site-specific tribute to modernist structures. But shorn of its sense of place, does it work for a listener inhabiting, say, a Barratt semi? If they favour the sonorous ambience of Godin’s primary band, Air, then probably, though this album’s layered electro-pop is slighter.

Carrying on is hard to do.

Physical and emotional trauma can leave us cynical and world-weary at best. The idea of totally shedding your skin and approaching life with unbridled optimism after the fact is a common lie passed about way too freely in pop culture.

Which is why When We Stay Alive feels more truthful than that. At the heart of the album lies acceptance: examining the curious relationship of embracing pain over total resilience and sometimes surrendering the belief that you have control under the whims of natural chaos.

Guest vocalists include Alexis Taylor and, on the catchy ‘Back to Your Heart’, Kate NV, while Godin’s overuse of the vocoder taints ‘The Border’s ethereal drift like a garish paintjob on a minimalist façade. It’s the album’s instrumental infrastructure – its taut beats and warm synths – that give most pleasure: firm foundations, at least.

Nick Mee

Moses Boyd Dark Matter Exodus Records 14th February

The contrasts between Channy Leaneagh’s ethereal hyper-pop vocals and sardonic lyrics steeped in cryptic metaphor are exquisite – an aural to-and-fro that seems to epitomise this whole process of realising one’s vulnerability.

Definitely their finest, most fully realised album to date.

Harriet Taylor

Jazz is alive and well in London. Want proof? Look no further than Catford drummer, Moses Boyd. Already a well-known name on the scene thanks to collaborations with tenor saxophonist, Binker Golding, his debut album represents a chance to test his own vision and chops. With previous sessions with Gary Crosby and Nubya Garcia under his belt, his jazz credentials are assured.

Yet Moses can also claim mixes from Floating Points and Four Tet. Now, these 10 tunes offer a delicious fusion of his highly-syncopated drumming with some exquisitely lush grooves, topped off with an electronic flourish. Think Weather Report jamming with an African Highlife lounge band in Rye Lane and you’re getting close. Guest vocals from Poppy Ajudha, Obongjayar and Nonku Phiri add another, slicker dimension.

Geoff Cowart

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Best Coast Always Tomorrow Concord / Virgin 21st February

Throughout their first release since 2015, not including their 2018 children’s record, Best Kids, Bethany Cosentino oscillates between self-assurance and the THC-tinged self-deprecation that Best Coast are known for. This record is not a move back to the poppy surf-rock that broke them into the mainstream in 2010. However the first single, ‘For the First Time’, again uses a laid-back, poprock foundation to examine the slacker’s paradox of whether actual change is happening in your life or if it’s just another song about trying to move on.

‘Everything Has Changed’, and Always Tomorrow in general, might be as heavy as surf-rock can sound and the best resolution you can get is that self-improvement and happiness are relative.

Albert Testani

Beach Bunny Honeymoon Mom+Pop 14th February

Scattered with power-pop remnants of decades passed, Beach Bunny’s forthcoming debut marks a fresh and optimistic take on love. Aptly set for a Valentine’s Day release, Honeymoon branches away from predictable, woe-is-me songwriting, opting instead for a hopeful and unapologetic approach as vocalist Lili Trifilio embraces the positivity of love.

While ‘Cuffing Season’ and ‘April’ deal with the process of recovering from a broken heart and learning to be alone, the latter half of the record turns towards excitement, heart-bursting crushes and opening ourselves up to new possibilities. From the hazy melodies of ‘Promises’ and ‘Ms. California’ to the stripped-back intimacy of ‘Rearview’, Honeymoon is empathic and confessional, presenting love and romance as a blissful awakening, without falling into the trap of lyrical cynicism.

Ari Sawyer

ALLIE X CAPE GOD Twin Music Inc 14th February

‘Fresh Laundry’, the first track on Cape God, is also the earliest taste we had of new Allie X material. Confronted by unnerving versions of herself against a backdrop of moody electronic growls and the unshakeable hook of “I want to be near fresh laundry; it’s been too many years of not folding,” it’s visually astounding and sounds phenomenal.

Consider it a tone-setter, because everything on Cape God resembles only the most infectious, sleekest cuts of pop. Highlights come thick and fast: ‘June Gloom’ is reminiscent of Prince at his funkiest; the Mitski-featuring ‘Susie Save Your Love’ is a shimmering ballad and the exhilarating ‘Life of The Party’ and ‘Super Duper Party People’ go for the throat. 2020 should be dominated

by Allie X. Lee Wakefield 39

Events

by Elliott Simpson

All Out / All Dayer: Queer Arts Festival 15th Feb. at Exchange There’s a heck of a lot to look forward to at this all-day – and most of the night – festival.

Expect plenty of music from local talents, including angry and empowering anthems from the Menstrual Cramps and the electronica-tinged rock from Cosmic Ninja. Your ears will also be pleased to hear that there is a slew of DJs performing, ensuring the party runs well into the early hours of the morning.

But the music is really just the tip of the iceberg when it comes to this event, which also promises to feature cabaret, drag and an arts and crafts market filled with wondrous handmade goods. Is there any better way to spend your Valentine’s Day weekend? No, we don’t think so!

Annie Gillespie

Meet the Artist: Anna Gillespie 1st Feb. at RWA There are few sculptors out there whose work walks the line between beautiful and uncanny quite as well as Anna Gillespie’s. Over the past three decades, she’s put together an uncountable number of incredible exhibitions, often revolving around the theme of humans and their relationship with nature. Her talk at Royal West of England Academy will be the perfect opportunity to gain some insight into her processes, making it a must-attend event for all art lovers.

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Cider vs Cheese

Cider vs Cheese Feb. 13th at Tobacco Factory

The Menstrual Cramps (All Out)

Cider and cheese are two of the West Country’s great loves, and so it only makes sense to hold an event dedicated to both of them. This tasting evening is set to feature five of the most tantalising cheeses and ciders from the UK and beyond, paired especially to bring out each other’s flavours.

Whether you’re a fanatic when it comes to either – or just the sort of person who enjoys a Thatcher’s or a bit of cheddar now and then – it’s the perfect opportunity to treat your taste buds.

Silencio: An Evening French Kiss of Ambient Music Presents: Saoirse 6th Feb. at Café Kino

7th Feb. at The Loco Klub

Whether you’re new to the world of ambient and drone music or a seasoned connoisseur, there’s plenty to love about Silencio. The line-up features a number of exciting names from the underground ambient music scene, including Silver Stairs of Ketchikan, Surgeons Girl and Finglebone, covering everything from drone to field recordings. We can’t think of a better way to spend your Thursday evening than letting yourself unravel to their soft sounds and dreamy visuals.

Saoirse has quickly proven herself to be one of the most exciting names in the current house and techno DJ scene, and it’s not hard to see why. Relying on obscure, oldschool records, she has a knack for digging out sounds that everyone else has forgotten about. If you’re looking to kick loose till the early hours of the morning, then be sure to pencil her show at the Loco Klub into your diary. Expect a night full of unadulterated electronic bliss.

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Full Listings FREE FOR ALL FESTIVAL: TBA FREE / 7.30PM / THE MOTHERS RUIN

NED'S ACOUSTIC DUSTBIN £15ADV / 7.30PM / EXCHANGE

JFS PRESENTS: BRISTOL HORNSTARS £3 / 9.00PM / MR WOLFS

SNAZZBACK PRESENTS ST BARBE TRIO FREE / 9.00PM / THE GALLIMAUFRY

TWIN TEMPLE £12.50ADV / 7.00PM / THEKLA

ALL EARS AVOW + FLOORBOARDS £5ADV / 7.00PM / THE GRYPHON

WEDNESDAY 29TH JANUARY

CURRENT SWELL £15ADV / 7.30PM / THE LOUISIANA

FRINGE JAZZ FREE / / THE BRISTOL FRINGE

FREE FOR ALL FESTIVAL: DIE! CHIHUAHUA DIE! + ZINC BUKOWSKI FREE / 7.30PM / THE MOTHERS RUIN

Full Live Listings:

HERONDRONE FREE / 9.30PM / THE CANTEEN THE SOUND CUPBOARD DONATIONS / 8.00PM / THE CROFTERS RIGHTS

IVW: £3/£4 / 9.00PM / MR WOLFS UNCLE FRANK £12ADV / 7.00PM / THEKLA

WALDO'S GIFT: SYNESTHESIA FREE / 9.00PM / THE GALLIMAUFRY

FRIDAY 31ST JANUARY

SWEET LIME £5ADV / 7.30PM / THE LOUISIANA

HANGOVER CLUB FREE / / THE BRISTOL FRINGE

FREE FOR ALL FESTIVAL: ONE LAST SCORE FREE / 7.30PM / THE MOTHERS RUIN

FRANZ VON FREE / 9.30PM / THE CANTEEN

FRUIT MACHINE - LIVE HIP HOP CYPHER FREE / 9.00PM / MR WOLFS ASHANTI & GINUWINE £33ADV / 7.00PM / O2 ACADEMY THY ART IS MURDER £17.50ADV / 6.00PM / SWX KOKOROKO £16ADV / 7.30PM / TRINITY CENTRE THURSDAY 30TH JANUARY OPEN STAGE FREE / / THE BRISTOL FRINGE MARK J LEE FREE / 9.30PM / THE CANTEEN 42

LEECHED + TUSKAR + GEIST / 7.00PM / THE CROFTERS RIGHTS BREAKDOWN £3ADV / 11.00PM / EXCHANGE KID KLUMSY £8ADV / 7.30PM / THE LOUISIANA FREE FOR ALL FESTIVAL: BULLY BONES FREE / 7.00PM / THE MOTHERS RUIN IVW: JOE PROBERT £3/£4 / 9.00PM / MR WOLFS SAM FENDER £16ADV / 6.30PM / O2 ACADEMY LOWER DENS £13.75 / 7.30PM / ROUGH TRADE

see bristolinstereo.com/live-listings for up-to-date events and more

Full Listings JAH WOBBLE & THE INVADERS OF THE HEART £17.50ADV / 7.00PM / THEKLA SATURDAY 1ST FEBRUARY HANGOVER CLUB FREE / / THE BRISTOL FRINGE INSULTANES FREE / 9.30PM / THE CANTEEN M!R!M + FEVER 103O + PLASTIC ESTATE / 7.30PM / THE CROFTERS RIGHTS DEPTT S: THE K’S + PARKA £3ADV / 7.00PM / THE LANES COUSIN KULA £6ADV / 7.30PM / THE LOUISIANA IVW: HARDWICKE CIRCUS + BROKEN BONES MATILDA / 9.00PM / MR WOLFS THE KITCHEN SYNCOPATORS FREE / 11.00PM / NO. 1 HARBOURSIDE KEVIN DEVINE CELEBRATING 10 YEARS OF BROTHERS BLOOD / 7.30PM / ROUGH TRADE

BLACK MARBLE + PANTHER MODERN / 7.00PM / THE CROFTERS RIGHTS THE FELICE BROTHERS £16.50ADV / 7.00PM / THE FLEECE SYDNEY SESSIONS + DJ ZAKAI FREE / 8.00PM / THE GALLIMAUFRY SUBLIME CADAVERIC DECOMPOSITION (FRANCE) + BASEMENT TORTURE KILLINGS + PUTREACTION OF ROTTING CORPSES (FRANCE) TBC / 7.00PM / THE GRYPHON WIG IN A BOX & BLG: SUM TING WONG / 7.00PM / THE LANES THE LOCAL HONEYS £12.50ADV / 7.30PM / THE LOUISIANA KANO £30ADV / 7.00PM / O2 ACADEMY MONDAY 3RD FEBRUARY CANTEEN JAZZ SESSION FREE / 9.30PM / THE CANTEEN VICARAGE / 7.00PM / THE CROFTERS RIGHTS

JAM BAXTER £15ADV / 7.00PM / THEKLA

OPEN MIC: HOSTED BY MIKE DENNIS FREE / 8.00PM / THE GALLIMAUFRY

BEANS ON TOAST £15ADV / 7.00PM / TRINITY CENTRE

GIN JAM - OPEN STAGE NIGHT FREE / 9.00PM / MR WOLFS

SUNDAY 2ND FEBRUARY

TUESDAY 4TH FEBRUARY

LISA O'NEILL £13.08INC BF / 8.00PM / BRISTOL FOLK HOUSE

OPEN MIC FREE / / THE BRISTOL FRINGE

FREE LIVE MUSIC FREE / / THE BRISTOL FRINGE THE SCHMOOZENBERGS FREE / 4.00PM / THE CANTEEN

NEVADA FREE / 9.30PM / THE CANTEEN WINDSHAKE + SUPPORT / 7.00PM / THE CROFTERS RIGHTS

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see bristolinstereo.com/live-listings for up-to-date events and more

Full Listings DHARMA BLUES FREE / 9.00PM / THE GALLIMAUFRY

3TEETH £14ADV / 6.30PM / THEKLA

YEP ROC SHOWCASE £14ADV / 7.30PM / THE LOUISIANA

THURSDAY 6TH FEBRUARY

KACY AND CLAYTON £12 / 7.30PM / THE MOTHERS RUIN

OUR MAN IN THE FIELD FREE / 9.30PM / THE CANTEEN

JAZZ FUNK SOUL SOCIETY FREE / 9.00PM / MR WOLFS

747 + LOCKER 88 + PRETTY CRIMINAL + IDLEGOD / 7.00PM / THE CROFTERS RIGHTS

THE INTERRUPTERS £20ADV / 7.00PM / O2 ACADEMY TWEN & GUESTS £7 / 7.30PM / ROUGH TRADE IDER £10ADV / 7.00PM / THEKLA WEDNESDAY 5TH FEBRUARY FRINGE JAZZ FREE / / THE BRISTOL FRINGE ALL OF US FREE / 9.30PM / THE CANTEEN OLIVIA LANE / 7.00PM / THE CROFTERS RIGHTS MAN & THE ECHO £10ADV / 7.30PM / EXCHANGE JAMIE CRUICKSHANK £5ADV / 7.30PM / EXCHANGE WALDO'S GIFT: OPEN COLLABORATION FREE / 9.00PM / THE GALLIMAUFRY MISS KILL £5ADV / 7.30PM / THE LOUISIANA FRUIT MACHINE - LIVE HIP HOP CYPHER FREE / 9.00PM / MR WOLFS STEEL PANTHER £32ADV / 7.00PM / O2 ACADEMY

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WHEEL £10ADV / 7.30PM / EXCHANGE ART BATTLE BRISTOL £10ADV / 7.00PM / THE FLEECE GLOBAL GROOVE EXPERIMENT FREE / 9.00PM / THE GALLIMAUFRY FOIL £5ADV / 7.30PM / THE LOUISIANA SHUTTERDOG + SUPPORT / 9.00PM / MR WOLFS PKEW PKEW PKEW £10ADV / 7.00PM / THEKLA ANNA MEREDITH £15ADV / 7.30PM / TRINITY CENTRE FRIDAY 7TH FEBRUARY LEE MCCRRORY FREE / / THE BRISTOL FRINGE RSVP FREE / 9.30PM / THE CANTEEN SEAN MCCONNELL + KELSEY WALDON & GARRISON STARR / 8.00PM / THE CROFTERS RIGHTS ULTIMATE 40 (UB40 TRIBUTE) £13.50ADV / 7.00PM / THE FLEECE

see bristolinstereo.com/live-listings for up-to-date events and more

Full Listings WS & BLG: ETHERS + JAPANESE TELEVISION / 8.00PM / THE LANES OCTOBER DRIFT £7ADV / 7.30PM / THE LOUISIANA THIS FEELING PRESETNS THE DEAD FREIGHTS, POMPADOUR + MORE £5 / 7.30PM / THE MOTHERS RUIN STONE JETS + THE CAT MAGIC £3/£4 / 9.00PM / MR WOLFS DENNY ILLET ORGAN TRIO FREE / 11.00PM / NO. 1 HARBOURSIDE THE MENZINGERS £18.50ADV / 6.30PM / SWX POLICA £18.50ADV / 7.00PM / THEKLA SATURDAY 8TH FEBRUARY STEVE LEVER FREE / / THE BRISTOL FRINGE THE MAY KINGS FREE / 9.30PM / THE CANTEEN CASWELL + SWALLOWFALL / 7.30PM / THE CROFTERS RIGHTS JAYESH ALL-DAYER £10/13 / 2.00PM / EXCHANGE A BAND CALLED MALICE £12ADV / 7.00PM / THE FLEECE IT: GO CACTUS FREE / 7.30PM / THE LANES NOVATINES £8ADV / 7.30PM / THE LOUISIANA DUSK BROTHERS + JO CARLEY & THE OLD DRY SKULLS £3/£4 / 9.00PM / MR WOLFS

LBJBS FREE / 11.00PM / NO. 1 HARBOURSIDE SMOKE FAERIES £12 / 7.30PM / ROUGH TRADE SLUM VILLAGE X ABSTRACT ORCHESTRA £18.50ADV / 6.30PM / SWX SUNDAY 9TH FEBRUARY FLATS & SHARPS FREE / 4.00PM / THE CANTEEN JAKABOL + MALAIKA KEGODE: OUTLIER / 7.00PM / THE CROFTERS RIGHTS THOSE DAMN CROWS £10ADV / 7.30PM / EXCHANGE JULIAN COPE SOLD OUT / 7.00PM / THE FLEECE SIMIAH (LIVE) DOUBLE DRUM SHOW FREE / 8.00PM / THE GALLIMAUFRY SHOPPING / 6.30PM / ROUGH TRADE THOSE DAMN CROWS LP OR CD SIGNING / 4:30PM / ROUGH TRADE MONDAY 10TH FEBRUARY DECYPHERS HIP HOP SESSION FREE / 9.30PM / THE CANTEEN KITE THIEF + THC DREAMS + WNTT + CALLING APOLLO £6ADV / 7.00PM / THE CROFTERS RIGHTS KELE £16ADV / 7.30PM / EXCHANGE OPEN MIC: HOSTED BY MIKE DENNIS FREE / 8.00PM / THE GALLIMAUFRY ARIEL POSEN £15ADV / 7.30PM / THE LOUISIANA

45

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Full Listings GIN JAM - OPEN STAGE NIGHT FREE / 9.00PM / MR WOLFS

FLESHGOD APOCALYPSE £16ADV / 7.30PM / THE FLEECE

THE HU £19.50ADV / 7.00PM / O2 ACADEMY

WALDO'S GIFT: REWORKS: FLEETWOOD MAC FREE / 9.00PM / THE GALLIMAUFRY

ANGEL OLSEN £18ADV / 6.00PM / SWX TUESDAY 11TH FEBRUARY OPEN MIC FREE / / THE BRISTOL FRINGE LEO JAMES FREE / 9.30PM / THE CANTEEN POLYGAZE / 7.00PM / THE CROFTERS RIGHTS QUINN OULTON FREE / 9.00PM / THE GALLIMAUFRY JOE GIDEON £8ADV / 7.30PM / THE LOUISIANA JFS PRESENTS: COLLECTIVA £3 / 9.00PM / MR WOLFS ASGEIR £16ADV / 7.00PM / SWX GILL LANDRY £13.08INC BF / 8.00PM / THE WARDROBE THEATRE WEDNESDAY 12TH FEBRUARY FRINGE JAZZ FREE / / THE BRISTOL FRINGE SOL FREE / 9.30PM / THE CANTEEN BLIND MAG: LYNKS AFRIKKA + SUPPORT / 7.00PM / THE CROFTERS RIGHTS YACHT £15ADV / 7.30PM / EXCHANGE

46

WAXSLAX: THE EARLY MORNINGS, RATBAGS, HAAL £3 / 7.30PM / THE MOTHERS RUIN FRUIT MACHINE - LIVE HIP HOP CYPHER FREE / 9.00PM / MR WOLFS STARSET £16ADV / 7.00PM / SWX THURSDAY 13TH FEBRUARY JINGU BANG FREE / 9.30PM / THE CANTEEN MXLX £6ADV / 7.30PM / EXCHANGE SNAZZBACK: OPEN STAGE FREE / 9.00PM / THE GALLIMAUFRY TWO DAY COMA £7ADV / 7.30PM / THE LOUISIANA OC PROMOTIONS: MEDWAY + WHAT HAVE YOU DONE, WE'RE SINKING £3/£4 / 9.00PM / MR WOLFS FRIDAY 14TH FEBRUARY IGUANAS FREE / 9.30PM / THE CANTEEN BRU-C £10ADV / 7.00PM / EXCHANGE THE BON JOVI EXPERIENCE £15ADV / 7.00PM / THE FLEECE ALIEN STASH TIN + CONSPIRACY OF CHAPLINS + THE LIABILITIES OF AD TBC / 7.00PM / THE GRYPHON

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Full Listings KING NUN £8ADV / 7.30PM / THE LOUISIANA

BLG & DSC: SEA URCHIN + SUPPORT / 7.00PM / THE CROFTERS RIGHTS

SKATA TONES + SUPPORT £3/£4 / 9.00PM / MR WOLFS

HUNDREDTH £12.50ADV / 7.00PM / EXCHANGE

MANGO FACTORY FREE / 11.00PM / NO. 1 HARBOURSIDE

DUBIOZA KOLEKTIV £17.50ADV / 7.00PM / THE FLEECE

DAMO SUZUKI / 7.30PM / ROUGH TRADE

SHAKU + SUPPORT FROM MILON FREE / 8.00PM / THE GALLIMAUFRY

(SANDY) ALEX G SOLD OUT / 7.00PM / THEKLA

LAURAN HIBBERD £9ADV / 7.30PM / THE LOUISIANA

SATURDAY 15TH FEBRUARY

SNOGSMITH FREE / 8.00PM / MR WOLFS

THE BALKANOES FREE / 9.30PM / THE CANTEEN

MONDAY 17TH FEBRUARY

SUPERLOVE + WINCHESTER + BEYOND BETA £5ADV / 7.30PM / THE CROFTERS RIGHTS THESE SMITHS £12ADV / 7.00PM / THE FLEECE

CANTEEN LATIN SESSION FREE / 9.30PM / THE CANTEEN OPEN MIC: HOSTED BY MIKE DENNIS FREE / 8.00PM / THE GALLIMAUFRY

WAXSLAX & BLG : PONYLAND / 7.00PM / THE LANES

GRAVY TRAIN & BLG: MOLLY + NOSSIENNES DONATIONS / 7.00PM / THE LANES

EMILY CAPELL £8ADV / 7.30PM / THE LOUISIANA

GIN JAM - OPEN STAGE NIGHT FREE / 9.00PM / MR WOLFS

SOYBOMB + JASPER STOREY + JOSHUA ZERO £3/£4 / 9.00PM / MR WOLFS

TWIN PEAKS £13ADV / 7.30PM / THEKLA

FIRST RAITT BAND FREE / 11.00PM / NO. 1 HARBOURSIDE SUNDAY 16TH FEBRUARY CRINKUM-CRANKUM: ORBURY COMMON & JELLYSKIN £5ADV / 7.00PM / CAFÉ KINO TWO MAN TING FREE / 4.00PM / THE CANTEEN

TUESDAY 18TH FEBRUARY OPEN MIC FREE / / THE BRISTOL FRINGE DAVID CELIA & MARLA FREE / 9.30PM / THE CANTEEN NANCY + DEEP TAN £7ADV / 7.00PM / THE CROFTERS RIGHTS BLACK FUTURES £10ADV / 7.00PM / EXCHANGE

47

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Full Listings OTOBOKE BEAVER £12.50ADV / 7.00PM / THE FLEECE

WIZZARDING: MICHAEL + SUPPORT / 7.00PM / THE CROFTERS RIGHTS

SEEDLING SESSIONS: ZAHRA O’SHEA / SUPPORT BY JAKE MORGANE FREE / 9.00PM / THE GALLIMAUFRY

AVTRIO FREE / 9.00PM / THE GALLIMAUFRY

DADDY LONG LEGS £11.50ADV / 7.30PM / THE LOUISIANA

STAN ELLIOTT + AMBER DEE + SUSIE MILLS £3/£4 / 9.00PM / MR WOLFS

JAZZ FUNK SOUL SOCIETY FREE / 9.00PM / MR WOLFS

DIIV £14ADV / 7.00PM / SWX

MUSH / 6.30PM / ROUGH TRADE

FRIDAY 21ST FEBRUARY

WEDNESDAY 19TH FEBRUARY

LIVE MUSIC WITH LEE FREE / / THE BRISTOL FRINGE

FRINGE JAZZ FREE / / THE BRISTOL FRINGE

INDIRA ROMAN & AJI PA TI FREE / 9.30PM / THE CANTEEN

PARUSKI FREE / 9.30PM / THE CANTEEN

THE HIDEAWAYS + NANA WHITE PEPPER + RXC £7ADV / 7.30PM / THE CROFTERS RIGHTS

WEIGHT EXPECTATIONS: ONE MAN'S RECOVERY FROM ANOREXIA £PWYW / 7.30PM / EXCHANGE

HMLTD £11ADV / 7.30PM / EXCHANGE

GENGAHR £11ADV / 7.30PM / THE FLEECE

THE TINA TURNER EXPERIENCE £17.5ADV / 7.00PM / THE FLEECE

WALDO'S GIFT PRESENTS SWIMS FREE / 9.00PM / THE GALLIMAUFRY

AS DECEMBER FALLS £9.50ADV / 7.30PM / THE LOUISIANA

GOAN DOGS £8.50ADV / 7.30PM / THE LOUISIANA

PUNCH THE SKY + THE KEY STONEZ £3/£4 / 9.00PM / MR WOLFS

THE YOUNG HEARTS £6ADV / 7.30PM / THE MOTHERS RUIN

PONCHARTRAIN FREE / 11.00PM / NO. 1 HARBOURSIDE

FRUIT MACHINE - LIVE HIP HOP CYPHER FREE / 9.00PM / MR WOLFS

KING KRULE £15ADV / 7.00PM / SWX

THE MURDER CAPITAL £13.50ADV / 7.00PM / SWX

LAURENCE FOX £17.50ADV / 7.00PM / THEKLA

THURSDAY 20TH FEBRUARY

SATURDAY 22ND FEBRUARY

AMUN-RAMEN FREE / 9.30PM / THE CANTEEN

JAMES ALEXENDER FREE / / THE BRISTOL FRINGE

48

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Full Listings RED ROCKET GO FREE / 9.30PM / THE CANTEEN

WIG IN A BOX & BLG PRESENT: CHERYL HOLE / 7.00PM / THE LANES

THE CRAVATS + CULT FIGURES + ASBO DEREK / 7.30PM / THE CROFTERS RIGHTS

ZUZU £8ADV / 7.30PM / THE LOUISIANA

MCLUSKY* £SOLDOUT / 7.00PM / EXCHANGE

FUZE CHARITY EVENT / 7.00PM / MR WOLFS

ANTARCTIC MONKEYS £13.5ADV / 7.00PM / THE FLEECE

DAMIEN JURADO £20.80 INC. BF / 8.30PM / ST GEORGE'S BRISTOL

GRAVY TRAIN & BLG PRESENT: MILO'S PLANES / 7.00PM / THE LANES

CORY WONG £18.50ADV / 7.00PM / SWX

APRE £7ADV / 7.30PM / THE LOUISIANA

MONDAY 24TH FEBRUARY

RAUSCHENBERG AND TRAILER PARK. FREE / 7.30PM / THE MOTHERS RUIN

SLIM’S BLUES & ROOTS SESSION FREE / 9.30PM / THE CANTEEN

RUE + SUPPORT £3/£4 / 9.00PM / MR WOLFS

OH BROTHER / 7.00PM / THE CROFTERS RIGHTS

GLOBO COLLECTIVE FREE / 11.00PM / NO. 1 HARBOURSIDE

RINGS OF SATURN £15ADV / 7.00PM / EXCHANGE

GENTLEMAN'S DUB CLUB £18.50ADV / 6.30PM / SWX

OPEN MIC: HOSTED BY MIKE DENNIS FREE / 8.00PM / THE GALLIMAUFRY

THE RIFLES UNPLUGGED TOUR £17.50ADV / 7.00PM / THEKLA

GRAVY TRAIN & BLG: MAGIC SHOPPE + RADIATORS FREE / 7.30PM / THE LANES

SUNDAY 23RD FEBRUARY BETH ROBERTS & ROWAN ELLIOT FREE / 4.00PM / THE CANTEEN

MIKAL CRONIN £11ADV / 7.30PM / THE LOUISIANA GIN JAM - OPEN STAGE NIGHT FREE / 9.00PM / MR WOLFS

BREAKFAST: VINEGAR + STEVE BUSCEMI’S DREAMY EYES + HAMBURGER £5ADV / 8.00PM / THE CROFTERS RIGHTS

BEARTOOTH £22.50ADV / 7.00PM / O2 ACADEMY

MAX & HARVEY £19ADV / 7.00PM / THE FLEECE

OBONGJAYAR / 7.30PM / ROUGH TRADE

THE POCKET SESSIONS HOSTED BY RUTH ROYALL FREE / 8.00PM / THE GALLIMAUFRY

PALAYE ROYALE £16.50ADV / 7.00PM / SWX

49

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Full Listings TUESDAY 25TH FEBRUARY

GT & BLG: THE WANTS £8ADV / 8.00PM / THE LANES

LIAM & SOPHIE DUO FREE / 9.30PM / THE CANTEEN

DéJà VEGA £7ADV / 7.30PM / THE LOUISIANA

WILLIAM DOYLE / 7.00PM / THE CROFTERS RIGHTS

FRUIT MACHINE - LIVE HIP HOP CYPHER FREE / 9.00PM / MR WOLFS

GIRL RAY £10ADV / 7.30PM / THE FLEECE

X AMBASSADORS £18ADV / 7.00PM / THEKLA

TAMASENE FREE / 9.00PM / THE GALLIMAUFRY

THURSDAY 27TH FEBRUARY

DAMNATIO MEMORIAE & BLG: MOLCHAT DOMA £10ADV / 8.00PM / THE LANES SORCHA RICHARDSON £9ADV / 7.30PM / THE LOUISIANA JFS PRESENTS: YAMAYA £3 / 9.00PM / MR WOLFS PEGGY SUE ALBUM AND TICKET / 6:30PM / ROUGH TRADE BOY & BEAR £16.50ADV / 7.00PM / THEKLA WEDNESDAY 26TH FEBRUARY GARY ALESBROOK TRIO FREE / 9.30PM / THE CANTEEN THE SOUND CUPBOARD DONATION / 8.00PM / THE CROFTERS RIGHTS NEW YEARS DAY £14ADV / 7.30PM / THE FLEECE WALDO'S GIFT: SYNESTHESIA FREE / 9.00PM / THE GALLIMAUFRY RAZORRAPE (SWEDEN) + BRUTAL SPHINCTER (BELGIUM) TBC / 7.00PM / THE GRYPHON

50

OPEN STAGE FREE / / THE BRISTOL FRINGE KEVIN FIGES QUARTET FREE / 9.30PM / THE CANTEEN BLG: HEATHER WOODS BRODERICK + EMILY ISHERWOOD + AIKO / 7.30PM / THE CROFTERS RIGHTS VEX RED £15ADV / 7.30PM / EXCHANGE THE BIG MOON £12.50ADV / 7.00PM / THE FLEECE SNAZZBACK: 140BPM BEATTAPE FREE / 9.00PM / THE GALLIMAUFRY GOD DAMN £7.50ADV / 7.30PM / THE LOUISIANA STONE COLD FICTION + SUPPORT £3 / 9.00PM / MR WOLFS HOT 8 BRASS BAND £22.50ADV / 7.00PM / O2 ACADEMY SAMANTHA LINDO / 7:30PM / ROUGH TRADE FRIDAY 28TH FEBRUARY LIVE MUSIC WITH LEE FREE / / THE BRISTOL FRINGE

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Full Listings THE SCRIBES FREE / 9.30PM / THE CANTEEN

LASTELLE X DEFEATIST £6 / 7:30PM / ROUGH TRADE

MAI MAI MAI + KINLAW + FRANCO FRANCO / 8.00PM / THE CROFTERS RIGHTS

DUB FX £15ADV / 6.30PM / SWX

CHARIVARI + BYKER GROVE FANCLUB £5ADV / 7.30PM / EXCHANGE

SUNDAY 1ST MARCH

DREADZONE £19.50ADV / 7.30PM / THE FLEECE

ERRATIC BATTING & BLG: JUNGLE BROWN + THE CARAVAN COLLECTIVE £8ADV / 7.30PM / THE CROFTERS RIGHTS

THE MYSTERINES £8ADV / 7.30PM / THE LOUISIANA VOODOO BRASS BAND £3/£4 / 9.00PM / MR WOLFS THE JAMESTOWN BROTHERS FREE / 11.00PM / NO. 1 HARBOURSIDE THE MAINE £19ADV / 6.30PM / SWX

SUNDAY 1ST MARCH SYDNEY SESSIONS FREE / 8.00PM / THE GALLIMAUFRY ANDY CROFTS SOLO ACOUSTIC TOUR £9.00ADV / 7.30PM / THE LOUISIANA MONDAY 2ND MARCH

MARCUS KING BAND £20ADV / 7.00PM / THEKLA

FRANC MOODY SOLD OUT / 7.30PM / THE FLEECE

SATURDAY 29TH FEBRUARY

OPEN MIC: HOSTED BY MIKE DENNIS FREE / 8.00PM / THE GALLIMAUFRY

GNAWA BLUES ALL STARS FREE / 9.30PM / THE CANTEEN TEMPERS + JESSICA93 / 7.30PM / THE CROFTERS RIGHTS THE DOORS ALIVE + THE GIMI HENDRIX EXPERIENCE £13ADV / 7.00PM / THE FLEECE DRY CLEANING £10ADV / 7.30PM / THE LOUISIANA JIMI NEEDLES & THE COSMIC ORCHESTRA £3/£4 / 9.00PM / MR WOLFS BLUES MERCENARIES FREE / 11.00PM / NO. 1 HARBOURSIDE GARAGE NATION £5ADV / 10.00PM / O2 ACADEMY

THE ORIELLES £12.50ADV / 7.00PM / SWX WINSTON SURFSHIRT £11ADV / 7.00PM / THEKLA TUESDAY 3RD MARCH DHARMA BLUES FREE / 9.00PM / THE GALLIMAUFRY TORRES £10ADV / 7.30PM / THE LOUISIANA TESTAMENT £26.50ADV / 6.00PM / O2 ACADEMY ARLO PARKS / 7.30PM / ROUGH TRADE

51

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Full Listings THE SHERLOCKS £16.50ADV / 7.00PM / THEKLA

J-FELIX £11ADV / 7.30PM / THE LOUISIANA

WEDNESDAY 4TH MARCH

OH WONDER £18.50ADV / 6.00PM / O2 ACADEMY

PHIL X AND THE DRILLS £12.50ADV / 7.30PM / THE FLEECE

HALF MAN HALF BISCUIT £20ADV / 6.30PM / SWX

WALDO'S GIFT FREE / 9.00PM / THE GALLIMAUFRY

SATURDAY 7TH MARCH

LOVE FAME TRAGEDY £14ADV / 7.00PM / THEKLA

DR MEAKER £12.50ADV / 7.00PM / THE FLEECE

THURSDAY 5TH MARCH

LOSTBOY £8ADV / 7.30PM / THE LOUISIANA

GRAND MAGUS £15.50ADV / 7.30PM / THE FLEECE

JAX JONES £18.50ADV / 6.00PM / SWX

SNAZZBACK FREE / 9.00PM / THE GALLIMAUFRY

WIKI £11ADV / 7.00PM / THEKLA

BLANCK MASS £13.08INC BF / 8.00PM / LOCO KLUB

SAMANTHA FISH £20ADV / 7.00PM / TRINITY CENTRE

DECLAN J DONOVAN £8ADV / 7.30PM / THE LOUISIANA

SUNDAY 8TH MARCH

EXAMPLE £18.50ADV / 7.00PM / O2 ACADEMY HOUSEWIVES £8 / 7.30PM / ROUGH TRADE ALFA MIST £14ADV / 7.00PM / SWX STRAY & THE GROUNDHOGS £17ADV / 7.00PM / THEKLA FRIDAY 6TH MARCH CHLOE FOY £8.50ADV / 7.00PM / CAFÉ KINO ALCEST £16.50ADV / 7.30PM / THE FLEECE

52

KATHRYN ROBERTS + SEAN LAKEMAN £17.44 INC. BF / 8.00PM / BRISTOL FOLK HOUSE MOSA WILD £8ADV / 7.30PM / THE LOUISIANA THE SISTERS OF MERCY £32.50ADV / 7.00PM / O2 ACADEMY TUESDAY 10TH MARCH MONDO GENERATOR + ALUNAH + TREVOR'S HEAD £15ADV / 7.00PM / EXCHANGE BEN WATT £15ADV / 7.30PM / THE FLEECE JADU HEART £12.50ADV / 7.30PM / THE LOUISIANA

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Full Listings WEDNESDAY 11TH MARCH

TUNGZ / 7.30PM / ROUGH TRADE

NIMMO £8ADV / 7.30PM / THE LOUISIANA

SEAFRET £14ADV / 6.30PM / SWX

GEORGIA £14.75ADV / 7.00PM / THEKLA

HANDS OFF GRETEL £8ADV / 7.00PM / THEKLA

THURSDAY 12TH MARCH

SUNDAY 15TH MARCH

STIFF LITTLE FINGERS £22.50ADV / 7.00PM / O2 ACADEMY

YORKSTON THORNE KHAN £17.44 INC. BF / 8.00PM / BRISTOL FOLK HOUSE

ANAMANAGUCHI £17.50ADV / 7.00PM / THEKLA FRIDAY 13TH MARCH IT: DANNY STARR + JOE .T. JOHNSON + JASPER STOREY £5ADV / 7.30PM / CAFÉ KINO TRAGEDY £12ADV / 7.00PM / THE FLEECE

DELTA SLEEP £13ADV / 7.00PM / THE FLEECE SLøTFACE £10ADV / 7.30PM / THE LOUISIANA LOUISE REDKNAPP £22.50ADV / 7.00PM / SWX LARKINS £12ADV / 7.00PM / THEKLA

THE RAMONAS £12.00 / 7.30PM / THE LOUISIANA

MONDAY 16TH MARCH

NF £22ADV / 6.00PM / O2 ACADEMY

RISING MERCH FACES OF DEATH £20ADV / 6.00PM / THE FLEECE

WOLF PARADE £16ADV / 7.00PM / THEKLA

HIGHLY SUSPECT £17.50ADV / 7.00PM / SWX

SATURDAY 14TH MARCH

SHAWN JAMES £15ADV / 7.30PM / THEKLA

EAT UP! £5ADV / 7.00PM / EXCHANGE

TUESDAY 17TH MARCH

THE REGZ £12.50ADV / 7.00PM / THE FLEECE

JAY SOM £13ADV / 7.30PM / THE FLEECE

DEPT S & BLG: THE JACK FLETCHER BAND + SUPPORT FREE / 7.30PM / THE LANES

BAD//DREEMS £12ADV / 7.30PM / THE LOUISIANA

THE DUALERS £26.50ADV / 7.00PM / O2 ACADEMY 53

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Full Listings WEDNESDAY 18TH MARCH

SATURDAY 21ST MARCH

ANVIL £18ADV / 7.30PM / EXCHANGE

ANDY SHAUF £17.44 INC. BF / 8.00PM / FIDDLERS

SNAKE OIL & HARMONY £18.50ADV / 7.30PM / THE FLEECE

THE CLONE ROSES £14.50ADV / 7.00PM / THE FLEECE

GABRIELLE APLIN £20ADV / 7.00PM / SWX

PRINCESS NOKIA + TKAY MAIDZA SOLD OUT / 7.00PM / THE MARBLE FACTORY

MR IRISH BASTARD £10ADV / 7.00PM / THEKLA

KVELERTAK £17.50ADV / 6.30PM / SWX

THURSDAY 19TH MARCH

SONS OF LIBERTY £10ADV / 7.00PM / THEKLA

THE LAST INTERNATIONALE £10ADV / 7.30PM / EXCHANGE

SUNDAY 22ND MARCH

SOUL STRIPPED SESSIONS, BRISTOL : VOL 2 £7.70ADV / 7.30PM / THE LOUISIANA

FLY PAN AM £13.63INC BF / 7.30PM / COLSTON HALL FOYER

LIGHTNING SEEDS £28.50ADV / 7.00PM / O2 ACADEMY

JEHST £15ADV / 7.30PM / THE FLEECE

DANCING ON TABLES £7.84 / 7.30PM / ROUGH TRADE

MONDAY 23RD MARCH

DANKO JONES £16ADV / 7.00PM / THEKLA

NORDIC GIANTS £13.50ADV / 7.30PM / THE FLEECE

FRIDAY 20TH MARCH

CIGARETTES AFTER SEX £25ADV / 7.00PM / O2 ACADEMY

DISCHARGE £14ADV / 7.30PM / EXCHANGE

TUESDAY 24TH MARCH

WOLFGANG FLÜR (EX KRAFTWERK) £20ADV / 7.30PM / THE FLEECE

BRASS AGAINST £20ADV / 7.30PM / THE FLEECE

TWINNIE £13.50ADV / 7.30PM / THE LOUISIANA

DAVID LIEBE HART + GFOTY £16.35INC BF / 8.00PM / THE JAM JAR

THE SUBWAYS £22ADV / 6.00PM / O2 ACADEMY

LITANY £8ADV / 7.30PM / THE LOUISIANA

ZIGGY ALBERT £18.50ADV / 6.30PM / SWX

ASH £22.50ADV / 7.00PM / O2 ACADEMY

54

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Full Listings GRACE CARTER £13ADV / 7.00PM / SWX WEDNESDAY 25TH MARCH BLG: BEACH RIOT FREE / 7.30PM / THE LANES CLOCK OPERA £10ADV / 7.30PM / THE LOUISIANA BLACK JOSH / 7.30PM / ROUGH TRADE THURSDAY 26TH MARCH LEAF DOG £15ADV / 7.00PM / THEKLA FRIDAY 27TH MARCH SIGNAL HILL X GWFAA X GRANDCHILD £6 / 7.00PM / CAFÉ KINO DOREEN DOREEN £15ADV / 7.00PM / THE FLEECE PICTISH TRAIL £15ADV / 7.30PM / THE LOUISIANA JAMES BOND IN CONCERT £22ADV / 7.00PM / O2 ACADEMY RAT BOY £15ADV / 7.00PM / THEKLA SATURDAY 28TH MARCH THOMAS STONE + SALTINGS + DAN BENNETT + PHIL SWAN £3.60ADV / 7.30PM / CAFÉ KINO

CROSSTOWN CONCERTS & 1%: RITUAL UNION £25ADV / 11.00AM / THE LANES STAY LUNAR £7ADV / 7.30PM / THE LOUISIANA I PREVAIL £20ADV / 7.00PM / O2 ACADEMY RITUAL UNION / 11.00AM / ROUGH TRADE THE ICICLE WORKS £21ADV / 7.00PM / THEKLA SUNDAY 29TH MARCH JARED JAMES NICHOLLS £12.50ADV / 7.30PM / EXCHANGE DARCY OAKE £20ADV / 6.00PM / THEKLA MONDAY 30TH MARCH AMY WADGE SOLD OUT / 7.30PM / THE FLEECE TUESDAY 31ST MARCH HAYSEED DIXIE £18.50ADV / 7.30PM / THE FLEECE MARTHAGUNN £8ADV / 7.30PM / THE LOUISIANA LOW HOUSE £14ADV / 7.00PM / THEKLA WEDNESDAY 1ST APRIL

KATE BUSH-KA £13.50ADV / 7.00PM / THE FLEECE

ROBERT VINCENT £12.50ADV / 7.30PM / THE LOUISIANA

NORTHERN TRENDKILL (PANTERA) + ELEVENTH HOUR (LAMB OF GOD) £13ADV / 7.00PM / THE GRYPHON

PINEGROVE £17ADV / 7.00PM / SWX

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see bristolinstereo.com/live-listings for up-to-date events and more

Live Reviews curated by Jon Kean, Live Editor

Lynks Afrikka January 11th at The Crofters Rights words: Tom Phelan photography: Lor Nov There wasn’t the slightest whiff of the ‘difficult second album’ for nascent promoters, The Bottle. Sweat and beer yes, but the sell-out sophomore event for them and hosts, The Milkshake Boys’ at The Crofters Rights yielded further converts to The Church of Lynks Afrikka.

The sweat that clung in the air tasted ever more potent as Lynks’ disciples filled the room, the surrounding chat consisting of little more than “this next guy is fucking amazing” being said repeatedly. The absence of a backstage inspired some ingenuity, and so the arrival of Lynks Afrikka was announced by Lynks’ majestic upwards ascension (just ignore their prior lying flat on the floor). Gloriously rocking Rapunzel hair tassels out of a Mad Max helmet (Beyond Thunderdome, of course), knee-high socks and slippers, and a crop top stating ‘I was in The Guardian’, the drag-grenade had exploded to roaring applause.

With the help of Lynks’ backing dancers, knowns as Lynks Shower Gel and Lynks Gift Set, the trio tore through a giddy set of performance art, warped electro that donked like a nightmarish Crash Bandicoot, comedy bits and joyously amateur choreography. Fun was firmly on the agenda, Lynks effortlessly working the crowd into a giddy euphoria with opening industrial banger, ‘Don’t Take It Personal’. The razor satire of ‘On Trend’ was 56

almost cathartic, turning our collective social anxiety surrounding global breakdown and our guilty complacency into a Hi-NRG banger, while signature track ‘Str8 Acting’ cemented Lynks Afrikka’s reputation of live sets being less of a gig and more of a party.

Lynks’ whirlwind smash at Crofters Rights felt like some brilliant queer happening, an irreverent movement of hedonism and decadence that the no-fun police will seek to stamp out in the future fascist state, but too many will have been converted for them to succeed. All Hail Lynks Afrikka!

The Big Moon January 14th at Rough Trade words: Elliott Simpson photography: Craig Simmonds The Big Moon feel reborn at Rough Trade tonight. Promoting the release of their luminous new album, Walking Like We Do, with an in-store show, they seem to have an extra spring in their step. Moving past the grungy rock of their debut, the band have embraced a fresh, warmer sound.

Coloured by bright keyboards and bold hooks, the new songs hit the audience tonight like a dazzling strobe light.

Most of the songs see the band flexing their musical muscles in exciting new ways. ‘Take A Piece’ is built around a shimmering electronic hook, while ‘Don’t Think’ features peppy handclaps and vocal harmonies that wouldn’t feel out of place on a 90s girl group album.

Many of the new songs just make you want to dance, and the band even take time during the show to compliment some of the hip-moving happening at the front of the audience.

“We’ve been playing stripped-back shows for the past few nights,” says lead vocalist, Juliette Jackson early on in the show. And then with a smile, “It feels good to be loud again.” Despite their overhauled sound, The Big Moon are still more than capable of shredding hard when necessary. The spaced-out ‘Why’ gives guitarist, Soph Nathan room to erupt into a heavy guitar solo in the song’s second half. Similarly, the band’s rendition of older cut ‘Sucker’, built around jagged guitar chords and Fern Ford’s pummelling drumming, shows the band haven’t lost touch with their harder side.

Eventually things draw to a close with the glimmering ‘Your Light’ – a jewel-studded tune that might be the band’s finest one yet.

“On days like this, I forget my darkness and remember your light,” goes the song’s chorus and it’s an apt descriptor for The Big Moon’s performance. There’s no doubt that everyone in the audience gave themselves over to the band’s light for a little bit tonight.

Find full reviews and more at: bristolinstereo.com 57

Thoughts ...

by Brian Mimpress AF Gang Administrator

The AF Gang One of the most incredible things to come out of Bristol in the last few decades is without a doubt IDLES. Love them or not, as a city you should feel very proud.

Together with two fabulous albums and another on the way, TV appearances, live gigs and tours that have become unforgettable experiences, there’s a group of people, some have called it a movement, that have joined together under the collective banner of ‘All Is Love’ to follow them on their journey.

The AF Gang, born back in June 2017, is a Facebook community of like-minded souls.

Membership grows daily and, as I type, there are just a few short of 25k of us. The place started out as an IDLES ‘fan group’, where people could arrange meet-ups and share their stories – but what it has organically grown into is something much bigger than that.

In these days of online ridicule, it’s hard to find somewhere to be yourself and talk about worries etc, without the fear of some online warrior pissing on your parade.

Going into my fourth year following IDLES and, together with Boss and Mum, our fourth year of running the AFG, the single greatest thing to come out of it is the complete and overwhelming sense of community that the members have built. When we all feel daily that we might possibly live in a country and a world that just doesn’t give a shit about our fellow (wo)man, the AFG aim to be there for each other 24/7. Complete strangers beforehand, they now meet up (in some‑ 58

times great numbers) in various venues and bars worldwide.

I say this happened organically because it did; we never thought about what the AFG would or could become. IDLES themselves, mainly frontman, Joe Talbot opened himself up to everyone from the off. Never a taboo subject, he talked to us about his struggles in life that have now been so well and so helpfully documented.

People, we found, were desperate for the same: somewhere to open up and talk to people who, like them, were going through the motions of everyday life but struggling, too. Sometimes all you need to hear is ‘It’s ok. It’s ok not to feel ok today. We’ve got you.’

Sometimes that can be enough.

We have no idea what the future of our little group will be or what it might possibly become, but if I can be brave enough to speak for 25k souls, I want to say that what it can give you daily, if you allow it to, can be a truly magical thing.

A beautiful thing — it’s only rock and roll, but we like it.

You can join The AF Gang on Facebook via ALL IS LOVE: AF GANG, follow them on Twitter (@AFGANGAF) and enjoy their all-new website at www.afgang.co.uk. You can also find members in the most curious and unexpected places as you go about your daily business in the actual world of three-dimensional people.

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The Gallimaufry

Waldo’s Gift

Out of this world musicianship combines Hip-hop, Math, Jazz, Groove & Electronica

5 Feb ~ Waldo’s Gift: Open Collaboration

The stage is open and a safe place for sharing and expression

12 Feb ~ Waldo’s Gift Reworks: Fleetwood Mac

Paying tribute to one of the world’s best selling pop rock bands.

19 Feb ~ Waldo’s Gift presents SWIMS

Solo project of Swiss drummer Arthur Hnatek (Tigran Hamasyan, Erik Truffaz). SWIMS is the exploration between acoustic improvisation and functional dance music.

26 Feb ~ Waldo’s Gift: Synesthesia

w/ Holysseus Fly painting sound to canvas

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thegallimaufry.co.uk

in Bristol with Elliot Ellison guitarist and vocalist of Cousin Kula

When did you move to Bristol?

In 2011 to study illustration, very happily flying the nest from Brighton to the other creatively vibrant ‘B’ city in the south. Wow, almost ten years here - not bored yet though!

Who is your top Bristol artist at the moment?

Pocket Sun - the brainchild of Gina Marie Tratt. She had helped me animate some artwork a few years ago for Kula, then last year this project popped up out of nowhere. I had no idea! Love it.

Tell us your go-to places to eat and drink.

This is tricky as we’ve moved further out of town and I love to cook at home. However, I was a tapas chef for a while, and consequently really love tapas, my favourite spot being Bravas in Clifton. A comical but tasty beer I like is a Kwak at The Strawberry Thief.

However, sobriety feels pretty nice right now after the festive season. My mum also loves to make a million snowballs (the drink) at Christmas.

What’s the best way to spend one really good day here?

Cycling out to Warleigh Weir or Freshford and swimming in the river along the way. Seeing a weird but great film at the Watershed. Going for a forest walk at Blaise Castle or Snuff Mills.

Going rock climbing outdoors or in. And going to see some live music, of course.

What’s your favourite thing about the city?

Its closeness to the countryside. We’ve moved a little bit out of town and have a forest in our back garden and space to grow our own veg - its awesome. We spent many a summer night stargazing on our balcony the dream!

And your least favourite?

Pollution - I cycle everywhere I go, as it’s the easiest way to get around Bristol. Breathing in the fumes of city gridlocked traffic at rush hour is grim.

Any top venues?

I have to hand it to The Gallimaufry; it’s an invaluable space for free expression and experimentation. Alternatively, for a very Bristol night out - The Plough in Easton is always very great. This needs no explanation.

How did it feel to release your first vinyl, OODLES / STROODLES at the end of 2019?

Crazy! Always dreamed of putting some music onto a physical record. It just feels so much more real. I’d also spent many hours working on all the individual artworks for each single too, which were included in an eightpage booklet, so the whole thing together just felt momentous.

Cousin Kula play The Louisiana on 1st February. The double EP, OODLES / STROODLES is available via Chiverin Records.

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Behind Every Musician

@WeAreTheMU

ert.indd 1

10/05/2

VOL. 3 The Free Bristol Label Compilation, curated by Bristol In Stereo.

25+ Artists / 15 Labels

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Download at: bristolinstereo.com/newschool

Your Music Career Starts Here Join the most exciting industry in the world bimm.ac.uk/bristol/open-days

bimm.ac.uk/bristol

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