cool brother // issue three: concrete hours by cool brother

CONCRETE HOURS FR EE

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Cold air splinters your spine, as you keep on walking. Dogs bark, street light tusks fold over the sky casting long, forlorn shadows. It’s a stark town, is our’s – but where there are people, there is warmth. As the Concrete Hours collide, every wall is evergreen with creative potential. Enter with us as some of our favourite artists draw from this visceral grit theme. Matt Martin, Marc Vallée and Cole Flynn Quirke photograph London from different sides of the brickwork, while Steph Dutton, John Strover and Alfie Wheatley make collages from it. Creating a contrast from the rest of the zine, we got to know some of music’s most exciting acts. Go on tour with Little Dragon, spend Tuesdays at Puma Blue’s house, while Gorillaz’ 2D chats about Tokyo and jail. WOODY CECILIA, EDITOR

he famil Art director:Emma BalebelA

Editor, creative director, stylist:Woody CeciliA

The self-published print zine created by bands, illustrators and young creatives. Cool Brother is an ever-expanding family. Words: Madeline Oâ&#x20AC;&#x2122;Keefe Richard Gilbert-Cross Lorenzo Ottone Style photography: Caoimhe Hahn Music photography: Eoghan Barra Photography submissions: Matt Martin Ben Wrigglesworth Fiona Smallshaw Joe Goicoechea Cole Flynn Quirke Marc VallĂŠe Artwork submissions: Steph Dutton John Strover Alfie Wheatley James Christopher Jake Hollings Darren Shaddick Joseph Grahame Big thanks to: Gered Mankowitz Laura and Eoghan Chris, Good Machine Nic, Satellite 414 Opus Locus Ex Why Zed Arqui Advertising enquiries: advertising@coolbrother.co.uk Submission enquiries: submissions@coolbrother.co.uk All other enquiries: woody@coolbrother.co.uk

WHAT’S INSIDE?

Editor’s Letter

The Family Little Dragon Tour Diaries

Very Short Interviews with Gorillaz, Willie J Healey and Cuco Split Lips: Pill vs. Speedy Ortiz

Tuesdays with Puma Blue Behind the Lens with Gered Mankowitz

On The Road with Lice

Holly Whitaker Shoots from the Hip Style Notes with Laura Harper and Eoghan Barra

CONCRETE HOURS PHOTOGRAPHY BY MATT MARTIN FOR COOL BROTHER VOL 02, ISS 03.

CONCRETE HOURS PHOTOGRAPHY BY BEN WRIGGLESWORTH FOR COOL BROTHER VOL 02, ISS 03.

CONCRETE HOURS PHOTOGRAPHY BY FIONA SMALLSHAW FOR COOL BROTHER VOL 02, ISS 03.

CONCRETE HOURS ARTWORK BY STEPH DUTTON FOR COOL BROTHER VOL 02, ISS 03.

LITTLE DRAGON

Little Dragon released their latest EP, Lover Chanting, this month. Now signed to U.K. independent label Ninja Tune, they’ve got a busy few months ahead.

The Swedish four-piece, made up of Yukimi Nagano, Fredrik Wallin, Håkan Wirenstrand and Erik Bodin, was initially formed in the band’s hometown of Gothenburg in 1996. Born out of a mutual love for eclectic musical genres, they were in high school at the time.

They’ve since worked with the likes of Gorillaz, De La Soul, SBTRKT and Big Boi. Their music is a charming combination of dreamy electronic beats, smooth vocals and an earthy, full sound that sits just on the edge of pop.

Excited about their latest release, the band take Cool Brother behind the scenes during the making of the Lover Chanting music video.

Words: Madeline O’Keefe

R 10

Where was the Lover Chanting video filmed? It’s a beautiful location! It was in Kent, I believe – the Garden of England! It was only the one day. We got there in the morning and had a lovely English breakfast, then we had an hour of makeup and danced. These two lovely boys from Liverpool thought of the concept behind the video. They were spinning on this whole video game idea. We didn’t really know what to expect, but we wanted to keep it creative. Sometimes you make a video and you’re hardly in it, but we asked for really big characters, so it’s not just Yukimi and her beautiful face in this one; it’s all of the rough boys of the band too. You’re a very performative band in general, aren’t you? Well, when you realise walking out on stage is a bit of theatre in itself, you realise you can be more than just a band; you can break it up with something you’re interested in, take it further. If you’re super on-point with the delivery and the technical aspects of being a musician, it’s alright to be goofy.

You’re currently touring the States. How’s that going so far? It’s going good! We’re playing in Brooklyn tonight. We had one show in Boston where we supported Gorillaz too. That was big! Sometimes being a support band can be a bit challenging, but I felt like we really got some love. The whole entourage was such a big circus. I don’t know how many people, trucks and forklifts were there… It’s always a bit of a parallel universe being in America.

How did you get into music? We all started quite young. We had relatives who were musicians, so we were shown a reality of taking musical risks. We met in high school â&#x20AC;&#x201C; so, at that time, jazz was the fine art of music, and that was the focus. I think after high school, we took the parts of jazz that we liked and started to play all kinds of music. We started mixing it up and not caring so much about other peopleâ&#x20AC;&#x2122;s opinions. There were a couple of years where we were quite fragile and shy to show our music because we thought it was weird though. Luckily, someone heard it and wanted to release it.

And now you’re getting Grammy nominations! Yeah! The Grammy nomination was very, very weird. It would be stupid not to say that I was mind blown, but my love for music and art is so much bigger than what a bunch of corrupt dudes in the music industry decide. I don’t know, it’s crazy. What do you have planned for the rest of the year? I think we’re gonna see how this goes. It feels very positive so far. We’re gonna keep on making music and hopefully start finishing an album somewhere around next spring. We’re definitely excited to explore, make new music and see what’s next.

CONCRETE HOURS ARTWORK BY Darren Shaddick FOR COOL BROTHER VOL 02, ISS 03.

A VERY SHORT INTERVIEW WITH GORILLAZ WORDS: WOODY CECILIA Woody: How did it feel being the leader of the pack while Murdoc was in jail? 2D: I knew it would be a big adjustment for Noodle and Russ, myself a sheriff badg so I made e out of kitchen foil so they would respect authority. It didn’t my new work, so I cranked it up a notch with a toga crown, but they stil and a l ignored me. In the end, I stopped telling do stuff and things them to ran a lot smoother afte r that.

Woody: And now he’s out! What’s the story – is the band back to its original positions? Has Murdoc taken over again? 2D: It’s really weird, he’s being… Nice. This morning, he hugged me! And without sticking an ‘I hate you’ post-it to my back or putting fox bait in my trousers. I don’t get it, it’s making me very nervous.

about pretty quickly. Woody: The Now Now came it just happen? did or plan the Was this very long. it doesn’t hang around is Now t abou g 2D: The thin . you’ve got it, it’s gone as soon as – s ines It’s like happ much you try. So we had how er matt no it, You can’t hold onto h it is now. before Now was Then. Whic to make the album quickly

Woody: What made you decide to debut the album in Japan? 2D: Actually, my idea was to debut it in Clac ton-on-Sea, ‘cos it’s nice and also my aunt lives there so we could stay in her spare room. But Noodle preferred Japa n. A good leader always listens to his people.

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ng us othi ing es n talk Q? etim H g y m n c o z i n S a k a l ma t. y: F oril oom eren Wood he G my r diff at t y in y is a a h t d c life s n y st scru Ever I ju ed). 2D: just and need (you the ens ing d s f l l o o on. l happ t ba y f Lond s ou ami . rick West come orig ally no t r n e e o r , v m p o u y, a de take riet them a o ys, v t a d r t of ries Othe a bi nd t ave et a to h toil e c ni It’s Woody: You’ve worked with everyone! Mark E. Smith, De La Soul, Danny Brown, to name a few… Who else would you love to collaborate with? 2D: I think it’s good to be surprising and work with people no one would expect – for example, Oprah Winfrey or maybe the lady behind the pastry counter at Greggs.

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“ T h e t h i n g a b o u t N o w i s i t d o e s n ’ t h a n g a r o u n d v e r y l o n g . W e h a d t o m a k e t h e a l b u m q u i c k ly b e f o r e Now was Then. W h i c h i t i s n o w . ”

A VERY SHORT INTERVIEW WITH WILLIE J HEALEY WORDS: RICHARD GILBERT-CROSS ing w you’re go year and no the t album last de bu si de in ur g yo in be u released rception of Richard: Yo at’s your pe e? the road. Wh on to outsid is etty good. ar back out on mp co in has been pr ry machine ence so far ri pe uple of ex co music indust a my rt, released the most pa ’s good. I Willie: For people get t people, it ny gh ma ri so e , th at find with th n’t want If you can /Sony – but, t out. I do ugh Columbia o ar to be pu things thro it’s just to an extra ye – s ke st ta ne ho it to be d then ’s like involved an it sic industry mu so e c, th si nd mu understa to hear my to try and want people But then I complicated. the devil. dancing with Richar d: You ’re al Kill. so pla What w ying s as the ongs f Willie writin rom yo : I ac g proc ur new t u a lly wr ess fo at hom EP 666 ote th r that e. I j e ? u s E t had P in D way th i e d cember ings g eas kn o o l cking ast ye with t practi around ar, hese t se wit . I gu hings h the ess th time, is, yo band a e I wrot u n w d r i then b te the e the to do ook th songs songs, it as e stud as I r quickl i e o c couple o t r i y as p ded th me. Th of wee ossibl em. I is ks – a e. I l just w was su nd the eft th anted rprise n, whe e song d! Rea n write s for I list lly, i as man a ened b t was y song ack to just a s as I n exer them, possib c I i s e ly cou in try ld in ing to a week .

which painted you as the Richard: I read a local article plasterer’ who used former and rocker ‘Carterton garage limo. I feel like we to turn up to gigs in an undertaker’s should talk about that. a plasterer – my dad’s Willie: [Laughs] I was never really er, just helping him the plasterer! I was more of a labour good at it. But… I did out sometimes, and I was never any who sells a lot of have a funeral limo! I have a friend a van, but he didn’t wanted ally origin I cars. secondhand But, in the end, limo. a got I so , enough have one big had problems with the there wasn’t enough space and we , I just wanted to copy gears, so I got rid of it. Really Neil Young. Richard: Yo ur song Subt erraneans wa Are you a Be s my first at fan? introduction Willie: I’m to you. into all th at st uff, althou it! I’ve re gh ad a couple I do prefer , bu to listen to t not many, Really, I st and I got no and on the thing from Tom Waits si I get more them. de of spoken from that. po etry, actual And then th You know, I’ ere’s Neil ly. m not a mass Yo un g too, of cour ive reader. but I have se. It’s someth a short atte ing I’m work ntion span. ing on, nths? next six mo in ans for the m, so my ma are your pl bu at al wh nd y, co ll se na h my Richard: Fi ’s my only lfway throug at ha Th y tl g. en in rr cu around tour Willie: I’m ne, in and get that do goal is to . ne do o tw album goal – get

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A VERY SHORT INTERVIEW WITH CUCO WORDS: LORENZO OTTONE

ld play almost ican musicians wou ce. past, Spanish-Amer a worldwide audien got Lorenzo: In the ’ve you Now ir communities. coming from ethnic ans ici exclusively to the mus for d things have change How do you think and ds? sful people are minority backgroun do with how succes et has a lot to ve come to we’ nk thi I . Cuco: The intern countries reached different ial media, you how my music has ecially with soc ustry – and, esp you get ind the in era as a persona, so a new and ure fig a as e yourself ody in the world. can now distribut ryb eve to but to your people access not only

Lorenzo: How did your coll with Kali aboratio Uchis co n me about? Cuco: It was just word-ofHer team mo uth. found ou t about in touch. me and go I had al t ready be of her’s en a fan for a wh ile so it cool to was very work with her.

Lorenzo: You were a multi instru mentalist before you’d even starte d high school. What pushed you to learn the guitar, keys, bass, drums and trumpet? Cuco: I didn’t have friends, so I just spent all of my time playin g instruments. Aside from that, I loved music and I thought it was a cool hobby that would eventually take me where I was going. I love playing the trumpet. I think I was enjoying it more when I was playing in jazz bands though because only ten percent of the songs were written and ninety percen t were improvised.

entially quintess sound is ple, s am t’ ex pe for The trum inking, Love. Lorenzo: – I’m th e with an Le ic ur er Am Arth and r fo nd s Spanishwa ckgrou rtant it rnian ba how impo lessly. h-Califo am is se an Sp d a g you? together They ha sounds inspirin e past ose two from th mixed th ggest st bi ti my ar e any one of Is ther he came trong is of how uis Arms e story g and th Cuco: Lo ke inspirin I li a . ll es he nc is c influe si mu s eed. Hi to succ . touching

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CONCRETE HOURS PHOTOGRAPHY BY JOE GOICOECHEA FOR COOL BROTHER VOL 02, ISS 03.

Pill: We’re on a three week tour with Eleanor Friedberger at the moment. I’m sitting in a backyard in L.A, sipping coffee. This is our first time West with the band. It’s a little crazy that it’s taken so long! How’s your touring experience going? Speedy Ortiz: One of my favourite things about touring to the West Coast this time of year is getting an extended early fall. I can wear sweaters, but also shorts – the dream uniform. We’re about a month into a six-week tour with Liz Phair at the moment, and we’re just about to re-enter our own time zone, so we probably just missed you. That’s so cool that you’re touring with Eleanor! The last time I saw her was opening for Wild Flag, which means it’s been way too long. Who else have you been able to work with?

WORDS: LORENZO OTTONE MUSIC PHOTOGRAPHY: PILL BY CHRIS BERNTSEN

Best known for their socially-conscious, witty lyrics and energetic guitar hooks, Pill are a Brooklyn-based experimental post-punk outfit signed to Mexican Summer. Speedy Ortiz, on the other hand, hail from Massachusetts. Straddling the line between garage rock and indie-pop, the raucous fourpiece originally started as Sadie Dupuis’ solo project. Look at them now. Both towering high with newly released studio albums, Pill’s Veronica Torres [vocals, bass] chats to Speedy Ortiz’s Dupuis [vocals, guitar] while on the road.

SPLIT LIPS: PILL VS. SPEEDY ORTIZ

CONCRETE HOURS ARTWORK BY JOHN STROVER FOR COOL BROTHER VOL 02, ISS 03.

MUSIC PHOTOGRAPHY: SPEEDY ORTIZ BY SHERVIN LAINEZ

Pill: Every time I go on tour, I get a little itch to leave NYC. It’s so darn nice to wake up and see trees everywhere. New York is amazing and you can meet a lot of interesting, creative people… But, there are so many cool artist communities across America. It’s funny, you kind of start to realise that they’re all connected. Was there any major change in making Twerp Verse from your other albums? Speedy Ortiz: I’m a mega uptight loser who hates to jam but loves to plot and compose alone in a room. Most of our songs come to be because I sat down for eight hours and went in a trance and came out with a demo with forty tracks on it. The big difference on Twerp Verse is that we actually used some of the sounds I tracked at home and incorporated those in the studio, rather than recreating them. I think that allowed us to make a weirder, more ambitious record than when we were solely restricted to what we could recreate on the clock.

Pill: I’m a big Wipers fan and even though I wouldn’t say their music makes me feel hopeful, it makes me feel connected – and I guess there is hope in that, even if it’s within dissatisfaction. I think art, community, society and politics are all in this symbiotic relationship based on reactions. Art can provoke, change and heal, for sure. I am so thankful for so many activists that are out there working to change our society. Speedy Ortiz: You live in Brooklyn, don’t you? Could you see yourself living outside of New York, or is Pill distinctly Gothamite?

Pill: I studied photography – and, lyrically, I sometimes find that I describe scenes as if I am reading a photograph. Everyone in the project has visual art backgrounds, so the project is a blend of our aesthetics. Speedy Ortiz: Your lyrics make me feel so hopeful. They’re specific, but not didactic, and the music crosses so many genres in a very inviting way, which is mostly what I want from punk. Are there any bands that make you feel optimistic in that way?

Pill: It’s been a real treat touring with Eleanor! We’ve been super lucky to be able to play shows with so many people we admire. One of my all-time favourite shows was when we got to open for Fred and Toody in a straight up cowboy bar during Marfa Myths in 2016. I think Toody said that we would sound better without all the reverb… Driving eight hours from city to city can be draining while on tour though. What tools do you use to anchor yourself, or do you enjoy the wildness of it? Speedy Ortiz: I try to normalise this lifestyle by sticking to routines. I like to pretend I’m at home by going running most mornings and by trying to squeeze in a nourishing breakfast. Beyond that, I do a lot of reading. I read more on the road than I do at home! I know your band initially sprang from visual art. Is there any non-music media that’s been feeding your work lately?

CONCRETE HOURS PHOTOGRAPHY BY Cole Flynn Quirke FOR COOL BROTHER VOL 02, ISS 03.

CONCRETE HOURS ARTWORK BY Cole Flynn Quirke FOR COOL BROTHER VOL 02, ISS 03.

TUESDAYS WITH PUMA BLUE ”Never would have left your ether… Every structured fortress inside of your well. Would have followed the dark waters through to hell” patters Puma Blue in his latest single, As-Is. It’s a spoken word piece of prose landscaped across scattering, forlorn beats and a rusting saxophone. Every inch crackles like an old record bent from overuse. Human and sublime, there’s a Chet Baker quality to Puma Blue’s work. It’s easy to get lost in. Puma Blue, also known as Jacob Allen, paints a world that exists only at night. Nocturnal, dark and full of shadows, his pictures linger, hanging jauntily from their moving walls. It’s London that inspires him; “Just going for walks late at night, feeling switched on by orange lamplights on leaves and neon café signs,” he explains. “I really wanna write music that feels like what I’m seeing.” We meet in Forest Hill, not far from brightly lit subway tunnels, tower blocks and crimson leaves. Allen is just another of South East London’s emerging new talents. Maxwell Owin, Lucy Lu and Sistertalk are on that list, as well as the more established likes of King Krule and Cosmo Pyke. Combining elements of jazz, soul, ska and spoken word, the capital’s South is an ever-rich tapestry of creative collaboration and grassroots. Keen to bring his mates up with him, Allen speaks highly of his contemporaries. His passion for other artists strikes a tone of kindness and humility. Things are looking good for Puma Blue. This month marks the release of Blood Loss, his second ever EP following last year’s Swum Baby. Not yet ready to put out an entire album, Blood Loss is a weighty eight-track, filled to the brim with short tracks, sultry tones and poetry. He’s done it again. Doing a fine job of mimicking synesthesia, he casts the cold grit ground that shivers beneath your toes with custard warmth. You’re home. Eoghan Barra and Woody Cecilia join Jacob Allen on a Tuesday to unveil what days off from Puma Blue look like. WORDS: WOODY CECILIA PHOTOGRAPHY: EOGHAN BARRA

What time do you usually wake up during your days off? It really depends. Every day is different so, depending on what I’ve got on, it could be 8am, 4am, or 12pm if I’m super jet-lagged. I have the worst sleeping schedule! I find that when I’m with my girlfriend, I can just sleep when she sleeps. It’s really rhythmic. But when I’m on my own, it’s just like playing roulette. What’s the first thing that you do when you wake up? I stretch on a good day. On a bad day, I just head straight for the kettle and start making coffee – and then I’ll check my emails and put some music on. What does a typical day off look like for you? I like to play guitar in my room, I always like to listen to music – and I’ll phone a couple friends. If I’m planning on seeing people, I don’t think about it – but if I have a day of producing from home, I like to have phone chat with someone. It’s just kind of sweet to not feel like you’re in your cave. I feel like that’s when you start getting in that weird closed off place. It’s bad health to be an artist in solitary confinement at all times. When was the last time you had a day off from everything music related? Saturday last weekend was the first time in three months! I just stayed in my pyjamas and did a lot of nothing.

What do you love the most about South East London? It’s a hotbed of different culture. It feels like the centre of the world sometimes. There are so many people here from different backgrounds and different lifestyles that, chances are, when you meet a new musician for the first time, they’re gonna have such a different story to you of how they came to do the music they make. It’s where a lot of the people I’ve collaborated with have been based. Everyone’s enthusiastic to make new stuff. There’s never a shortage of people you could work with or bounce ideas off, you know? Also I just love the way of living; you can jump around from Tube station to Tube station and be in a different place in half an hour. How did going to Brit school come about? It really came about because they were gonna cut the music course at my secondary school, and music was already all I could think about all day. I’d be tapping on my legs, obsessed about getting home to play more music. I was expecting Brit to be a performance school, but when I went to their open day, I realised it was a really serious, diverse music course, so I did everything I could to get on it. What was your first day like, having been to a standard comprehensive school before that? Weird! It seemed like there were a lot of really bubbly people, so I wasn’t used to everyone being so liberal. It was cool to realise we were all there to be passionate about the same thing. Brit does tend to carry a bit of a Fame Academy identity, but it was way more like a degree in music. They were never enforcing law or rules – it was always just a discussion about music.

How are you feeling about Blood Loss, the new EP? I guess this one feels more circular. It comes back to itself. There are a lot of references in the songs of other lyrics and titles, the EP starts and finishes with the same sound and there’s a lesson of letting go at the beginning and at the end. In the middle is all the mess of figuring that out. Instrumentally, there’s a span of different styles that seem to all fall into what I do, but there’s not one tone across the whole thing. It kind of flits around. That’s what I’m excited about! It feels different.

It’s an eight-track EP! What’s stopping you from labelling it an LP? I thought about putting it out as an album, but I still feel like I’m figuring out what it is that I bring to music, so I’m not ready to make my definitive statement of ‘This is my debut album’ yet. Plus, if I was gonna do an album, I’d want it to be a bit more meaty. Even though this is eight tracks long, there are still a lot of interludes and short tracks, so it feels more like a mini album or an extended EP, rather than a full-length release. You were saying your songs usually start from poems. Are you always writing poetry? I have lulls – but, yeah, it’s something to do with my hands sometimes. I keep it pretty raw. I’m not a serious poet, I don’t use any techniques… I just write it in one go, a splurging stream of consciousness, and then I’ll give it one edit afterwards. Your music’s so lyrically intricate. What do you do when you’ve got nothing to write about? Do you make up abstract prose, or do you just stop? I think that it’s all over and that I’ll never write again – and then I try to calm myself down. Once I’ve relaxed, once I’m not trying to be an artist every second of the day, it creeps back – and it’ll be what I’m needing to say, rather than what I’m wanting to say. The description you’ve given others as to why you named yourself Puma Blue is a super visual one; this whisky drinking drunk who’s half man, half cat. Were you listening to a lot of Tom Waits when you thought it up? Oh, cool! It wasn’t my intention at the time, but I do love Tom Waits! I’d only heard him a bit when I was starting to use that name, but now I’m a huge fan. And, funnily enough, I don’t even see the name like that anymore. That’s definitely where it sprung from, but the ‘Blue’ kind of more feels like a reference to water than it does to this melancholy puma now… But Tom Waits has an amazing way with telling stories. Like the phrase you used of ‘Abstract prose…’. His lyrics feel surreal, but then he’ll bring it back to something that you can totally imagine. He’s awesome!

What is it about London that inspires you the most? I think with the first EP, it was very much a visual thing… Just going for walks late at night and feeling really switched on by orange lamplights on leaves and neon café signs. It just springs a spark of, “Ooh, I really wanna write music that feels like what I’m seeing” – but now what London holds for me is it just feels like home. It’s a comforting place to write music from, where you belong. The grind of London after I’ve been away helps too. I mean, who would need a deadline when you’re just happy eating fresh food in the sun? Whereas, in London, it feels like there’s an important thing to work towards – and that just helps me draw everything together and complete stuff. Well, London can be so warm and so dark… And maybe you’re situated on the warm side, or in the middle – but you could very easily slip into that dark side, which can really fire you on… Yeah, I try not to now – but I think I used to almost let [the dark stuff] happen, because I felt like I had to be sad to write music. But now I realise that’s just some teenage melancholy bullshit. It’s like, ‘No! That’s bad for you. What are you doing?’ So I try and keep positive about London.

CONCRETE HOURS ARTWORK BY ALFIE WHEATLEY FOR COOL BROTHER VOL 02, ISS 03.

BEHIND THE LENS WITH GERED MANKOWITZ In the mid-to-late Sixties, Britain’s youths rejected the establishment and embraced one another. “We were going through the Cold War; we had three minutes to live,” recites Roger Daltrey. Nuclear war was a constant threat. In a sepia toned city of slick suits and stiff upper lips came the blossoming dawn of self-expression, love, colour and hedonism. The Swinging Sixties were born. The young sprung to London and made it their own. Forging a soundscape of cultural revolution, artists like The Rolling Stones, The Kinks and The Beatles would help build tomorrow. Footage of such figures was sparing in the Sixties. In turn, their lives were utterly compelling. Moments would slip by like sand through hands. It was Gered Mankowitz’s duty to document them. London-born Mankowitz added to this muster, capturing the fragmenting grains of time that he could. Peppering the taste buds of young music fans across the globe, he would cast a teasing glimpse into the lives of the tenderly adored. With their three minutes to live, kids grew up fast. Mankowitz was fifteen when he left school. In pursuit of a career in photography, he apprenticed at Camera Press where he learnt everything he needed to know. Two years later, he had his own studio on Mason’s Yard. Mankowitz photographed the greats. Marianne Faithfull, Jimi Hendrix, Kate Bush and Paul McCartney would stand before him, stomachs full with immortal heart. By 1965, he was nineteen, documenting the The Rolling Stones’ nine-week U.S. tour. Gered Mankowitz remains one of music’s greatest photographers. His black and white pictures of the Sixties are untouched jewels of youth and spirit; each as timeless as the next, sure to outlive us all.

Words: Woody Cecilia PHOTOGRAPHY: GERED MANKOWITZ

You got into photography because of Peter Sellers! How did that come about? Sellers was a colleague of my father’s. He came to Sunday lunch at our house, and he brought with him a complete Hasselblad camera kit, as well as a big, cumbersome large format Polaroid camera which was all very new and exciting. He started taking pictures of us with the Polaroid, which I found quite magical – and then he described the workings of the Hasselblad in an insane Swedish accent. I was absolutely hysterical, tears weeping with laughter. From then on, I associated photography with fun. You moved pretty quickly! By the age of seventeen, you got a Hasselblad of your own and opened your first studio. Did your young age help you build the trust of your subjects, or did it create scepticism? I think being generally younger than most of my subjects was a definite plus, because what was emerging in the early Sixties was a desire to reject the establishment in as much as we could and to try and to change music, photography, hairstyles, clothes and graphics without conforming to the rules that had been previously the accepted norm. Working with a young photographer seemed like the right thing to do! It was part of that movement, getting away from the established, old-school photographers and working with somebody youthful.

How did you meet Andrew Loog Oldham? Well, through photographing Marianne Faithfull. I met Marianne socially and asked if I could photograph her. The next day, I took her off and started taking pictures. We got friendly and close and I took more pictures. She was managed by Andrew Oldham. He’d seen some of my pictures and so he asked me to come to The Rolling Stones office to meet the band and discuss working with them. What was the process of your pub shoot with Marianne Faithfull? Were you purposely trying to capture Sixties’ Britain, or did you just point and shoot? It was more complex than that. I chose the location, because I thought that it would be a great background for her. The pub had a showbiz history and I thought it would have a great atmosphere – I liked the plushness of it and I thought she looked lovely on those velvet banquettes. I thought there was a chemistry between her looking in the camera and the reflected men looking at her… Although Decca Records rejected that particular shot originally – the picture that’s subsequently became famous.

Andrew Loog Oldham famously encouraged The Rolling Stones to appear threatening, uncouth and animalistic. Did he give you any kind of brief regarding this? [Laughs] He was always encouraging. He had a very important influence on how The Stones evolved at that particular moment in time – but he gave me a great deal of room in which to work. He was a fantastic catalyst with an instinctive understanding about the dynamics of the subject and the camera. He could be scary and challenging at moments, but something good always came out of it. What were The Stones like behind closed doors, did they live up to their menacing image? Not really, they were rather sweet! [Laughs] In those days, they were nice boys… There weren’t a lot of drugs around – nobody was completely off their heads. Brian was the most experimental and, in many ways, had the most evolved image at the beginning – with his haircut and his slightly flamboyant clothes. Whereas, during the very early days, Mick and Keith looked rather like art students, Charlie looked like a Manhattan hipster, because jazz was the world he was coming out of and Bill always had a slightly eccentric look to him, being just that little bit older. But what it resulted in was this fantastic band of individuals. They weren’t remotely prima donna or difficult… Not in that first session, anyway. Brian was going to become increasingly difficult as 1965 wore on. In fact, you must have seen quite a few cases like Brian Jones’ as the Sixties wore on… In the Sixties, generally speaking, the drugs were illegal and therefore people had to be pretty cool about it. Although everybody in our world smoked a bit of weed and had a drink, most of the time we were completely in control. I wasn’t aware of serious addiction until ’67, ’68 – we didn’t know how to deal with it. And so, as Brian Jones deteriorated, we really didn’t understand what was going on! How much sleep did you get when you joined The Stones on a nine-week U.S. tour in 1965? Well, you’re leading me into a sort of sex, drugs and rock ’n’ roll type… But, actually, in terms of fun and excitement, it slipped into quite a mundane work routine. The great bulk of it was just tiring, with moments of craziness, wildness, sex, drugs and rock ’n’ roll. It was very hard work – and one of the reasons it was hard work was because after each show finished, we’d all rush into limousines, be taken to the airport, jump on The Stones’ plane and fly off into the night, often arriving at 4am when everything was completely closed. It was difficult and tiring, but it was exciting in moments. Being on stage with them while they were performing was always thrilling. Were they keen to give off a particular image on film or were they one-hundred percent themselves? I think they were themselves, being what they thought The Rolling Stones should be. They understood how to present themselves to the camera – and, in most cases, they did that naturally and spontaneously. We wanted to look mean, moody and sexy. The Stones and Andrew wanted to break away from the grinning showbiz veneer that was automatically seen as part of the requirement to be successful at that time. The snarling look must have come from a rejection of that clean fore moptop Beatles thing. Keith Richards emulated that mean, snarling look to a tee. Was there a side to him behind the lens that might surprise us? Well, he wasn’t remotely intimidating in those days. I think, as he got more famous and more stoned, he might have put on an intimidating facade as self-protection – but when I knew him, he was an absolute sweetheart. I adored Keith – he was a really sweet man and we got on very well. In fact, we got on so well that at the end of the tour, everybody was gonna go to Las Vegas for a short break and Keith rang me up asking if I wanted to go riding in Arizona with him instead. He looked like Billy The Kid with his guns and his Stetson. We went camping over night in the desert outside Pheonix and we had a great time.

What was Jimi Hendrix like one-on-one? I think he had a pretty gentle nature. He was very quiet, he was very humble, he was very modest. When you’re in the photo studio with somebody, it’s quite an intimate process – and, if you’re lucky, your subject will let their defences go and give you something of themselves. Jimi did that for me. I’ll always be very grateful of him for that. He was a wonderful subject, because he didn’t really move. You just plonked him somewhere. “Stand here, turn there,” and he just did it. He’d look into the camera and let me in. I enjoyed his company very much. At this particular point when I photographed him in early ’67, Hey Joe had only just been released, so he had everything to play for. He was at his most positive and optimistic in his career, and he seemed to be enjoying every moment of it. I think that’s reflected in the photographs that I took where he’s smiling the most fantastic grin. They weren’t used at the time, because they didn’t conform with the mean, moody and sexy requirement – but they’re lovely pictures. You feel a great warmth in him. It sounds like everyone was part of the same circle during the Sixties. How close were you with Paul McCartney? I wouldn’t say I was close to Paul – although we had friends in common. He was always very friendly. Paul was always interested in other people and what they were doing. He was outgoing and very nice company. Marianne Faithfull was recording a Beatles song that day, and it was just part of the scene to hang out in recording studios. People would drop in on other peoples’ sessions, play tambourine, contribute, hang out… So Paul came to Decca to give Marianne support. He was very happy for me to photograph him, and I got some great pictures of him and Mick.

But not everyone’s as nice as Paul McCartney, are they! Could you explain that time you photographed Oasis? I was asked to photograph Oasis in ’94 for a MOJO cover – and, at that moment in time, I’d really dismissed them as a Beatles, Stones tribute band, so I suggested doing a pastiche of my Stones’ Between the Buttons shoot, and took them to Primrose Hill. I organised a studio just a few minutes from Primrose Hill itself – and, when they arrived, they were objectionable and unpleasant. Noel Gallagher was probably the most aggressive person that I had ever met and Liam was in such a destructive mood that he was just kicking everything he could – doors, walls, furniture. It was very hard work, and it was touch-and-go for about an hour. I wouldn’t say we left bosom buddies, but I got a really good session and a great cover which is quite highly thought of. I’m actually very proud of the pictures of the band, but it was very difficult. What Gered Mankowitz photo are you most proud of? Oh, I honestly find that really difficult. I’m going to say the Hendrix classic portrait. The hands on the hips shot? Yeah! It’s got such an extraordinary life of its own. It’s become such a global icon, everybody recognises it… But there are many other pictures that I feel proud of. I’ve had a really long career, and I’ve worked with some really extraordinary people. You know – The Stones and Hendrix and the Eurythmics and Kate Bush and Suzi Quatro and loads and loads and loads of others. They’ve all been inspiring and I’m thrilled with the work that I’ve done with them. So, to pick one out is really too difficult.

View more of Gered Mankowitz’s photography at mankowitz.com

CONCRETE HOURS ARTWORK BY James Christopher FOR COOL BROTHER VOL 02, ISS 03.

CONCRETE HOURS ARTWORK BY JAKE HOLLINGS FOR COOL BROTHER VOL 02, ISS 03.

On the Road with LICE Whether it be out of fascination or mistrust, LICE are a band to watch out for. They’re not for light listening. Hailing from Bristol, they’re a prickly bunch, setting out to challenge music as an art form. Taking heavy influence from cult heroes Country Teasers, LICE are a neat liquor of perverse verse and bent out of shape instrumentals; the argument being, if authors like William Burroughs can write using satirical irony, why can’t musicians? On the cusp of constant collapse, their sound is a warn and torn barrel rolling over rocky terrain. Frontman Alistair Shuttleworth keeps his balance scarcely. His vocals flume like foam from his lips, free from obvious rhythm or direction. It’s a wander how he fits in time to breath. With little structure or repetition, each song brags around onehundred-and-fifty words a minute. Join LICE’s Alistair Shuttleworth on a car ride to nowhere, as he meddles with the tape deck.

There’s room for another. Who’s coming with? The ghost of a Great Dane we hit on our last trip. It sits bolt-upright, silent and enormous, like a tall, dark grandfather. It is translucent to me and transparent to ye, but protects us on our journey against the scourge of highwaymen. Who’s driving? My aide Harold, with me since my youth; he wears driving gloves made from the stretched skin of his eyelids, which I produced for him after he hit the Dane, repairing his dual vices of poor vigilance and palm-sweat. What’s the vehicle of choice? A Glyptodon with simple wooden seats on top. It is single-minded in its speed and direction; Harold is only here as a formality. Wait, what’s that in the glove box? A clownfish in a water-filled plastic bag. Look out the window, what can you see? A dramatic moment in Bristol’s DIY music going criminally overlooked by the complacent mainstream music press. I spy with my little eye something beginning with ‘R’... Reduced eye size.

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WHAT’S ON THE MIXTAPE?

Laurie Ander son

–

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dbeat Prote st – D ea r e h

Earth eat er – H o mo ny m s

Meredith Monk – Eon

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RAKTA – Rodeados Pela B el ez a

Yam a

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HOLLY WHITAKER SHOOTS FROM THE HIP

Holly Whitaker is keeping London alive and well. Not only is she your go-to co-founder of FLOP Collective, a platform for artists wanting to exhibit the photographer’s become good mates with the likes of Goat Girl, Black Midi nights with her scampish, deranged troops – along with the likes of is well-deserved. When she’s not chatting about the bands she loves, she’s herself, Cool Brother shoots fifty quick-fire questions her way.

Explain FLOP Collective. FLOP is a platform I created with a friend to help artists who don’t usually get to show their work! New stuff to come soon. Where’s good to host exhibitions? Brixton Pound is amazing! What’s the most shameful Shame story you’re allowed to tell? It’s been four years of deep, deep shame – too many stories to mention. Any detail and I think Eddie would kill me. Who’s your biggest inspiration? Biggest inspiration... I’ve never really thought. Saying my sister would be obvious, but I’d say her – and Liv Wynter as well! How old were you when you first picked up a camera? Fifteen! Picked up my mum’s hand-me-down and haven’t put it down since. Give us some words of wisdom! Always believe women! Who’s your favourite Lemon Twig? Michael’s high kicks are the clincher. Best way to befriend the bands you love? Grace Goslin of FEMME knows how to do this well; get drunk, go up to the singer of a band and unwittingly tell them you think they look like the singer of that band and scream until you become best friends. This really happened with her and Lottie P last year. What’s your favourite Fall song? Blindness. Describe the best photo you’ve ever taken. I think it’s still a black and white photo of my old friend Aramide that I took early 2014. Or more recently, the one of Goat Girl at the lake house we stayed at in Indiana earlier this year. What was the last text you sent? I just texted my friend Alfie telling him an old man fell asleep on me on the bus. Film or Digital? Film! How did you meet Goat Girl? I told them I loved their music and wanted to take their photo and now they won’t bloody leave me alone! Fancy starting a rumour about them? Naima left to be Rosy’s surrogate. How’d you feel about London festivals? I’ve always had a lovley time at Field Day and Lambeth Country Show! What’s it like having photos you took of your mates up on billboards? I’m so proud! It’s really fun getting off the tube and seeing your work staring back at you. What’s the first thing that comes to mind when I say GREEN MAN? Oh dear… How many tweets have you posted to date? Under five-thousand – and that’s impressive seeing as I apparently made it when I was a far too opinionated thirteen-year-old. I genuinely think it was mainly to tweet Noel Fielding. Have you ever done a Facebook cull? No, but I regularly go on hiatus. Best piece of advice for photographers starting out? Don’t let people tell you you’re doing anything wrong – and don’t be scared to ask to take anyone’s photo. What’s the best thing you’ve overheard at the Windmill lately? Literally anything Stan the regular says. What’s the first thing you do when you wake up? Go back to sleep.

girl for behind-the-scenes photos of your favourite bands; she is the their work in galleries and print. Residing in the capital’s South West, and Shame. Her Instagram is a constant flurry of weird sights and endless Liam Gallagher, King Krule, Parquet Courts and Mitski. Whitaker’s success promoting equal rights instead. In an attempt to get to know Whitaker

What’s your tour bus snack of choice? Pretzels and eazee PEELERS. Who’s your favourite band to shoot? Obviously Goat Girl! But I’m really enjoying shooting Black Midi recently. Explain what The Queens Head was like. Some of my all time absolute favourite memories are in that place – I miss it with all my heart. We have a lot to thank it for. Describe Parquet Courts’ Austin Brown in two words. How do you describe a man who practices internet dance crazes to perfection in two words? What’s the best way to shoot candid photos? I don’t like flashing in people’s faces, I genuinely like to warn people haha! Favourite South London venue? Of course the Windmill is brilliant, but I absolutely love The Bunker in Deptford as well. What’s your go-to pose when the camera’s on you? Casual squat. What camera do you usually shoot with? Recently my Canon Rebel 300. How’d you like your popcorn, salted or sweet? Salted every time. Have you got a favourite photo book? My sister and dad got me some Mondino archive books – and I have a book called The Art of Colour Photography which I was bought for my eighteenth birthday, which I hold really dear. Coffee or tea? Tea. Spirits or beer? Beer. Who taught you to take pictures? Me! If you could change one thing about the music industry, what would it be? There’s a lot of ingrained misogyny in the industry and it often hinders women and non-binary creatives from reaching their potential. I want that changed please. List one word you use far too often? Bby. What’s the strangest date you’ve ever been on? Don’t think I’ve ever been taken on a proper date haha – maybe just non-strange curry in Tooting. Ant or Dec, one has to go. Who gets the boot? No, PJ & Duncan forever! What do your family think about what you do? Think they’re pretty proud! Unless they’ve told you otherwise… Best late night snack? Late night cornflakes are really good. What was the last show you went to? Italia 90 at Rye Wax last night! they’re the future – go see! Records or Spotify? My record player is bust and I have an iPhone 4, it’s all very tragic. I’ll say Spotify on my computer haha. Have you ever questioned Naima about her sock and flip flop choices? I would never question it – she has the right idea! It doesn’t LOOK comfy? Believe me. What’s the best thing about being a music photographer? Getting to capture things I’ll get to look back on years from now, I think! What was your favourite subject at school? History or Theatre Studies. Proudest moment to date? Getting my photo of Aramide up at Tate Lates! What are you listening to at the moment? Right now, I’m listening to lots of Black Midi, Thee Oh Sees, Amy Winehouse, Yaeji, Ought, Jerkcurb and Sudan Archives.

CONCRETE HOURS PHOTOGRAPHY BY Marc VaLleE FOR COOL BROTHER VOL 02, ISS 03.

H LA A U R R P A E R H IT W

E B OG A H R A R N A PHOTOGRAPHY: CAOIMHE HAHN

STYLING AND CREATIVE DIRECTION: WOODY CECILIA

Laura Harper is DIY’s finest. Completely self-taught, she began working as a handpoke tattoo artist around a year ago. Starting out, she would practice her craft on whoever would let her. Now, she has her own studio in Limehouse where she threads ink onto skin every single day. Leaving her mark one tattoo at a time, she gives this digital world of our’s meaning, permanence and tangibility. She’s not too dissimilar from Eoghan Barra in that respect. Barra began shooting on Polaroid when assisting Christopher Makos, a contemporary of Andy Warhol’s who worked closely with the NYC pop artist. Keen to challenge the inherent sexualisation of the naked body, Barra needed a way of shooting his subjects nude without making them feel uncomfortable. Makos suggested Polaroid. There’s something distinctly honest about Polaroid portraits. Intimate and personal, they’re visual diary entries of fleeting moments, captured with adoring spirit. It’s with this nature, and the fact that each image is a one-off, that Barra achieves what he set out to do. His subjects not only become collaborators, but best friends – with confidence, trust and energy anew.

Head with us to Laura Harper’s studio as the two creatives meet for the first time.

VIEW LAURA’S WORK ON INSTAGRAM: @POCAHARPER

“IT’S NORMAL TO MESS UP WHILE STARTING OUT"

GETTING TO KNOW LAURA HARPER

I started tattooing as or seven tattoos at that it – student life for tattooing equipment my

How did you get into doing handpoked tattoos? a hobby while I was at university. I had around six point and I really wanted more, but couldn’t afford you! So, I did a few small ones on myself with some friend gave me and, after that, everyone wanted one from me!

Did you get any form of training or did you start truly from scratch? I haven’t had any training, I just picked it up and taught myself – although, I have definitely learnt a lot just from meeting with other tattooists and watching how they work! What words of advice would you give people wanting to follow in your footsteps? Don’t give up, as frustrating as it can be – and don’t let the rubbish tattoos that you will do make you want to quit. It’s normal to mess up while starting out. I spent a lot of time dwelling over ‘mistakes’ and I still do, but it’s so important to not let them lower your confidence. You’re great! Keep at it, and be safe and clean while you do so! What was the first tattoo you ever did? The first tattoo I ever did was a little ‘X’ on the top part of my wrist. Top tip for you handpokers out there, start small. How would you describe your style? I’d say my style is very linear and minimal. I like to include occasional dot and line work, but I generally keep my tattoos quite spacey and delicate so they don’t look too busy. It works really well with the florals that I do. My style has been called ‘Cute’ many times in the past! What’s your favourite thing to tattoo? I love tattooing linear female bodies, as I admire the female form and I think that it’s such a beautiful thing. I love that non-sexualised versions of nude women tattoos are becoming more of a ‘thing.’ Rather than being seen as sexual objects as they were in the pin-up era, they now have the purpose of celebrating beauty and freedom. It really supports today’s body positive generation, which I really try to push in my work. How many tattoos would you say you’ve done since starting out one year ago? It’s so difficult to say. I’ve tattooed up to fifteen people in one day before, so I’d say probably around six-hundred? A lot! Did you say you tattooed your entire left arm? Yep, my practice arm. Legs are a pretty popular place for tattooists to practice on, but I like to use my arm as I find it fairly easy and comfortable to do. Also, it’s a really good, visible portfolio for my clients to look at without me having to pull my trousers down [laughs]. Which other tattoo artists do you rate the most? I rate so many, it’s hard to choose just one, but my top favourites who are a big influence are @howlinhands, @osskkkiiii, @naraishikawa, @fayeotattoos and @stickaroundtattoo. Also they’re all just insanely kind and friendly people, which I think is so important in this industry. What do you love the most about your job? So many things! The fact that I get to draw every single day, not only on paper but on people’s skin… I’m able to give someone something that they get to take away with them forever – and, in a way, I live on with them too. I’m so lucky to have met so many beautiful souls, and to be given the opportunity to learn about them and their stories every day. It’s more than I could have ever wished for.

GETTING TO KNOW EOGHAN BARRA How do you go about scouting your subjects? A lot of them have been friends and lovers – but, lately, working with Jasmine Dreamer and Jess Brennan has allowed more people with interests in body positivity to be exposed to my pictures too. For those I haven’t met previously, there’s usually a shared sense of the world, and we get along really well. I’ve become lifetime friends with some of them. What’s the general mood when meeting them before the shoot? We’ll hang out, get to know each other, the project is fully explained. I also let them know that they’re free to take pictures of me, if they wish. That’s something I’ve adopted to be able to feel exposed and vulnerable, and to diffuse any sense of power that a photographer might have over their subjects. What’s the message behind your nude photographs? The message is definitely anti-censorship and feminist, in the sense that all bodies should be equally uncensored. It’s about freedom of expression, comfort in one’s own skin and an attempt to disrupt the notion of a nude photo as pornographically sexual. How do you get your subjects to act so naturally? They often pose, and I wait. As soon as they stop thinking ‘I’m in front of a camera’ and start thinking ‘Why is this idiot taking so long?’ their expression changes and I press the button. When they move into an internal monologue and become less conscious of the situation, that’s when they look more natural. How did you meet Christopher Makos? When I finished my BA in Dublin, I was hired to document an artist who was living and creating work in a contemporary gallery. The curator and I became very close friends and he introduced me to Chris Murray who was part of Warhol’s extended circle back in the heyday. Over drinks, I told them that I was planning to spend a year in New York and they were both very enthusiastic that Makos was the man I should begin that journey with. So, I showed up at his studio door one morning and so it all began. Is it true he was the one who turned you onto shooting on Polaroid? One day when I was archiving his Polaroids, I asked Chris what it was that let so many people feel comfortable posing nude for him. He gave this fascinating explanation about the physical nature of the Polaroid that’s held and touched and approved in an instant, on location, and how that instills more confidence over an iPhone or digital camera. In a somewhat Warhol-esque way, he also taught me about its intrinsic and increasing value as a one of a kind. Did Makos speak much about Warhol? Their friendship spanned well over a decade and they travelled the world together, so there was definitely a sense that it was heartbreaking for Makos when Warhol passed away at just fifty-eight-years-old. He’d sometimes say things like, “Andy would have liked that” or “That’s where Andy bought his glasses,” pointing at the Moscot store. Working through the archives, I’d ask him questions about Andy dressing up in drag for their Lady Warhol series, about the moments when Andy is pictured with the likes of John Lennon and Bowie and Basquiat, and all of these people who I’ll never ever have the chance to meet. The stories were magic. What’s next for the Polaroid series? Right now, there are hundreds in a box. I’m waiting for the point where I feel like I have enough of a collection to put on an exhibition. It probably annoys the hell out of some people who’ve waited so long to see the final results of the project – and to those people, I’m sorry. But it’s getting there, I promise.

VIEW EOGHAN’S WORK ON INSTAGRAM: @EOGHANBARRA

“ALL BODIES SHOULD BE EQUALLY UNCENSORED”

Laura wears – TOP: Carhartt, TROUSERS: Folk, HAT: Rains, GLASSES: Ace & Tate, SHOES: Converse One Star Eoghan wears – SHIRT: Farah, CARDIGAN: Our Legacy, TROUSERS: Norse Projects, SHOES: Nike SB

Laura wears – T-SHIRT: Carhartt, PULLOVER: Heresy, TROUSERS: Heresy, SHOES: Good News Eoghan wears – T-SHIRT: Norse Projects, SHIRT: Our Legacy, TROUSERS: Our Legacy, SHOES: Wood Wood

Laura wears – TOP: Carhartt, JACKET: SCRT, GLASSES: Ace & Tate, TROUSERS: SCRT, SHOES: Converse Eoghan wears – TOP: Carhartt, JACKET: Folk, TROUSERS: Folk, SHOES: Wood Wood

CONCRETE HOURS ARTWORK BY JOSEPH GRAHAME FOR COOL BROTHER VOL 02, ISS 03.

CONCRETE HOURS ARTWORK BY Steph Dutton FOR COOL BROTHER VOL 02, ISS 03.

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M C D E R E CO R D I N G S : M OTO R C I T Y D R U M E N S E M B L E PA B LO VA L E N T I N O sunday 18 november

D U S KY THIRD SON sunday 25 november

SV E N VÃ&#x201E;T H s u n d a y 0 2 d e ce m b e r

DAX J s u n d a y 0 9 d e ce m b e r

G E O R G E F I TZG E R A L D s u n d a y 1 6 d e ce m b e r

w w w. p h o n ox . co . u k

29 | 11 | 18

04 | 12 | 18

SOAK

MICAH P. HINSON

- LONDON OMEARA -

- LONDON OSLO -

04 | 12 | 18 - 06 | 12 | 18

THE GOOD THE BAD & THE QUEEN - LONDON HACKNEY EARTH

05 | 12 | 18

BUFFALO TOM - LONDON ELECTRIC BALLROOM

01 | 02 | 19

DEATH CAB FOR CUTIE - LONDON EVENTIM APOLLO

12 | 12 | 18

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LIELA MOSS

THE WOMBATS

WHITE LIES

- LONDON THE LEXINGTON

- LONDON SSE ARENA WEMBLEY

- LONDON 02 FORUM KENTISH TOWN

02 | 02 | 19

08 | 02 | 19

SNOW PATROL

THE VACCINES

- LONDON SSE ARENA WEMBLEY

- LONDON ROUNDHOUSE

07 | 03 | 19

SHE DREW THE GUN - LONDON THE GARAGE -

08 | 03 | 19

THE HOLD STEADY

- LONDON ELECTRIC BALLROOM

14 | 03 | 19

METHYL ETHEL - LONDON HEAVEN

T I C K E T S AVA I L A B L E F R O M

SEETICKETS.COM - GIGANTIC.COM - ALTTICKETS.COM DICE.FM - TICKETMASTER.CO.UK - STARGREEN.COM

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