London in Stereo // HAAi

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LIVE. MUSIC. CULTURE. AUGUST 2019.

â„– 73 // F R EE


ABIGAIL X IVORIANDOLL

TE DNESS

THE HEAVY

Electrowerkz

London 20 | 10 | 19

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KID KAPICHI

BOBBY OROZA

London 04 | 10 | 19

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London 31 | 08 | 19

Camden Assembly

OLDEN YOLK The Lexington London 15 | 10 | 19

RICHARD HAWLEY

Garage

Electric Ballroom

The Lexington

LITLAND FESTIVAL Oval Space London 10 | 11 | 19

INDIGO GIRLS O2 Shepherd’s Bush Empire

METHYL ETHEL Electric Brixton London 13 | 11 | 19

London 28 | 10 | 19

LAMB

BABYBIRD

Roundhouse

London 28 | 10 | 19

London 21 | 11 | 19

CRAIG FINN & THE UPTOWN CONTROLLERS

OF MONSTERS AND MEN

JAMIE CULLUM

Oslo

London 29 | 10 | 19

London 18 | 03 | 20

SKATING POLLY/SHE MAKES WAR

FEBUEDER

London 17 | 10 | 19

London 17 | 10 | 19

The Lexington

Union Chapel

100 Club

Eventim Apollo

The Lexington London 30 | 10 | 19

London 18 | 10 | 19

The Palladium

JAMIE CULLUM

The Palladium London 19 | 03 | 20

DAWES

Islington Assembly Hall London 04 | 11 | 19

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PARIS 2019


One of the advantages to the summer being saturated with festivals is the chance to fall head-over-heels with acts we might not have otherwise had the chance to see. This is very much what happened when we went to Field Day this year. Catching HAAi playing above the crowds was probably the best start to a festival we could have asked for, it only made sense that she should be our next cover star. If all festivals could make note and start that way, that’d be great. Also for this month, it’s so brilliant to see the return of Shura - we last interviewed her back in 2015 and she just keeps getting better. With Jay Som and one of our favourite newcomers, ((( O ))) in there as well, this month is a mix of the best sounds. Looking at release schedules (I know, I know, there’s so much more great stuff we don’t even know about also coming) for the rest of the year and, oh my god, there is so much to look forward to. Is the best yet to come? Watch this space.

STAFF ON REPEAT

the music we can’t stop listening to this month Jess: Blanck Mass - No Dice Dave: Stefflon Don, Lil Baby - Phone Down Loki: Dream Dali – Hurt Me Danny: Squid - The Cleaner Gemma: Sampa The Great - OMG Kezia: Brooke Candy (ft. Charli XCX & Maliibu Miitch) - XXXTC Katie: Parris Mitchell vs. Nina Kraviz - Feel My Butterfly (Ghetto Acid Mix) SAMPA THE GREAT (photo: Barun Chatterjee)

Jack: Anna Meredith - Paramour London in Stereo: 07



INTERVIEWS 20

24

REVIEWS

SHURA

42

74

JAY SOM 28

36

50

((( O ))) 52

VISIONS FESTIVAL PREVIEW 16 69

LIVE

WHAT’S ON

HAAi

FEATURES 12

ALBUM RELEASES

56

EVENTS

GIGS OF THE MONTH

FULL AUGUST LISTINGS

NEW SOUNDS

TALES FROM THE CITY 70

ON THE STEREO 72 76

IN LONDON

THOUGHTS... HAAi cover story: page 28

Editor: Jess Partridge jess@instereomag.com

Deputy Editor: Dave Rowlinson dave@instereomag.com

Online Editor: Kezia Cochrane kezia@instereomag.com

Festival/Clubs Editor: Katie Thomas katie@instereomag.com

Sub-Editor: Loki Lillistone loki@instereomag.com

New Sounds Editor: Gemma Samways

Staff Writers: Danny Wright, Jack Urwin

Advertising: sales@londoninstereo.co.uk

Photography: HAAi cover story: Jenn Five (jennfive.com) Contributors: Caitlin Clark, Geoff Cowart, Georgia Evans, Thomas Hannan, Jon Kean, Charlotte Krol, Emma Madden, Georgia Marsh, Robin Murray, Stephanie Phillips, Kelly Ronaldson, Harriet Taylor, Lee Wakefield, Madeline Wrench. londoninstereo.com

@londoninstereo

London in Stereo: 09




At the risk of sounding like a stuck record, Visions Festival is, simply, The Best. One of our favourite days of the entire year, we always have the best time bouncing between venues, catching incredible music, drinking great drinks and indulging in exceptional street food. Plus, of course, the dog show. To your right you’ll see a map that’ll help guide you round the streets of Hackney. Below, you’ll find five things we’re definitely going to be doing. So if you want to hang with us - then follow these simple steps.

1

2

12pm Dog show

2pm Zamilska or Scalping?

One of the reasons Visions is the absolute best is because no other festival kicks off with an open-to-everyone dog show. We honestly can’t think of a better way to start things so this is definitely where you’ll find us. This year’s theme is Pup Fiction, and if that’s not going to be the most darkly cute thing we’ve ever seen then we’ll be shocked.

The music kicks off proper at 2pm and there’s no hanging around. Straight off the bat we’ve gotta make some tough decisions. The ethereal and atmospheric sounds of Zamilska at The Arches or pop across the road for something a little more tropically upbeat in the form of Scalping at Hangar.

3

5pm Goose Island Hop Garden & Bar Obviously we’re all here for the music (and dogs) but there’s no shame in taking a break. We’ll be heading to Studio Spaces to appreciate the sunshine-soaked DJ sets (great DJing can ensure sunshine - fact), grab some grub, drinks and take five minutes sitting down before the evening kicks off.

5 Don’t let the night end - drinks at netil House, Mare St, Sebright Arms, anywhere in between With our blood pumping from those headline shows we’re not gonna be able to finish the night just there, so another drink anyone? If you’re lucky, you'll make it in time for a rooftop drink at Netil House, or another at one of our all time favourite boozers the Sebright Arms? Wherever you choose it’ll be the perfect way to close off an incredible day.

4 Anna Meredith followed by Pigs, Pigs, Pigs, Pigs, Pigs, Pigs, Pigs As every year, the headliners for Visions are a wildly eclectic mix of brilliant acts. There’s no shortage of hard decisions to make, but with Anna Meredith sneaking us a peak of her new album and the absolutely raucous energy from Pigs x7 this unusual duo have us absolutely pumped. If we arrive at Oval Space out of breath that’s because we’ve legged it over from Kedr Livanskiy, just hand us a beer. For the latest stage-times and news, head to visionsfestival.com, and keep an eye on their Twitter on the day @visionsfestival



ZACH SAID

THU 15 AUGUST SERVANT JAZZ QUARTERS

NICK MULVEY

CHRISTOF VAN DER VEN TUE 8 OCTOBER THE LEXINGTON

SUN 18 AUGUST REGENT’S PARK OPEN AIR THEATRE

RICHARD FAIRLIE WED 16 OCTOBER

THE TESKEY BROTHERS

TWIN PEAKS WED 16 OCTOBER

MOSA WILD

CUB SPORT THU 17 OCTOBER

ANOTHER SKY

JOHN SMITH SAT 19 OCTOBER

TUE 3 SEPTEMBER JAZZ CAFE

WED 18 SEPTEMBER OMEARA

TUE 24 SEPTEMBER VILLAGE UNDERGROUND

ELOISE

WED 2 OCTOBER HOXTON HALL

SERVANT JAZZ QUARTERS

THE DOME, TUFNELL PARK

SCALA

ISLINGTON ASSEMBLY HALL

NICK MURPHY FKA CHET FAKER TUE 22 OCTOBER O2 ACADEMY BRIXTON

NOAH KAHAN MON 18 NOVEMBER SCALA

HOLLOW COVES

TUE 19 NOVEMBER DINGWALLS

MATTHEW AND THE ATLAS WED 20 NOVEMBER EARTH

FOY VANCE THU 21 NOVEMBER LONDON PALLADIUM

LUNA BAY THU 21 NOVEMBER SCALA

NIKKI LANE SAT 23 NOVEMBER DINGWALLS

GEORGE OGILVIE

ROMAN LEWIS WED 23 OCTOBER THE COURTYARD THEATRE

JADE BIRD

SAINT SISTER

BRISTON MARONEY MON 28 OCTOBER

JENS KUROSS

WED 2 OCTOBER OSLO HACKNEY

WED 2 OCTOBER OMEARA

FRIEDBERG THU 3 OCTOBER THE WAITING ROOM

KYAN

THU 3 OCTOBER OMEARA

MARTHAGUNN THU 3 OCTOBER SEBRIGHT ARMS

APRE

MON 7 OCTOBER SCALA

THE LEXINGTON

SYML TUE 29 OCTOBER SCALA

PICTURE THIS FRI 1 NOVEMBER ROUNDHOUSE

HALF MOON RUN THU 7 NOVEMBER ELECTRIC BRIXTON

FINK SAT 16 NOVEMBER ROUNDHOUSE

WED 27 NOVEMBER O2 SHEPHERD’S BUSH EMPIRE

WED 27 NOVEMBER ST PANCRAS OLD CHURCH

DERMOT KENNEDY

MON 2 & TUE 3 DECEMBER EVENTIM APOLLO

SAM FENDER

TUE 10 & WED 11 DECEMBER O2 ACADEMY BRIXTON

THE PAPER KITES

SUN 15 DECEMBER ISLINGTON ASSEMBLY HALL



VELVET NEGRONI

SUI ZHEN

TOP TEN: New Sounds Tenesha The Wordsmith - Why White Folks... William Doyle - Nobody Else Will Tell You Zilo - Be There Soon Griff - Mirror Talk Daymé Arocena - Oyá Bree Runway - Big Racks (Feat. Brooke Candy) Headie One - Back To Basics (Feat. Skepta) Chika - High Rises Hanne Hukkelberg - The Young And Bold I Sui Zhen - Perfect Place FOLLOW OUR SPOTIFY ‘ALL THOSE TRACKS OF THE WEEK’ PLAYLIST FOR ALWAYS-UPDATED NEW MUSIC


Velvet Negroni by Gemma Samways In a break from the norm here at New Sounds, this month’s subject is no industry novice. In fact, Jeremy Nutzman has more than a decade of different musical projects under his belt, plus one previous album as Velvet Negroni. However, it’s only in the last 18 months that the Bon Iver-approved alt R&B star has started hitting his stride. Sampled by Kanye and Kid Cudi on 2018’s Kids See Ghosts collaboration, Nutzman has since signed with 4AD and is due to release second LP Neon Brown on August 30th. It’s a record that will surely only reinforce the link between him and his Twin Cities-forebear Prince, while finally establishing the Minneapolis-raised singersongwriter as a visionary in his own right. LAYFULLSTOP

Featuring input from long-time collaborator Elliott Kozel AKA Tickle Torture, plus Future and Young Thug-producer Psymun, Nutzman’s second set as Velvet Negroni deals in irresistibly sinuous grooves. Of course, within that loose brief there’s huge variety, be it the fluttering marimba melody of ‘Feel Let’, the Jai Paul-esque funk of ‘Kurt Kobain’, or saxophoneflecked slow jams like ‘Confetti’. Get a feel for Nutzman’s unique songwriting and production approach via the skittish rhythms of latest single ‘Wine Green’. Absolutely superb. LISTEN TO: WINE GREEN Velvet Negroni’s album, NEON BROWN, is released August 30th via 4AD. @VelvetNegroni

@VelvetNegroni

Layfullstop by Jess Partridge Obviously there’s no lack of up-andcoming talent in the UK hip-hop scene, but there’s something that stands out about Manchester’s Layfullstop. Her raps don’t miss a beat and you can feel a comfort and confidence in her sound that newcomers often lack. It’s the combination of soul and jazz influences in her work, though, that really make sure you take notice. From touring with Children of Zeus to appearing on the much lauded Basquiat album alongside Kojey Radical and Joe Armon-Jones she’s not narrowing her options and that makes her a wildly exciting prospect. LISTEN TO: Cherries @layfullstop

@LayFullStop London in Stereo: 17


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TUE 24 SEPTEMBER

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O2 SHEPHERDS BUSH EMPIRE

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WED 09 OCTOBER

O2 ACADEMY BRIXTON

HOXTON SQUARE BAR & KITCHEN

FRI 11 OCTOBER

THE DIVINE COMEDY

JORDAN RAKEI

THU 17 OCTOBER

FRI 18 OCTOBER

EVENTIM APOLLO

O2 FORUM KENTISH TOWN

+ ARLO PARKS ROUNDHOUSE

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Shura words: Danny Wright photography: Hollie Fernando

’m chatting to Shura just a couple of days after her performance at Glastonbury. “It was great! I ran around trying to find a gaggle of nuns, to be on stage with me who didn’t mind like embarrassing themselves on the internet.” If references to nuns seem somewhat confusing, just watch her video for the latest single ‘religion (u can lay your hands on me)’, featuring Shura dressed as the pope surrounded by a sisterhood of nuns (we think that’s the collective noun). “When I wrote ‘religion’ I’d just watched a few episodes of the Young Pope with Jude Law and I was obsessed with the costumes in it. So Chloe (Wallace) said ‘Let’s create this alternate universe where you are the fucking pope!’. The thing is, if this was a video for my first record, then I would just be one of the nuns but for this album it

didn’t seem right to have that hesitation.” forevher (a mix of ‘for her’, ‘forever’ and ‘forever her’, if you were wondering) is certainly less hesitant, and more confident, in its outlook than her debut, Nothing’s Real. It’s a brilliantly vivid record about falling in love. “If you'd asked me a year before I started making it was if this was the record I expected to make then the answer would have been no - but then I was single and I wasn't expecting to fall in love.” It meant a new approach to songwriting after her introspective debut, a record encapsulated by ‘Touch’ – and its viral video in which she ended up alone. “I don't think I've ever written about being happy or in love in my life but it’s been so liberating. I'd assumed that only talking about things when bad shit happened to me was the only way that someone could relate - but actually I’ve discovered that the opposite is also true.”


“I'd a s s u med that o n l y t al k i n g ab o u t t h i n g s w hen ba d s h i t h ap p e n e d t o m e was t h e onl y way that s o m e o n e c o u l d re l at e . . .”

The record tells a classic NYC-to-London love-story, but a thoroughly modern one of dating apps or Skype chats too. Just take ‘The Stage’ a dreamy song which tells the story of their high stakes first date that saw her fly across the Atlantic. “‘It’s about my first date with my girlfriend which happened to be at a MUNA concert in New York. I had to DM them asking for guest list and they were like ‘Oh my God, yes. We love the concept of a first date at a MUNA gig!’.”

“Orlando (from T-E-E-D) played me this song which had this element of musical theatre to it. It’s weird cos I hate musicals but with this album I wanted to write this lesbian musical and ‘The Stage’ is the theatrical lynchpin to it. And I really liked this image of not really knowing whether or not this girl liked me until they took my hand and led me to a place in the room where I could see because I'm so short!” London in Stereo: 21


Now they’re in love, has her girlfriend listened to the album? “I know she's listened to it and I’m sure at first she was like ‘Oh Christ, what have i got into?’ but when you finish something it no longer feels like it’s about you anymore, so I think she can listen to a song like ‘religion’ just as a song rather than about her.” This idea of art being separated from the artist who created it and meaning being imbued through the eyes of the listener runs throughout the record - from the songs and right through to the artwork, a reworking of Rodin’s The Kiss. “I was thinking about all those songs that I grew up singing and it didn't matter that they were sung by straight people or had straight people in the music video snogging because in my brain I could easily change the pronoun. As queer people we’re so programmed to do that I wanted to take something people would

instantly recognise and flipping it to be queer and seeing how people would react to that emotionally.” Though she acknowledges things like the ridiculous calls for a ‘straight pride’ show there is still a way to go, she does feel things are slowly changing. “Even in the four years since I released my first record there are so many more queer female, male, non-binary, gender non-conforming artists. It’s such a change from when I was growing up where all you could do is Google Tegan and Sara.” Shura has created an album that openly and boldly shows that love is love is love: timeless and universal. Shura releases forevher August 16th via Secretly Canadian LIVE: Roundhouse, London. November 14th @weareshura

@weareshura


HAND HABITS MON 19 AUG CHATS PALACE SAM EVIAN TUES 27 AUG THE LEXINGTON HANNAH COHEN MON 2 SEPT SET DALSTON SERPENTWITHFEET TUES 3 SEPT EARTH HACKNEY BEDOUINE SAT 7 SEPT QUEEN ELIZABETH HALL GIANT PARTY TUES 17 SEPT ELECTROWERKZ STEVE GUNN TUES 17 SEPT OMEARA NATALIE EVANS THURS 19 SEPT THE ISLINGTON ELSA HEWITT TUES 24 SEPT RYE WAX BABII THURS 26 SEPT SET DALSTON PLASTIC MERMAIDS THURS 3 OCT SCALA

BESS ATWELL THURS 10 OCT OMEARA GHUM THURS 10 OCT THE WAITING ROOM ROZI PLAIN TUES 15 OCT VILLAGE UNDERGROUND KELLY MORAN WED 16 OCT KINGS PLACE SKINNY PELEMBE WED 16 OCT MOTH CLUB

EVADNEY MON 28 OCT THE WAITING ROOM SHUNAJI TUES 29 OCT THE WAITING ROOM BAMBARA TUES 29 OCT SEBRIGHT ARMS GEORGIA TUES 5 NOV SCALA GIRL BAND TUES 5 NOV ELECTRIC BALLROOM

JERKCURB THURS 17 OCT CHATS PALACE

ALICE HUBBLE TUES 5 NOV SERVANT JAZZ QUARTERS

EGYPTIAN BLUE WED 23 OCT SERVANT JAZZ QUARTERS

PALACE SAT 9 NOV ROUNDHOUSE

ROSIE LOWE WED 23 OCT VILLAGE UNDERGROUND LISA MORGENSTERN THURS 24 OCT SERVANT JAZZ QUARTERS

SHURA THURS 14 NOV ROUNDHOUSE EZRA FURMAN THURS 14 NOV O2 FORUM KENTISH TOWN MEGA BOG THURS 14 NOV THE ISLINGTON

PARALLELLINESPROMOTIONS.COM

KATHRYN JOSEPH MON 18 NOV EARTH HACKNEY KEDR LIVANSKIY THURS 21 NOV BLOC ART SCHOOL GIRLFRIEND TUES 26 NOV RICH MIX SIR WAS WED 27 NOV SCALA BC CAMPLIGHT THURS 28 NOV ISLINGTON ASSEMBLY HALL FAT WHITE FAMILY MON 2 - THURS 5 DEC EARTH HACKNEY IDER WED 5 FEB 2020 ELECTRIC BRIXTON ANNA MEREDITH WED 5 FEB 2020 EARTH HACKNEY (SANDY) ALEX G WED 12 FEB 2020 EARTH HACKNEY SLEATER-KINNEY WED 26 FEB 2020 O2 ACADEMY BRIXTON


J AY SOM words: Stephanie Phillips photography: Lindsey Byrnes

hen it comes to the mythology of music-making, there’s often no story more alluring than the raw, unfiltered display of creativity that is DIY bedroom recording. For 25-year-old, Filipino-American Melina Duterte, who performs under the moniker Jay Som and has recorded and produced all of her releases in her room, DIY recording is her first love. “I love the comfort it brings me and the familiarity,” she explains. “I've been in large studios before and I've played with other people in different studios or home studios but there’s something about the control, in my home studio that just feels right.”

“ ...it mean t a lot to see t h a t m an y gir ls a t sh ows. I'v e n ever seen t h a t an d I rem em b e r th in k in g I didn 't h ave t h i s wh en I wa s you n ger. I didn 't k n o w th is cou ld ex ist...” Duterte started out recording and uploading covers to MySpace in her room at 12. Using her DIY ingenuity and introspective, dream-pop sounds she has become a driving force in American indie rock. Her latest album Anak Ko (a Tagalog phrase which translates to ‘my child’) released on Polyvinyl is a reverb-drenched, shoegaze fantasy. One where we can imagine being the most emotionally available, honest versions of ourselves all set in a hazy, Super 8 music video. To guide her in the making of the album Duterte found herself drawn to the chaotic beauty of heavenly indie-pop trio Cocteau Twins, trip-hop pioneers Portishead, and


90s California indie band Pinback. For the first time Duterte reached out to her surrounding circle to work on her album bringing in Chastity Belt’s Annie Truscott, Justus Proffitt, Boy Scouts’ Taylor Vick, and Vagabon’s Laetitia Tamko. Raised in the Bay Area in California, Duterte was surrounded by music from an early age. Her house was filled with vinyl her dad collected from his time as a DJ while her mother, who sang and played guitar, taught Duterte how to sing. Her family’s love for music even played out in their favourite past time – karaoke, which Duterte says is hugely popular in Filipino culture. “I grew up with the karaoke machine at my house and every time we'd have parties my dad would put it on and my mum would be singing a bunch.”

Duterte was given her first guitar at eight and began playing the trumpet at 10, beginning a long affinity with classical music training. She almost went to a jazz conservatory until she realized she wanted to focus on recording her own music. Combining her love for creating with her years of technical training she began to work on her own songs and eventually self-released in late 2015 on Bandcamp in the hope someone would listen. Someone did – online indie label Polyvinyl signed her up and re-released the demos as her debut LP Turn Into. The release of her second album 2017’s Everybody Works saw her status London in Stereo: 25


continue to ascend as the well-received album landed on copious end of year lists. For the quiet and softly-spoken artist the new-found attention was overwhelming at first, though she now feels better equipped to handle the intensity of those moments: “I feel more at peace with myself and I feel like I've done a lot of work mentally. I think that translates into my music and I just felt more like myself making this album this time around.” The work Duterte put into herself allowed her to process her feelings on “wanting to care for people and wanting them to know”. The solemn Americana-influenced ‘Night Time Drive’ deals with her fears of drifting away from loved ones when demanding tours take you away from home. “Friendships change in that way but it gets pretty depressing sometimes and you start to really think about your place in life and why you deserve all these things and what did you do, are you lucky.”

Though life on the road has its many downsides, Duterte had an inspiring experience seeing crowds of young women of colour at shows in 2016 when she went on tour with Asian American artists Mitski and Japanese Breakfast. Duterte describes the pair as “powerhouses on their own”. Recalling the tour, she says: “It was super eye-opening and it meant a lot to see that many girls at shows. I've never seen that and I remember thinking I didn't have this when I was younger. I didn't know this could exist.” Now as a beacon of hope for others like her, Jay Som shows are packed with young women of colour waiting eagerly to sing her songs. She simply says: “It feels very good”. Jay Som releases Anak Ko August 23rd via Lucky Number LIVE: The Garage, London. November 20th The Exchange, Bristol. November 22nd @jaysomband

@jaysommusic



“It’s not about you... It’s about helping people to enjoy themselves...”

t’s no secret that Teneil Throssell, AKA HAAi, has an excellent collection of house plants. Their shiny, rubbery green leaves are all over her Instagram, and as we munch on salad and paninis in an east London café on one of those horribly muggy days in June, I’m after her best plant tips. “You know the ones with the big leaves, I’ll wipe them down and chat to them a bit, they like that.” Throssell moved to a new house a couple of months ago, and now her plants don’t seem so happy. “Maybe I’ve neglected them too much lately, maybe I need to have a proper sit down with them,” she laughs.

Before lunch, I sat and watched as HAAi grinned and giggled her way through her first ever cover shoot (those yellow trousers are the same she later lent to best friend Daniel Avery for their raucous b2b, closing out the final Beat Hotel at Glastonbury). It might sound cliché to say an artist has an infectious personality, but with HAAi, the testament genuinely stands — her energy is as sun-drenched as her wardrobe, and, no doubt, she’s chatty enough to have a “proper sit down” with a plant. As we chat, she talks infectiously about the power of trusting your instinct, how to pronounce ‘garage’, and the importance of always retaining that little bit of silliness. The last few years have seen HAAi on a supersonic trajectory from playing records at Dalston’s Ridley Road Market Bar, to taking the peak time helm on the Genosys


HAAi words: Katie Thomas photography: Jenn Five London in Stereo: 29


stage in Glastonbury’s Block9 last month. It all began when she landed a support slot warming up for Jacques Greene at Phonox, later being selected to take over from Jasper James as the club’s sophomore Saturday resident. After two years honing her sound, making the Brixton booth her home and delving deeper into her love for weird and wonderful psychedelic techno, as well as releasing a string of singles and her debut EP Motorik Voodoo Bush Doof Musik, Throssell moved on from Phonox in October 2018. The year ended on a career-defining high as she was crowned with Essential Mix of The Year, beating the likes of Avalon Emerson, Ricardo Villalobos and Four Tet to the post.

Fast forward to mid-July 2019, and HAAi has already played 40 shows this year, racking up bookings at dance music’s most revered festivals — DGTL, AVA and Nuits Sonores to name a few. When we speak, Throssell is preparing for Dour Festival in Belgium where she’ll play after Solomun to a crowd of over 15,000, before heading to Barcelona for a set on Sónar’s main stage immediately after Skepta. HAAi grew up in rural Western Australia, in a household soundtracked by chart shows on the radio, and her mum’s fondness for Billy Joel, Roxette and Transvision Vamp. “They weren’t really into music,” she says of her


parents. “I didn’t even really know who The Beatles were until I started high school.” Though she never had lessons, Throssell taught herself the guitar and spent her childhood singing around the house. “There wasn’t a defining point where I thought I wanted to make music, I think some people just have that musical bone they need to explore. ” Once she got to high school, HAAi listened to Nirvana and the Smashing Pumpkins, before progressing to Nick Cave & The Bad Seeds, The Birthday Party, and Cat Power, who inspired her to write her own “silly folk songs”. A taste for electronic music didn’t come until much later. “It progressed like rock, psych, post-punk, krautrock” she says, “I think krautrock brought me closest to techno, just because of its repetitive nature.” After moving to London in psych rock/shoegaze duo Dark Bells, Throssell started playing at Ridley Road, spinning old afrobeat, disco, and Turkish psychedelic records. Dark Bells split up, and Throssell was devastated, leaning on her Ridley Road sets to keep herself busy and scratch that musical itch. A few months after the band split, everything changed, all thanks to a seminal experience in a club that’s renowned for seminal experiences — Berghain. Specifically, Ben Klock at Berghain, who opened her eyes to a more psychedelic side of techno. “I danced for so, so long,” she says, “I was captivated.” HAAi’s stepping up as Phonox resident was a big move for the club. Here was a DJ with little profile, from whom punters didn’t know what to expect. With a Saturday music policy that aims to be, on the whole, bright, upbeat and accessible, HAAi ran into some issues about a year in, as her style of playing had developed to a point that Phonox felt was too hard, and too dark. “I made an active decision to go with my gut” she says determinedly. “They might disagree, but I felt I was doing a good job. I wanted to keep people in the room. I think that was a real turning point for my career.” There were

disagreements along the way, but HAAi happily admits that Phonox changed her life, and her face lights up when she talks about the team there. Incidentally, some HAAi shows (including the upcoming Sónar show) now feature visuals produced by Insert, the burgeoning music and club culture platform co-founded by a former member of the Phonox team. It’s now been nine months since the end of HAAi’s residency; a gestation period that has given her the confidence to take control of her own sound, having faith in being “a little bit weirder”.

“There wasn’t a defining point where I thought I wanted to make music, I think some people just have that musical bone they need to explore.” While she’s in the studio, or producing on the road, HAAi makes a conscious effort not to get too caught up in what other producers are doing. “I think it can be a bit unhealthy,” she says. Throssell considers her own style to be a bit rogue, her music building itself without direct influence. But she’s a big fan of the likes of Minor Science, Rrose and Karenn, as well as the textured, hardware-heavy techno of Japanese artists like DJ Nobu and Wata Igarashi. When she’s in the booth, she finds most affinity with close friends Daniel Avery and Mall Grab, and mentions her first b2b with The Black Madonna, at Sunfall in 2017, as a pivotal moment in her career. Imogen and Bristol up-and-comer Manami Baba are on her radar, as well as Glasgow-based IDA, who Throssell says has “the right attitude. She’s really appreciative of the thing, which we all are, or we all should be.” London in Stereo: 31


Throssell grew up in a mechanic shop owned by her stepfather, and its mechanical whirring and car samples seep into her increasingly rave-leaning production. Her new project, the five-track Systems Up, Windows Down continues in this vein, though HAAi tasked herself with producing on the road rather than feeling tied down to her studio. “I wanted to test myself,” she explains, “It feels like the next sonic generation for me.” The track titles (‘Don’t Flatter Yourself Love’ refers to an in-joke between Throssell, her girlfriend and Avery, and ‘CHONKIBOI’ is, you guessed it, an ode to the chunky dog) are synonymous with Throssell’s light-hearted attitude. “I like to keep things a bit silly,” she says. “Lighten the mood for everyone a bit.” The giggle is back as we talk about the sonic that defines London for her (garage and jungle), and we have another sillymoment discussing how to pronounce garage properly. “Right, okay, this is helpful information for me,” she laughs. “Garage? Garage? Garage?” As our conversation begins to wrap up, it’s my chance to seek words of wisdom from the plant guru. “I’m always happy to share plant tips,” she smiles. If HAAi was a plant, what would she be? “Probably a creeper”, she says, cackling, “obviously not in a creepy way, but I’m always growing and branching out into different parts of the house. It could be a metaphor sonically too.”

HAAi’s Systems Up, Windows Down EP is due for release via her own label, Coconut Beats next month LIVE: We Out Here Festival, August 16th Peggy Gou presents The Pleasure Gardens, Finsbury Park, August 18th FESTIVALS: Lost Village Festival, August 22nd-23rd @haaidj

@HAAiDJ






((( O ))) words:

Gemma Samways

“ Wo a h h h , w h at I ' m l o o k i n g at r i ght n ow i s am a z i n g ! ” Sunbathing on a rooftop, overlooking a forest somewhere in the Philippines, the artist known as ((( O ))) is awe-struck admiring the shifting cirrus clouds overhead. “This is crazy! These murky cloud formations mean there’s going to be a fire rainbow, where neon colours start appearing in the sky. And they're already starting to come out now! Oh my god, I love it!”

Conducting our interview in the midst of a natural phenomenon feels apt. Born in Dallas to Filipino parents, the singer-songwriter moved back to the Philippines on her own aged just 16 specifically to cherish the country’s rich natural resources and to pursue a more sustainable existence. Looking back now, she concedes that it was a brave decision to make so young, though one she vehemently stands by. “My parents moved [to the USA] for a better life, but [Filipinos] have only been brainwashed by Americans to think that America is better when it’s not actually the case,” she laughs. “It’s like the grass is always greener on the other side, except it's actually greener here. So I'm trying to spread a message, encouraging this decolonisation mindset. “I'm not American and I'm not Filipino, and I don't feel like I belong in either of those worlds. I'm a bit of an outcast but that’s made me stronger and more independent. It’s the same in terms of my music: I just rely on myself and what I’ve come here to say in this lifetime.” London in Stereo: 37


The ultimate goal is to be totally self-sustaining, and she’s made good progress from her base in the jungle. Working from a hand-built treehouse studio, using a mixture of traditional and modern instruments, ((( O ))) is totally reliant on solar power to pursue her deeply spiritual strain of electronic soul, a limitation that she finds inspiring rather than confining. “If there is sun then I have the gift to create,” she smiles. “But if I don't have any sun that day, then it's not meant to be.” This zen-like patience bleeds into her compositions, manifesting itself in the spacious vocal harmonies and sparse guitar notes that power ‘Silence’, and the loose beats, languid brass and easy flow of ‘Yuyu’. These working methods inform the central philosophy of a project that she calls “The Sundrop Garden”. Snippets of material - billed as “moondrops” - are released every full moon, and a “sundrop” - or album - is due on her birthday - August 27th - annually for the next 12 years. ((( O ))) isn’t intimidated by the commitment, but then as is implicit in her deliberately unpronounceable and pretty much Google-proof moniker, this is an artist determined to pursue a radically authentic vision, rather than follow a formula. “I think it’s a form of self-sabotage to ground me,” she muses, considering the Big Bang-inspired symbol, adding. “But I can't be rushed, or catapulted into the usual route for music careers.” Certainly, her latest moondrop couldn’t feel further removed from the machinations of the music industry. A dreamy devotional in praise of fruit-bearing plant life, 'Come Home O'Shawn' samples a monologue from her Babaylan mentor (a Filipino shaman). To counteract the potential negative impact of touring, she’s already proactively donating a percentage of her record sales to preserve a forest in the Philippines. And at the “gatherings” or pop-up shows themselves, she plans to promote the

importance of biodiversity, gardening and maintaining a deep respect for our surroundings. In every sense, ((( O ))) is dreaming big: “The mission statement for The Sundrop Garden is to change the way that we create everything: art, music, shows, business, brands. To offer a new approach to all of that, in a more sustainable way.” The debut album, ((( 1 ))), will be released August 27th via The Sundrop Garden. @thesundropgarden

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thesundropgarden.com



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SLEATER-KINNEY (photo: Charlie Engman)

This intro needs exactly zero padding. Sleater-Kinney are back with a new album! St. Vincent produced it! Janet has left the band! There’s a whole lot to be talking about here. So Danny Wright sat down with Gemma Samways and Stephanie Phillips to talk The Center Won’t Hold and everything surrounding it. How excited were you when you heard there was a new Sleater-Kinney album? Stephanie: I’ve been a fan since The Woods and they're one of my favourite bands so I was beyond excited. I didn't expect them to release another album after the last one. And they were collaborating with St. Vincent - it felt like the ultimate indie band pairing. Gemma: I was definitely surprised because I half expected the last LP to be a one off. No Cities To Love was such a great comeback that I admit I was a little concerned as to whether they could keep up that standard. I shouldn’t have worried. So I take it the record lived up to your expectations? (spoiler: I love it) Gemma: It massively surpassed them. I guess my pessimistic side thought that the idea of St. Vincent and Sleater-Kinney

SLEATER-KINNEY THE CENTER WON'T HOLD August 16th Mom + Pop

together sounded too good to be true. In reality, the combination is as brilliant as it sounds on paper. I feel like Annie has really brought out a fresh new side to them. Stephanie: I had high expectations and they were also working with an artist that I also love but I don't know if it’s lived up to my expectations yet. The Center Won't Hold sounds exactly like a St Vincent/SleaterKinney collab. There are other tracks that feel like they veered from their usual path. I can tell they're enjoying themselves and trying out new styles and techniques which is great to hear.


How much of an influence does St. Vincent have? Stephanie: You can hear a lot throughout the album. The warped yelps and cut and paste style are traits from Masseduction. Also the industrial, bass heavy rumble on songs like 'Ruins' is very reminiscent of St. Vincent. Gemma: You can hear her in the really processed guitar sounds, that sort of caustic reverb. Also in the amount of obvious melody there is. It’s definitely S-K’s most straightforward record melodically. Again, 'Ruins' stood out in that respect - and the title track. Stephanie: Some of the tracks could be pop songs in their own right. ’Can I Go On' for example has a mid-noughties Euro pop vibe. We can't go on without talking about Janet leaving. Is there anything here that makes you understand why she chose to leave? Gemma: I mean, the last track has no percussion on it, but that feels far too petty a reason to leave a band after 25 years. The whole thing is very curious. Stephanie: It was such a shock to find out she was leaving. It's also a strange period in the release cycle to leave. The record is loaded with drum machine and often the drums are overwhelmed by the noise of the guitars or synths so they fade into the background. If it’s not something she was ok with at the start I can see how listening back it might have influenced her reasoning for leaving. You certainly can't hear the driving beat that Sleater-Kinney records usually are known for. But she's an amazing drummer and she's still in a few bands. Who knows she could rejoin. Gemma: The fact Janet's left makes 'LOVE' feel especially poignant, what with it being a potted history of Sleater-Kinney. I love the way that song tackles the idea of being in a band at an older age, especially the lyric "There’s nothing more threatening, and nothing more obscene, than a well worn body, demanding to be seen”.

The record melds the personal and the political together well. What themes jump out at you? Gemma: The title is a play on the line "the centre cannot hold" from W.B. Yeats' poem 'The Second Coming', and throughout the record you can sense this idea of everything collapsing. Like you say, it blends the personal and political really well. Stephanie: They seem to be tackling the state of politics right now and the Trump administration. There are also nods to feeling depressed with the state of the world. ‘Broken’ is a great song that really tackles how we're all feeling right now. Gemma: I like that it doesn't deal in specifics, but captures a feeling. Yeah I love ‘Broken’ too: “She stood up for us, she testified / Me, me too my body cried out when she spoke those lines.” Referencing the #MeToo movement is about as specific as they get. How do you feel this album compares to their past work? Stephanie: It’s so hard to compare it. The Center Won't Hold feels like a different band. Both The Hot Rock album and The Woods were departures from their usual sound at the time. I don't know if this album works to the band's strengths in the same way their past work has though. Gemma: Like you say, it’s really hard to compare but I think it's laudable that they're breaking new ground after 9 albums. LIVE: O2 Academy Brixton, February 26th @Sleater_Kinney

@SleaterKinney London in Stereo: 43


FÖLLAKZOID I Sacred Bones August 2nd

SLAUGHTER BEACH, DOG SAFE AND ALSO NO FEAR Big Scary Monsters August 2nd These indie-folk anecdotes and internal musings of a farfrom-spotless mind showcase Jake Ewald’s enigmatic, wry and pathos- laden storytelling. The songs’ musicality – simple electric picking or swells of slide guitar – provides a lush, fertile soil in which these things of beauty can take root. ‘One Down’ acutely depicts life’s tendency to bring only partial success and ‘Black Oak’ is a cautionary tale about “eating household objects for a dare”. Listening to the new Slaughter Beach, Dog album is like discovering a previouslyunpublished set of Raymond Carver short stories. You’ve not heard this album yet, so if you’ve never read Short Cuts, or seen John Altman’s 1993 film based on those stories, you have three things to add to your ‘To Do’ list of essential cultural learnings. Jon Kean

Like the best ambient music, the fourth album from Chile’s Föllakzoid rewards close listening – yet doesn’t require it. The band winds up its minimal tranced-out drones before setting them free to rumble away ad infinitum. Their approach is both blissfully elegant and intriguing as each of the four songs unfold. But it comes with a major caveat: beats. Often of the 4/4 variety, the intrusive pulse strips away the hazy veil of psychedelic epiphany the group works so hard to develop, rendering it all a bit predictable and limp. It’s a fatal flaw for the album. But these moments are often short-lived, allowing you to once again revel in Föllakzoid’s ‘non-rational, sonic artform and its energy’ as guitarist/singer Domingæ Garcia-Huidobro prosaically describes it. Geoff Cowart

CLAIRO IMMUNITY Fader Label August 2nd A star of the Internet age, Clairo didn’t have a Top 40 hit or smash streaming records. Instead, she quietly scored a viral YouTube win with ‘Pretty Girl’, and amassed over a million Instagram followers in the process. Although this breakout tune didn’t make the album cut, there’s plenty of other songs coddled in the same reassurance, all backed with celestial choruses and notes of longing. Comparable to The Japanese House, her songs are as sweet as sugar, especially when matched with her butter-wouldn’t-melt vocals that infuse upbeat indie with DIY electronica: the kind of stuff her producer, ex-Vampire Weekend-er Rostam Batmanglij, is master of. Think fuzzy black noise, devastating percussion and twinkling ballads. It’s music made for pensively staring out of your car window. Georgia Marsh


THE HOLD STEADY THRASHING THRU THE VOID Frenchkiss Records August 16th The Hold Steady exist to dish out solace and solidarity to humans falling apart and getting fucked-up. Or, equally, those doing just fine who live all speedy and vicarious through Craig Finn’s tales of killer parties, redemption and more killer parties. So, basically, they exist for everyone. Just as importantly (and it really is), The Hold Steady are the greatest band on the planet to see with one fist clutching a beer and the other fist pointing to the heavens and the fist with the beer pointing to the heavens too. Thrashing Thru The Passion is very here for the fists-to-the-heavens crew. The guitars just absolutely rip and Finn’s immaculate enunciation spits out every harsh consonant with the purest conviction. Those drums that drag you from the back of venues to the front of the stage beat more ferociously than ever and Franz dowses everything in louche magic. it’s all backed up by a horn section that bounces between woozy, boozy warmth and the most triumphant march to the party you ever heard. Sure, it might not quite touch the white-hot fury of the first three albums, but it’s honestly the best – the most alive – they’ve sounded in years. Lyrically, though, it’s a new Hold Steady – or maybe an older Hold Steady. Finn claiming “I don't want to dick around, I just want to devastate”, feels a helluva tone switch. Literary references swap Sal Paradise’s exhilarating trips for Brick Pollitt’s apathetic, self-defeated alcoholism. There’s irregular heartbeats, serotonin getting you glitchy, everything’s “brittle and falling apart”. The killer parties might not have killed us (yet), but they sure ain’t doing us any good. For all that, though, there’s never any doubt that the solace and solidarity is still abundant. Basically, when Craig Finn said “While you’re still alive, I wanna make you feel protected and high”, I felt that. Dave Rowlinson

BLANCK MASS

ANIMATED VIOLENCE MILD Sacred Bones August 16th Before you immerse yourself in Blanck Mass’ latest offering (and trust me, it is an immersion, there is nothing passive about this record) make sure you brace yourself. A brutal but brittle assault on the senses, it continues where World Eater left off, though maybe lacks the nuance and variation in pace of previous efforts. The influences are direct and stark, displaying Benjamin Powers’s talent for everything from pop (honestly there are parts of ‘Death Drop’ which sound like Tears for Fears), to screamo, ricocheting from one to the next in a single track. There’s no surprise, then, that the singles ‘No Dice’ and ‘House vs House’ are the most recognisable, fully-formed moments on an otherwise ambitiously-abrasive album. There’s a familiarity to them that help bring the record together. An enjoyable ball of energy and passion, that reveals what would pop music sound like if you put it through an organ grinder. Jess Partridge London in Stereo: 45


BLACK BELT EAGLE SCOUT

AT THE PARTY WITH MY BROWN FRIENDS Saddle Creek August 30th Surrendering your voice to your surroundings is a boldly quiescent choice for a sophomore album. On a debut which introduced Katherine Paul, aka Black Belt Eagle Scout, to the world with a neat assertion - representing both Paul’s present-day queer feminism, and her Native American upbringing on the Swinomish Indian Reservation in NW Washington state - those facts have now been sublimated into a far softer, prettier sound. On At The Party With My Brown Friends, instead of using words, Paul’s more likely to use long, whooping notes; her voice now being used more as an ambient instrument than as a troubadour. While on the surface, this album doesn’t do much to separate her from her friends and musical peers - Hayley Hendrickx, Jay Som, and Hand Habits are a few that come to mind - it’s clear that behind it, there’s a heart as large as the wide beaches and canyonscapes that Paul conjures on the album. Ultimately, this album is a stepping stone, but if Paul can align her virtuosity with her vision, then her third album will triumph. Emma Madden

EZRA FURMAN TWELVE NUDES Bella Union August 23rd Ezra Furman’s Twelve Nudes bleeds the hot, red blood of a man frustrated, confused and intensely pained by the state of our political and emotional dissonance. Opener ‘Calm Down’ (aka ‘I Should Not Be Alone’) screams of loneliness, desperation and horrible men in suits that crush us into submission. Punky, fuzzed-out guitars in ‘Evening Prayer (aka Justice)’ are reminiscent of the drug-fuelled, booze-induced songwriting of 90s Beastie Boys, and Furman’s edge-of-chaos shrieks in ‘Rated R Crusaders’ stretch the vocal cords like Germs’ frontman Darby Crash in the late 70s. There are moments of reflectivity, in the short and intense hangovers like ‘I Wanna Be Your Girlfriend’ that languish in surf-rock guitars, but this is an album for losing your shit to. Caitlin Clark

CARTER TUTTI VOID TRIUMVIRATE Conspiracy International August 30th Triumvirate, the third and “final” collaboration between Throbbing Gristle’s Cosey Fanni Tutti, Chris Carter and Nik Void of Factory Floor, is a hypnotic, subtly noisy and unnerving piece of electronic improvisation that, in all honesty, sounds a lot like the two that came before it. That’s a good thing. The preceding Transverse I and II were works I always regarded more like uneasy, fascinating dreams than albums, and an opportunity to slip back in to this trance-like world is one fans of the trio’s existing pair of records won’t want to sleep on. It’s a good way to go out, but I do wish they’d continue. A good thing then that the word “final” has always been a rather vague term in Throbbing Gristle circles. Thomas Hannan


TROPICAL FUCK STORM BRAINDROPS Joyful Noise August 23rd Tropical Fuck Storm present a wonderfully chaotic debut that's nothing short of unnerving. Characterised by eerily creeping vocals, gradual build-ups and eventual implosion, tracks such as the opener 'Paradise' showcase the talent of the Australian four- piece melodically. Meanwhile, the title track, described as 'Fela Kuti in a car crash' draws in jazz influences to switch up the tempo. Lyrically, dark themes are woven throughout and paired with humour, exemplified in the finale 'Maria 63'. This melancholic homage to fake news makes digs at the alt-right conspiracy theories that birthed facism, with lines such as, "Maria with her iron cross fled into the sky, she reached the old Chilean border with deerskin round her child”. The end result is fractured, dystopian and frankly stunning. Georgia Evans

WHITNEY

FOREVER TURNED AROUND Secretly Canadian August 30th Whitney’s gilded charms resulted in one of 2016’s standout debuts, and the group stick to that pattern on a wonderfully endearing follow-up. After embarking on some unfulfilling studio sojourns, the Chicago group – hinging on Julien Ehrlich and Max Kakacek – opted to finish the album in the same bedroom they laid down their debut LP. As a result, Forever Turned Around shares the almost-pastoral feel of its forebear – from the lilting Neil Young-isms of ‘Giving Up’ to the jaunty 70s strummer ‘Friend Of Mine’. There are surprises, too – take the country inflections of ‘Before I Know It’, while those trumpet flourishes find full light on jazz-leaning ‘Rhododendron’. Broadening and deepening their sound while remaining true to that initial ethos, Whitney may just have crafted another classic. Robin Murray

!!!

WALLOP Warp Records August 30th Do you remember the ‘Feel Good Hit of the Fall’? The breakout hit from a band whose name was almost impossible to pronounce correctly – prime dance-punk noughties, perhaps something most imagined would fade into obscurity. But here we are. 2019 and !!! (Chk Chk Chk) are still going strong with their eighth studio album Wallop, now undeniably proving the longevity of genre-busting big beats and that “na’s” never go out of style. With each release, the band feels invigorated. Sparing no time ‘Let It Change U’ hits straight out of the gate with filthy menace. And the Liars-inflected ‘Off The Grid’ bears a hook so addictive it should probably come with a health warning. Malformed funk for the Black Mirror generation? You got it – Wallop! Harriet Taylor London in Stereo: 47


MARIKA HACKMAN ANY HUMAN FRIEND AMF Records // August 9th ‘I’m Not Where You Are’, a pop rock jam with ‘80s synths – and the first release from Marika Hackman’s Any Human Friend – subverted expectations like her material did from two years ago. To recap: in 2015 Hackman released her debut album bristling with wistful folk before dramatically changing tack in 2017 for the grungey, garage rock-indebted I’m Not Your Man. And now her new album is the most open and daring yet, both lyrically and musically. Eleven songs play hopscotch with genre (see the krautrock-esque ‘Conventional Ride’ or traces of space rock on hilarious wank anthem ‘Hand Solo’). But really these creations surpass such signposting. Any Human Friend is a thick quilt of refreshingly varied sounds knotted by tumultuous turns of love, lust and fragility. Keep subverting, Marika. Charlotte Krol

RIDE

THIS IS NOT A SAFE PLACE Wichita Recordings August 16th

Marking the sixth studio album since the band’s formation, shoegaze pioneers Ride return this month with an outstanding twelve-track release. This Is Not A Safe Place begins with a distorted three-minute instrumental, before the dreampop haze of latest single 'Future Love' breaks through the chaos, embodying a sense of desire and infatuation. The drastic contrast of 'Repetition' and 'Kill Switch' comes next, layering echoes of heavy, post-punk influences with a burst of raw emotion, until 'Clouds of Saint Marie' brings the record back to a bittersweet sense of nostalgia. ‘15 Minutes’ reaches back into early-nineties territory, while the rest of the album expertly blurs the lines between The Cure’s Disintegration and Silversun Pickups’ entire discography, finishing with the beautiful, yet intensely emotional ‘In This Room’. Kelly Ronaldson



new things happening soon that you just don’t want to miss out on

© Cindy Sherman. Image courtesy of National Portrait Gallery.

Bird On The Wire turns 10 We are beyond thrilled to see our friends, and one of London’s best independent promoters, turning 10 this month. After a couple of big blow-outs (Mac DeMarco at Dreamland anyone? Exactly as wild as it sounds), they’ve put together a run of shows featuring the likes of Weyes Blood, Olafur Arnalds, Black Lips, Aldous Harding and even more of our actual favourites. What’s more, to kick it all off they’ll be hosting a stage at the always-wonderful End of the Road festival at the end of the month. Join us in raising a glass to our wonderful decade-old friends. THE PARTY START FROM AUGUST 31ST AT END OF THE ROAD birdonthewire.net // @BOTWevents

Abbey road - ‘The Studios That Became A Legend’ lecture series Have you ever seen a more appropriately named lecture series? We mean, this famous landmark has now eclipsed many (not all, obviously) of the artists it hosted in fame and legend. This month you have a rare opportunity to see behind its closed doors. Hosted over two weekends, learn about the history of the first purpose-built studio and the stories it has spawned, from a series of lectures. Surround yourself with the instruments and space used by the likes of The Beatles, Pink Floyd, Kate Bush, Oasis, Radiohead and more. Tickets aren’t cheap but it’ll be unforgettable. AUGUST 8TH-11TH & 16TH-18TH. ABBEY ROAD abbeyroad.com/lectures // @AbbeyRoad

Cindy Sherman The National Portrait Gallery is one of our all-time favourites and if you haven’t caught it already - you have 6 weeks left to get down there to see the fantastically sprawling Cindy Sherman exhibit. A retrospective of her work from the mid-1970s to present day, it’s a thorough and intenselymoving collection that explores the very personal to the very public. Many of these pieces have never been publicly displayed, so don’t miss this once in a lifetime opportunity. NATIONAL PORTRAIT GALLERY. npg.org.uk / @NPGLondon


My Neighbours The Dumplings Is there a food more universally adored than dumplings? If there is, we’re not interested, and if you’ve been to Clapton’s My Neighbours the Dumplings you’ll understand why. Not made it out there yet? Well soon enough you’ll have no excuse because they’re opening a new site and bringing this versatile food stuff to Victoria Park. Our advice: Take loads of friends and order the whole menu. You won’t be disappointed. OPENING SOON. 178 - 180 Victoria Park Rd, E9 7HD myneighboursthedumplings.com // @my_neighbours

Meltdown Festival We know it seems like there are a lot of festivals happening in London (there are - we know) but Meltdown is genuinely always a unique offering. Each year they invite a new curator and bring together a real mix of up-and-coming, niche artists alongside heavyweight greats. The mighty Nile Rodgers is this year’s creative force behind the line-ups so it’s no surprise it opens up with the world premiere of ‘A Night At Studio 54’ and continues on with some of our faves including Kero Kero Bonito, Nakhane, Rosie Lowe and loads more. AUGUST 3RD-11TH SOUTHBANK CENTRE southbankcentre.co.uk // @meltdownfest London in Stereo: 51


our selection of the best shows coming up this month

O2 SHEPHERD’S BUSH EMPIRE

O2 ACADEMY ISLINGTON

OSCAR D'LEON

YBN NAHMIR

August 11th £40adv // @o2sbe

Shepherd’s Bush

August 24th £21.60adv // @O2Islington

Angel

SERVANT JAZZ QUARTERS KONCEPT August 19th £9adv // @ServantJazz

Dalston Junction / Kingsland

THE CAMDEN ASSEMBLY MALIKA & FRIENDS + MARK ASAR August 15th £4adv // @CamdenAssembly

Chalk Farm / Camden Town YBN NAHMIR THECITYISOURS

THE WAITING ROOM FLIES+FLIES August 14th FREE // @WaitingRoomN16

Dalston Junction / Kingsland

THE LEXINGTON INSECURE MEN August 29th £13.20adv // @thelexington

THE SHACKLEWELL ARMS

BOSTON MUSIC ROOM

ZAMILSKA

THECITYISOURS August 3rd £10adv // @BostonMusicRoom

Tuffnell Park

August 2nd FREE // @shacklewell Arms

Dalston Junction / Kingsland

BRIXTON WINDMILL

THE DOME SKEGSS + GAFFA TAPE SANDY August 9th £12.50adv // @DomeTufnellPark

Angel

BLACK MEKON + CHERRY PICKLES Tuffnell Park

August 21st £4adv // @WindmillBrixton

Brixton


MOTH CLUB

BUSH HALL NASHVILLE MEETS LONDON' PRESENTS AMERICAN YOUNG August 29th Shepherd’s Bush Market / Shepherd’s Bush £20adv // @Bushhallmusic

TACOCAT August 29th £11adv // @Moth_Club

Hackney Central

REMI

TACOCAT (photo: Helen Moga)

O2 FORUM KENTISH TOWN NAV + 88GLAM August 20th £27.25adv // @O2ForumKTown

JAZZ CAFE

PAPER DRESS VINTAGE

REMI + IYAMAH + COSIMA + ROXANNE TATAEI

ÄTNA

August 15th £15adv // @TheJazzCafe

Camden Town

Hackney Central

THE OLD BLUE LAST

THE SEBRIGHT ARMS

MASTER PEACE + M.I.C + INFAMOUSIZAK + BADISE

BLACK PEACHES August 7th £7.50adv // @SebrightArms

August 28th £6adv // @paperdressed

Kentish Town

Bethnal Green/ Cambridge Heath

NOTTING HILL ARTS CLUB

August 6th £5adv // @theoldbluelast

Old Street / Liverpool Street

OSLO

NOTTING HILL CARNIVAL WEEKEND

ELEPHANT GYM

August 22nd FREE // @NHAClub

August 9th £12adv // @OsloHackney

Notting Hill Gate

Hackney Central London in Stereo: 53




FULL AUGUST LISTINGS

LONDON’S GIG GUIDE Your full listings

Friday August 2nd

guide to all the best shows happening across North, East, South and West London this month. Thursday August 1st

visit londoninstereo.com for all the latest listings, & to sign up to our Gigs Of The Week email


LONDON TICKETS: WeGotTickets.com/LondonInStereo Saturday August 3rd

Sunday August 4th

Monday August 5th

WeGotTickets.com | Simple, honest ticketing


FULL AUGUST LISTINGS Tuesday August 6th Thursday August 8th

Wednesday August 7th Friday August 9th

visit londoninstereo.com/subscribe to get London in Stereo delivered every month


LONDON TICKETS: WeGotTickets.com/LondonInStereo

Saturday August 10th

Sunday August 11th

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FULL AUGUST LISTINGS Monday August 12th

Thursday August 15th

Tuesday August 13th

Friday August 16th

Wednesday August 14th

see londoninstereo.com/venues for up-to-date listings at all our favourite venues


LONDON TICKETS: WeGotTickets.com/LondonInStereo

Monday August 19th

Saturday August 17th

Tuesday August 20th

Sunday August 18th

Wednesday August 21st

WeGotTickets.com | Simple, honest ticketing


FULL AUGUST LISTINGS

Friday August 23rd

Thursday August 22nd

Saturday August 24th

find us on Spotify at London in Stereo to keep up with our weekly new music playlists


LONDON TICKETS: WeGotTickets.com/LondonInStereo

Wednesday August 28th Sunday August 25th

Monday August 26th

Thursday August 29th

Tuesday August 27th

WeGotTickets.com | Simple, honest ticketing


FULL AUGUST LISTINGS Saturday August 31st

Friday August 30th

PUMAROSA

visit londoninstereo.com for all the latest listings, & to sign up to our Gigs Of The Week email


LONDON TICKETS: WeGotTickets.com/LondonInStereo Sunday September 1st

Monday September 2nd

Thursday September 5th Tuesday September 2nd

Wednesday September 4th

WeGotTickets.com | Simple, honest ticketing


AUGUST LISTINGS

Friday September 6th

Sunday September 8th

Monday September 9th

Saturday September 7th

see londoninstereo.com/venues for up-to-date listings at all our favourite venues


LONDON TICKETS: WeGotTickets.com/LondonInStereo Tuesday September 10th

Thursday September 12th

Wednesday September 11th

LONDONINSTEREO.COM/SUBSCRIBE

GET THE NEW ISSUE OF LONDON IN STEREO DROPPING THROUGH YOUR LETTERBOX EACH MONTH

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3 Aug

VISIONS FESTIVAL

London Fields 25 Aug

WILLIAM TYLER

Cafe Oto 4 Sept

JADE IMAGINE

The Waiting Room 5 Sept

GIA MARGARET

St Pancras Old Church 12 Sept

THE MYSTERY LIGHTS

Dingwalls 21 Sept

MÚM

Union Chapel 21 Sept

SHABAKA HUTCHINGS ONEFEST

EartH 26 Sept

MARIKA HACKMAN

Islington Assembly Hall 2 & 3 Oct

LD OUT BILLSORYDER-JONES

St Matthias Church 2 Oct

DU BLONDE

Moth Club 2 Oct

ALI BARTER

Sebright Arms 3 Oct

GRACE LIGHTMAN The Islington 9 Oct

FAR CASPIAN

Moth Club 16 Oct

18 Oct

6 Nov

Redon 19 Oct

Scala 10 Nov

HARRIET BROWN DEEPER

Shacklewell Arms 21 Oct

THE DREAM SYNDICATE Scala 24 Oct

CHASTITY BELT

Islington Assembly Hall 24 Oct

PEGGY SUE The Dome 27 Oct

CHROMATICS Roundhouse 28 Oct

CHAI

Village Underground 28 Oct

ORVILLE PECK Scala 29 Oct

HELADO NEGRO Jazz Cafe 29 Oct

COMBO CHIMBITA The Lexington 29 Oct

RAYANA JAY

Camden Assembly 30 Oct

PUMA BLUE EartH 4 Nov

ERIN RAE

The Lexington 6 Nov

HOLLY HERNDON

EVERYTHING IS TERRIBLE

MURKAGE DAVE

ANNA OF THE NORTH

Barbican 18 Oct

Studio 9294

EartH 6 Nov

Heaven

CHARLY BLISS THE RAINCOATS EartH 12 Nov

KEVIN MORBY

Cecil Sharp House 12 Nov

FLUMESOLD OUT

O2 Academy Brixton 19 Nov

OSCAR JEROME Heaven 20 Nov

ELDER ISLAND Heaven 24 Nov

NITZER EBB

Village Underground 26 Nov

RADICAL FACE Union Chapel 27 Nov

THE YOUNG GODS The Garage 28 Nov

KOKOKO! Fabric 29 Nov

!!!

EartH 3 Dec

SARAH KLANG The Lexington 4 Dec

CRUMB

The Dome

UPCOMING LONDON SHOWS

rockfeedback.com


BY

SNOH AALEGRA I’ve been going back and forth to London since I was a kid and I actually lived there for a few years back in 2014. I really love the city - it’s so multicultural and I have family there too. My uncles and cousins lived there. I love the food spots, the energy. It’s one of my favourite cities in the world. I appreciate London most when it rains - it’s just really beautiful and melancholic. As a songwriter I find the beauty in the gloom and in the darkness. I wrote some songs when it was raining when I lived there and I just loved the melancholy. I appreciate the gloom as it fits the architecture and the vibe. I can’t stand when it rains in LA cos the city looks so ugly!

“And without a doubt I always go to Nando’s…”

London is always just so alive. It's a mecca for music. I played a couple of dates at Bush Hall last year and that was really cool. One of the nights I was singing one of my ballads and there was someone right on the front row singing along to every word but in a different key, which made it really difficult. I was already struggling to hear myself and she was singing so loudly. It's gonna sound corny but I also really love all the traditional things about London. I love to go and have afternoon tea. I love this place called Home House, a private member’s club and it’s stunning inside, really regal looking.

And without a doubt I always go to Nando’s… One of my the craziest memories is going to a club called The Box (a raucous, cabaret club in Soho). I saw a crazy, crazy performance act there that night and I’ll never forget it. I don’t even know how to explain it. All I can say if you are into surprises you should definitely go there… Snoh Aalegra release her new album, Ugh, Those Feels Again, August 16th via ARTium Recordings. LIVE: O2 Shepherd's Bush Empire, September 23rd @snohaalegra

@Snohofficial London in Stereo: 69


with INTRO As if you needed more excuses to go see the dramatic landscaps of Iceland - over the last 20 years (this year marks its 21st Birthday) Iceland Airwaves has been providing both the best in cutting-edge line-ups for an international audience and a stunning location to see them in. This year Reykjavík will be overrun with musicians like Mac DeMarco, Of Monsters and Men and Anna of the North and filled with the opportunity to stumble across some of the most exciting new music from the Nordics and beyond. To help you work out where to be (book your flight already!) we asked Iceland Airwaves MD Will Larnach-Jones for his pick of the most exciting new Icelandic acts playing. Iceland Airwaves takes place in Reykjavík, Iceland, November 6-9th. Tickets: www.icelandairwaves.is

BLÓÐMÖR LÍKÞORN Hard hitting fast metal/punk music newbies. They’ve only been playing live for a year, and in that time they won this year’s Músíktilraunir (previous winners Mammut, Of Monsters and Men, Between Mountains). By all accounts their live set is blistering and they’re all in their late teens, so ones to watch for sure. SVAVAR KNÚTUR

BLÓÐMÖR

SVAVAR KNÚTUR THE HURTING Icelandic troubadour, whose storytelling is as charming and beguiling as his songs – full of charm, wit and human warmth. He’s been making some good inroads around the world including a very good following in Germany. Last years Ahoy! Side A was a delight.


HATARI

KÆLAN MIKLA NAETURBLOM This trio create misty circles of darkwave and engaging electronic gloom. Their synth sounds and live delivery represent a darker side to the Iceland music scene in the best possible way. This year’s seen them pick up attention from all over the world, with festivals in Europe and the US. KÆLAN MIKLA

HATARI SPILLINGARDENS Hatari have been part of the Airwaves story for the last few years and this year sees a homecoming of sorts. Since their performance last year they’ve taken on the world via Eurovision, challenging conventions with their BDSM techno pop and political convictions, all delivered with a wry humour and amazing videos and staging. This will be their biggest Airwaves show and it will be a riot.

GABRÍEL ÓLAFS CYCLIST WALTZ

GABRÍEL ÓLAFS

At just 19, Gabríel was discovered by Björk’s manager, Derek Birkett, after appearing on Icelandic TV. He’s a stunning pianist and composer. His debut work ‘Absent Minded’ is filled with fantastic moments, daydreams, the imaginary worlds we create in our quietest hours. Icelanders seem to be on such a great creative streak in the classical and neoclassical world and Gabríel is certainly one to watch. London in Stereo: 71


BARNEY ARTIST (photo: Nathaniel Bailey)

with

Barney Artist

“People that make the community so vibrant contemplating having to leave because the prices of living are so extortionate - that breaks my heart. �


Whereabouts do you live London? It’s home. I haven’t found a city that makes me feel at home like London does. It’s crazy, I’ve travelled quite a bit but London is still my home.

3 Steps to a Barney LDN

What are your go-to places to eat and drink? My local pub, The Golden Fleece, in Wanstead, that’s my spot! Can’t beat it really, family vibes - absolutely love it! Do you have any favourite outdoor spaces? Wanstead Flats. I literally live opposite to it but it’s honestly one of the most beautiful, peaceful places in London, tons of nature - sheer bliss. Do you prefer London in the sun or in its regular overcast glory? Ok, I’m probably extremely weird but I really love staying in my house and hearing it chucking it down outside and watching one of my favourite films The Parent Trap with a hot chocolate.

The Golden Fleece WHERE? 166 Capel Road, E12 5DB

What’s the bit of London you live in got that the rest of London hasn’t? Moon House, the greatest Chinese takeaway in the world. What’s the best way to spend one great day here? Get a speaker, a couple packets of Jaffa Cakes, a bag of Salt & Vinegar Tyrell’s Crisps and five bottles of Corona and go to the pond with your mate. Do you have any favourite venues? Oslo in Hackney, Roundhouse in Camden and Ghostnotes in Peckham.

Moon House

Does living here influence your music? 1000% living here not only influenced my sonic tastes and the genres I lean towards but also my slang and the words I use in my lyrics. I’m very London-based and I love it.

56 Woodgrange Rd, E7 0QH

WHERE?

What’s the worst thing about London? The gentrification. People that make the community so vibrant contemplating having to leave because the prices of living are so extortionate - that breaks my heart. How would you advise someone to get the most out of living here? Love, patience and a willingness to embrace cultures. London is absolutely beautiful if you give it a chance. Barney Artist releases his Bikes Are Bikes EP August 9th via Banana Bus Records @barneyartist

@BarneyArtist

Wanstead Flats WHERE? Capel Rd, E11 2LT London in Stereo: 73


NOS Alive Passeio Marítimo de Algés, Lisbon July 11th-13th words: Dave Rowlinson

NOS Alive often feels like an extraordinary festival ecosystem. A fascinating land which seems to have defied evolutionary law so musical creatures that should never co-exist somehow live together in the sweetest of harmony. Rock dinosaurs and the brightest pop stars co-inhabit a small astro-turfed site on the banks of the River Tagus. Everyone seems to think it’s perfectly normal and everyone is in a really weirdly good mood. Apart from the people who see Weezer play Toto’s ‘Africa’, of course. And even they get to hear ‘Buddy Holly’ and ‘Island In The Sun’. It’s almost like you really can’t lose at NOS Alive. Seriously, everyone seems to be in a good mood. Is it cos Lil Nas X dropped another ‘Old Town Road’ remix? Is it because you know there’s 100% going to be a bit where you get to see The Cure and then saunter off to watch Robyn? Is it because you’re at a European festival so you know 100% there’s gonna be really fun hot-dog options on site and pints of cold wine that cost, like €4 or something? Is it because hitting festival sites no earlier than 5pm means you get a festival and a holiday? Is it all these things? It really might be.

I mean, it helps to be in Lisbon. It helps to be in a truly beautiful city where the sun always shines (presumably the sun definitely always shines - I can only go on evidence provided). Bring your tile-nerd friends. The tile game in Lisbon is wild. Be in a place where you can sit by the river and eat world-beating tacos from Taco Shop #1 and, sure, maybe have a frozen margarita. If you’re the kind of person that thinks a game of Uno go well with tacos and margs then, pal, do it. A short walk from tacos to Café Janis for class-act cocktails? Sure. An even shorter walk to the Bica Funicular to ride the prettiest little funicular you ever did see up crazy steep and narrow streets? Exactly zero chance of not doing that. Why wouldn’t we? We’re in a great mood cos we’re going to NOS Alive. If anyone has the temerity to say ‘Are you sure this is a funicular and not a tram?’ then just remove them from your friendship group. It’s a bit of a stroll to the site, so you’ll probably want to stop off at Time Out Market for a Ground Burger and croquettas. You’ll definitely want to play on the curvy roof of MAAT (the art, architecture and technology museum), and, sure, maybe you’ll just stop in random bars where they play ‘Old Town Road’, have a cold beer and play more Uno. Maybe all this happened in one trip, maybe it was over a few days. Doesn’t really matter, does it? You really can’t lose at NOS Alive.


MARINA (photo: Hugo Macedo)

Regardless of how it happened, we’re now on site. We’ve got a hot-dog covered in crisps (what a world), we’ve got our pints of cold red wine (what a world), we’re in a good mood and we are ready to dance. Look, let’s not bogged down in the stupefying faff of who-played-when and on what day. It also doesn’t matter. Just know that all the acts are in a good mood because they get to say ‘obrigado’ which is the best ‘thank-you’ word. And that good mood translates into joyful sets and joyful times. Every single person at the festival has a blast dancing to Vampire Weekend, who have ascended into the rarefied realm of perfect festival band. Chief of the dinosaurs, The Cure, can be very insular but they play ‘Just Like Heaven’ and ‘Pictures Of You’ and honestly I’d have swapped all the hot-dogs on the planet just for that. But there’s no need for that because both options exist here. Robyn is on a different level to almost everyone these days. Every show feels like A Moment, every song is immaculate. Give ‘Dancing On My Own’ a Noble prize for pop or peace or anything. Shower it gold and prizes. Please.

Maybe no person has ever regretted leather trousers more than Sharon Van Etten, but also no people have ever been more grateful to her for sticking it out when ‘Seventeen’ does its glorious stuff. Bon Iver play and we have the loveliest time showing each other pictures of our cats while it happens. Who knew Bon Iver was the idea soundtrack to that? Apparently Smashing Pumpkins played ‘1979’. That would have been nice to hear, but instead we’re having maybe The Best Time Ever dancing to Marina, who really wins the weekend with the most fun stage show, the most fun dancers and way more huge pop songs than I ever realised she had. A star: a proper, wonderful pop star. Would like to go on the record right now to say George Fitzgerald is a national treasure, capable of producing some of the richest, most soulful, most exhilarating dance music out there right now. I turn down a hot-dog to see out his set. Seriously, that kinda level. We turned up in a good mood, we left in a better one. It happens every time at NOS Alive and it’s why we will always keep on coming back to this joyful festival. That, and the tacos. London in Stereo: 75



VISIONS OF KEDR by Austin Maloney Yes, YouTube is the most harmful creation in the history of humankind, a septic pit of narcissism, bigotry, complacency, self-indulgence, a book without sources, a school without teachers. But what, what if, the thing I use it for, and by extension me, is actually good, and the only correct way of doing things? That, in one of those happy coincidences so common in opinion pieces, is the case here, because I used YouTube to get deep into Russian music. The Point of all this, to reunite this train with its tracks, is Kedr Livanskiy, the origin of my Russian music obsession and sort of a vanguard artist for the country’s current musical output. I came across Livanskiy first in the way a lot of people probably did, through a review of her glacial techno track ’Sgoraet’ on Pitchfork, and since then she’s been one of my favourite current artists, a four-year spell where I’ve grown as a fan through her putting out three records with some of my favourite songs (from samurai breakbeat on ‘Otvechai Za

Slova’ to the sprawling, pristine analogue synths of “Ariadna” to the feverish, celebratory release of “Ivan Kupala (New Day)”), doing a couple of interviews and seeing a live show in a cramped nightclub at By:Larm in Oslo that was one of the festival’s best. And as good as Yana Kedrina is, a combination of curiosity and the YouTube algorithm means that her music also provides a path deeper into Russia’s scene. That can go two ways depending on your taste – enjoy the techno, electronica and ambient side of Kedr Livanskiy and you’ll pitch towards her contemporaries on that scene like the Gost Zvuk crew (GV member Flaty co-produced her latest album Your Need). Drawn towards the poppier side of her work, you might come across ЛУНА, МЫ and MIRÈLE. Russia and Russian-speakers are currently producing a musical culture that’s not afraid to be ambitious and pretentious while also having the ideas to back it up. And seeing Kedr Livanskiy at Visions is a great way to open that door (or just see a cool show, whatever, I don’t know what your dreams are).

Austin Maloney is a Stockholm-based writer who usually covers music from Scandinava and Northern Europe. You can send him death threats for his bad tweets at @amaloney_ Kedr Livanskiy plays Visions Festival, LFB The Arches, August 3rd.

London in Stereo: 77


THURSDAY 15TH AUGUST THE GARAGE

THURSDAY 15TH AUGUST THE WAITING ROOM

TUESDAY 3RD SEPTEMBER OMEARA

+ SUPPORT

+ RYD

+ SUPPORT

COUNTERFEIT.

OK BUTTON

DYLAN LEBLANC

THURSDAY 5TH SEPTEMBER ISLINGTON ASSEMBLY HALL

THURSDAY 12TH SEPTEMBER BOSTON MUSIC ROOM

MONDAY 16TH SEPTEMBER THE LEXINGTON

+ SUPPORT

+ THE BROKEN KINGS

+ SUPPORT

TUESDAY 24TH SEPTEMBER THE LEXINGTON

FRIDAY 27TH SEPTEMBER OMEARA

SATURDAY 28TH SEPTEMBER

+ SUPPORT

+ SUPPORT

+ OHMME

FRIDAY 11TH OCTOBER DINGWALLS

FRIDAY 11TH OCTOBER CAMDEN ASSEMBLY

+ ROE

+ SUPPORT

JOHN PAUL WHITE

THE DELTA RIGGS

THURSDAY 10TH OCTOBER O2 FORUM KENTISH TOWN

SEA GIRLS + SUPPORT

STEVEN BATTELLE

WINTERSLEEP

RYAN MCMULLAN

DOTAN

EVENTIM APOLLO, HAMMERSMITH

WILCO

TIGRESS


EVENTIM APOLLO, HAMMERSMITH

TUESDAY 15TH OCTOBER

TUESDAY 15TH OCTOBER SCALA

WEDNESDAY 16TH OCTOBER 100 CLUB

+ SUPPORT

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KATE TEMPEST

THE ACADEMIC

CURSE OF LONO

THURSDAY 17TH OCTOBER PAPER DRESS VINTAGE

FRIDAY 18TH OCTOBER THE PICKLE FACTORY

+ MABES

+ SUPPORT

TUNGZ

THE ASTEROIDS GALAXY TOUR

TUESDAY 22ND OCTOBER OLD BLUE LAST

THURSDAY 24TH OCTOBER HEAVEN

FRIDAY 25TH OCTOBER CORSICA STUDIOS

+ SUPPORT

+ SUPPORT

+ SUPPORT

CALLUM PITT

EUT

LADYTRON

TUESDAY 22ND OCTOBER 100 CLUB + SUPPORT

ALICE JEMIMA

FRIDAY 25TH OCTOBER THE LEXINGTON

WEDNESDAY 30TH OCTOBER BUSH HALL

THURSDAY 31ST OCTOBER OMEARA

+ SUPPORT

+ SUPPORT

+ HOLLIE COL

ROBERT ELLIS

TYLER RAMSEY

HARRISON STORM


S.J.M. CONCERTS PRESENTS

14 & 15 SEPT / THE O2

30 SEP / 1 OCT / 3 / 4 / 5 OCT / PALLADIUM SOLD

OUT

SOLD

OUT

SOLD

OUT

PLUS SPECIAL GUEST

04 OCT / EVENTIM APOLLO

11 0CT / THE O2

10 0CT / O2 ACADEMY BRIXTON

17 OCT / THE GARAGE

PLUS SPECIAL GUEST

ROSIE

LOWE

22 OCT / THE CAMDEN ASSEMBLY

26 OCT / ALEXANDRA PALACE

13 & 14 NOV / ALEXANDRA PALACE

13 & 14 DEC / O2 ACADEMY BRIXTON

PLUS SPECIAL GUESTS SO LD OUT

RAZORLIGHT 01 FEB 2020 / THE O2

WITH VERY SPECIAL GUESTS

01 FEB 2020 / O2 ACADEMY BRIXTON


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