Phoning it in

Dispatches from the back of the venue

Genre: Art Rock

  • Stereolab

    Stereolab

    For a band who were on a 10 year ‘indefinite hiatus’ until 2019, Stereolab really seem to be making up for lost time. They’ve been touring extensively all over the globe since then and this year surprisingly released a brand new record ‘Instant Holograms on Metal Film’ which has been getting rave reviews. For my money it is their best since Scary Monsters 1997’s electronic exoctica masterpiece ‘Dots & Loops’ – and brings with it a much needed message of hope & unity.

    I’ve seen a fair few shows since they returned to active service and each time they had a different set – picking from their 11 studio albums and myriad of EPs, mini-LPs, obscure 7″s, compilations and bonus tracks. To the innocent bystander their can sound a bit ‘samey’ – the old joke “Stereolab (or insert other band name here) have made their album again” has been applied on occasion. In fact they are a band who have traversed through many different phases. There is Camden lurch noisy Lo-Fi Stereolab (my fave I have to say) there is weird Lo-Fi loungey exoctica Stereolab, there is weird Hi-Fi loungey exotica Stereolab, there is freewheeling abstract Art Rocker Stereolab, retro-futuristic electronic Pop Stereolab… All these stereolabtypes merge together rather satisifyingly on the new record – which is just as well as it will form a large portion of their current live show.

    The Ritz is packed and at full capacity and even though we’re well into Xmas party season (Manchester is heaving with civilians and office partygoers in Xmas jumpers) and indeed maybe because it’s the Xmas party season – I get the sense everyone is in here for something a bit more cerebral and thoughtful. The crowd are a real mix of ages too – and that strident, progressive new album seems to have a resonated with a younger generation which is heartwarming to see. The new album tracks get cheers of recognition – they have been paying attention.

    The Groop tonight are mainstays Laetitia on lead vocals, synth, guitar and tonight playing a mean trombone, Tim on rhythm guitar – giving it some serious Northern Soul riffage, the mighty Andy Ramsey – the absolute heartbeat of Stereolab since 1992 on drums – (always a joy to watch) – joined by relative newbies Joseph and Xavier on Keys & Bass. Tonight isn’t going to be about favourite old songs so I settle in to watch them clearly loving playing this material which has energised them and gives them the chance to go off piste and take it for a walk around town on more than once occasion.

    It’s good stuff and easy to warm to with each song having moments where the band can really explode into fireworks after some meandering and occasional freeform noise bursts. The oldies are not the obvious ones but ‘Peng 33’ from their debut LP is a real treat – and a blast of their remarkable ability to take a simple melody and make it sound epic. A couple of tracks fall a little flat – ‘A Flower Called Nowhere’ never did it for me in the 90s and seems to be glued to the setlist since 2019 – ‘Household Names’ – is a rather nondesript b-side from 2000 that clearly means more to them than it does to me – but those are the exceptions. For the most part the band are on top form and playing with a mixture of earnest seriousness and playfulness.

    Closing the main set is ‘Electrified Teenybop’ from the new album – an instrumental which sounds outrageously massive as a live performance – up on the balcony I find myself watching heads bobbing and moving linbs- it’s a huge, imaginary orchestral film theme scaling the walls of the venue and earning the band a very raucous call for an encore. It might have to be a live staple if they return to playing oldies again.

    One of the best sets I ever saw Stereolab do was touring ‘Emperor Tomato Ketchup’ in 1996 and that night was much like tonight – leaning heavily into the new record with just a few oldies – so this is very much true to form. Tonight can’t quite measure up to that because they had the sort of extended line-up 90s music biz budgets could stretch to – High Llama Sean O’Hagan on keys, members of Tortoise popping up on percussion and – amazingly – Sonic Boom of Spacemen 3 who spent the entire gig smoking and prodding at a huge modular synth (30 years before they became fashionable again). Here’s a clip of that version of The Groop – with song that resonates today more than before:

    However, this leaner unit does capture the sheer joy of playing music that they’re energised by and want to play – and play with. They leave us with an extended and rapturous ‘Cybelies Reverie’ also played at that 1996 show. This ain’t no ‘French Disko’ (the closest they came to a hit and one that felt it was becoming a bit obligatory on the last couple of tours tbh) but it’ll do nicely

    It’s fantastic to see them entertain 1,500 people with such an uncompromising set and take people along the ride with them – I think everyone realises there is nobody quite like Stereolab – in attitude, approach, outlook and the unlikely combination of sounds and influences they cram together – they’re a bigger deal than ever.

  • These New Puritans

    These New Puritans

    It’s fair to say I was an early adopter of TNP. Initially they had some of the hallmarks of what I call Lamacq Rock ™. Evening Radio 1 friendly, signed to Domino, and with neo-post-punk sound that got them bracketed with Klaxons, LCD Soundsystem et al. The drummer was a model for brands like Dior and Prada. So far, so late 00s Indie Pop. But from the off there was something otherworldly about them. I saw an early gig back in 2008 and there was definitely something going on, a certain intensity and seriousness, whatever it was…they meant it. It wasn’t this gig but it went something like this: 

    In fact the clues were all there – they sure weren’t The Kaiser Chiefs. And sure enough 5 critically acclaimed albums later, here they are at the White Hotel which is already packed to the rafters, rapt and ready. Now settled around a core of twin brothers Jack and George Barnett they have evolved into a band that can be comfortably filed alongside the unfathomable fringes of the mildewy English underground alongside This Heat, The Work, Robert Wyatt, Anthony Moore, Scritti Politti, imperial phase Talk Talk, Bark Psychosis – you know ‘that lot’. This is deadly serious music but with a yearning melancholic edge and a very appealing musicality and melody. They also like beats, some tracks are underpinned by a lurching, hip hop influenced, massive attack thwack (which they were always doing from the early days).

    Tonight’s set draws on the delicate but bracing new LP ‘Crooked Wing’ along with choice cuts from their modest but tightly quality-controlled back catalogue. We get everything from piano driven, post-Industrial ballads like ‘I’m Already Here’ – to a thunderous, tub-thumping ‘We Want War’. Twin Jack is an engaging vocal presence – besuited, sometimes donning a Bowie-esque trilby, throwing some shapes and generally making an effort to put a bit of a show on and ‘project’ (readers of this blog will know how much I appreciate that).

    The sight-lines in the ‘orrible ‘otel mean it’s hard to see what else is going on but there are mallet instruments, a tabletop guitar thing and lots of electronics and percussion including the obligatory chains for someone to rattle. On previous live occasions they could be a little dry, a little studied – often swelled to 10 or more musicians, depending on the budget. Tonight they perform as an economical 4 piece, in a packed club rather than a more theatrical setting – and far from being limited by the more minimal approach they really shine – the songs get a chance to roam more than usual – like ‘V – Island Song’ which extends it’s beautiful organ coda out so we can bask in it for a few more minutes. They’re ‘a band’ tonight rather than the twins and some hired hands.  

    It all comes together with the closing epic ‘Organ Eternal’ – interlocking Steve Reich keys, gradually building percussion and lightning bolts of guitar that builds slowly into a series of crescendos and waves that far outshine the (already excellent) LP version. Toward the end, they borrow a neat trick from Kraftwerk and each Puritan steps away in turn takes a bow, leaving the stage to the others to keep the eternal groove going until there is just one Puritan left to decide when to take us out of the stratospheric orbit back down to Salford. This is the best performance I’ve seen them do. Coherent, connective and definitive. No encore. Less is more. They really should play more. Catch the 4 Piece Puritans if you can. 

  • Milan.W and Tristanne

    Milan.W and Tristanne

    I first became aware of Milan W. (aka Milan Warmoeskerken) when the Flemish polymath was awarded 2024 album of the year by Manchester’s enigmatic Boomkat – an online record store that can be relied upon to sift out record releases that no algorithm on earth would put your way. They praised ‘Leave Another Day’ to the heavens and rightly so and I’m intrigued by the chance to hear this curious, immaculately crafted and otherworldly music performed in a basement.

    Support comes from fellow Belgian, Tristanne who is quietly poised behind a keyboard – occasionally switching between flute and adding her own vocals. Like the headliner she’s worked in multiple genres too – including some quite strident, jazzy pop but tonight -performing solo – the focus is on drifting, dreamy ambience with lots of cinematic and orchesral colours which sets the mood just right.

    There’s a respectable sized crowd by time Milan takes to the stage joined by a keyboard player and a seated, acoustic guitarist. The performance is entirely drawn from the ‘Leave Another Day’ record and what is remarkable is how this minimal setup can completely convey the hazy mood of that record. It’s a studious, focused performance – no great theatrics or stage patter – just excellent musicians playing with elegance and care. The interplay between the two guitarists is where the magic happens – weaving lush harmonics between them and filling the grotty Soup cellar with sonic cathedrals of sound particularly as the acoustic player flips between pkaying through an echo machine and a bit of frippertronics with a e-bow. It’s intricate and delicious. Musically I’m reminded of Les Disques Du Crepuscuile label of the early 80s particularly the likes of Antena, Tuxedomoon and Manchester’s own Durutti Column – and indeed a wondeful eveing provided by our Belgian Friends.

    It does make me wonder what Milan W will move on to next, whether he’ll make more records in this mode or whether this was something of a one-off. If the latter, for all it’s rather low key atmosphere this was something to treasure.

  • Dog Race & Flip Top Head

    Dog Race & Flip Top Head

    The silly season is coming to and end and darker nights means back rooms and basements are coming alive with music once again. Autumn 2025 kicks off with a double bill of encouragingly strange new sounds.

    First up is Flip Top Head from Brighton. They’re a 6 piece, crammed onto the small stage with keyboards, violin and guitars plus a deputising bassist drafted in having only rehearsed earlier that day not that you’d know it, such is the confidence with which the songs are attacked.

    There’s no obvious focal point – singer Bowie Bartlett (nominative determinism alert) is tucked away behind the PA but has an excellent, soaring voice as a counterpoint to the other singer Bertie who leans into the dreaded ‘Sprechgesang’ spoken word thing but not to the point where we’re looking at another Sleaford Yard Cleaners D.C. – far from it.

    The mix of soaraway and spoken is just right and musically things are an enjoyably disorientating mix of jazzy, folky, avant rock but with plenty of musical anchors and hooks to keep you interested. I like ’em.

    Headlining tonight are Dog Race. Early days for them but it’s a sell out show and there’s a definite buzz in the air. The band file on – I’m still getting used to the fact that Paul Calf moustaches, mullets and clobber last seen on Limahl from Kajagoogoo in 1983 are in vogue again but preferable to Library-hater Liam Gallagher and his fucking designer anorak gurning at me from billboards. Unlike the support, Dog Race have a very definite focal point in singer Katie Healy. Her voice, rising from deep and guttural, to screamy to an almost operatic warble is quite something. I hear a hint of Billy Mackenzie, Anohni/Anthony, and maybe going way back Lene Lovich. It lifts Dog Race sky high above the standard 2025 Indie competition – and although Healy is not exactly throwing shapes she puts in a completely gripping performance.

    Musically things are more conventional – bass driven, synth and guitar. The Cure, Joy Division, Soft Cell, Bauhaus…so far, so 4AD. The vocals take us to some uncanny spaces and the music needs to follow it – and sure enough there is an unnamed new song – written days earlier – where the band hang back and Healy plays solo on keys and we can hear the unconventional intonation and tone she can conjur up before she steps away and things explode. There’s something happening here. Quietly charismatic, unsettling and wonderfully gothic but in a very 2025 way rather than a retro 80s way – and there is some serious frugging and grooving going on in the audience.

    Darkness you can dance to.

  • North Sea Radio Orchestra

    North Sea Radio Orchestra

    The thing about being a Cardiacs fan is there are all sorts of curious leads to follow in their wider, cinematic universe of associated bands and offshoots – each with some connection (literal or spiritual) to the late great Tim Smith. Not far upstream I find the amazing North Sea Radio Orchestra. Formed by Cardiacs alumnus Craig Fortnam, the NSRO are described as a “contemporary music ensemble and cross-disciplinary chamber orchestra (plus chorus)” and have already clocked up 20 odd years of dizzyingly accomplished work before johnny-come-lately here caught up with them.

    Fortunately for me a mysterious promotion outfit located over Snake Pass from me – going by the name of Buds and Spawn are also immersed in all things Cardiacs and beyond and are dedicated to presenting ‘semi irregular nights of semi-irregular music’. They have managed to get the entire NSRO – 10 piece ensemble with woodwind, strings and archaic organ – up from down south to Sheffield to perform in a lovely little theatre tucked away in the University corner. This is their only show outside London on this current round of performances to promote the new LP ‘Special Powers’.

    It’s a 5.30 start – perhaps to give time to get the ensemble back home before the witching hour. The early start, and the cosy theatre venue sets the scene nicely – the atmosphere is hushed and studious with none of the distractions of a typical ‘gig’ (nobody chatting or getting beery) – this is music to get immersed in – so let’s get into it.

    First up is another Cardiac, William D Drake and quite rightly everyone is here already to catch his performance. No missing the support act who is well known to a large proportion of the audience. William performs on piano with assistance from NSRO keyboard player James Larcombe alternating between two different Hurdy Gurdys (what else). Drake (a distant relative of yer actual Nick Drake) plays a set that leans stylistically into early music, madrigals and goes deep into a folky undergrowth. So far, so mediaeval and those unmistakable twisty-turny chords and strangely arcane melodies sound both ancient and modern. What a way to begin!

    NSRO take to the stage – 10 strong with violin, Cello, woodwind of various denominations, drums, keys, bass and vocalists -all led by Craig who for the most part sports an acoustic guitar which he uses in place of a conductors baton to lead the players and singers- and I’m really struck by how he plays- picking the elaborate songs out and often forming the bedrock of the music (much like Sean O’Hagan when High Llamas play live) and occasionally getting into a hypnotic strum as if he was just busking these remarkable pieces of music.

    It feels ‘classical’ – the musicians are reading from sheet music, playing these carefully arranged songs – sitting quietly or eyes closed when they are not required for a particular piece – but it’s not staid or stuffy – and I really like the fact this is kind of a art-rock gig in disguise really (notably Craig almost forgets to give the band – sorry – orchestra a proper conductorly flourish to start the first piece).

    They start by playing the new album in full – with a knowing apology – but it’s excellent anyway and there is plenty of time for a sublime selection from the NSRO catalogue including ‘Heavy Weather’ and a fitting tribute to Tim Smith ‘Morpheus Miracle Maker’. The encores include a track from Craig’s solo LP ‘Ark’ which is a highlight and sends me off into his solo catalogue – another Cardiacs tributary to float my musical barge down.

    Cardiacs aren’t the only reference point – a lot of what NSRO do hits that sweet spot of British art-rock / ROI (Rock in Opposition) and the Canterbury scene of the 1970s – so Henry Cow, Robert Wyatt, Soft Machine, Caravan as well as Syd Barrett.

    A joyous, intriguing evening – and hats off to Buds & Spawn for bringing this amazing music to Steel City

  • Quade & Hedgehog

    Quade & Hedgehog

    I first encountered Bristol band Quade at one of Now Wave’s always excellent ‘Mood Swings’ new music showcases back in 2023. They were on early so I missed the start but was completely reeled in by the hushed and intense atmosphere they had created in the room. At the time they were promoting their debut record and had a tape deck playing a recording of the late Andy Weatherall being interviewed about his youth (the track ‘Circles’) being cut in and out of a righteous, post-rock racket. Right up my street. I made a vow to make sure I caught a full live set and here they are, headlining at The White Hotel – normally a venue for transgressive all night ravers that like to party til 7am but also doubles as a home for the more outré live music fayre before 11pm. Someone has laid out some tables and chairs and candles to create a Post-rock supper club vibe. Nice!

    Support comes from local act Hedgehog. They’re quite something. They veer from hushed, delicate folk-infused lullabies, to tumbling free-improv craziness. At points they dissolve into Dadaist sound poetry that threatens to turn into student improv comedy and then back again – before some more heartfelt spoken word pieces and genuinely moving music. It’s a bit BBC2 1980 arts strand / anarchist theatre workshop – and I mean that as a compliment and – what could otherwise be a rather twee band name makes perfect sense. Hedgehog – of course. There are kids in Manchester making absurdist, freaky art music – hurrah!

    Quade have a new record ‘The Foel Tower’ named after an isolated spot in mid-Wales where they made the record. It’s a more hushed, intense follow-up that dials down the rhythm and bass but is very much a cohesive statement and rather special. The stage is dimly lit and dry ice is pumping out every so often so, even though I’m stood close to the stage, it’s still oddly disorientating and perhaps is a good representation of the haunting landscape that informed the record.

    I can see the musicians through the gloom and they alternate between guitars and occasional violins – and there’s a mixing desk on stage so they can add effects and dub things up a bit as well as play in the cassette tapes with some of the samples that underpin the songs. It’s that mix of very organic, occasionally acoustic instrumentation and subtle ambient undertow & occasionally dubby bass excursions that are the secret of Quade.

    Musically the closest I can compare them to is post-rock titans like late period Talk Talk, Labradford and perhaps most of all, the legendary and long-lost Bark Psychosis. Like the latter, they have a knack for songs that have a languid, almost jazzy rhythmic feel but are somehow violently exhilarating at the same time. They can also get loud.

    At the heart of the set is ‘Nannerth Ganol’ which is a strobe-light driven slow burn of gliding drones and heavenly violin underpinned by what sounds like an analogue synth pulse – and whisks us all into the world of the Foel Tower. It’s a very immersive performance and completely gripping from start to finish. Bleak, windswept alienation never sounded so appealing.

  • eat-girls

    eat-girls

    This is my first gig at the former (infamous) Old Mother Macs pub, now relaunched as The Rat and Pigeon. It’s still very much an old school backstreet boozer but with enough of a facelift to make it feel friendly enough and the youthful clientele challenge the myth that ‘ver kids’ don’t like clustering around a pub table for a chinwag, a bag of crisps and a pint of mild… these lot do.

    Upstairs is a very small but well appointed gig venue, about the size of the back room of The Castle but with space for a corner bar and back room…and it has a sound and lighting rig powerful enough for a venue three times the size. Small enough for local artists and international bands taking their first steps on the circuit  – and indeed tonight’s turn is French trio eat-girls (the lower case and hyphen is important apparently), over from Lyon for their first ever UK dates.

    They start by donning those head-light things joggers wear to illuminate each member of the band and the audience – it’s a neat trick and straight away they grab your attention. The striking three piece Amélie, Elisa, and Maxence play keys, guitar and bass with everyone covering vocals – often the track drops away to them all singing in unison – their “electronic madrigals” as they put it. There’s no drummer but the backing track is punchy enough and the propulsive bass and guitars provides enough movement, spontaneity and energy to compensate for the relentless, pre-programmed beatbox. 

    I don’t want to resort to that old hackery of comparing these young artists to other, older bands but I’m going to anyway. There’s definitely an echo of early Stereolab in the taught rhythms, vocal rounds and a certain sense of utilitarian style. They draw from Post-Punk, particularly the clipped, economical tunesmithery of Wire, The Banshees and Joy Division at their most motorised. The organ drones and keyboards recall the dreamily European, cinematic swoon of Tuxedomoon or Marine.

    But enough of the comparisons – eat-girls have plenty of ideas of their own with moody synth textures and atmospheric samples and dubby FX adding to a swirly miasma. You can dance to them too – and they inspire some serious frugging in the room among the pop-crazed youngsters as the room fills and warms up. They have a deft knack of veering from total seriousness, to bopping around with abandon- often during the same song. 

    I’m totally sold on these – easily one of the best new groups I’ve seen in a long time. Their mighty fine LP ‘Area Silenzio’ is out now and don’t miss the chance to see eat-girls.

    They will haunt you. 

    https://eat-girls.bandcamp.com/album/area-silenzio

  • Field Music

    Field Music

    Field Music are over 20 years into their career now – but with the telescoping of Pop Time that is about the equivalent of 6 months in the hurtling white heat of Beatle 60s or Bowie 70s. They’re 9 albums in which, aside from spin-offs and solo projects is a fairly modest output – there is serious quality control here (compared to those tedious neo-psych bands who release 9 albums before they’ve had breakfast) and each new record is clearly thought out and laboured over with obvious love.

    Their latest one ‘Limits of Language’ did not immediately grab me on first listen – the sonic shtick on this one is adding synth textures, occasionally jarring sounds and the songs seemed to be formless grooves on which to showcase the lyrical content above hooks, melody and harmony. It’s the focus of the set tonight but the diehard fans around me have clearly immersed themselves in it and greet the new songs with gusto (“here’s one from our new LP” —“yessss!”). Sure enough there are several songs tonight which come to life on stage and reveal themselves properly. ‘Guardian of Sleep’ for instance evokes XTC circa ‘The Big Express’ – that gnarly, synth-heavy mid-period release – and it clicks – the is Field Music’s gnarly, synth-heavy mid period release too and maybe I’ll be calling it a classic in 10 years time.

    Field Music have always been a brilliant, if low-key live band but for all the self-deprecating humour, prosaic asides and lyrics about shopping centres and cafes- when they get down to playing, they care and they mean it. The Brewis brothers take it in turn to front the band and take the drum stool – and the long-time touring band Andrew, Kev and Liz provide simpatico backing and the all-important vocal harmonies. It’s not too much of a stretch to compare the Brewis brothers to Becker and Fagan from Steely Dan or the likes of 10CC – filtered through Sunderland – they have a similar vocal tone and musical precision. Field Music have a deft way of playing like a bunch of massive musos without the slightest hint of flash or wankery – any solo or bit of meandering is all in service of the song.

    The encore starts without the band leaving the stage (an increasingly common occurrence at gigs which I am very much in favour of)  – and as the band say, as requests are called out, they never had any hits – so they go with ‘The Noisy Days are Over’ and ‘..A New Thing’ which are close enough for this very appreciative crowd (the band seem visibly taken aback by Manchester tonight). So just another night in the long career of Field Music – one to file in the gigography – time to go back to that under-rated 9th LP…

  • Anthony Moore – ‘Home of the Demo’

    Anthony Moore – ‘Home of the Demo’

    Anthony Moore has an extraordinary CV that brilliantly straddles the deeply experimental vs some of the most mainstream Pop musical imaginable (of it’s time). How about this – he was part of the collective around the serious-as-your-life avant-rockers Henry Cow and formed the offshoot Slapp Happy – a huge influence on groups like The Fall. He also followed that Rock in Opposition trajectory and produced records with the likes of This Heat – Art Rock royalty basically. So it may come as a surprise that he also wrote a song called ‘No Parlez’ the title track of the gazillion selling Paul Young album (that famously seems to replicate itself in charity shop shelves, such was its ubiquity). He’s a key part of the post-Roger Waters Pink Floyd, collaborating on songs such as ‘Learning to Fly’ but has also worked on countless experimental and exploratory works and art installations which I’m still discovering. His most recent solo release is called ‘Arithmetic in the Dark’ – enough said. He’s comparable to someone like John Cale, or latterly Jim O’Rourke – able to work in mixed media, high art but, as this compilation demonstrates he has an appealing voice and a way with words and song.

    This very satisfying compilation collects lots of unheard material from his archives, mostly home recorded (hence the title and the cover – with Anthony unwinding a C90 with a pencil) but this is no scratchy lo-fi set – bar a few cheap sounding synth and drum machine patches, and you soon forget you’re listening to home demos and just enjoy a smart and intriguing set of would-be Pop hits. Floyd fans will home in on ‘Earthbound Misfit’ (which became ‘Learning to Fly’) but there’s lots more to enjoy. ‘Lucia Still Alive’ is a crunchy take on ‘Low’ era David Bowie, and ‘Coralie’ is a fab Velvet Underground/Roxy style strumfest. Best of the bunch is ‘Me and Neil Diamond’ featuring the unmistakable croon of Ian McCulloch recorded sometime in the mid-80s. It sounds like a song that 10 years later could have set Britpop era Radio 1 ablaze (and perhaps a counterpoint to ‘The Ballad of Tom Jones’) with it’s Easy Listening reference and ‘I can’t stop smoking and drinking and having a good time’ refrain – except that Moore uses a wrong-footing time signature that threatens to derail poor Ian but perhaps reflects the ‘all at sea’ motif in the lyrics.

  • Walker Not Walker

    Walker Not Walker

    I’m in a busy room above a pub on a Friday night in Glossop. Glasses are being clinked and over on the stage a tribute band are tuning up and getting ready to entertain the punters – except that there’s a swirling drone of discordant synthesised strings beginning to swell from the P.A. and that’s because 3 unassuming blokes in winter hats, jumpers and jeans are about to start their set – not with Sweet Caroline or Brown Eyed Girl but with…er…’The Electrician’ an extraordinarily dark, gothic epic from the 1978 Walker Brothers album ‘Nite Flights’. Of course this is no ordinary pub (it’s an independently run Vegan pub with it’s own brewery) and this is no ordinary night – our hosts are The Black Circle an arts collective who’ve been promoting a series of progressive and adventurous events but with a strong ethos of being welcoming and inclusive (i.e the ‘guest list’ is strictly for those with low incomes and the gigs are timed so people can get home before our creaky transport network winds down for the night – certain Manchester promoters should take note!)

    I’m in time to see support act Tekrar Eden who have come over the hills from Sheffield – a two piece – bass and drummer with beards, loops and samples – they’re rooted in Jazz but the more atmospheric, darker and electronic end of it with bass to the fore – albeit a bass with loads of strings on it that can play nice, weird chords. They’re really good and what they play seems a fitting preamble to the headliner.

    So, there was no way I was going to miss a band who describe themselves as “Mancunian goth/avant-rock power trio performing the music of Scott Walker and The Walker Brothers” and oh boy Walker Not Walker do not disappoint. So how on earth do you tackle the back catalogue of Scott Walker who went from child star, to 60s Pop Idol, to cult late 60s bedsit baroque icon, to being set up to fail as the next Tom Jones, to boozy 70s chicken-in-a-basket club turn and failing MOR recording artist, to spending the mid 90s onwards becoming one of the most uncompromising, imposing and extreme musical artists of the 21st Century? Well, let’s find out.

    Walker Not Walker’s set in fact draws heavily from 2 records. The first is Scott’s sole 1980s LP ‘Climate of Hunter’ – which is a fascinating and brilliant record and with guest spots from his pals Mark Knopfler and Billy Ocean, his record label might have expected this 60s star to boss the 80s like say, Steve Winwood did – but Scott had other ideas. The 2nd is the volcanic and frequently terrifying ‘Tilt’ – which came 11 years later and is the dividing line where you either go with it into the deep depths of what followed or you make your excuses and hurtle back (to the relative safety of those bleak but satisfying orchestral hits of Scott 1 to 4). This high art version of Scott – approaching Lieder (art song) territory is WNWs ‘sweet spot’ and so they do a magnificent job of ‘Patriot’ for instance – a long and complex piece from ‘Tilt’ (with whistling replacing the flute part). It’s amazing how well these songs fit the 3 piece goth power trio format – ‘Face on Breast’ is done with a propulsive motorik drive like Joy Division (which the recorded version does have but I’d never noticed before). The songs from ‘Climate of Hunter’ really come to life in this formation too – perhaps the closest Scott came to Post-punk and you’ll be wanting to play that record again after hearing WNW’s take on it.

    They dip into earlier stuff too – obviously without a massive string section it’s hard to busk songs from Scott’s 60s heyday with a gothic rock power-trio but they make light work of ‘On Your Own Again’ from Scott 4, ‘Black Sheep Boy’ from Scott 2 which provide calm between the stormier moments (WNW deploy explosions of feedback to emulate the string section). They close with an effortlessly gliding ‘Nite Flights’, the song that humbled Bowie & Eno having heard Scott and John Walker had stolen a march on them in moving Pop music forward into the future. Wow.

    This is music that was mostly never peformed live in Scott’s lifetime, and yet these 3 modest chaps (who break the spell with their reassuring between-song banter) make it work and bring these songs to life -and (sorry to labour the point) but I’m hearing this astonishing, hard to fathom music in a room above a pub in front of an appreciative audience gathered around old bar stools and tables.

    I can’t help thinking the man himself would have loved it not least because WNW were not overly reverential and seemingly fearless in their choice of his material. If you love Scott’s music do not pass up the chance to see Walker Not Walker….they’ll thrill you and thrill you and thrill you…..