Phoning it in

Dispatches from the back of the venue

Genre: Post-Rock

  • 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. 

  • 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.

  • Pale Blue Eyes & Shaking Hand

    Pale Blue Eyes & Shaking Hand

    The Devon / Sheffield crossover Dream pop combo delight a Wednesday night crowd in Manchester

    Support comes from Shaking Hand who I’ve already seen at one of the excellent Hot Take band showcase gigs at Yes Manchester. They strike up an unhurried, circular groove and there’s something immediately appealing about them as the venue fills and people gather to listen rather than ignore, as can happen with supports. We’re in good hands with this unassuming 3 piece – guitar / vocalist playing distinctive weaving guitar parts, a drummer pattering away with jazzy flourishes but with a pleasing kick, and a bassist who frequently doubles as a twin lead – playing the higher register of the instrument. They have a post-rock edge to them, a little bit of Slint or early Tortoise perhaps, or the fabled Leeds band Hood and while the pieces they play are enjoyably drifty at times – they aren’t averse to wrong-footing us with a sudden tempo change, a burst of noise, a scrape of strings here or a cheeky rhythmic curveball there. They wear their guitars well, they play studiously but with a confidence that suggests they know how they good they are- I like them a lot and, judging by the applause, everyone else does too. There appears to be no recorded material available but hopefully they’re busy in a studio somewhere bottling that magic.

    On to the headliners. I’m a bit behind the curve with Pale Blue Eyes but Piccadilly Records piqued my interest and I’ve been enjoying their latest record ‘New Place’ which it turns out is their 3rd album so I’ve some catching up to do. For a band who trade in dreamy, shoegazey pop they have a disarmingly chummy and light hearted air about them – in fact their footwear remains un-gazed at and they spend most of the time looking and grinning at each other and the audience – it turns out PBE here to have a good time and so should we.

    The band have toured with Slowdive and they share a love of using guitars and keyboards to create a sea bed for the songs to float on but they have their own distinct sound that is sparkly, upbeat and distinctly pop-tastic. Lots of major chords, and at times this sounds like ‘The Big Music’ – think Simple Minds in their early 80s pomp but also informed by Stereolab, and the locked groove of Neu! or La Dusseldorf – but just when it seems they might lean a bit too much into that well-worn trench coat – they pull out a moody, slower number or throw in a gorgeous chord pattern or bassline that has their own distinct stamp on it. They have art college roots – and drummer Lucy, it transpires wrote a thesis about Cabaret Voltaire – so, again, we’re in safe hands and these people know what they’re doing

    There’s something very appealing and convivial about PBE – there is a husband & wife duo at the core (Matt and Lucy), who have relocated from Devon to Sheffield and the new record which is informed by upheaval and loss – and it’s hard not to be moved by the joy emanating from the stage – they feel like one of those bands that will inspire a certain amount of loyalty (I’m thinking of Sea Power who they’ve supported) and they’re going to be a bit of a regular fixture. I’m on board!

  • Spiritualized

    Spiritualized

    Pure Phase 30th Anniversary Tour

    I’m not the biggest fan of ‘Classic Album’ gigs. They can take the element of surprise and spontaneity out of show and, as is proved time and time again, what may be a perfectly sequenced album on record doesn’t always make a great night out.
    ‘Pure Phase’ is a curious choice for a live show and I’m intrigued to see what Jason Pierce and the current line up of musicians that comprise Spiritualized are going to do with it not least because in more recent years they’ve followed a more accessible path or, leaned into their most popular LP ‘Ladies & Gentlemen…’


    I’ve always been fond of ‘Pure Phase’ but it’s not an easy listen for the innocent bystander. It’s long, and it’s an uneven mix of scuzzy space rock, electronic experiments, extended blasts of noise and gospel tinged bliss outs not to mention the title track – 6 minutes of gently undulating organ drone (which reoccurs throughout the album as a backdrop and used to be used at gigs as a call to the audience to get away from the bar and assemble, ready to begin)

    Uncompromising, thrilling and perfectly out of step with the curdling of Britpop into Loaded Lad culture it was on heavy rotation on our hi-fi. I’m surprised to read it was seen as a commercial failure and Jason thinks it’s one of his most underappreciated records.

    I saw the band a lot around the time of it’s release and quite a lot of tracks weren’t performed live or were very different from the album versions which Jason famously laboured over..obsessively mixing two masters (one for each ear) and meticulously working on his perfect edit.


    Although other dates on this short tour have sold out, the idea of 2 hours of experimental, gospel-tinged swamp blues would seem to have somewhat selective appeal on a Monday night in Manchester and there are a fair few empty seats (the promoters charging 60-70 quid for seats closer to the front hasn’t helped and notably the cheap seats up in the gods are full)
    Last couple of times I saw the group they had a packed house and in fact were playing material from their more recent LPs. The audience seemed quite happy with those more song-based selections from ‘And Nothing Hurt’ and ‘Everything was Beautiful’ and there was very little looking back to the 90s – all the more surprising that Jason has chosen to go way back.

    The musicians file on and it’s clear Jason hasn’t skimped on hiring plenty of musicians to recreate this complex record – we’ve got a brass section and a string section as well as two backing vocalists joining the core band line-up. Jason walks on and gives his customary wave (a man of few words on stage) and – this is a big deal for long term fans, he’s decided to do this one standing up (rather than perched on a stool JJ Cale style). The Spaceman means business.


    The full band are put to good use and I’m immediately struck by little details – the intro to ‘Medication’ reveals the Brian Wilson influence Jason used to talk about in interviews and echoes California Girls or something from Pet Sounds – complete with odd little percussive elements before the full band crash in for the choruses with brass and strings to the fore. ‘The Slide Song’ – never played before (AFAIK) comes to life next with the brass and string elements revealing the song that was one of those most misted up by the swirling, disorientating mix on the record.

    They’ve decided to do the whole album in the recorded sequence which means they recreate the wall of noise that is ‘Electric Phase’ most effectively – this gets a big cheer (Spiritualized fans love a bit of a noise freak out and there are plenty more of those to come). ‘These Blues’ with duelling harmonicas by Jason and Doggen is perhaps the first big ‘banger’ of the night. ‘Take Good Care of It’ was already in their early 90s set in a much more traditional form that would have fitted on their debut album but the Pure Phase version was a startlingly different track – a big floating cloud of gliding sax, organs and a vaguely dubby bassline – and amazingly it is this version that they somehow manage to recreate live.

    I get the sense that this is the kind of gig Jason has always wanted to do – lots of improvisation – horns blasting, trumpet solos, beautiful strings, belting gospel harmony vocals, keyboard and piano veering into free jazz at times rather than 3 chord riffs – he’s still standing up and I can imagine that behind the shades he is really enjoying himself up there.

    The centrepiece of the set is a cover of Laurie Anderson’s ‘Born Never Asked’ segued into ‘Electric Mainline’ and this time they do veer off the rather underwhelming album version and go for a full Kosmiche rhythm driven version with countermelodies spiralling around the venue. This is followed by the euphoric ‘Lay Back in the Sun’ and ‘Good Times’ – perhaps the lightest and most song-based tracks in the set that for any other band would be staples of any gig but I can’t remember the last time I heard these played live.

    They spare us the full 6 minutes of Pure Phase on a loop but they let enough of it play out to say it was on the setlist and the final straight is two big, soulful ballads that close the LP. The Beach Boys influence reveals itself again in the intro to Feels Like Going home which with Pet Sounds percussion and – a Banjo! I hadn’t realised that was on the record but sure enough – there it is and it sounds wonderful – and with the brass section I’m struck by the idea that Spiritualized have all the equipment required to knock out a couple of Dexys numbers if they chose to Too Rye Aye it up a bit – and then come to my senses.

    They get a well deserved standing ovation and encore – for which they pull out a song from the aforementioned ‘Ladies and Gentlemen’ and it’s a mightily powerful ‘Cop Shoot Cop’ – all 15 minutes of it – going deep into a Dr John swampy groove which seems to have everyone hanging on to every note and a chance for all the musicians and singers to have one final blast.

    So it was a good idea to play Pure Phase. This isn’t really an exercise in nostalgia, rather we get to hear new life breathed into an old record and freed from the obsessive detail of the studio mix it’s quite spectacular. I’ve read that Jason wants to do more of these shows and hope he does because more people need to hear the record like this – it’d make a great live LP too.

    I see a fair few people carrying copies of the LP home into the night and hopefully they’ll discover Pure Phase for the first time or do it all over again.

  • julie

    julie

    California 3 piece julie (lower case – obvs) have the pop-crazed youngsters moshing with their iPhones in the air like they just don’t care

    julie have made quite an impression it seems and have a sold out tour of the UK ahead of them and I just make it in time to catch the unusually early start of 8.15 (which no amount of scouring the Gorilla or SJM ‘socials’ would reveal) so I’m in a narky mood as the loud strains of opera emanate from the empty stage as the capacity crowd gear up for julie. This had better be good.

    It is good. The band take to the stage to a trouser flapping bass rumble and the crowd go absolutely nuts as they crash into the first tune ‘catalogue’ (lower case).

    julie have acquired that inevtiable Shoegaze or Nu-Gaze tag but fundamentally it’s not the swoonsome Slowdive or Cocteau Twins that is the obvious inspiration here. It’s the scuzzier, Squatney, cheap cider-fuelled end – we’re talking ‘Isn’t Anything’ and ‘You Made Me Realise’ era My Bloody Valentine – hyperactive drums, waves of distorted guitar and bass – with a big nod towards Swervedriver particularly in terms of that mix of grungey guitars with warm, widescreen melodic washes – and the dissonant wanderings of Sonic Youth. Yes!

    The stage is minimally set up, no backdrop just some big amps and white light and occasional strobes. The 3 piece line up in formation – bass – guitar – drums in that order – and while they don’t say much, julie deliver a physical and visceral performance. The guitarist Keyan and singer/bass Alexandria vanish quite often either to mess with their pedals or roll around on the floor or whatever. There are long periods of tuning up and re-setting which the band wisely fill with sampled noise and a chance for their unflappable drummer Dillon to loose off some mad freeform drum fills – raising the tension before the next big riff comes in.

    The crowd is definitely a younger demographic although like me there a few veterans of the first wave of 90s Shoegaze but the pop-crazed youngsters are crushing down the front to enjoy a proper mosh – albeit with phones aloft which will make for some very shaky footage. There’s a telling moment in this video of a julie performance where someone does the very 90s thing of stage-diving – albeit the diver is filming themselves as they go down which will probably make for a great Tik Tok vid …kids today eh? That said I like this quote from Keyan in the NME which really endears me to them:

    “If more artists focused on art and music and playing live rather than social media, they’d be just fine”

    It was a literally a blast – very, very loud performance with tons of intensity and attitude and I suspect next time julie come to Manchester it’ll be New Century or The Ritz and don’t sleep on it when the tickets go on sale. They’ve clearly got what it takes to build up an audience and create a certain weirdness and mystique around themselves around them which is very difficult to to do in the 2020s. If they have one shortcoming it’s perhaps the adherence to that My Bloody Sonic Swervedriver template but I suspect they might have a change of direction up their skinny sleeves – and indeed those confrontational between-song noise-fests are an indication of how ready julie are to challenge and face-off their audience – suffice to say the kids seem ready to take whatever julie can throw at ’em.

    Fly julie fly…

  • Still House Plants

    Still House Plants

    This month the band are the cover stars of The Wire magazine – that extraordinarily resilient and outré music publication which, at the time of writing is still readily available in WHSmiths – if you go past the overpriced confectionery, magazines are now relegated to the back of the shop – there I see Still House Plants on a shelf, in a Railway Station branch of WHSmiths – looking very cool but strangely out of time and very much of it.

    Cut to the White Hotel, in darkest Salford – I guess the closest the North West gets to a venue like London’s Cafe Oto – where in between decadent all-nighters that start at midnight, they do put on lots of artists such as you might read about in The Wire at more sociable hours. There are 3 musicians gathering on the stage and as they start to play I’m immediately struck by telepathic interplay between them. This is very much a group. One brilliantly innovative, minimalist guitarist (cut from the same cloth as Wire’s Bruce Gilbert, John McGeoch or David Pajo perhaps), a fantastic freewheeling drummer who has a very stripped-down kit -(Robert Wyatt or Wire’s Robert Gotobed springs to mind -yeah that good) -and a singer who spends the set hunched over a mic stand facing the band but has this remarkable, husky soulful voice that rises up from nowhere and adds an unexpected emotional heft that absolutely lifts this music into somewhere stratospheric.  

    The songs aren’t conventionally structured and they veer between danceable beats and sounding like the drums are falling down stairs but it never gets tedious or overly chin-stroking – this is deeply experimental music you can dance to, or just stand back and take it all in.

    It’s an exhilarating, and hugely energising experience watching them lock in and out of each other doing their thing. It turns out I haven’t seen it all before, there is still music out that there can surprise and delight that is completely otherworldly.  I pick up a beautifully packaged CD, make my feelings known to the disarmingly charming musicians at the merch stand and walk back into the darkness of Salford. Still House Plants moved me. Let them move you.

  • Dummy & Three Quarter Skies

    Dummy & Three Quarter Skies

    Back in my favourite basement which, once again has been transformed into a sonic cathedral by some adventurous artists

    First up, a nice surprise. Simon Scott, who by day is the drummer with Slowdive – now well into their remarkably successful 2nd act – but is also well established as an artist in his own right with a dizzying array of musical projects and soundtracks to his name. Tonight he performs as Three Quarter Skies who have a new record ‘Fade In’ to play to us. Shoegazers will be in familiar sonic territory however this is a much looser and more lo-fi proposition than Slowdive – Simon fronts a 3 piece band singing and playing guitar and electronics and he’s joined by a simpatico guitarist and drummer who whip up great billowing clouds of noise that reminds of those more exploratory groups in this field like The Telescopes, Spacemen 3 and also the fragile songwriting of the mythical Flying Saucer Attack. It’s loud, enveloping and rather marvellous.

    This is my 2nd time seeing Dummy, who headlined a ‘Mood Swings’ band night in this very venue a couple of years ago and I was very much taken with them and the many musical boxes they ticked with me. They’re back over from LA and getting toward the end of a pretty extensive few weeks schlepping around Europe and beyond. It’s fair to say they look completely knackered – but this doesn’t stop them putting in a brilliantly powerful and idiosyncratic performance – and like the Portishead album they borrowed their band name off – it’s hard to predict the musical ebb and flow they take us on.

    Everyone has keyboards as well as guitars and drums so one minute we get Brian Eno style, ambient interludes and the next minute we’re into My Bloody Valentine guitar bending freakouts, the electro-glide of Curve or the metronomic locked grooves of early Stereolab, Broadcast or Yo La Tengo. On songs like ‘Unshaped Road’ they show that 90s Trip Hop influence as a sweet pop vocal rides over a killer bass riff that could be from Massive Attack. That’s not to say they are derivative or slavishly copying those artists – they have a unique style of their own and they knit a lot of different moods and sounds together and somehow make it all coherent – their track Blue Dada is a good example – it starts very much in that early 90s Too Pure era Stereolab Groop Groove but takes on a strange little life of it’s own and its that sense of surprise in the choice of melody and dynamics that sets Dummy apart.

     

    https://youtu.be/_w8942xcHY4?si=ZQbvcSmusYLmyS9T

    Tonight suggests that Dummy, as good as their records are, are a band that really need to be seen live to really get what they’re about – so if this hard working band come to your town don’t pass up the chance to see them bring the noise.

     

  • Seefeel

    Seefeel

    I first saw Seefeel 30 odd years ago supporting Cocteau Twins and was immediately grabbed by the fact that while they presented as a traditional 4 piece guitar band, they didn’t sound like a ‘beat combo’ at all – swirling, looped sounds, distant vocals mangled so the line between voice and synthesised sound becomes blurred, and great thwacking bass (memorably played by Darren Seymour – twirling it around his head like it was a majorettes baton). Truly in a class of their own and I’ve been an avid fan ever since.

    The band have returned, sporadically over the years, and got some critical reappraisal recently with the material they recorded for Warp records being reissued as an excellent box set complete with a wodge of unreleased gems that – unlike a lot of ‘extra tracks’ are well worth your attention. Seemingly out of nowhere, a new mini-LP ‘dropped’ earlier this year on Warp. ‘Everything Squared’ is delicious and bridges the gap between the billowing clouds of looped guitar and sub-bass of their earlier stuff and the spartan, icy plains of their mid-period work.

    A gig by these is a rare thing indeed and with no danger of a moshpit I get down the front for the full arsequake bass experience and perhaps to try and figure out how Seefeel works. They’re down to a 3 piece tonight with core members Sarah Peacock and Mark Clifford joined by a bass player (I didn’t catch his name and this reviewer thought it was a returning Seymour?) and while the bass stays firmly below head height you could lie down and take a nap on the colossal subsonic waves coming off the stage.

    The set opens with ‘Climatic Phase’ from their debut ‘Quique’ and it is one of those goose-bump moments as they gradually build the track up from looping samples, fragments of vocal and guitar building toward the dub bass and everything locks in. They still sound like nobody else. The set mixes those early Too Pure tracks with a selection from the new record and you can’t see the join. It’s a privilege to watch them at work, up close – and it’s not as if we’re seeing behind the curtain as I’m none the wiser how they make a few FX pedals, some guitars, a laptop and some singing sound so other-worldly.

    It’s a relatively short set but warmly received by a very attentive audience of old heads and few curious pop-crazed youngsters who hopefully leave inspired like I was 30 years hence. Leave ’em wanting more I guess, and we do. Their is talk of a new full length LP and apparently Mark Clifford only puts out a fraction of the material he records so hopefully I will have my atoms rearranged by Seefeel again before too long. Majestic.

     

  • Immersion (Colin Newman & Malka Spigel)

    Immersion (Colin Newman & Malka Spigel)

    While sensible people are staying home with the immersion on, I’m braving the sub-zero ice and snow ‘cos Immersion are on.

    Last time I saw Colin Newman on a stage he was fronting his day-job band, Wire, at Band on the Wall just before Covid curtailed their touring plans in 2020. With the band now seemingly on hiatus (check out Matthew Simm’s Memorials and Graham Lewis’ latest – both mighty fine ) Colin and his partner, musician and artist Malka Spigel have been keeping very busy with a weekly radio show and reviving Immersion which started 30(!) years ago as a way of exploring the duo’s fascination for club music and electronica. I saw them play a mesmerising set at Wire’s ‘retrospective’ comeback at the Royal Festival Hall in 2000 (we only have this excerpt:)

    – and tonight’s set up is very similar – a bank of electronics and the duo silhouetted against a video projection except tonight, they are facing the audience. There are songs too, with vocals from both and Colin occasionally reaches for a guitar and Malka is bashing away at a Korg synthesiser with considerable gusto – so although the austerity budget didn’t stretch to bringing a live drummer over for the tour, it makes this feel like a gig you can engage in rather watching some laptop jamming.

    There are familiar, signature drones which remind you of their initial incarnation and the downright essential ambient classic ‘Low Impact’ but Immersion has morphed into something more open-ended and actually very danceable – there are beats galore and trouser-flapping bass as well as some very enjoyable detours into kosmiche musik and Dreampop (if we need to get into genres).

    There is an airy, almost new-age positivity about Immersion which might sound a bit flowery in less talented hands but with two of the coolest musicians on the planet in charge who know of what they sing/speak, it works and the audience response reflects this right back – all smiles. The audience is a mix of people of a certain age but also curious younger folk who are enjoying the hefty basslines and beats these two, ridiculously youthful 70 year olds are firing off and we’re all moving with them. Immersion are bringing their sound and art to your town – go and see them!