Posts Tagged ‘York’

Spear of Destiny – The Crescent, York, 17th October 2025

Posted: 19 October 2025 in Live, Reviews
Tags: , , , , , , , , ,
0

Christopher Nosnibor

For many so-called ‘heritage bands’, the gig circuit can be trail of diminishing returns – then again, for others, the gigs are bigger now than in their heyday. Nostalgia is a powerful market, but one that often tapers off as the fanbase ages. Our older population may be expanding, but that doesn’t mean they’re all up for gig-going in their retirement years. Spear of Destiny sit in the middle of this range: they’re not playing the 1,500-2,000 capacity venues of some of their peers, but they’re packing out smaller venues, such as this one, often. You have to wonder if Kirk Brandon can even remember what his home looks like given his intense touring schedule, if not with Spear of Destiny, then, more recently, with the resurrected Theatre of Hate. They only finished their Janus tour in June, and here, they are, back on the road after barely time to do the laundry and restock the merch. The frequency of visits to destinations with smaller demographics does nothing to diminish the attendance, either: the fanbase is hardcore, and they do seem to be drawing younger people in, too, as interest in the bands kids’ parents listened to appears to be on the rise. I’m not going to claim that the 80s and 90s were better than now for music – not least of all because I don’t believe that’s the case, despite it being harder to find stuff now if you want to escape the algorithmic force-feed – but there was something about those times that’s lacking now, and it’s not just innovation. Politics and protest seemingly had a more central place then, too: in recent years have

It was only last September that Theatre of Hate stopped by this very same venue, and the Spring of 2023 that Spear of Destiny trod these same boards – and yet tonight, perhaps because it’s a Friday – the place is packed, perhaps more so than on the last two visits.

Immediately they dispel that whole ‘heritage band’ thing by opening a solid set with a slew of newer material, delivered with vigour. It’s also very much a set for the more devoted fans: popular songs and hits like ‘So in Love with You’, ‘Tinseltown’, and ‘Young Men’ are bypassed in favour of a set that works its way through recent tunes and deeper cuts, and only really goes all out on the big popular choices in the second half. No-one’s complaining, though, and the band look to be enjoying themselves: at one point, Kurt exchanges grins and chat with bassist Craig. And I’m reminded – as a huge, huge Sisters of Mercy fan, but one too young to see them in their first era – that I’m standing maybe six feet away from the bass legend that is Craig Adams. The fact that The Mission were the first major-league band I saw, from what felt like a mile away, at Sheffield City Hall in 1990 is the context here.

DSC04111DSC04198DSC04219

Kirk’s voice may not sound quite as strong as on his last visit, but the chap’s been poorly, and he’s still capable of belting out the tunes, and, soaring in all directions and, when it matters, leaping an octave in an instant and hitting all the high notes. And as a four-piece, while the absence of sax is notable particularly on some songs, they create a sound that’s dense, and as always, they play with precision tightness while maintaining a fluidity and a palpable energy. Everything else is in place, with a dominant rhythm section, from martial beats to thunderous tribal percussion, paired with Adam’s sturdy grooves.

Up front, there’s ‘Strangers in Our Town’, and ‘Never Take Me Alive’ lands early on, too. It’s easy for forget that this is a band who’ve released significantly more albums since their eighties heyday than during that time, and the set offers a fair balance of post-eighties material with a selection of songs from that commercially fruitful spell – and it’s worth noting that fan favourites aren’t necessarily the singles, but key album tracks. ‘Mickey’, for example, was only a single in The Netherlands, but is one of the highlights of World Service, and tonight’s set.

DSC04134DSC04157

Into the final leg, ‘Rainmaker’ really rouses the rabble, and ‘Radio Radio’ prompts a huge singalong before they depart the stage. The place erupts when the band come back on, and the encore launches with a spirited ‘Soldier Soldier’… and finished with ‘Liberator’ – because there is simply no other way to end a Spear of Destiny set. It brings the house down – every single time. More of the same next time, please.

Utterly Fuzzled #4 – Fulfordgate WMC, York, 18th October 2025

Posted: 19 October 2025 in Live, Reviews
Tags: , , , , , , , , , , , , , , ,
0

Christopher Nosnibor

It says something about the organisers when you book a ticket for an all-day event having only heard of two of the bands on the bill, and don’t even feel the need to research the others. The previous three Utterly Fuzzled events have rapidly built Jo and Pete Dale a reputation for curating lineups of remarkable quality from the region and further afield – such a reputation that today was down to its last nine tickets the day before – impressive considering that it’s running alongside a storming sold-out three-day event up the road at The Fulford Arms. It’s worth noting that this is all happening a couple of miles or so out of the city centre, where there is only really The Crescent and The Barbican within close proximity of the city walls. What can we take from this? There is still a strong demand for live music that isn’t mainstream, isn’t tribute acts, and that the scene in York – thanks to a number of hardworking people – is thriving right now, with a rare abundance of homegrown talent and a strong sense of community at its heart. And the Utterly Fuzzled events encapsulate all of that and more, being almost a mini-scene of their own – not in a snobbish, self-serving way, but quite the opposite, offering ‘no questions asked’ discounted tickets, and espousing an ethos of inclusivity.

With these events, there will always be something new to stimulate the ears, and in keeping with the DIY ethos that’s perfectly summarised by the stage backdrop, they always find ways of opening proceedings with some homespun flash of warped inspiration. Today, it’s Iris the Gong. Said gong is a feature of their events, and on this occasion, she becomes the star, where initially, Jo Dale serves up some dramatic crescendos and crashes. Pete then steps up to forge altogether sparser atmospheric sounds, utilising all parts of the gong and using a large beater to creates low hums. Then it’s open to the floor for some audience improvs, culminating in a few face-wobbling smashes.

It makes for quite the intro for Troutflies – one of the two acts I was aware of in advance, and who have featured on here recently. They’re loose and li-fi, with melodica drones, various bits and pieces clop clopping and scraping, samples and guitar that’s by turns laid back and scratchy wavering through some half-songs – sort of low key, a bit slowcore, quite Silver Jews, a bit Pavement before Slanted and Enchanted, and at times gloriously atonal and off-key, and as far as time signatures go, they’re out the window. Reuben Pugh drawls rather than sings, and it all works, in the sense that yes, it’s supposed to sound like that. It’s not for everyone, and it takes a certain amount of guts – or madness – to get up and make such a spectacular cacophony.

DSC04223

Troutflies

Late substitutes Orchard, from Scarborough, are loud and fast and abrasive. Angular punk noise with guitar and drums, shared vocal duties. The guitarist could save himself some work by buying a tuner, but kudos for his ability to tune by ear. What matters is that they really do attack the songs – songs in favour of immigration, about depression, about the country’s lurch to the right, and play with passion The guitars are gritty, the drumming hard and expressive, the vocals shouty. On the strength of this outing, which concluded with guitarist Joel clarifying that his previous comment about making a onesie from Nigel Farage’s skin did mean skinning him alive and wearing it, leaving some nonplussed expressions, their album, released at the end of the month will be killer.

DSC04240DSC04236

Orchard

St Christopher are perhaps one of the city’s best kept secrets, not least of all because of the infrequency of their live outings. This is their only one of 2025. They’ve been going since 1984 and have had releases on legendary labels including Sarah Records. They play solid indie / alternative rock with close harmonies. Their 80s background is evident, and that’s a positive. They’re incredibly tight and assured, with a really full sound. They may not have released anything in a while, and may not have attained quite cult status… yet, but as also rans who are still running, there’s time yet.

DSC04250.crop

St Christopher

All Ashore pack five bodies onto the little stage and bring some uptempo, vaguely twee late 80s / early 90s indie vibes. They’ve obviously put some co-ordination and consideration into their outfits, and they’ve got some very bouncy friends along who make for a lively front row.

DSC04273

All Ashore

Not that Knitting Circle struggle to land gigs, but if you want to play more, one simple solution is to put them on yourself. Knitting Circle are dependably good. Since the departure of vocalist and multi-instrumentalist Jamie, who penned a number of their songs, things are inevitable different, but reconfiguring as a purely guitar-based trio has forced them to really home in on their focus. Guitarist Pete plays with no pedals, serving up a clean, crisp, choppy sound. ‘Fox’ is a standout in a set that’s consistent and tight, sounding more than ever like Gang of Four crossed with Shellac. As ever, ‘Safe Routes’ is powerful and moving. We need peace. We need humanity. If only this room was a microcosm of the world.

DSC04321DSC04303

Knitting Circle

Mammoth Penguins serve up a set of tight indie with hints of US influence, alt rock with a dash of country. Another power trio, they serve up a chunky sound which provides the bed for some narrative lyrics. Said lyrics aren’t always slick or poetic, but they’re real life, and they’re a ban which grow on you as the set progresses. By the end of the set, they’d won over the entire room by virtue of their sheer quality.

DSC04345

Mammoth Penguins

Tonight’s lineup was perhaps the most diverse and unpredictable of the Utterly Fuzzled series to date, but the mixed bag nature, when coupled with the warm atmosphere – and cheap beer – really made it something special, something akin to listening to an episode of John Peel. You might not love all it, but the quality is undeniable, and you know you’ll discover at least one new act you dig. It’s everything that’s missing from music lately. And it’s so, so much fun, restoring faith in humanity, and uplifting in every way.

Soma Crew / Deathlounge / The Expression – The Black Horse, York, 2nd October 2025

Posted: 4 October 2025 in Live, Reviews
Tags: , , , , , , , , ,
0

It’s that time of year again, when the nights draw in, it rains nearly every day, and people start coming down with bugs and viruses. Consequently, JUKU have been forced to pull out of tonight’s double header, which is disappointing in extremis. A powerhouse live act wo we don’t get to see often enough, they promised to provide the perfect contrast to Soma Crew’s psychedelic drone. But alas, it was not to be on this occasion. This did, however, provide an opportunity for The Expression to step up and open the evening.

If ever one was looking for proof of just how healthy the York scene is right now, this is it. There are new bands of outstanding quality copping up all the time, none of whom are run-of-the-mill indie acts. It’s also worth noting how many of the bands in York aren’t all just blokes, either. And at the risk of repeating myself to the point of tedium, this is why it’s worth going to the free gig in pubs, the five-quid gigs in local venues, and turning up for all the acts. JUKU’s absence afforded the absolute revelation of The Expression.

DSC04006DSC04018

The Expression

They showcased a set of well-realised, tight compositions which brought together elements of dreamy shoegaze, and blistering post punk, propelled by rolling drums. The final song started gently but swelled into something altogether more solid, more riffy, calling to mind The God Machine. Despite battling issues with mic feedback, and nerves jangling just below the surface, they came across well and kept it together to relay some magical moments of chiming, mesmerising picked guitar, with vocals which at times were reminiscent of All About Eve’s Julianne Reagan. Definitely a band to keep on the radar.

DSC04036

The Expression

I really so wanted to like Deathlounge. They have a great name and a great premise. Previous outings had shown real promise, too, not least of all their EP launch, despite what felt like an overly ambitious and overlong set. But tonight, they sparked, but simply failed to ignite. They sound rough, and it’s nothing to do with the PA. First and foremost, it’s the singer who’s the weakest link, but their lack of coherence is the real issue. They do melodic hardcore without the melody. Or the hard. The guitarist thinks he’s in Fugazi, while the bassist wants to be in Jamiroquai. The whole thing is a bit of a mess.

DSC04046

Deathlounge

Soma Crew always seem to start with a slow, sparse number, and sound a bit trepidatious, awkward, uncertain. And tonight is no exception. I find myself thinking ‘ooh, is this even in key?’ With a substitute drummer, and Soma Crew being Soma Crew, the set is off to a slow, hesitant-sounding start, but building to a surging swell, a monolithic throbbing drone. I’ve drawn the comparison to Black Angels before, and the parallels are never more apparent tonight. With three guitars plus bass, and with everything but the vocals coming straight from the backline, they’re loud, and the sound fills the small space and then some. When they hit their stride, they’re phenomenal. Toward the end of their set they drop ‘Roadside Picnic’ and the sound is simply huge, and this, this is why we’re here.

DSC04051DSC04053

Soma Crew

A Gig for Gaza – The Crescent, York, 14th September 2025

Posted: 16 September 2025 in Live, Reviews
Tags: , , , , , , , , , , , , , , , ,
1

Christopher Nosnibor

I shouldn’t be here. This event shouldn’t be happening. No, I don’t mean there shouldn’t be a bunch of York acts performing a packed bill on a Sunday evening in front of around two hundred people, but the reason it’s happening, the circumstances meaning we need a gig for Gaza. It’s something I haven’t really written or commented on – not because I condone the genocide that’s been playing out over the last twenty-three months, but because the shock, the sheer horror of it all has resulted in some kind of paralysis. The fact that after almost two years, it’s not only ongoing, but the situation is worsening is almost beyond comprehension, and while our government hasn’t mentioned Israel’s ‘right to defend itself’ recently, it continues to supply arms to and meet with their government, and to deny both genocide and famine, preferring instead oversee the arrest hundreds of pensioners for holding placards stating their opposition to this. Since when did vandalism equal terrorism? The media still refer to the ‘war’ in Gaza, but this is not a war. It’s a decimation. It’s annihilation. It’s genocide.

It’s impossible at this point to reasonably stack a hierarchy of horror, to say ‘but what’s worse is…’, but the fact that Israel’s collapsing of buildings in Gaza city at barely any notice is only occasionally making footnotes in the news a measure of how appalling things have become. Meanwhile, the UK news is currently devoted to outpourings over the assassination of a pro-gun fascist hardly anyone had heard of until he was shot, plugging a pro-racist march arranged by jacked-up right-wing thug Stephen Yaxley-Lennon, and giving Nigel Farage so much more screen time than all of the other parties combined (who knew that The Green Party hold as many seats in Parliament as Reform, eh?), and Russia continue to pound Ukraine and extend their reach, and under the radar, Sudan is another hell on earth. Meanwhile, the world burns, and people are still in thrall to billionaires, chucking their cash at Daniel Ek to fund more war so they can stream mediocre slop while ordering some shit via Deliveroo and spending their evenings watching Love Island and shit instead of facing the fact that we’re actually entering World War 3 and the apocalypse is happening right here right now.

But here we are. I’ve written extensively about the therapeutic qualities of live music, and why grassroots venues are important., and tonight brings my entire thesis together perfectly. The Crescent Community Venue – as the name suggests – is about community. Not in the way those who have been zip-tying flags half-way up have been harping on about ‘uniting communities’ (the subtext being that they’re uniting against something – namely anything that isn’t white, straight, etc.), but in the truest sense. Everyone is welcome – just please don’t be a dick.

Tonight is the perfect representation of what community means. It’s not even really about the acts performing – although it’s a great lineup, curated by local promoter of the experimental, avant-garde, spoken word milieu, Navigator Arts, with the aid of the venue and local legend Joe Coates, who operates independently and via a regional network as Please Please You. These guys champion local acts and regional talent and live and breathe it, and the performers who’ve given their time for this event – I can only applaud them all, really.

What we have here, then, is a great lineup for a vital cause, in a great venue – I’ll say it again that The Crescent is York’s Brudenell: there are many parallels, and they’re all positive. And tonight is exemplary, because what we have here is a great lineup for a vital cause, with a brilliant vibe.

DSC03424

Lara McClure

It’s an interesting mix of bands and interludes: spoken word artist Lara McClure stretches out a fantastical story over the course of the night, seamlessly – or otherwise – creating segues to the following acts, and a guy who operates under the moniker of Cast – clearly being too young to remember the 90s indie act – does some beatboxing before Knitting Circle take the stage, as a three-piece on this outing. My appreciation of Knitting Circle is strewn all over these pages. They’re a great band, and a perfect choice for this event. They’re proud and passionate lefties with a ‘don’t be a dick’ agenda of inclusivity, and songs like ‘Safe Routes’ aren’t only resonant but prove quite moving in the context of the event. They’re brilliant, as always, and I have to take a moment after their set.

DSC03320DSC03325

Knitting Circle

Captain Starlet are a band I’ve never really taken, to, but here’s their singer, Tom, playing a set that includes covers of songs by Love and The Incredible String Band with a Vox guitar, and her does so in a self-effacing manner. And he’s here, taking a stand against genocide and fascism, and so respect is due.

DSC03346

Tom of Captain Starlet

Things take a turn when Fat Spatula hit the stage, and the volume takes a leap by at least ten per cent. The songs may be fairly mellow alt-rock in the main, but they are LOUD and played with masses of energy and enthusiasm, they’re kinetic (especially the rhythm section), electric. As a band, they seem a little uncertain of their abilities, despite the fact they’re rarely anything other than killer. But maybe that’s a part of their way of working. They put everything into their set and look to be really enjoying themselves. And it’s great.

DSC03395DSC03385DSC03411.2

Fat Spatula

It takes me a while to get into Borgia, and my initial impression is of these purveyors of jazz punk is ‘jazz punk cunts in suits’ (which, I know, is a niche piece of self-referencing for the ten people familiar with my own ‘musical’ work, but, why not?). They’re decidedly more jazz than punk, and the shades are off after five minutes. But they present a pretty meaty racket with busy bass balanced by sturdy drumming and some wild parping sax. The theatrical enunciation and dramatic presentation is a bit over the top and only nearly as cool as they think, but all credit to them for putting on a performance. They’re seriously tight and go all-out to entertain.

DSC03451DSC03475DSC03443

Borgia

The Bricks are on fire right now. Just eleven days previous they were up-close and personal in a pub on the other side of town, and looked to be relishing the intense proximity. Now, here they are in a 350-capacity venue and owning every inch of the stage. Gemma’s voice may be cracking and only just surviving with the aid of honey, but she still goes all out for the duration, and doesn’t miss a note. There aren’t many bands that seem as much at home playing large or small venues, and even fewer who bring their A-game every single time, but The Bricks are one of the few.

DSC03525DSC03519DSC03560

The Bricks

While there were reminders of why we were here – and rightly so – tonight was as much about bringing people together and espousing true community spirit. The atmosphere was warm, genial, and safe, and in the current climate, riven with tension and hate, this felt like an oasis of nice, a much-needed balm to soothe the stress. And if you’re going to be proud of anything, be proud of local bands, local venues, be proud of generosity and kindness, not shitty flags.

The latest is that the event raised £1,500… and you can still donate… Please.

548187537_18021967130742283_8609393116234650645_n

Cowgirl / The Bricks / Strange Pink – The Black Horse, York, 4th September 2025

Posted: 5 September 2025 in Live, Reviews
Tags: , , , , , , , , , , , , , , , , , , , ,
2

Christopher Nosnibor

Pub gigs provided me with my first experiences of live music, back in the early 90s. Often, pubs with upstairs rooms would pop bands on, and other still would simply pack bands somewhere in the bar. At some point, there seemed to be a shift away from this, with pubs seeming to be only really interested in solo performers and acoustic duos. Gigs in pubs stopped being such a thing. But now, pubs are dying. And grassroots venues are dying. Let me be more blunt they’re not so much dying, as being killed off in the interest of capitalist greed.

As I wrote recently on the repurposing of working men’s clubs – also suffering from a severe decline – as gig venues, so the return of the pub gig seems to solve two problems at once, namely how to bring punters into pubs, and providing bands with a place to play. This certainly seems to be happening in York.

The Black Horse used to be a Tap and Spile, and has always been a solid Yorkshire boozer – real ale and bar snacks, and a weekly quiz. But clearing the top part of the room – more a raised area than a mezzanine per se – creates a fairly generous stage space, and not being a massive space, means a basic setup whereby the bands play straight through their amps with only the vocals going through the house PA, simplifying soundchecks and making switchovers straightforward.

When this show was first announced, Strange Pink were an unknown quantity, but the release of their debut EP changed that, and the Hull-based power-trio-cum-supergroup consisting of Sam Forrest (Nine Black Alps, Sewage Farm), Eddie Alan Logie, and Dom Smith (whose resume is a feature in itself) make for a cracking opening act. They manage to be loose but tight at the same time, and it suits their 90s slacker rock stylings. As the EP attests, their approach is varied, and so, accordingly, is their set. They seem to grow in confidence as the set progresses, the sound coming clearer and brighter, too, and by the end of the set, they’re on fire. They close with ‘Boys Club’, the lead single from EP. It’s a clear standout and possibly their best song, with a strong hook, making for the perfect way to leave the crowd with something to remember.

DSC03153DSC03159

Strange Pink

The Bricks have become Aural Aggravation staples, and are a band I will always go and see whenever possible, for two simple reason: they have great tunes, and they’re a great live band – always. During their brief soundcheck, I began to wonder if their run of infallibility might come to and end tonight, but I needn’t have worried, because they were firing on all cylinders from beginning to end. In fact, they seem incredibly at home in tiny venues such as this, and flame-haired Gemma cranks up the wild, eyes-wide, lung-busting intensity, as if relishing the proximity. By the end of a fierce set, her fringe is swept away and plastered to her forehead. The band play relentlessly hard, too, and I try to analyse what it is about them that’s so compelling, why they work so well. The songs are fairly simple, both structurally and in terms of musical complexity – simple lead parts, four-chord riffs, classic (post-)punk, built around solid rhythms, with most songs two or three minutes long and strong hooks. Simple proves effective, especially when played with precision and passion.

DSC03160DSC03168

The Bricks

This does mean that Cowgirl have a tough act to follow. But they’re super-seasoned professionals. Danny Barton (guitar and vocals) plays bass in Sewage Farm, previously played bass with White Firs with former Federals drummer James Holdstock (who’s also drummed with Cowgirl), and has, in short, played in more bands in and around York than I’ve had hot dinners, and the same is true of Sam Coates (also guitar and vocals), who’s been pretty much ubiquitous on the scene for years now.

Looking around the room – it’s standing room only, and there’s plenty of beer being drunk, and I bet they’ve not sold this much on a Thursday night in a long time – half the people here are in other bands, or are otherwise recognisable as gig-going regulars, highlighting what a close-knit scene the city has, but also that this lineup has brought people out on a night that’s not exactly a popular one for gigs or pubs. The free entry and donations bucket may be a factor (although a facility to take card donations would likely have seen more contributions), but still, it’s proof that a quality lineup is a definite draw, and the fact a small venue can be filled more easily creates a sense of buzz, which is definitely the case here.

DSC03173DSC03177

Cowgirl

Early on in their set, a friend remarked that they sound like Oasis. He’s completely wrong, but the comment got me thinking. Some of the elements are there… some of the jangle, a bit of the swagger, but with a keen American indie influence. Perhaps his opinion was influenced by the fact that their sound is decidedly more ‘rock’ on this occasion than previous times I’ve seen, them, likely on account of the backline / PA setup, resulting in a sound dominated by blistering guitars. But they have actual melodies and a psychedelic hue, and once again, it’s a set that builds in every way – confidence, cohesion, and volume. The final brace of songs is segued together to form a ten-minute melting wall of sound, an epic psych-wig out that’s nothing short of a brain-cleansing blast that leaves you dazed as the final strains of feedback taper away.

Everything about tonight feels like a win. I may have had one more than was wise – easily done when it’s hot because it’s packed and all hand-pulled beers are a fiver and there’s half a dozen to choose from – and I may be a touch emotional at having attended my last live music of my forties – but stepping into the night, I feel like I’ve experienced something life-affirming and positive in the bleakest of times.

Watch: ‘Cross on a Hill’ by Troutflies

Posted: 25 August 2025 in Recommended Streams and Videos, Singles and EPs
Tags: , , , , , , , , ,
0

Following the demise of Needlework, who we absolutely loved here at Aural Aggravation, front man Reuben Pugh has been keeping busy and keeping creative, with the swift emergence of lo-fi slacker country act Troutflies.

Ahead of an imminent debut album, The Dancing Years, they’ve dropped the song ‘Cross on a Hill’, which has hints of Pavement and Silver Jews, blended with the drawl of Mark E. Smith, and is accompanied by a video that matches the loose, low-budget feel of the song. We dig.

AA

531393817_122160077354381252_7463272933200659176_n

Dragged Up / Juku / Pea Sea / Chaffinch – Fulfordgate WMC, York, 8th August 2025

Posted: 9 August 2025 in Live, Reviews
Tags: , , , , , , , , , , , ,
0

Christopher Nosnibor

The third Utterly Fuzzled event boasts another strong lineup, with a mix of out of town talent, the cream of the crop from York, plus new and emerging acts. It seems wholly fitting that they’ve found Fulfordgate WMC as a home for these events. One might describe it as quaint, but it has everything you’d want for a DIY musical microscene – stage, PA, cheap beer, a little way off the beaten track but still accessible from the city centre – and some things which are harder to define. A sense of community, and quintessentially northern, unpretentious.

I recently finished reading Sleevenotes by Joe Thompson of Hey Colossus and Henry Blacker – which is, hands-down, the best book about being in a DIY / small band, and I cannot recommend it enough. So many of the observations on the DIY scene resonated with me as an attendee – and occasional performer – at venues which are rehearsal rooms, rooms upstairs or at the back of pubs, gigs where there are fifteen people in attendance, and eleven of those are the other bands. He writes of playing these spaces, some with capacities of fifty, and being grateful that anyone turns up at all, about how they all have day jobs and make music because… because, and not with any hope of making money – covering costs to pay for the petrol back is winning.

On my way out, JUKU’s Dan Gott asked if I would be doing a review, and expressed disappointment when I said I would be. He said he wanted me to just enjoy a gig. But just as for makers of music, making music is a compulsion, so is writing for me. As much as I assess and analyse, this project, or whatever it is, is ultimately a document – an ever-evolving document, a diary of sorts. Just as Hey Colossus have been ploughing their furrow for an eternity – or since 2003 – so I’ve been a heavy gig-goer for many years. I can’t remember everything. But I can document it.

Dragged Up are one of those acts who clearly aren’t in it for the money. I’ve covered a few of their releases, and on seeing that they were making the trip from Glasgow to play this humble venue was immediately buzzed. I suppose something about straddling being press and a music fan, and having a Facebook network largely made up of people in the same circles, it’s not always easy to maintain perspective when it comes to a band’s status. There’s an element of ‘wow, are they really playing this little place?’ – and then you’re faced with the fact that any band that’s big in your world isn’t necessarily big in the wider world. It goes both ways, of course: there are bands I’ve never heard of selling out O2 venues and bigger.

The first act on the bill is so new and emerging that they didn’t even have a name until about a week before the event, and so suffice to say that Chaffinch were an entirely unknown quantity. It transpires that they’re a new permutation of Knitting Circle, a band centred around Jo and Pete Dale, who also happen to be the movers behind Utterly Fuzzled events. Tjeir set is clearly a work in progress – Jo confessed that the lyrics to one of the songs, on a sheet of paper in front of her, had only been completed that morning. But they show great potential. As my cursory notes attest, there’s ‘jangle, post-punk, angular, Band of Susans riffiness, elsewhere more 80s indie, a bit Wedding Present. Mathy dynamics. Interesting and a very promising first outing.’ It’s a fair summary that requires little expansion.

Pea Sea is a singer/songwriter whose set is a mixed bag of rearranged traditional folk songs, and quirky narrative led indie tunes, even incorporating bossa nova rhythms, and some quite nice blues, too. It’s kinda ramshackle, and inherently Scottish, and it’s entertaining enough, although I’m not sure if it’s because of or in spite of the bad puns and awkward chat and spaces between songs.

DSC02994

Pea Sea

I was already down for this the second I saw Dragged Up were coming to York, but the addition of JUKU to the bill absolutely made it. I’ve been banging on about them since their debut gig. And still, some of my mates who’d come down tonight seemed perplexed as to why they hadn’t seen them, as their brand of punk rock played hard and fast and at blistering volume absolutely blew them away. My mates should pay more attention to my reviews, I say. Suffice it to say, JUKU were fucking blistering. Naomi is kinda nonchalant but also goes hard, and there’s the constant worry as to whether the mic stand will fall over or her glasses will slip off her face (in the end, by some miracle, neither) and Dan wrings noise from his guitar with clenched tattooed fists, hunched over so low his forehead is practically scraping his strings. It’s primitive, four-chord punk cranked up to eleven, and they play so, so hard. This is a band that destroys every stage it sets foot on. They need to be on a label. They need to go national, international. Live acts don’t come better than this.

DSC03008DSC03020

Consequently, Dragged Up perhaps suffer from having to follow JUKU. They’re decent, though, and no mistake. But venturing out with their new bassist, things feel a bit tentative at times I’m too into the set to make many notes. I’ve hashed together some observations on how they’re masters of post-Fall post-Pavement ramshackle indie, and how their songs chime and crash with strolling bass and shuffling drums.

New single ‘Clachan Dubh’ lands around mid-set with its chunky, chuggy driving groove driven by thick bass and energetic drums, and they swing between succinct killer blasts and sprawling beasts led by thumping grooved and manifold swerves and detours.

It’s hard to tell if they’re not quite firing on all cylinders or if this is simply the way pf Dragged Up, and it’s likely a bit of both. But there’s no question that they simply do their thing and don’t really give a crap, and the attitude is worth all the applause and plaudits alone.

DSC03033DSC03037

Dragged Up are one of those bands who don’t even have a game to raise most of the time. They play their songs. They have some good songs, and people take notice.

It’s a tidy/messy end to a night of solid quality.

Light of Eternity / Soma Crew – The Fulford Arms, York, 23rd July 2025

Posted: 24 July 2025 in Live, Reviews
Tags: , , , , , , , , , , , ,
0

Christopher Nosnibor

The Fulford Arms has quite a record for booking bands which are of a significantly larger magnitude than its 125 capacity – Wayne Hussey, and The March Violets are a couple which immediately spring to mind from personal experience, while Utah Saints, Bob Vylan, and Ginger Wildheart are further examples, and there are countless others who played here before going massive. And now Light of Eternity join that list. Formed with legendary drummer Paul Ferguson, whose credits in addition to Killing Joke are a feature in their own right, they’ve released a brace of belting EPs and are now undertaking their first tour, taking in a number of larger venues as a headline act, an even larger venues as support for Ministry. And here we are: the first night of the tour is also their live debut, here in this grassroots venue with its small, low stage, and black walls marked in chalk with the names of the acts who have played previously.

Soma Crew have a knack for landing a fair few of the city’s high profile support slots, and deservedly. Supporting The Fall will likely be a career highlight, but something about tonight is special. The Crew’s ever-shifting lineup sees them packing out the stage as a sextet, and they open with the crawling ‘Dead Insect’. Is it the right choice for this occasion? Do they care? On the second song, ‘Counterfeit’, they hit the motorik groove that’s their strong suite, and from hereon in, they’re away. Broken string? Meh, it’s no issue when you’ve got three guitars (plus a bass), one with an E-bow plugging away at a single chord. With the addition of a throbbing bass, it all makes a magnificent hypnotic drone. This is Soma Crew at their best.

DSC02831

Soma Crew

The DJ spun Ministry (‘Just One Fix’) and Murder Inc. between bands. Is it the done thing to play tracks by bands related to those about to take the stage? Why not, eh? I’d actually played not only the band’s two EPs but Locate, Subvert, Terminate, just the other day in advance of tonight, and it proved appropriate. There’s an interesting – and perhaps somewhat telling – selection of bands T-shirts on display here: no shortage of Killing Joke, but also The Sisters of Mercy, Paradise Lost, and The KLF… and the near-capacity crowd is suitably rewarded with a belter of a set, with twelve songs in all, which represents both EPs and another EP’s worth of as-yet unreleased material.

DSC02851DSC02847

Light of Eternity

Ferguson’s drum kit isn’t only the focal point: it occupies the majority of the little stage, with Fred Schreck (bass and vocals) and Pauly Williams (guitar) positioned either side. It’s perhaps as well they’re not given to ambulating a great deal. In Williams, they’ve found a guitarist with a sound that’s incredibly close to that of the late, great, Geordie Walker, and capable of churning out methodical riffs – and his dense, compression-heavy sheet metal thunder really rings out in a live setting, more so than recorded. He keeps his head down and just keep cracking ‘em out, and it works well alongside sturdy bass grooves, while it’s the busy, full-kit drumming that provides much of the action, the movement, within the songs.

DSC02911DSC02896

Light of Eternity

Their presence could be reasonably summarised as unassuming but focussed. They’re not a band for chat: Schreck does begin to speak on the subject of America, and hope, before ‘Dark Hope’, but it’s curtailed by the onset of the next percussive barrage which marks the start of the song. Ferguson not only leads proceedings, but does so in his own world, and that world is the centre of all of this. After the first few songs, he’s one hundred percent in the drum zone, and it’s apparent he doesn’t do breaks, preferring instead to keep that relentless momentum. Some may read it as standoffish, but it’s fairly apparent that it’s about the intensity, the songs slamming in back-to-back, the explosive beats, the churning riffs. Singer may not have Jaz Coleman’s charisma, but his reverb-drenched vocals are crisp and clear and delivered in such a way that the experience is that of an unyielding force.

DSC02893

Light of Eternity

Checking the setlist encapsulates the mood and subject matter of Light of Eternity: ‘Conformity’, ‘Distraction’, ‘Tipping Point’, ‘Explode’. They may be older (Ferguson is 67 now), but they’re not settling into a comfortable relationship with the status quo, offering a cocktail of anger and disaffection at the state of the world. ‘Dark Hope’ is grungy, built around descending chords played with steely guitars. The unreleased ‘Fascist X’, landing near the end of the set is a full-throttle heavy grinder, while ‘Aftershock’ is an absolute juggernaut. They simply don’t let up: every song is driving, solid, muscular, a wall of leaden density.

There isn’t a weak song in the set, and their live debut more than delivers on the promise of the first studio releases. Most of those present reasonably expected quality, but for a live debut, this was phenomenal. The smaller venue was a test, in a way – and they passed it, and then some. The rest of the tour promises to be fantastic – but those who were here tonight witnessed something special that they won’t forget in a hurry.

Needlework / Divorce Finance / Speedreaders – The Crescent, York, 18th July 2025

Posted: 19 July 2025 in Live, Reviews
Tags: , , , , , , , , , , , , , ,
1

Christopher Nosnibor

There was a time when there wasn’t really much doing in York, which was particularly disappointing for a city with two universities. But, despite grass roots venue disappearing at an alarming rate, right now, the city is offering up some exciting stuff on the grassroots scene. Tonight, there are three quality live music events on, and had I mastered cloning, I would have gone to all three. The Fulford Arms was serving up a night of top-notch goth and post-punk, while there was experimental and ambient work on offer at The Basement under the City Screen cinema. But I feel I made the right choice plumping for Needlework at The Crescent, not least of all because it transpired that this was to be their last show.

Needlework have only been around a couple of years, and only played a handful of shows, but they’ve made a serious impression, as tonight’s crowd shows. Sure, they’ve got plenty of their sixth-form / college mates down, but this is a band who had built a keen following in their own right. In a previous time, John Peel would have been all over them and they’d have achieved national cult status. Instead, because it’s 2025, they’re bowing out with only an EP (released today, but without mention) and a few shows to mark their existence. But I guess this is how it goes.

First up, it’s Speedreaders. They’re nothing if not consistent., and tonight’s set brings all of the things I’ve highlighted in my previous coverage. They’re tight, but slow and mellow. And this evening they’re slower than ever. After imparting his opinion on Fleetwood Mac being shite in a rare bit of between-song banter, singer David Mudie spent longer tuning his guitar for the next song than it actually took to play it. That’ll teach him to engage in conversation with the audience. My mate went to the bar and returned with two pints before he was done tuning. Still, when they’re back on track, they’re sounding good. It’s the harmonies which stand out in tonight’s clean, crisp set, with clear balanced sound.

DSC02705DSC02709

Speedreaders

Divorce Finance sound pretty much the same as they look…. meaning I can’t remember the last time I so wanted to punch a whole band. Actually, I lie: Sleuth Gang, who I witnessed in the same venue a few months ago emanated wankerdom from every pore. It must be something about bands who take their style cues from The Village People.

DSC02733DSC02735DSC02720

Divorce Finance

It’s sort of tongue-in-cheek but not really rockabilly country hoedown hillbilly bollocks. There are people down the front getting down with some boisterous line-dancing moves, and there are plenty who are digging it, but I just can’t get on board with this is corny, gimmicky shit, and the fact they play it well doesn’t get them a pass. All the whooping and whelping is high-energy and perfectly executed, but… It’s just so much cheesy turd-polishing, and the singer’s smug, grinning, cheeky chappie, eye rolling delivery only makes everything so much worse. I found myself feeling not irritated, or annoyed, but – most unexpectedly – angry.

Needlework are simply something else, and what that something is is not easy to pin down. Their entire existence is constructed around a mass of contradictions and paradoxical premises, none of which are reconcilable or make any obvious sense – but this is precisely why they work, and why they exist in a league of their own. They’re really tight and together, but create the illusion of being lose, even a shade shambolic; front man Reuben Pugh is simultaneously intense and aloof. Each member of the band brings something different, stylistically, and in terms of personality – that goes for both their musical contributions and stage presence. Jagged, scratchy guitar work slices across rolling basslines, jittery drumming finds a counterpoint with soft, trilling woodwind and synths interwoven through the scenes as they unravel.

DSC02765DSC02768

Needlwork

They’re not really a ‘songs’ band in terms of conventional verse / chorus structures, either, instead exploring routes which take obtuse twists and turns, and they’re unafraid to do slow, wonky, spoken wordy, abstract narrative. They understand dynamics, and the power of jarring angularity. It’s post-punk, it’s jazz, it’s experimental, and it’s utterly spellbinding. Needlework are one of those rare bands that seem to suck you into a parallel universe while they play. Time hangs in suspension and you find yourself on another plane, utterly gripped while wondering what they’ll do next. During the time they’re on stage, something transformative takes place: it’s more than simply five people on stage making music. Needlework conjure aural pure alchemy.

Pugh takes his shirt off to substantial applause, and a big fella in the front row responds by whipping his T-shirt off and lobbing it on stage after helicoptering it above his head a few times. He asks for it back a song or two later, and the band duly oblige.

DSC02762DSC02741.CROPDSC02801

Needlework

The set builds to a perfect climax, a monumental whirl of sonic chaos which is electric. And then, that’s it. Finished. Done. They leave us stunned, dazed by the magic we’ve witnessed. They certainly concluded on a high, and one suspects that this is a band which will be remembered, and talked about, for years to come.

The March Violets / Vision Video – The Crescent, York, 3rd July 2025

Posted: 4 July 2025 in Live, Reviews
Tags: , , , , , , , , , , , , ,
0

Christopher Nosnibor

Seeing the same band twice on the same tour – especially twice in the same week – may seem excessive to some. However, it’s not – and certainly wasn’t historically – unusual for fans to follow bands around the country, and even the continent. It’s something I’ve only done a couple or so times myself previously, at least that I can recall, and discounting the misfortune of having seen Sona Fariq around six times in three months supporting various bands in the early noughties. My first experience was seeing The Sisters of Mercy in Glasgow and Nottingham in the same week in 2000. The setlists may not have been radically different, if not identical, but the experiences could not have been more different. The Glasgow crowd was lively, and the band, visible through minimal smoke, were relaxed, and Andrew was chatty. A couple of nights later, in front of a static audience, the band were barely visible behind the wall of smoke and Eldritch didn’t speak a word all night. And so it was that I came to appreciate different locations, different crowds, etc., all have a bearing on the experience, and how two nights are never the same. I also decided to stand to the other side of the stage tonight, and being at the front that not only means a different view, but a different mix due to the proximity of the backline. We’ll come back to this shortly.

It’s perhaps less common to follow bands around now because the cost of tickets, accommodation and travel has skyrocketed way above the rate of inflation, and no-one hitch-hikes or sleeps on train stations anymore.

Anyway: some disclosure. Tonight is personal, I suppose. Having been offered press for the Leeds show before this one was announced, I jumped in, but on seeing a show a fifteen minutes’ walk from my house added to the itinerary, felt compelled to buy a ticket for the simple reason that I love the band, and – as they later remind us – their last visit to York was in 2011.

In the bar before doors, there’s a DJ spinning goth and post-punk tunes, and I get to hear ‘The Killing Moon’ over a PA for the second time in three days. And for the second time in three days, and the third time in as many months, I’m (pleasantly) surprised by the demographic: the first wave goth acts are no longer primarily the domain of those in their late forties or older. It could be that bands like support act Vision Video are proving to be something of a gateway – having discovered bands like The Violets and the whole early 80s scene pretty much the same way I did as a teen, they’re making music that’s influenced by those bands, with clear and accessible nods to The Cure and New Order, and finding an audience who are the age they were… etc. Anyway, it’s all to the good, and tonight’s audience is an enthusiastic one, and with youth on their side, they can dance and wave their arms without worrying about giving themselves a hernia.

The Crescent is a smaller venue than The Warehouse, and when Vision Video arrive on stage, aspects such as lighting and PA variations are thrown into sharp relief: it’s darker, smokier, the minimal lighting is predominantly purple, and the thumping bass I enthused over in Leeds was significantly less present or impressive. In between songs, they offer similar chat, but it’s clearly not scripted, but notably a lot less chat in general. Vocalist / guitarist Dusty Gannon talks faster, seems less more hyped up, rushing to remind us that the current tour is the ‘Death to Fascism’ tour. Given the state of things over here in the last week or so, they should probably be careful about things like that. But more seriously, anyone with a platform needs to be calling this out right now. Because it’s through silence – and allowing ourselves to be silenced – that fascism spreads.

DSC02601DSC02588

Vision Video

Notably, the whoops in support of the band’s anti-fascist messaging are louder tonight. It’s a smaller crowd, but they dance harder, encouraging Dusty to find the confidence to leave the stage and be among the crowd during last song of the set, ‘In My Side’.

I arrived home buzzing and without having written a single note during the whole of The March Violets’ set. The setlist was the same as Leeds, the intros were similar… but it was anything but a carbon copy show. On the one hand, the sound wasn’t as crisp, but this wasn’t by any means a detraction, in that it replicated that sonic haze of yesteryear, and even the early recordings. Not having Tom Ashton’s amp at face-height perhaps gave me a better sense of balance, and Mat Thorpe’s vocal were both louder and clearer, which was a strong plus.

DSC02614DSC02626

The March Violets

Notably, while the front of the Leeds show was frequently disturbed by a number of ambulant photographers – the usual types, tall blokes in T-shirts and knee-length cargo shorts hauling cameras with massive lenses – there was no evidence of any press or lens-luggers tonight (I exclude myself from this category because while I do now use a ‘decent’ camera, I stick to a small lens and keep to my spot, to one side, for numerous reasons, but not least of all to remain as inconspicuous as possible and not to interfere with anyone else’s view). As a consequence, the audience were free to move about down the front, and the band seemed more relaxed, presenting a different energy. They were still clearly enjoying themselves – if anything, more so. Rosie spent the entire set bouncing around like a pea on a drum, and her energy is infectious and joyous.

DSC02661

The March Violets

Ordinarily, one would anticipate a more rapturous response at a hometown show: this has certainly been my experience with other Leeds acts through the years. But perhaps Leeds has been spoiled: it was only last year they played at The Old Woollen, while across the border, it’s been a lot longer – like more than a decade (Whitby appearances notwithstanding).

Tellingly, in Leeds, the claps and chants after the main set had been the somewhat irritating (and rather lacklustre) call for ‘one more song’ which has become a thing in recent years. Tonight, there is a relentless baying noise from a crowd who want as many songs as they can get (there were calls for ‘Bon Bon Babies’ and ‘Undertow’ during the set, and there was a fair bit of banterous to-and-fro with the audience). ‘Fodder’ was well-received, but the place positively erupted for ‘Snake Dance’. The band seem to respond to this, and really attack it, making for a blistering finale to an outstanding performance. If the rest of the tour is half as good, people are in for a treat.

Older Entries
Newer Entries