We spoke to The Battery Farm about their new single WORKING CLASS LAD

Out everywhere TODAY, Manchester based The Battery Farm’s new single and first release of 2022 is out today. We spoke to Ben from the band about the new single and all things music.

Can you tell us a bit about The Battery Farm? Where are you from and how did you all meet?

We’re from Manchester, individually all around Greater Manchester but spiritually we’re a north Manchester band. Myself and Dom, our guitarist, are brothers and formed the band from the ashes of a band we’d been in together for the previous 8 years. We’ve been playing and writing together for about 12 years now. I’ve known our bassist Paul for a long time as I used to act and we’ve been in a few plays together. He also happens to be an amazing musician all round so we asked him to join and he said yes. I met Sam, our drummer through work and jumped at asking him to join once I found out he was a drummer as we’d been let down a few times. Luckily he’s brilliant. 

If you had to sum up each band member in one word, what would you say?

Dom: Genius

Paul: virtuoso

Sam: juggernaut 

Me… bald

If I were to use the phrase For Fans Of, who would you liken yourself to?

Pere Ubu, Evil Blizzard, Witch Fever, Black Sabbath, PIL, IDLES, early Manic Street Preachers… our sound is actually quite varied, but in general I’d go with those bands.

You release your new single Working Class Lad TODAY. What does this song mean to you as a band?

It means everything. It’s the lead single from our debut album, which is a massive milestone for us and, in a personal level, the fulfilment of a lifelong dream. I’ve never released a full album before. It also marks another step-up for us. The sound on this is absolutely huge, we’re really proud of it 

Where did the inspiration come from?

It’s a song about identity and how people judge the content of that identity. Whose right is it to judge that but your own? Me and Dom grew up in a family that was Working Class on one side and lower Middle Class on the other, so it’s a song that wrestles with the guilt of not feeling Working Class enough, of feeling like an impostor because we have had minor class privilege in our lives, while at the same time struggling many of the struggles that Working Class people struggle – the money worries, the poverty, the being written off and sneered at and then conversely the idea of having to fit in a box to fit someone’s image of a worthy working class person. The song asks the question of what constitutes the ‘right’ kind of working class person and who decides what that criteria is, and ultimately it makes the statement that from lower middle class down we are all being victimised and manipulated. So yeah, the song is inspired by class identity and class struggle and what those things even are.

Who produced it? Have you worked with them before? How did you find working with them?

David Radahd-Jones at Red City Recording produced the track and he’s done an amazing job. He gets exactly what we are and what we’re after and he’s wrung every last drop of power out of this. We worked with Dave on our previous 2 EPs as well and he nailed them. We trust him completely, which is hugely important, and also helps that he’s great to work with and full of ideas.

Is this a hint at more new music to come? Can you tell us anymore about it?

It is. We’re dropping our debut album on 18th November, which we’ll be announcing full details of at the start of August. I can’t tell you too much more yet, other than it’s shaping up to be an absolute monster of a record.

Are there any plans for any live shows coming up?

Yep, we’re playing Rare Vitamin Annual Diversion in Northwich on 15th July with The Lovely Eggs and The C33s, then Ulltra Festival in Hull on 16th July with Avalanche Party & DITZ. Then after that we’re back in Manchester for the first time since February to headline Aatma on 23rd July. July is a busy month!

What is something that happened that you weren’t expecting to happen, when you made Working Class Lad? What did you do about it?

Honestly, not much. Everything went according to plan with that one. We did record it in a batch with some other songs for the album though and a few of them turned out much heavier than expected. I think that’s the band we’ve become now without even realising it. Over the last couple of years, just through playing together a lot, our sound has evolved into this ferocious noise. It’s a beautiful thing.

Apart from the new music, what is next for The Battery Farm?

More festivals, more gigs, more graft. We’re supporting Evil Blizzard for the 2nd time at the end of the year which is exciting and we’re going to Wales for the first time in October, which is nice. This year we’ve done some massive stuff and shared stages with some of our heroes. Everything we do from this point on is just about moving forward. The future’s bright.

What music are you all listening to at the moment?

I’ve been listening to the new Bob Vylan album a lot, which is an outstanding, incendiary piece of work. We’ve also collectively been listening to a lot of Turnstile recently, their new album is glorious.

Where can we find out more about you?

We’re on Facebook, Twitter and Instagram at @thebatteryfarm and on Bandcamp at thebatteryfarm.bandcamp.com, plus we’re on all your usual streamers.

Anything else you would like to tell us?

Not much really. Fuck the Supreme Court. Bodily autonomy for everyone. That’s it.

We chatted to Josh Righton about his new singles – Waste This Year and Giving Up For PR

So can you tell us a bit about yourself? Where are you from and when did you start to make music?

So I am 24 at the moment and i’ve been releasing stuff under my own name for about 3 years now. I’m originally from the midlands and i was in a high school band called The Collisions so i guess thats the first point where I was making music of some sort. When we all went to uni the band kinda stopped and I ended up doing other stuff at uni for a while so it went a bit quiet. But i wrote a bunch of songs anyways and eventually there were enough that I liked that i thought I’d try record them. I did. Then I put it out and started gigging. Then there was a global pandemic and now we’re here. It’s a classic rags to other types of rags but better at music production story.

If you had to sum your style up in three words, what would you say?

Unfortunately Folk Punk

So far you’ve released two singles this year. Can you tell us a bit about them?

They are two songs that i wrote about a year ago. They were starting off points for 2 albums in totally different styles. Both were written about a year ago and i’ve been trying to write others that match the style of one or the other the whole time. I haven’t really managed to get an album of either so I eventually just thought. Ok fuck it. Let’s put them out. I kinda see it as entering a shitpost era in terms of music. I’m kinda not gigging atm (but if anyone would like me to then do get in touch!) and i’m making music that i think is fun. So i decided to stop worrying too much about it being cohesive and instead just release the songs i think are fun. So that’s where Giving Up for PR and Waste This Year (With Me) came from.

And I hear there’s some more big things to come? Can you tell us more about what is next? 

So in the spirit of having maximum fun making music I’ve reassembled my high school band, built a studio in my parents shed and we are working on some songs. We made a live recording of Giving Up for PR which is gonna come out soon as a proof of concept and it seemed to work so i’m going from there. I got a little obsessed with the band U2 via the comedy podcast U Talkin U2 2 Me? recently and i learnt about the Rattle and Hum project, which is essentially this quite pretentious hybrid Live/Studio album/film. So i thought i’d make my version of that as it seems like a lot of fun and is rife for parody. I’m currently doing an MA in Screenwriting so any opportunity to put 2 passions together I leap at. Plus who wouldn’t take an opportunity to lovingly mock Bono.

What have been some of your biggest inspirations for your music making?

The obvious answer is Frank Turner. I have a tattoo of his logo and i’ve honestly adored him since I discovered him at 16 and it’s through his influence I discovered many of my other favourites (The Weakerthans, Frightened Rabbit, Arkells etc). Recently my biggest inspirations have been the bands in the DIY Punk scene. People like Jeff Rosenstock and The Homeless Gospel Choir. I love the attitude these guys have. Music is about community and fun and feeling and saying what you think. These guys do that perfectly.

I’ve also been massively been influenced by Lorde recently, I love how she made an album that she kinda knew wasn’t what her fans necessarily wanted but it was what she wanted. Solar Power rocks and i’ll have many an argument on this topic if needed.

I also wanna throw a shout out to Ezra Furman for being the coolest and for tipping me onto Lou Reed. It’s probably a bad musical choice to start letting Lou Reeds work influence you but if someone as cool as Ezra Furman likes him then i feel obligated to get influenced.

I also know you are a keen gig-goer. What have been some of the best gigs you’ve been to?

I always feel like the best gig is often the last one you went to. I saw Parquet Courts a few weeks back and they were rad. 

But honestly there is a long answer that I can’t do this interview without mentioning. At Lost Evenings 4 and meeting all the guys from the Solo Armada live streams post day 1. The Solo Armada is a gift to gig going and the music scene and during lockdown those live streams were the first time i felt like strangers possibly might like my music. It’s a beautiful community and i can’t not shout out Phil Rees and our dear interviewer Ted for being fantastically nice and talented people. They are the kinda of people that make gigs worth going to. 

Oh look, its us three!

A final short answer is I saw Frank Turner play the closing down of Nambucca and cried for the entire final 30 minutes. That man never fails to surprise me. It was perfect. (aside from Nambucca closing which is fucked)

What are some of the hurdles you’ve encountered making music, and how did you get over them? 

I think the biggest hurdle has always been finding motivation to do it. I think it’s a hard thing to do consistently because you are making this music that you think is great but without having a dad who happens to be the A and R guy for Sony Records, it’s not that easy to get it out to new people. I have eventually realised that this element is perhaps less important. You gotta make stuff for you and then hopefully others like it. Trying to be famous is a bit of a losing battle. i’m more likely to get famous for doing something embarrassing on CCTV in Sainsbury’s and it going viral than from music. But in the end i’m not gonna stop making music and I’m going to continue ignoring wet floor signs so we’ll see which one happens first.

Any live shows planned?

At the moment i’m taking a little break from live stuff so not really. But as i said earlier. If anyone wants me to come play songs somewhere i’m not gonna say no.

Where can we find out more about you?

My insta is joshrightonmusic thats a good place. If you want to see me tweet about vape pens and Neutral Milk Hotel then i’m also on twitter @joshrighton. Those are both fun.

Anything else you would like to tell us?

Oh urm. I’m not sure. I guess i could tell you my PIN code. it’s 54….oh thats someone at my door I think. Got to go! Thank’s Ted!!

We chatted to Joe Hicks about his new double A Side

Released back in May this year, Joe’s double A side More More Step / Make It Home is proving a good listen. To coincide with the release of his latest single Out Of My Mind coming out TODAY, we thought we would chat to Joe about all things music.

Can you tell us a bit about yourself? Where are you from and where did the journey into music start for you?

My name is Joe Hicks and I’m a singer-songwriter from Newbury in the south of England. I started playing guitar at the age of 9 after seeing a classical guitar performance in a primary school assembly and getting instantly hooked. I’ve been releasing my own solo music since 2017.

If you had to sum up your style in one word, what would you say?

Listenable

You recently released your new double A side – One More Step / Make It Home. What do these songs mean to you, as an artist?

Both songs are very much born out of the emotional rollercoaster that is pursuing a career in music, and so mean a lot as they are very close to home. On a production side they are a great representation of my upcoming album being about leaning into the myriad of styles that influence my music.

Where did the inspiration come from for these songs?

‘One More Step’ was born out of the guitar riff leading into the chorus. Lyrically it’s about heading out into the world, working away at your craft and having moments where you wonder if it will all work out in the end. ‘Make It Home’ is about being out on that journey and feeling the need to let your loved ones know you’re still there for them.

What is something you learned during making these?

That you really have to listen to what a song needs to do it justice, not just blindly add things into a recording and hope for the best. ‘Make It Home’ required a lot of restraint to keep the layers down to a minimum to let the organic feel and sentiment shine through. ‘One More Step’ went the other way in that to get the groove to develop in a way that felt right, we added quite a lot of little keyboard, guitar and percussion moments. Ultimately the song is king in making a great recording, and these two are contrasting examples of ways to service that main objective. You don’t always need to use the full toolbox.

What advice would you give to those looking to make their own songs?

When the lightning strikes, try and stay in that moment for as long as possible. Inspiration can be as fleeting as a lunar eclipse, so make sure you’re out there on the roof with binoculars, some blankets, and a whole load of snacks. You don’t want to miss your chance to catch something great.

Any plans for any live shows coming up?

I’m currently booking a UK tour for November, a European tour for January and have the following shows already on sale:
31st July – Treehouse Festival, Oxfordshire
12th October – The Grace, London
26th November – Arlington Arts, Newbury

Where can we find out more about you?

I’m on all social media @joehicksmusic and my music is available to stream
on all good digital emporiums – all links can be found at www.joehicksmusic.com

Anything else you’d like to tell us?

My debut album ‘The Best I Could Do at The Time’ is out on the 23rd of September and I can’t wait for you to hear it! The engineer on the album, my friend Tom Millar, would also like you to know that he played a tea tray like a gong on track 3 – so worth listening out for that.

Live review: Geese with L’Objectif – Rough Trade Bristol – 29th June 2022

As part of their much anticipated UK tour, American punks Geese hit up Bristol’s record store and live music venue Rough Trade for a night of loud and angry music.

Opening the show was L’Objectif, from Leeds. These guys are certainly jumping on the indie-rock hype train that is currently sweeping the UK – and worlds – music scene by storm, combining wavy riffs, strong bass lines and softly spoken poetic words to be part of it. And these boys certainly do it well, with the almost matching dress code and great on stage energy.

My favourite song of theirs has to be Have Your Way, with its really solid beat and the heavier bass than most of their other songs, which matched front man Saul’s voice brilliantly. I really liked the bassist – Ezra – on stage energy, jumping and dancing around the stage like a mad man, and even going into the crowd for the bass solo of the final song!

And then it was onto the main act of the night. Even though they are a relatively small band over here, playing in the hometown of IDLES meant they drew a fair sized crowd at the show.

Right from the off, Geese brought all the energy they had with them, breaking into 2122 straight away. L’Objectif had done a good job of warming the crowd up, and it was needed as they went into the heavy, angry sound they are known well for. Just like Ezra, front man Dominic kept up the energy and dance moves throughout the set.

Most singers who don’t play an instrument normally choose one of two option on stage – awkward hand movements or dancing around like a mad man. Dominic certainly chose the latter.

After the third song, the stage lights all changed to pure red, an interesting choice and one I can’t quite understand, especially as it made the couple of photographers in the crowd a bit unhappy, but it certainly brought a certain mood to the show.

It’s a shame the crowd weren’t too into the show really, other than a few bobbing heads, all the energy was coming from the stage, and little reciprocation from the crowd. I think Geese were expecting a bit more from the people who came along, but sadly it just wasn’t there on the night. Even the attempts at a crowd clap-along were unsuccessful. For a busy gig that these people had paid to come to, it was a pretty disappointing reaction. As the set came nearer to an end, more people started getting into it, but sadly the room was pretty still.

And then that was it for the night, Geese put on a brilliant performance with plenty of energy and musical talent, and it was a shame the crowd weren’t as into it as they could have been. Maybe they were saving all their energy up for festival season?

Review and photos by Ted Stargatt

We chatted to The Lunar Towers about their single WIRE

Back in April, The Lunar Towers released their single Wire, available across all platforms. As well as being good friends with our mates over at Day Trip To Monaco, these guys rock hard. We thought it would be good to chat to them about all things music.

Can you tell us a bit about yourself? Where are you from and how did you all meet?

Rory and Joe met by chance in 2008 at the age of fifteen, when they found themselves seated together in a French class. During this period, they quickly realised their shared love of lyric writing and guitar music old and new, which set them on the path to forming their first band in their hometown of Cheltenham. In 2021, following the first lockdown in which they had sent demos back and forth, the songwriting pair reunited in the garden of Joe’s home in London, along with old school friend Rob. The duo had now become a trio with a unique chemistry and hunger for crafting memorable pop records.

 Since then the group has grown into a full band outfit with the addition of their drummer Bradley and have set to work writing and rehearsing songs together. The band recently recorded five tracks with producer Richard James (engineer on Julia Bardo’s Bauhaus, L’Appartamento) from Vacant TV, whio also offers backing vocals on ‘Plastic Glass Towers’. All tracks have been mastered by revered engineer Pete Maher (Rolling Stones, Pixies, Nick Cave).

The group have been played on Gary Crowley’s BBC Radio London and have received praise from Robert Carlyle in a recent tweet.

If you had to sum the band up in three words, what would you say?

Mad for it – Rob

Melodic hit makers – Joe 

Where did the name The Lunar Towers come from? 

It’s come from the landscape we’ve made the records in, the changing horizon of London and specifically Acton, around the new HS2 developments. This combined with the ethereal nature of our tracks gave us the name. 

You recently released your debut single Wire. Can you tell us a bit about what the song means to you, as a band?

It’s a great song. I think it was the first song we worked on as a band, singing together and figuring out parts for the first time. – Rob

Joe: I think this song says a lot about who we are, writing together, singing in harmony, with a lot of energy and pop hooks, it feels like the song we’ve had inside us for years, it’s an introduction to the four of us, there’s plenty more to come in all different forms though! 

‘Wire’ is an allegorical love song inspired by the legendary French high-wire artist Philippe Petit. The song’s lyrical references to his famous and illicit high-wire walk between the Twin Towers in 1974, symbolise a broken-hearted person unexpectedly falling in love again. –  Rory 

Who produced it? What was it like working with them?

Ric James – the fifth Lunar Tower. We’ve done 12 songs with Ric. He’s a mate now, and it’s great fun recording with him. – Rob. 

Joe: Ric has really opened our eyes to how we can develop and experiment with the songs in the studio, we’ve recorded everything to tape which means we have to be super tight and locked in as a group before we hit record, which has really helped us get ready for gigs. Recording to tape has also meant we can speed things up or slow them down if we want, Ric called it  ‘messing with the fabric and physics of time’ I think which I really loved, I’ve always wanted to try that ever since learning about The Beatles recording ‘Rain’ at twice the speed on record then slowing it down to half time. Ric has taken all our ideas and brought them to life before our eyes. He’s a great listener and knows how to get the best out of us. Shame he’s a Man City fan! 

A shout out to Pete Maher and Andy Crofts too who have both done incredible jobs of mastering the tracks! 

What is one thing you’ve learnt in your journey into music?

The way a song can come to life in new ways when you play it with other people – Rob

Joe – just to be keep totally open to all ideas, to always try each and every suggestion (where time allows), work with as many people as you can, but also stick to what you believe in. We’ve all played with lots of different musicians over the years and I think it’s made us a very versatile group because we can draw from those experiences and the different types of music we’ve all played and listened to. That said, I think we have a clear vision of what we want to do, and we’re completely determined to realise that vision. You can only truly rely on yourself to get up, pick up a guitar and put in the hours to delve into yourself, look at the world around you and write the hits, you have to show up every day, and being in this group means we have each other to show up for. We do it for each other. Writing together has made us all work harder and the tunes are benefitting from that, 100%. 

What’s next for The Lunar Towers?

We’re releasing a second single in June, and then a couple of E.Ps. Gigs in London and beyond. Music videos. And continuing to work on new music. – Rob

Where can we find out more about you?

Instagram @thelunartowers

Twitter @TheLunarTowers

Facebook

Spotify and all digital streaming platforms

Anything else you would like to tell us?

We’re playing at the Sebright Arms on June 24th supporting Bonze Music  – come along! – Rob

We’ll also be releasing our new single ‘Happy as Larry’ 

Huge thanks to Andy and John and all the bands at Colorama Records for their continued support! 

Live review – Mayday Parade with Real Friends and As It Is – Marble Factory Bristol – 01/06/22

Celebrating the 11th Anniversary of their self-titled album, Mayday Parade brought their show to Bristol’s Marble Factory for a night of emo madness with some familiar faces.

Opening the show was As It Is, who opened the show straight away with lots of energy and excitement. There were certainly a few passionate fans at the front, singing back every word to frontman Patty Walters. Getting right down to the front, Patty made even the first band of the night feel like a connection, and the fans who got down to the show early were not disappointed.

From the first band, I could tell this was going to be an interesting lighting design, with lots of strobes, smoke and cool colours going across the stage.

Even those who didn’t know all the songs were dancing along, with Patty organising the crowd like a conductor. There was an emotionally shared moment with the crowd, talking about the mental health impact of not touring and how good it was to be back, a thought shared amongst many people in the audience. And then for a lively final two songs, the band once again rocked out hard.

With Real Friends next, they would have a difficult job living up to the first set.

Now, Real Friends are one of my favourite bands out there, and I was really excited. It’s not often I’m singing along in the photo pit. Don’t get me wrong, the crowd was once again amazing and the stage energy from the band was great, but the mix was terrible. From all points in the venue, you could hardly hear the vocals, guitar and bass, where all you could hear was drums. I think Cody was also having trouble with his in-ears, as he spent a fair amount of time at the back of the stage talking into the mic and playing around with his belt pack and monitors.

Nevertheless, the set was still good fun, with Cody getting a circle pit going for Late Nights In My Car, and even getting people up to crowdsurf during Mess.

And finally it was time for Mayday Parade to come on.

The stage set alone showed that this would be an ace set, with the band logo in big behind them.

To start, frontman Derek came on solo, to start off Oh Well, Oh Well, before the rest of the band joined on stage for the drop. And once that drop hit, the crowd went wild! Straight away the mosh pits opened and the dancing started, and it did not stop for the whole night.

Celebrating a decade (and a bit) of the self-titled album, it was only right that the album was played in full, with Derek bringing the acoustic guitar out for You’re Dead Wrong, but in true pop-punk style that didn’t stop the crowd being as lively as they were already, if not more.

Keeping the album going, Derek then moved over to the keys for Stay, before going back to just vocals and running and jumping around the stage like a mad man for the rest of the set.

Sadly the mix was still pretty terrible, with too much drums and not enough of everything else, and although the crowd singing along did make up for it slightly, it still was difficult to hear the band as they should be heard.

After getting through the album in full, the band left the stage briefly before coming back to sing one of their new ones – Kids Of Summer, taken from last years EP What It Means To Fall Apart. And then of course the night couldn’t go by without the two favourites. Jersey and Jamie All Over rocked the crowd for one more time, with even more mosh pits and crowd surfers for one last time that night.

And what a show it was. My 16 year old emo self would be very happy, getting to see three amazing bands that were all a big part of my childhood at once on one great stage. All played amazing sets but it was a shame the mix was so off. Hopefully that was just a one off and it will be better for the rest of the run of the tour.

As always, a massive thank you to the staff and security at the venue, as well as the bands and crew for making it a good night.

Words and Photos by Ted Stargatt for TrueStyleMusic

Live review – Kate Rusby – Westlands Centre Yeovil – 27/5/22

It has been said that Kate Rusby has often been hailed as the First Lady of folk and this year see’s her celebrate 30 years of being a professional musician and to celebrate she has released a special album entitled “30”. It is an album of newly recorded versions of some of her favourite songs from throughout her career. It also features some of the many artists that have inspired her along the way including Ladysmith Black Mambazo, Richard Hawley, and Dan Kyminski to name but a few.

Friday night saw Kate visit the South West and Westlands Centre in Yeovil is the venue for this evenings show. Inside the venue it is all seated with neat rows all aligned to face the good sized stage and at the rear of the stage there is a big neon sign saying 30 to coincide with the name of the tour and album.

At 7.30 on the dot Kate and her fellow band members appear to warm applause from the audience. She starts by explaining the theme of the tour and her new album and thanks those that have bought it. The show opens with Benjamin Bowmaneer which draws a nice reaction and this was quickly followed by We will Sing which was recorded with Ladysmith Black Mambazo. This song saw the crowd join in on the words We will Sing.

Later in the set came Hunter Moon, a crowd favourite which had the heads swaying and feet tapping, Kate explained that this song was about the moon being in love with the sun but he couldn’t tell her as he couldn’t catch her as they revolve around each other but she liked the passion that it brought. Only Desire What You Have followed which skipped along as a song Kate found in one of her old French song books which had been translated into English,she wrote the music for it. The song is about all the good things you have in life and accepting that what you have.

Later in the set came Three little birds, a Bob Marley and the Wailers cover which Kate has also created a version of on her YouTube channel with her two daughters while the country was in lockdown.

We were treated to Step and Pull which features the guys in the band as Kate goes off for a little break, and also features Kate’s husband Damien O’Kane on guitar. Kate returns and the band give us another cover, this time it’s Lye Lovett’s If I had a boat.

Kate introduces the song Jenny and asks if there are any ladies in the audience called Jenny and is surprised when 3 women reply “yes”. She tells a story about another gig she played and asked the same question and there was none and she seems genuinely surprised there wasn’t any and gives a warm chuckle.

Tonight has shown that Kate is still a firm favourite on the folk scene with her soft and mesmerizing vocals and her from the heart lyrics it’s safe to say we have all been entertained.

Words and Photos by Martin Smith for TrueStyleMusic

Live review: Knuckle Puck With Hot Mulligan – O2 Institute 2 – 29/5/22 

After the release of their new EP Disposable Life earlier this year, US Emo band Kucklepuck brought their show to the O2 Institute Birmingham for their first show in the UK in a long while.

The show was opened by Hot Mulligan, who were playing their first ever UK show. Now, with most support bands, a couple of people might know the songs, but normally most are hearing it for the first time, there might be a little bit of dancing and moving but nothing too serious. Well for Hot Mulligan this was not a normal support set.

To say they rocked hard would be an understatement. I have never seen a support band with so much energy on stage, they would equally be able to hold that stage as their own. And judging by the amount of people singing the words back to every song, they would be able to pretty much sell the room out.

Hot Mulligan had also released a new EP earlier this year, and played a couple of tracks for us from it. And once again, the crowd had done their research, and every word was sung back from the pit, just as loud as the band was singing.

The band shared a lovely ‘Midwestern emo’ moment with the crowd for Analog Fade, with everyone calming down a little bit, before they once again went insane for BCKYRD. I think security underestimated how mad the crowd would be for this show, and at times were not prepared for the crowd surfers coming over the barrier for the last song.

After all this insanity, Knuckle Puck had some big boots to fill with the main set of the night. But once again, the band brought everything and the crowd kept the energy going, with mosh pits, singing and dancing from the off.

Tune You Out was the perfect opener to the set, getting the energy going slowly but surely, and front man turned bass player Joe Taylor got the crowd to open up the mosh pits, and made sure that everyone was having a great time.

This show was also special for another reason: drummer John had broken his hand so could not play, but thankfully the usual bass player Ryan could jump on drums, which meant Joe had to juggle both bass and vocals for this gig. It did mean less of Joe running around the stage and jumping into the crowd like the madman he normally is, but the crowd certainly compensated for this.

The rest of the set was full of banger after banger, with non-stop singing and dancing from everyone there. Green Eyes brought the set to a slightly calmer state, getting everyone to save up their energy for the first big finish of the night. Untitled had everyone singing those infamous opening lines “Silhouettes On The Ceiling”, and luckily security were a bit more prepared for the crowd surfers this time.

You can tell the band were excited to play for this Birmingham crowd, as the walk-off-walk-on was barely two minutes, with the band coming back on to play the one final song they knew in this one time line up.

No Good rocked the crowd one more time, with plenty more moshing, singing, dancing and people coming over the barrier. It’s fair to say that Knuckle Puck had a great time playing their first UK show in a while, as well as Hot Mulligan playing their first ever UK show, and I hope that everyone in the audience did too. I know I certainly did.

As always, a massive thank you to staff, security, crew and bands for putting on a great show and a great night.

Words and photos by Ted Stargatt for TrueStyleMusic

Live review: Darwin Deez with Youth Sector – Thekla Bristol – 19/05/22 

Celebrating the slightly belated 10th anniversary of his debut self-titled album, Darwin Deez and his band brought their show to Bristol’s Thekla to play to a sold out boat.

The show was opened by Youth Sector, a 5-piece from Brighton. These young lads came onto the stage well dressed and well coordinated, all with stylish open button suits. Seeing them come on stage, I don’t know what I was expecting, but I was fully blown away. From the off, these boys threw all their energy into the set, culminating an indie-pop-funk sound, which quickly got the crowd on side.

As a band, these guys clearly got on well together, not only in matching outfits and energy, but in general presence and enjoyment, it was clear this was another band that just got on well together. You can tell these guys are mates for life.

Throughout the set, Darwin and greg periodically came out to sing and dance along to some of the songs, and got the crowd up and dancing as well. When the main act loves the support band this much, you know it’s been a good choice of show opener.

And then it was onto the main act of the night. After a quick change around, Darwin first came onto stage alone, with a backing track playing, before the rest of the band joined. I was expecting them all to pick up their relative instruments, but instead they launched into a finely choreographed dance routine. Unexpected but certainly nothing less than amazing.

Celebrating the 10th anniversary of their debut album, it was only right that it was played through in full. Although a little less lively than Youth Sector, the crowd were still having a great time, albeit with slightly less in your face dance moves and slightly more singing along.

As an album and as a live set, there was a very dreamy feel to the night, with the stage backing resembling the stars, and twinned with opening song Constellations, this was one night almost under the skies.

The end of each song was met with rounds of applause and cheers from the whole boat, the music only broken up by the occasional dance break from the band.

As Darwin said, it really did help break up the show and made them a cut above the other bands that have graced that stage. Also it was an absolute joy to watch.

After playing the album in full, the band played a couple of other songs, but sadly before this I had to dip out of the show and start work. However I was assured it was a great show and the closer was met with more thunderous applause, and that everyone there had a great time.

As always, a massive thanks to the crew on board Thekla, as well as all the bands, staff, security and crew for making it a brilliant show.

Tickets to the last few shows of this tour can be found here.

Review and photos by Ted Stargatt for TrueStyleMusic

NEW MUSIC ALERT: AGAT’s new album WITH THE INCROWD

Although released back at the end of March, we thought we would like to introduce you to Tel-Aviv based alternative hip-hop artist AGAT and her latest album.

With The Incrowd is a harsh but neccissary look into society, especially it’s addiction to glutinous and materialistic behaviours. AGAT is an artist that is not from the typical background of most of what you probably listen to, and she wants to make a point with that.

Explaining the feelings behind the album, AGAT explains “I talk about the problems that I see around me, and potentially on others in the world. I feel that there’s this need for immediate satisfaction that causes people to act in certain ways, that I also follow myself, and these lead me to feeling depressed or like I’m not moving anywhere real.”

Even down to the album artwork, with one colour and a simple picture, when paired with the album it shares the important message of this horrid thing that we just cannot get rid of.

AGAT can be found on Instagram, Facebook and Spotify