LaKyoto headline Sneaky Pete’s on 19th June in celebration of the release of their brand new single, WHEN I WAS A KID. Support from Kendama and Gary Ovens.
Tickets £3 – Online only
LaKyoto headline Sneaky Pete’s on 20th June in celebration of the release of their brand new single, WHEN I WAS A KID. Support from Kendama and Gary Ovens.
Tickets £3 – Online only
Sleazeball slick-haired grungey rock’n’roll, all leather jacket and no vest. Just some good no-frills harmful fun.
SUPPORT – Waverley – Band
SATURDAY 22ND JUNE
Kick off your summer with Scotland’s eclectic pop group PAGES. for a fiver!
The band will be touring Glasgow, Edinburgh, Aberdeen and Dundee off the back of a string of SOLD OUT performances.
Make sure you support some of your own for just £5 as the band remain set on their course for the biggest stages!
Spotify – https://open.spotify.com/artist/1dOhgVjb6y8QNB6RGS1qWx
Apple Music – https://itunes.apple.com/gb/artist/pages/1449159390
Bedlam Bookings Present
Salt River Shakedown
w/ Nocturne Wulf, Ironvolt & We Make Mammoths
TICKETS ? bedlambookings.ticketline.co.uk
£6 ADV // £18+ // 7pm
Bedlam Bookings Presents
w/ Toreador, Altered Sky & Gulls
TICKETS ? bedlambookings.ticketline.co.uk
£6 ADV // £18+ // 7pm
“Dreyfus once wrote from Devil’s Island that he would see the most glorious birds. Many years later, in Brittany, he realised they had only been seagulls… For me, they will always be glorious birds” Harold & Maude. 1971. Hal Ashby
Fresh from his album release party in Murcia, Spain, Edinburgh based singer-songwriter Marcos García will be presenting his debut album THEY WILL ALWAYS BE GLORIOUS BIRDS at Senaky Pete’s, Edinburgh. Drummer Alfonso de Miguel and bassist Jesús Caparrós will be joining him from Spain and Portugal, presenting a beautiful piece of work, in which literature and music come together.
Supporting will be two beloved artists!
You Are Lost Be Careful. Edinburgh based band fronted by singer-songwriter Evan Hamilton; You Are Lost Be Careful paints unpredictable, yet wholly grounded musical landscapes that captivate listeners.
Burnt Paw, songwriter and fingerstyle folk guitarist. His music is influenced by a wide range of alternative and experimental artists and styles, including psychedelic folk, contemporary, new/dark folk.
Come and say hello!
Tickets: £5 online, £7 on the door.
Gaygirl make howling alt-grunge noise, with goth and shoegaze undertones and up-front “indie-noir” vocals with lashings of attitude.
The band have proven themselves to be a tight and dynamic live act on the London gigging scene, supporting the likes of Shame and Sorry. Last year’s ‘Paralydise’ single is scorching, and they have signed up to Roadkill Records for the release of new single ‘Sick Note’, which was produced by Margo Broom (Fat White Family, Goat Girl).
Formed in May 2017 in Bristol, through friendship, and a desperate need for artistic and sonic self-expression, Heavy Lungs went on a frenetic spree.
From the first packed out show at Crofters Rights, to recording an ep in 3 days, a raucous set at Simple Things last year, to supporting Idles then Metz. They went onto play outside Bristol home turf across the country and are now about to embark on a UK tour with brothers, Idles.
This is the beginning. This is Heavy Lungs.
As usual the dust doesn’t get a second to settle on the Fresh Produce stage, no time for that, its next, next, next so here for you is our very exciting July line up. July see’s Glasgow based band PLEASURE POOL take to the stage and it is with great excitement and euphoria that I type this as this is one of Pleasure Pool’s rare performances, a performance most definitely NOT to be missed. To add more ecstatic value to this line up we have the astounding REMI & THE MORTALS (ex The Imagineers personnel) Remi &The Mortals carve out slinky garage rock with a psych-rock edge. Next up Edinburgh’s own ACTION GROUP reformed after a period of time getting involved with other music projects such as PET and The Tide Inside now they’re back creating the finest melody addicted alt pop/rock with 2 singers for added salt and pepper…so, there you have it one cracking line up for you courtesy of Fresh Produce and eh, you’d be mad to miss this one…actually really, really mad.
Glasgow-based rock band The Vignettes play in Edinburgh for the first time, with support from WYLDE and Lucid Hound. Featuring catchy modern rock songs with elements of 70s and 80s post-punk, The Vignettes have been called “the missing link between Glasgow and New York” and have received extremely positive live reviews over the past year. More info to follow soon.
Fortune Promotions Presents
“Riffy, punky, glorious.”
Trampled Daisy are a trio of noise makers whose music will make you feel unashamedly giddy, a bit sad, and angry as all hell. Since releasing their explosive debut single ‘Evil Twin’ in November last year, they have been busy working on their first EP: ACID MIND DRAINAGE, which boasts songs saturated in punching riffs and the band’s signature controlled chaos.
Lake Pleasant – east coast shoegaze
Slow Renewal – post hardcore from tayside
All I See is an Empty Circle – cinematic post rock based out of edi
+ 1 support to be concerned
£5 OTD. Doors @ 7:30pm.
Strictly no dick head behaviour.
Esplanade Records presents Gary Ovens EP launch at Sneaky Pete’s. Advance tickets £5 via Skiddle ON SALE NOW. Support from Jodi Findlay & Gary McLean.
Headlining every major city in Scotland plus some appearances elsewhere in Europe, tickets available now in a city near you.
Taffy are a shoe gaze outfit from Tokyo, Japan. They are awesome. They headline night of effective pedals, jazzmaster guitars, loops, shoegaze and distorted/lush melodies.
Support comes from Edinburgh Superstars, Fires in the Alps, and the savage distortion of Glasgow’s The Cherry Wave.
Perhaps ‘the’ great math-prog band, for fans of King Gizzard, Battles, King Crimson and So SO Modern… these guys are off the charts, and get bonus points for collaborating with comedian Stewart Lee.
Boudicca Records artists KROW and EBB perform live at Edinburgh’s Sneaky Pete’s!
As Advance Base, Chicago native Owen Ashworth crafts bittersweetly real and honest pop gems. Join him in the capital for a special night at Sneaky Pete’s.
Psyche and post-punk sit deep in the Brazilian musical psyche. You may have seen Boogarins support Tune-Yards on tour last year where they came across as a freakier Tame Impala.
Their brilliant new LP ‘Sombrou Du?vida’ does not dispel the impression that these are some very avid psyche ad- venturers. Boogarins are thrillingly “other”, but they certainly know their way around a tune, and they are pin-prick funky too.
The use of a large, tuned live room at Austin’s Space Recording Studio allowed Boogarins to include the bold sound of their live performances — heavy rock guitar from Benke Ferraz (also in the producer role) colliding with experimental synth noise and bass undercurrents from Raphael Vaz, all driven by the incredibly dynamic and effulgent drums of Ynaia? Benthroldo.
Subconscious Sounds Presents Sugarspun Live at Sneaky Pete’s Edinburgh with support from The Shoals, The Bright Skies & The Capollos.
Mellor live at Sneaky Pete’s
With support from Gentlemen Jackals
Doors – 7.30pm
Entry – £5
Age Restriction – 14+
Heads up this show is at Summerhall not Sneaks!
Free Love is the latest manifestation of Scottish duo Suzanne Rodden and Lewis Cook (FKA Happy Meals) – a continuation and progression of their utopian dance pop experiments released on Night School Records and Optimo which have seen them nominated for Scottish Album of the Year and performing across the globe. Touring across Europe supporting Liars and The Flaming Lips, and with festival shows as far as Austin, Moscow and Bangalore, the band have become notorious for their sensual live ceremonies.
Using a table of all-hardware electronics, Free Love harness a charismatic chaos and unpredictable energy that sets them apart as one of the most exciting artists of 2019.
“The best club in the UK for future rock & roll stars” Noel Gallagher
+ more TBA
This Feeling DJs play…??Arctic Monkeys, The Beatles, Black Honey, Blossoms, Blur, BRMC, Cabbage, Catfish & The Bottlemen, The Charlatans, The Cribs, The Coral, Courteeners, David Bowie, DMA’s, Doves, Kasabian, The La’s, The Libertines, Oasis, Primal Scream, Pulp, Reverend & The Makers, The Rifles, The Rolling Stones, The Smiths, Stone Roses, Super Furry Animals, The Strokes, Suede, Supergrass, Temples, Trampolene, The Shimmer Band, The Verve, The Who, Yonaka + lots more including all the best new bands in the land
US power pop duo North by North brings their “melodic hooks, soaring vocals, crushing guitar, [and] bombastic drums” to the UK for the first time. Stream their latest release on Spotify >> https://goo.gl/VrZXMN
Wednesday 4th September at Sneaky Pete’s
£5 at the door
7:30 doors || 8pm music
In the modern world of streaming-dominated music consumption, there are a few standard ways that artists tend to rack up the numbers. They’re either signed to a major label, who have the leverage and cash to get them all up in people’s eye-lines; they’ve managed to nab a lucrative spot on a New Music Friday playlist, or they’ve made friends with Hugh Jackman and wound up on ‘The Greatest Showman’ soundtrack. Rare, however, is the track that climbs into seven-figure streams just by virtue of being very, very good. And even rarer still is the occasion when that happens to a virtually unknown indie band.
‘If You Know That I’m Lonely’, the jangling, sepia-tinged and ’60s-inflected bop released by Brighton quartet FUR last autumn, however, is currently sitting at over 3.6 million Youtube views.
It’s had no car commercial sync deals and no Ed Sheeran endorsement; the only boost its been given is an initial backing by Jager Curtain Call – the collaboration between Jaegermeister and UK publication DIY Magazine, who first funded the recording of the track. Amusingly, coupled with an aesthetically-pleasing, Wes Anderson-esque video that cost “about £100 to make”, this probably gives the song the most cost-effective money: stream ratio on the entire platform. “When we released it we were hoping that it’d get to 20,000 in a couple of months, but then one day it started going up,” remembers singer Murray. “Since then, it’s 100% changed everything. It’s not just people saying ‘cool video’ and sharing it; a lot of these people are buying our records and merch and have adopted us as their new favourite band. We’re in a time where it’s still a fairly recent thing for a Youtube video to build something like that, so for a band to find their fanbase this way is really cool.”
Formed just over three years ago in the seaside town that the band – completed by guitarist Harry, bassist Tav, and drummer Flynn – still call home, FUR might not have expected this sudden change of fortune, but their ambition and determination was there from the start. Meeting initially on a Freshers internet forum, Murray and Harry had formed the basis of the group and began writing before they even started their first day of uni. When finding other flatmates, meanwhile, their only requirement was that they play either drums or bass. “I was very aware that going to a place like Brighton would definitely allow you to do the band thing,” explains the singer. “So when me and Harry met each other we thought, let’s get it started as soon as possible so we’re not wasting time.”
With a full quartet on board, they began to pen tracks based equally in the ‘00s indie they’d grown up with and an increasing rekindled interest in the older music they’d always known from home. “It started off [influenced] by The Strokes and The Cribs, who are another band we all really adore. But as we kept on writing, I found myself really enjoying and being really good at tapping into that [other] place,” explains Murray. “So then it was a case of looking at what sounded like FUR and getting that balance where it doesn’t sound like a band from the ‘60s, it sounds like if a ’60s band were doing something modern.” Harry notes: “For some reason, even when we’d only written two songs, we already knew what FUR sounded like.”
Heading into the release of their debut EP, following recent single ‘What Would I Do?’ (itself already up to half a million views, FYI) what FUR sound like currently is a band capable of penning a particularly nostalgic strain of guitar music but making it sound fresh again. Taking the age-old love song trope and reinvigorating it, theirs are tracks that feel familiar and classic but with a vibrancy that’s entirely new. “The three most written-about things are love, money and sex. One I’m not that comfortable writing about, and I don’t have that much money, but everyone’s felt some feeling of love and there’s something powerful about that,” the singer states. “It’s the strongest emotional connection I can have with a song.”
So far, this outlook has earned them critical plaudits from tastemakers such as Steve Lamacq, as well as gaining them support slots with a truly diverse set of artists including Miles Kane, The Brian Jonestown Massacre and London crooner Matt Maltese – who they’ll shortly be heading out on a full tour with. FUR have also found that their music’s been resonating in more places than just their homeland, too. “I think the one thing we really appreciate is people telling us we have a fanbase in places we never expected. Indonesia has become a big thing, and when people in Peru say there are whole groups of people out there that love us, that’s amazing,” says Flynn before Murray chips in: “And there’s been so much fan art. That’s when I think, what’s going on?! When you see someone who’s spent like, six hours drawing your face…”
It’s a fair point, but with an ever-increasing group of supporters already on board and a forthcoming EP set to cement their excitement, FUR better get used to a little healthy adoration. “When we all think back to where it started with ‘If You Know That I’m Lonely’, doing it on such a shoestring and seeing where we’ve got to now from that, it’s mad,” sums up Murray.
You sense it’s probably just the beginning…
The Rebel is the moniker of Country Teasers’ frontman and general human enigma Ben Wallers.
Tickets on sale now!
After blowing us away at this year’s Independent Venue Week in January, we’ve invited the Glasgow young team Heavy Rapids back for more!
Heavy Rapids are part of a new wave of Glasgow bands with incredible punk energy and a following that really feels like the germ of a huge scene.
Fronted by vocal powerhouse Anastasia Walker and featuring Ross Cameron (guitars) and Richard Gartland (drums), Bang Bang Romeo are a propelling force for female-fronted bands and an open voice for the LGBTQ+ community.
Anastasia’s “once in 20 years voice” is unrivalled and the group’s larger-than-life performances are sending audiences wild up and down the country, leaving them with jaws dropped or reduced to tears.
Following their opening performance on the main stage Isle of Wight Festival to “record crowds” the band have been asked to join pop icon P!nk on her 2019 European tour.
Chance McCoy is a Grammy Award winning Indie Folk musician from West Virginia.
“It can be scary to step away from something that’s been so successful,” says Chance McCoy, “but it’s important to follow your passion. I really believe in the music that I’m making right now, so it feels like the right time for me as an artist to get off the main road and explore the path less trodden.”
Pulled Apart By Horses are less a gang and more one big fucked-up dysfunctional family. The Leeds quartet are a tightly-knit rock band who make music that thrills and menaces, their songs armed with suckerpunch riffs and zinging choruses. They formed in 2008 out of the ashes of various bands in Leeds. Since then they have existed in their own chaotic ecosystem, embarking on relentless tours around the world and stopping only to make 2010’s punkily infectious self-titled debut and its snarling 2012 follow-up ‘Tough Love’ (produced by Gill Norton – Pixies/Foo Fighters etc.) . Everything they’ve done has been drenched in a sense of youthful recklessness, of all or nothing ardour. With third album ‘Blood’ they took things a step forward with wider musical and lyrical themes, embracing their love of psychedelic cinema and developing as a band whilst retaining the thrilling ‘Horses’ sound.
But life doesn’t come with a user manual. Amid the constant noise, clamour and confusion of the Information Age, sometimes – as with much of the technology which surrounds us – human beings work best after simply being switched off, unplugged, reconnected and switched back on again or more accurately, the band felt a simple desire to fall in love all over again with the pure joy of making music.
With trials and tribulations of their critically acclaimed fourth album ‘The Haze’ behind them, Pulled Apart By Horses are approaching 2019 with fresh perspectives, open minds and a flurry of creativity writing new songs, defining their sound and taking back control!
As Tom Hudson says “Our musical tastes change monthly, never mind over the course of the years, so we are never going to be the kind of band who’d do the same album every time,”
“We’ve always been that band that are ‘too heavy for the indie kids, and too indie for the heavy kids’ in industry terms, but it’s quite cool that people don’t really know where to put us, because it means no-one can easily slap a genre name upon us”.
“Now we have the freedom to just be who we are.”
***Tickets Onsale Thursday 9th May, 10am***
Somewhere, frozen in deep space, is a pop group. They’re called The Original Doo-Wop Spacemen and they make mutated 50s pop music – somewhere between the great American songbook and classic American jukebox tunes, then dipped in classic romance film scores before being lathered up with prog-rock, jazz and psychedelia.
They’re the brainchild of Oliver Taylor, frontman of Trudy and The Romance. Or maybe they’re the characterised manifestation of several real life experiences. In either case, The Original Doo-Wop Spacemen are here, and they’re playing on Trudy and The Romance’s debut album ‘Sandman’ – a cosmic, kaleidoscopic, merry-go-round of a record that is bursting with bright ambition.
Really, this could be called a concept album, especially given the introduction of The Original Doo-Wop Spacemen. “I’ve asked people and they don’t think they would pick up on it. But you write it for the diehards, don’t you. Twenty years down the line someone will have this album on a Top 20 Concept Album list, and that’s how people will know,” laughs Olly, underpinning the inherent humour of the work.
However, while the intricate details of the narrative might be buried in the lyrics, under layers of fuzz or light-years away, there is certainly a story here – a specific conceptual idea. It involves the characters Little Johnny, frontman of The Original Doo-Wop Spacemen, and Sweet Emma, his love. We’re introduced to these two on opening track “My Baby’s Gone Away” just as Johnny skips town and dreams big, setting up his future career with the Spacemen.
Except, of course, the titular Sandman strikes, right away on the second track of the same name. He takes Sweet Emma and Little Johnny is doomed to keep thinking about her. “It’s about an artist’s journey to success, then asking for your innocence back. It’s a break-up album too, about going to a new place and looking for hope and new love,” says Olly. He describes the Sandman as “the little devil on your shoulder, a metamorphosis of the darkness that looms in the back of your mind.”
If you’re thinking this album is theatrical, then you’re right. But it’s firmly placed in the artist canon of the genre, taking cues from the golden age of Disney, back when they were making films like Pinocchio and Snow White. It’s also informed by Phil Spector. For example, Liverpool’s very own Sense Of Sound Choir sing on every track on the record, lending the album its woozy, encompassing feel.
There’s also the inclusion of a keyboard player, strings, a harpist, a country pedal steel guitar player – a mate of Olly’s dad – as well as the three core members of Trudy and The Romance Essentially, if you wanted to hear a slightly stoned, camp opera, full of hopeless romanticism and day-dreaming, and with a 50s tinge, this is it.
By the time you’ve swayed from side-to-side and reached the album’s moonlit conclusion, there’s a clear message. And, Olly says, “you can never say goodbye to your first love, because it’ll always stay with you.” But the whole idea is that the album can be played on an infinite loop, forever, until the end of time, as the same story repeats itself over and over, the same mistakes made, the same highs reached.
Produced by David Pye (Wild Beasts, Egyptian Hip Hop), ‘Sandman’ is unlike anything you’ll hear in 2019, or the next lifetime. Look out for the Doo-Wop Spacemen the next time you enter the astral plane. They’ll be performing their mutated 50s pop for this generation, the one before it, and the rest to come.
We love this band so much! They were our top pick from this year’s Great Escape Festival so we’re thrilled that they have added an extra tour date just for us.
Between the quartet’s sweetly punky melodies and disco-fried art-rock eruptions, a spirit of free-firing, balls-out individuality courses through Pom Poko’s exhilarating debut album, ‘Birthday’, just released this February through Bella Union.
Their unique creativity curiously melds together tonal lurches and math rock guitar riffs that are barely tamed by a time signature or key. As admirers have heard, Pom Poko’s music sounds properly played and performed: no mere recitation, it’s the sound of four distinct personalities driving in divergent directions towards one destination.
Saint Agnes are a ferocious 4-piece from East London, with an unashamed rock sound and electrifying live shows to go with it. All of it is underpinned by the intense chemistry of the frontman/woman pairing of Kitty and Jon, who trade tales of love, lamentation and loathing.
Say hello to your new favourite band.
Skinny Pelembe is a multi-talented wonder, born in Johannesburg and raised in Doncaster, who crafts patchworks of personal and musical touchstones. First debuting in 2017, he’s honed a distinctive musical style; memories and observations are weaved together, sun-dazzled California folk diced with the murkier corners of the UK dance lineage. He celebrates flawed, post-recession Britain, exalting the UK in all of its imperfect, contradictory realities.
Releasing debut album “Dreaming Is Dead Now” in May 2019, he’s been tipped by The Observer, The Quietus and Huck. Singles “I Just Wanna Be Your Prisoner” and “Spit / Swallow” were both picked for BBC 6 Music’s A-List. He’s guested with Lauren Laverne, Mary Ann Hobbes and Tom Ravenscroft on 6 Music, with Jamz Supernova on BBC 1xtra, and recorded live sessions for The Vinyl Factory and Worldwide FM. He sold out a headline UK tour last year, was booked for 6 Music’s 2018 showcase at The Great Escape, and has supported Nightmares on Wax and Maribou State.
It was Future Bubblers, a Gilles Peterson- and Brownswood-founded, Arts Council-supported programme for unsigned artists, that provided Skinny with an important early launchpad. His track ‘Should You Go’, for instance, first self-released on his 2017 “Seven Year Curse” EP, was included on Gilles Peterson’s iconic Brownswood Bubblers series. It also sparked connections with other artists on Future Bubblers, such as Yazmin Lacey, who had been picked for the scheme in the previous year. The pair performed together at the 2018 edition of Gilles Peterson’s Worldwide Awards, and Lacey featured on Skinny’s “Sleep More, Make More Friends” EP later that year.
His music has spurred new connections and garnered him attention from artists he’s long admired, such as legendary producer and label boss James Lavelle (Mo’Wax), who tapped him up earlier this year, asking him to open for UNKLE at the Royal Festival Hall. The album is co-produced by Malcolm Catto (The Heliocentrics), and the producer’s connection to the LA hip-hop world saw Skinny’s musical hero and iconic beatmaker Madlib drop by the studio during sessions for the record, while on the single “Dreaming Is Dead Now”, Skinny worked with a duo of foundational drum & bass producers – working under the covert alias of The Bleeding Edge – who he’s long looked up to. “When you have all these people that you hold in such high regard wanting to talk to you,” he says, “you’re kind of like, ‘Yeah, maybe I can add something to the conversation.’”
Growing up in Doncaster, he had moved there as a three-year-old from Johannesburg, where apartheid South Africa had driven his parents – a mixed race couple – to find somewhere else to live. His varied approach to his influences started early on. His two older brothers were heavily into hip-hop, while he would also absorb the West Coast folk and country music played by his dad. The former has always influenced the way he thinks about his lyrics. “It’s just trying to be so transparent that when you hear it,” he says, “you don’t feel like there’s any pretense or thought or over-deliberation.” The latter, meanwhile, has continued to inform the way he writes songs, balancing out his tracks’ tougher moments with three-part harmonies, calling back to the spirit of Crosby, Stills & Nash.
He threw himself into the pockets of creativity he could find in his Yorkshire hometown, such as the Higher Rhythm studio (where much of “Dreaming Is Dead Now” was recorded), where he would started going to record music when he was 16. Its owner, Steven Mundin, would give him and his friends free recording time, and put them onto music, tipping him off to old funk, Gil Scott-Heron and Gilles Peterson’s radio show. Other reference points have come through chance encounters. It was a meeting at Leeds train station, where he was a student at the time, which led to the offer of a job in a boutique clothes store, where he was introduced to psych and experimental guitar bands he’d not heard before, and which saw him going over to Liverpool Psych Fest each year with his workmates.
The references for the artwork for “Dreaming Is Dead Now” speak to the diverse palette of influences which have always underlaid his approach, nodding to two of his favourite albums, Alice Coltrane’s “Journey to Satchidananda” and The White Stripes’ “White Blood Cells”. The album sees all of these different markers melded into something altogether new. Bright stitches of colour are threaded through dark-hued, heavyweight material, luminous guitar riffs slicing through tough, tight-programmed drum beats, much of it washed over with feedback and layers of reverb.
On “Dreaming Is Dead Now”, Skinny underscores his distinctive position as an artist. It’s a rare kind of debut record – the kind where the messy, in-between musical spaces are given space to shine, where hitherto untapped tangents are unfurled to see what might be found inside.
Xiu Xiu is the conduit for the uncompromising and unnervingly personal musical works of Los Angeles-based multi-instrumentalist Jamie Stewart, plus a roll call of collaborators both in studio and onstage.. Streaming forth a ceaseless torrent of releases, side projects, art offerings and extensive international touring since 2002, Xiu Xiu’s music has veered from damaged avant-pop to artfully orchestrated rock, squalls of black-hearted noise and most bases around and between, ever served with a bruising honesty and intensity that has ripped out the hearts of a legion of obsessive listeners.
Latest Xiu Xiu album ‘Girl with Basket of Fruit’ (out Feb 2019) is a rowdier, yet more stylistically splenetic offering than 2017’s ‘Forget’, with the usual eye-catching list of collaborators this time including Eugene Robinson (Oxbow), Devin Hoff and Haitian percussionists Emmanuel Obi and Ayo Okafor.
For 2019 live operations Xiu Xiu is manifest in the form of Stewart, Thor Harris (drums/percussion) and Christopher Pravdica (bass).
Alice Jemima’s self -titled debut album was released last year to a receptive audience and now stands at over 18 million streams with several of the tracks being placed in adverts Ralph Lauren, Simple Skincare, Macy’s and Topshop and also achieving Radio 1 playlisting. Since releasing her debut album she has appeared live at Boardmasters, Bestival Lattitude, The Great Escape and SXSW
Alice’s new album is expected in late 2019 and has been co-written with Sophie Ellis Bextor.
“Prepared to be hypnotised by the mesmerising vocals of Alice Jemima” WONDERLAND MAGAZINE
“Jemima’s minimalist pop song writing has won over fans and critics alike” THE LINE OF BEST FIT
SCOTTISH alt.blues troubadour Dave Arcari’s returns from his latest USA tour for this Edinburgh show.
His alt.blues sounds owe as much to trash country, punk and rockabilly as they do pre-war Delta blues and have been showcased via ten internationally-acclaimed solo CD releases.
Special guest tba
Imperial Wax are the longest serving and last line up of The Fall.
The 11 year veterans Keiron Melling, Dave Spurr and Pete Greenway have teamed up with frontman Sam Curran and have already recorded forthcoming album “Gastwerk Saboteurs” scheduled for release this summer.
Edinburgh-based 5-piece The Wynntown Marshals formed in 2007 and have been described by the Metro as “arguably Scotland’s strongest band” and regarded by The Herald as “the best Americana band outside North America”. With three studio albums, several EPs, and a 10-year retrospective collection under their belts so far, the Marshals have recorded sessions for ‘Whispering Bob’ Harris’s BBC Radio 2 show, as well as BBC Radio Scotland sessions on ‘Another Country with Ricky Ross’ and an appearance on The Quay Sessions with Roddy Hart in 2018.
Their debut album “Westerner” was released in 2010 with the Belgian website RootsTime proclaiming it “the best alt.country album from Europe ever”, with the follow-up (“The Long Haul”) being placed at number 10 in the Sunday Herald’s list of the ‘Top 50 Scottish Albums of 2013’. “The End of the Golden Age” (2015) was awarded 8/10 in Uncut, referring to the band as “colonising the shadowland that lies between Tom Petty and Teenage Fanclub”.
In 2017, the band marked a decade together by releasing a 16-track retrospective entitled “After All These Years”, with Louder Than War awarding the compilation 9/10 and declaring that “The Marshals have been crafting songs of such high quality that they’re surely a national treasure”, and that they are “miles above the competition at this sort of thing”.
The Wynntown Marshals will play their first headline shows in over a year including a special date at Sneaky Pete’s on Thursday 5th December, where they will debut their new line-up as well as previewing material from their forthcoming studio album which will be released on Blue Rose Records in the spring of 2020.
NB: 14-17 year olds must be accompanied by an adult. No refunds will be given for incorrectly booked tickets. The venue management reserve the right to breathalyse anyone under the age of 18. Refusal or failure of the test will result in entry being denied.