Brian Kelley

Glasgow

O2 Academy

Kate Nash

Oran Mor

Butler Blake Grant

Edinburgh

Queens Hall Edinburgh

Shed Seven

Aberdeen

Music Hall

Tide Lines

Usher Hall

Big Country + Mike Peters of The Alarm

TV Studio, SWG3

Martin&nbsp;McAloon&nbsp;is known as the&nbsp;bassist of British Art-Pop heros Prefab Sprout.&nbsp;Martin&nbsp;will be performing a large selection of hit songs from Prefab Sprout's extensive archive celebrating over 40 years of the band and his brother Paddy's writing.

Martin McAloon (Prefab Sprout)

Saint Luke's

Palace

Galvanizers, SWG3

Jimmy Egypt &amp; Sons head to Mono for a special launch party featuring Baby Face &amp; The Beltin’ Boys, The Golden Tree &amp; Lennie’s Pennies!

Jimmy Egypt Launch Party

Mono

Chris Clark – a visionary and pioneer in the electronic music scene – has spent over two decades crafting a series of sonic odysseys, driven by an unquenchable ambition to continually push the boundaries of his craft. From his groundbreaking 2001 debut, “Clarence Park,” Clark’s work has been characterised by glowering techno, brittle piano pieces, eerie folktronics, and found sounds – always delivering something new and unexpected. His journey in electronic music is marked by a relentless pursuit of innovation, seamlessly blending intricate rhythms with evocative melodies. Clark’s long-standing relationship with Warp Records has been pivotal in his career. Signing with the influential label in the early 2000s, Clark has released numerous critically acclaimed albums under their banner. Warp Records, known for its roster of groundbreaking electronic artists, provided a platform for Clark to explore and innovate. His releases, including “Body Riddle,”, “Turning Dragon”, “Totems Flare,” and “Death Peak,” cemented his reputation as an artist at the forefront of electronic music, blending intricate rhythms with evocative melodies. Over time, Clark’s release methods evolved, and he now releases music under his own imprint, Throttle Records. Notable releases on Throttle Records include soundtrack album “Kiri Variations” and most recently the album “Sus Dog”, mentored and featuring Thom Yorke. “Cave Dog” followed as a companion piece and an album of two halves – one beat-driven and stripped, and one more spacious, dreamy, and intimate. As predicted by his younger self, Clark has recently metamorphosed into a celebrated composer for TV and film. Self-taught in piano, cello, and drums, his evolution reflects a logical progression in his relentless pursuit of musical excellence. His contributions to prestigious labels like Deutsche Grammophon and critically acclaimed soundtracks such as “Daniel Isn’t Real” exemplify his masterful integration of acoustic and electronic elements.In the mid-1990s, Clark’s passion for rave music, both its sound and production process, fuelled his disciplined approach to electronic music. This dedication is evident across nine studio albums, numerous remixes, and four soundtracks. His shift towards collaboration, showcased in his Deutsche Grammophon album “Playground In A Lake,” includes contributions from notable artists like Oliver Coates, Rakhi Singh, and Chris Taylor, enhancing his dynamic soundscapes. Clark’s collaborative efforts have reinvigorated his creative process, contrasting with the solitary nature of his early work. Recording with ensembles in Budapest and Berlin and in world-renowned studios Abbey Road and Air Studios in London, he emphasises precision and clarity, especially in his soundtrack compositions. Known for his meticulous sound design, Clark’s projects range from bedroom experimentations to dance scores for award-winning choreographer Melanie Lane. His work continues to evolve, always exploring new territories. Clark hints at a future return to heavier, ravier music, maintaining his love for risk-taking and innovation, underscoring his status as a trailblazer in electronic music.

Clark

Milan Ring

The Poetry Club, SWG3

Aircooled

Stereo

Caoilfhionn Rose

The Hug and Pint

Shovel Dance Collective are a group of nine musicians united by a passion for the beauty, force, and political charge of the traditional musics of Britain, Ireland and beyond. They are committed to Folk music not as an archaeological artifact to be unearthed, but as a living communal activity - inviting and generous to those it speaks to. They arrange the source material into a kind of musique boue (mud music), simultaneously traditional and experimental they engage a deep, cross-temporal synthesis of free improvisation, tape manipulation and field recordings. Their music appears as a patchwork as pieces are stitched together, rearranged and recontextualised. The yarn is threaded with both their sense of aesthetic innovation, and with a deep sense of the ways in which traditional music holds the voices of the oppressed, the everyday and those who, by their labour, create the wealth of the world. They have performed sold out shows across the UK, with headline concerts at venues such as Cecil Sharp House, Kings Place and Cafe OTO. The collective have appeared at many major festivals: Glastonbury, Roskilde, SXSW, Green Man, End of the Road, Sidmouth Folk Festival, Supernormal and Supersonic festivals among others. Publications such as The Wire, Loud and Quiet, NME, Financial Times and The Times have heralded their live performances across the years. Their first record ‘The Water is the Shovel of the Shore’ has been championed by The Wire, Folk Radio, Tradfolk and was named one of the albums of the year by The Quietus. Their second album ‘The Shovel Dance’ will be released in October 2024 by American Dreams Records.

Shovel Dance Collective

The Voodoo Rooms - The Ballroom

The queer vegan shitpunks, Joe &amp; The Shitboys, formed with the intention of calling out shitty behaviour in the conservative Faroe Islands, where the rock scene is filled with boneless homophobes and meat-eating misogynists - and continue to take their aim at general vibe killers everywhere.&nbsp; The live shows are full of energy, with a barrage of songs often under a minute long, like “Save The Planet You Dumb Shit”, "Life Is Great You Suck" and “If You Believe in Eating Meat Start With Your Dog”, being broken up by the flamboyant frontman roasting the audience relentlessly.&nbsp; The band (Joe, Ziggy Shit, Johnny Shit and Ollie Shit) have played every type of venue there is; roof tops, public toilets, opening ceremonies for North Atlantic sub sea tunnels, museums and skateparks, and have also appeared on their fair share of major festival line ups around Europe and North America, from Boardmasters to Roskilde and Lowlands, as well as their home country festival G!.&nbsp; To date the band have released two albums, ‘The Reson For Hardcore Vibes’ and ‘The Reson For Hardcore Vibes Again’, both receiving critical acclaim despite their modest and unconventional (aka punk) 10 minute total run time. For those seeking further justification for hardcore vibes, Joe &amp; The Shitboys promise more new music, more international live appearances and more polite advice on how to live your life in 2024.&nbsp;

Joe & The Shitboys

The Old Hairdressers

The Australian Pink Floyd Show

OVO Hydro

Jenkins, a veteran musician who’s played in the bands of Eleanor Friedberger, Craig Finn, Lola Kirke, and rehearsed to tour with Purple Mountains in August 2019 before the tour’s cancellation, spent months meticulously making her debut LP Play Till You Win. For Phenomenal Nature, she arrived at engineer Josh Kaufman’s (The National, The Hold Steady) studio with ideas rather than full songs – nevertheless, they finished the album in a week. Jenkins’ voice floats amid sensuous chamber pop arrangements and raw-edged drums, ferrying us through impressionistic portraits of friends and strangers. Her lyrics unfold magical worlds, introducing you to a cast of characters like a local fisherman, a psychic at a birthday party, and driving instructor of a spiritual bent. In their Rising feature on Jenkins, Pitchfork said: “The idea of decentering the self comes up again and again as a guiding principle… she acts as an ethnographer archiving quotidian sounds and conversations as much as a songwriter telling her own story.

Cassandra Jenkins

Haver

Twin Atlantic

Dundee

Fat Sam's Live

Lori

Shambolics

Warehouse SWG3

When Dana Margolin started working on the fourth Porridge Radio album, there was something different in how the songwriter approached creativity.&nbsp;&nbsp;“Almost all the songs started out as poems,” says Margolin of the work that became&nbsp;Clouds In The Sky They Will Always Be There For Me (2024), “I wanted to challenge myself.” In songwriting, Dana argues, she had learnt that the writer can always hide behind the tricks of the music and well-worn techniques such as repetition. “In a poem, though,” says Dana, “you can’t hide.”&nbsp;Recorded in the Somerset countryside in early 2024 by longtime Big Thief and Laura Marling engineer Dom Monks,&nbsp;Clouds In The Sky They Will Always Be There For Me&nbsp;is Porridge Radio’s new album and first new music in two years. The UK band’s new album is a coming-of-age moment inspired by burnout, the music industry, heartbreak and the brutal collapse of significant relationships and - crucially - Dana’s own increasing immersion in her craft as an artist.&nbsp; Across the album, particularly on the devastating A&nbsp;Hole In the Ground&nbsp;and&nbsp;God Of Everything Else, Dana’s ruthlessly self-interrogating writing style is matched by some of the band’s most affecting music to date, patiently building and tragically intense. * When Porridge Radio formed in 2014 - a decade ago - being in a band was the very last thing that London-born Dana Margolin expected to do. Studying anthropology at the University of Sussex, Dana began performing her songs on her own at local open mic nights, before assembling a full band - taking in Georgie Stott on keyboards and backing vocals, Sam Yardley on drums and keyboards, and former bassist Maddie Ryall (who departed in 2023, replaced by Dan Hutchins). Their debut album -&nbsp;Rice, Pasta and Other Fillers (2016)&nbsp;was followed by&nbsp;Every Bad (2020),&nbsp;which was shortlisted for the Mercury Prize and acclaimed by The Guardian as “uncompromisingly brilliant.” Later,&nbsp;Waterslide, Diving Board, Ladder to the Sky (2022)&nbsp;became their first UK Top 40 Album Chart success.&nbsp;After 2022 - by some distance the band’s busiest year of live shows to date - had finally calmed, the suddenly quiet beginning of 2023 was a decisive moment for Dana. “I got home having been so sad and so tired for so long, and running from that sadness using work and exhaustion to the point of distraction, and then suddenly I wasn’t on tour all the time,” she remembers, “I was just sitting in my room.” This became a period of reflection for the songwriter who had not stopped for the best part of a decade, and had knotty questions about identity, creativity and family to unpack. “I come from a family of workaholics,” smiles Dana, “it’s that, and it’s art, it’s not just work. It’s my whole life.” Dana wanted to work out a way forward - how do you retain creativity, without harming yourself in the process? When Joni Mitchell was once asked about writer’s block, she argued in favour of a creative “crop rotation” to keep going. That means, when you fall out of love with one thing, work on another and your creativity will find a way to heal itself. Dana Margolin began creating in new and different ways to bring herself back from the emotional experience of what was obviously a bad case of burnout.&nbsp; As well as the painting that has been a crucial part of her creative life throughout her career (Dana has painted or directed the artwork for every Porridge Radio album), she composed the soundtrack for a BBC Radio 4 show with her bandmate Sam Yardley. She completed a solo UK tour playing new songs on her own just like in the old open mic days. She started a Substack, writing assuredly at length on anything from books that she has read, art shows she has attended or the general need to bear witness to the world around you. And, importantly, she began thinking more about poetry. Sure, Dana had always written poetry, but had filed it away as something different from her Porridge Radio craft. “There were things I was doing in songwriting,” says Dana, “that I felt I could become better at.” You can hear some of this in tracks like&nbsp;Anybody -&nbsp;the startlingly frank opening track about “all the millions of ways I pushed myself out of shape to try to be a nice and sweet girl in order to be loveable” - and the storming and cathartic&nbsp;God Of Everything Else,&nbsp;the most explicitly break-up song on the album where Dana writes about spending “a year wishing I was somebody else.” At the same time, a short-lived but intense relationship ended across 2023. “By the time I had recovered from the burnout,” says Dana, “we broke up.” The relationship and subsequent heartbreak fed into the genesis of the songs that would make up&nbsp;Clouds.&nbsp; &nbsp;“A lot of this album is about a more frenetic and desperate kind of love,” says Dana, “it is about completely losing my sense of self in one relationship, and the deep residue of insecurity and pain that lingered and clouded a new relationship.” Older songs that were written as love songs - like&nbsp;In A Dream I’m A Painting&nbsp;- took on new meanings as Margolin viewed the songs with a new distance. “There was a lot of love and confusion, all interspersed with exhaustion and pain.”&nbsp;The&nbsp;Clouds&nbsp;sessions took place in Frome as Winter melted into early Spring at the beginning of 2024. “There were a few breakdowns,” grins Dana, in a fair assessment of recording such intimate and personal songs, “after some takes I would just collapse on the floor, so upset. “An environment was fostered where Dana could express herself and be nurtured, and the band worked more closely than ever on sculpting the album. “We would have these big communal meals every night,” she says, “it felt very close knit and caring and warm and special.” “Our little house looked over a big hill,” remembers Dana, “there was a river running through it, it was big and bright and beautiful.” The studio itself was bright - full of beaming natural light from the large windows, a blessing for musicians used to the sealed tomb world of most recording studios, and for once the band were all able to record in the same room as the producer. Recording live necessitated the whole band becoming intimately involved in the creation of the album, it was all hands on deck.&nbsp;“We were a live band anyway, we’ve always been known as a band who do something very particular and very emotionally intense live, and Dom (Monks) knew how to get that feeling across.”&nbsp; Monks brought a widescreen expanse and pin-drop intimacy familiar to listeners of his work with Big Thief to the sessions. Dana says that Monks became someone she “trusted more than anyone else who has ever come into the project from outside.”&nbsp;Following that, the band were invited to debut the material at a special performance at Paris’ prestigious Centre Pompidou. “Visually, that was very much a collaboration with Ella and Ellie,” says Dana of the show she put together with her filmmaker sister Ella Margolin and set designer Ellie Wintour, “I had this idea of the album being a puppet show, but they took it to a new level.” The songwriter had seen the puppet work of the American mid-century sculptor Alexander Calder at New York’s Whitney museum, “I had watched his short film where he creates a circus out of puppets. It’s so funny and it’s so ludicrous and also very serious and beautiful and poetic.” That contrast began to feel very herself, very Porridge Radio. “There are joyful ways to portray something that’s also deeply sad and vulnerable.”&nbsp;Today, Dana reflects on&nbsp;Clouds In The Sky They Will Always Be There For Me&nbsp;with the enthusiasm of a real creative breakthrough. “It feels like the first time we’ve made something,” she explains, “it captured something about our friendship as a band and the way that we have learnt to play together. I love the songs, I love playing them, they haven’t gotten old to me and it feels like it’s a very singular thing.” A pause. “It’s taught me so much. Following your gut to the nth point, trusting your friends and their loyalty, trusting yourself to be able to fight with people properly and still come back together. How I want to live is how I want to make records, because making records is my life because my work is my play is my job is my life. It all ties together in this thing, and there are ways to do this that might not kill me.”&nbsp;Clouds In The Sky They Will Always Be There For You is released by Secretly Canadian on 18th October, 2024

Porridge Radio

Oran Mor Auditorium

LOCATION

GENRE

DATE

SIGN UP TO OUR MAILING LIST