Tag Archives: Music

NoSo: When Are You Leaving?

Posted on by

Sometimes you hear a song, you find a band or singer and you immediately feel like you’ve found your version of home. You’ve found someone who says everything you wish you could and maybe that person is all you wish you were brave enough to be. You find this piece of music, and everything that had been missing is right there. Something clicks, and maybe you were absolutely fine all along. You just needed something like this to pull you through or to essentially, be a mirror. When I first started listening to NoSo a while ago, that’s exactly what happened. Then I saw them live, and my world got flipped and everything clicked. Those feelings have come back around this morning as I listen to the new record, and I absolutely could not love or be more proud of NoSo.

In 2023, NoSo’s debut record came out and it felt like my brain had been rewired. That same feeling happened a year later when I heard jasmine.4.t and it’s smacked me between the eyes again with When Are You Leaving? With just 10 songs, Baek Hwong has yet again created a masterpiece for the ears and heart. It’s a beautiful record, and I honestly didn’t know what to expect going into this. I didn’t know if something so perfect could be done again. I was silly to even have a fragment of doubt. There’s no second record curse or whatever here- far from it. Every single song on this record feels like home. There’s so much vulnerability in Baek’s songwriting, and it is so obvious on this record. They are a sensational songwriter, and it’s the way he truly gets to the core of every emotion possible and makes it beautiful. This record is a thing of beauty- even when touching on difficult themes. It’s everything you could want, and more. The way Baek writes about race, gender, the way the world is- it will break your heart because of the sheer honesty, but we need it. We need to hear it, and the way he does it is sheer poetry.

I’ve played this record about 3 times so far, and with every listen I am finding more and more things to love about Baek as an artist and as a writer. This record was entirely self-produced, and you can feel the grandness in it all. It’s such an open record and you feel there’s a lot of healing within the record. And I think the title alone shows the power in walking away from something or someone that is damaging. The relief you feel from walking away from something or someone that’s harming you can feel daunting but when it clicks, you know it’s the best thing you could have done. It’s also a record that feels like self-growth and becoming the person you knew you could be but still knowing there’s more to do.

Every single song on the record is just a work of art. I couldn’t pick a favourite at all and trust me I’ve been trying to work out which songs speaks to me the post, but I can’t do it. With the debut record, it was so easy. There’s a line on You’re No Man that got me in the gut, “And she’s gloating about being a gold star, you won’t break the spell.”  I don’t want to go into detail, but it absolutely got me. I think it perfectly sums up how Baek can write something so heartbreaking in a way no other could. There’s no one else who could write something so painful in such a careful way. It’s just beautiful. I love the urgency throughout Don’t Hurt Me, I’m Trying. It feels like it could be in a film or something- it’s got a speed chase feel to it.

For me, NoSo’s music is sacred and honestly if I could listen to his music without crying then I’d be fine, ha! The way he can just pull these feelings out in such an effortless manner leaves me in awe. It’s the way he just manages to portray such fragile feelings that make you feel like he’s writing about you or puts you in his position. It’s such a glorious record and it really does feel like the next step from Stay Proud Of Me. If you listen to NoSo’s debut first then go right into When Are You Leaving? you’ll hear the growth in the words, the music, the production and all in between. It is truly a perfect record, and it feels like home.

Baek has such a distinctive voice and it’s a voice that can soothe, and I think everything beautifully comes together on the last song on the record, Let It Die. And I think after playing the record on a loop for the past few hours- this could be my favourite on the record. It has such a big and euphoric feel to it. It feels like letting go, a massive sigh after the damage is done and relief takes over. It’s the perfect way to wrap up such a divine record.

I feel I may not have said enough about the record in the way I wanted, but maybe it’s because I feel the words so personally, I want to try not get too into it. All I know is that if I was a 13/14 year old queer kid listening to this record- I’d feel like it’s going to be okay. As queer adult, I think I’m still trying to find that reassurance, ha! That’s why artists like Baek are SO important and why his words and his experiences need to be told. The record defines survival, escaping and being okay. It isn’t an easy journey but it’s not one you always have to do alone.

When Are You Leaving? is a record to treasure and to love. It’s one of those records that you play for someone and say, “this is everything I cannot say just yet, but it’s all in here.” Like a diary entry I suppose, but deeper and with more care. The honesty and the way the songs just feel like home mean the world. I feel I’ve just made zero sense in all I’ve written so I’ll leave it here. In short, one of the best records of the year. Easily.

Thank you Baek for creating something so open and beautiful.

Self Esteem @ Manchester Academy, 29th September 2025.

Posted on by

If I can make this make sense, then I’ve done what I needed to do. Otherwise, it’ll just be an emotional/passionate rant about my love for Self Esteem.

I’m 38 years old; I don’t queue to be at the front for bands anymore. I stand where I can, and hope I can see. Yesterday was different and a solid use of annual leave. We queued from about half 5, and there were 4 others in front of us. That bloody front row was happening. My knees are feeling it today.

If you’ve ever been to a Self Esteem show, you’ll probably think you know what to expect. I thought I did. I saw her two years ago with my mum at the Albert Hall and it’s still up there as one of the best gigs I’ve ever been to. However, this tour is something else. There’s more healing here, there’s more love, there’s more need to be heard and to be seen. There’s more of a community feel. It felt like everything slotting into place in a messed up world. For that hour and a half, the outside world didn’t matter. The safety you feel at a Self Esteem show is something else, and it’s a feeling most (unless you’re a hateful prick) deserve.

The set opens with I Do And I Don’t Care. Rebecca Lucy Taylor stands front, and center and I am trying not to cry. I’ve got this, I’ll be alright. Truth is, I didn’t have “it,” and I absolutely was not alright. The second everyone on stage sings, “If I’m so empowered, why am I such a coward?
If I’m so strong, why am I broken?” I absolutely go. I cry as if my cat Mary has run off and will never return. It all comes out. Surely, I won’t have anything else left for later on?

After the emotional ride of I Do And I Don’t Care, we go right into Mother followed by the healing Lies (part of me was clinging onto Nadine Shah coming out, but my heart is hoping it happens in Sheffield!) What has you hooked the whole time is not just Rebecca’s incredible stage presence and her ability to make you feel like you’re less alone with all you’re carrying but it’s her group on stage with her. That’s more than a group- it’s a family and the love they all have for each other truly shines. There is not one person on that stage that you cannot stop looking at and in being in awe of. The way they move, dance, sing and just pour their heart out on stage is divine. Everything is left on that stage. It’s healing. It’s home. It’s being free of every burden you carry.

69 live is wild. I can confirm hearing the line, “If you beg, I will peg” live is beautiful especially when everyone else is shouting this song as loudly as they can. It’s such a liberating song and my god the choreography for it is insane. During the whole set, it’s not just the vocals you are stunned by. It’s the movements on stage. It’s the way it has been produced. It is easily one of the best put together gig I’ve ever been to. It flowed so perfectly and ended all too soon. I want every night to be a Self Esteem show and to break my own heart to certain songs. It felt like home, and as someone who feels unsettled a lot- it was exactly what I needed.

Logic, Bitch! sees RLT use a banana as telephone and although the song is very vulnerable- adding this element to the performance makes you less inclined to cry like a baby (this is just my experience.) And also, it’s very practical as it means she has a little deserved snack break.

I genuinely thought The 345 was going to have me a crying mess again, but I did alright- was this progress? No, no it wasn’t. I think I cry the most during If Not Now, It’s Soon because there’s a line in the song that my Gran used to say, or very similar to one of her many sayings; “And whatever is right for you, will guide you through.” And it’s something I miss hearing her tell me but luckily my mum reinforces it. The iconic Julie Hesmondhalgh appeared for the song for Sunday’s show but for Night 1 and Night 3, we all just cheered as if she was there anyway. But imagine being there on Night 2 and Julie appears?! I’d have lost it.

It was also during this song that a lovely person stood behind me handed me a tissue because I was a mess. That person was an angel, and I hope she never has bad days and always knows joy. The tissue served me well!

Whatever I write about last night doesn’t do the show justice. RLT and her gang know how to put on a show, and everyone has their moment to truly shine. You can feel the love, respect, and devotion from the stage to the crowd. It’s in the beautiful and tender moments where the band hold each other after certain songs and it just makes you really appreciate everything and more that goes into these shows. The first run of these shows are done, and the tour picks up again on Friday. The last show will be in the finest city in the UK- Shefield at the Arena. And from seeing the show last night, it was destined to be on the biggest stage possible.

The encore consists of I Do This All The Time and Focus Is Power. I’ve said it many times before, but I Do This All The Time is healing in song form. I remember hearing it for the first time years ago, and I felt like I was 13 years old hearing The Trick Is To Keep Breathing by Garbage. For me, RLT is on the same level as Garbage for me. The words are a safety net when the world isn’t. The crowd was beautiful in every way, and every single word to every single song was sung back at RLT with such devotion and passion. I truly hope she knows how important her words are and how much of a difference she has. The way she gets right to your gut with her words is phenomenal, and we’ll never know anyone else quite like her.

Of course, the show ends with a conga line on stage to Shirley Bassey’s This Is My Life, and it will never ever get old. As the band leave the stage, and the lights come up- the Academy is still full of people dancing like the last ones at a wedding without a care in the world and that pretty much sums up the joy you get from a Self Esteem show.

Last night was all I needed and more from a show. Maybe I’ll cry less at the Sheffield show or at least bring tissues this time! If you’re looking for a space to feel safe and to truly be part of something inclusive- go to a Self Esteem show. It just sums up all the good in world.

One final thing, Self Esteem are fundraising for two very important charities on the tour :  Schools Consent Project – JustGiving and Choose Love please donate if you can.

SPRINTS: All That Is Over.

Posted on by

Buckle up because this is nearly 2,000 words!

The second album curse. Is it a myth? Is it for real? Well, one listen in on the new Sprints record, and it’s clear that this myth has passed them by. That myth looked at Sprints and knew better. It knew not to mess with them.

Letter To Self was one of the best records of 2024, and it was one of the most captivating debut records we’ve had in a while. It’s not fair to compare the two, but it’s fair to say that All That Is Over shows exactly what years of touring and working your arse off can do. Letter To Self was the starter. All That Is Over is the main event. It’s the one that grips you in a different way. The record opens with Abandon, and the way Karla’s voice grips you is unreal. It makes you feel like you are somehow listening in on something really private- almost voyeuristic in a way. You feel you shouldn’t be listening in but my god you are glad that you did. It’s the perfect way to start the record off and it truly grips you in ways the first song on a record should. Also, the drums on this are unreal.

You get your ears beautifully destroyed on To The Bone and this is one of the many moments where Karla’s voice shines. There’s this power (I honestly can’t think of a better word) in her voice that’s always there and she uses it to the fullest on this.

There are so many moments on this record that just make you think, “Oh shit this is THE BAND.” Like, this is the band you need to be pouring all your attention and love into. I’m seeing them play a small venue on Sunday here in Manchester and I just know it’ll be the perfect setting for them. Then, a few days before my birthday they’ll be playing the Albert Hall here and that’s my favourite big venue here in Manchester. I don’t there this a more fitting venue for them and to hear this record. It’s not a record that can be contained. It’s not a record that you stick on in the background. It’s a record you have to pay close attention to and let it grip you so tightly. The first song we got from the record was Descartes back in the summer and that pretty much summed up the feel of the record. Dark, heavy, poetic and addictive. It’s a stunning record and I feel that my words just don’t do it justice. This is a record that demands to be heard.

The latest single, Need is wild. I love the ending of it, and if you pay attention, you’ll hear Karla say, “I need you to leave me the fuck alone.” Perfect. I think most of us probably want this on a t-shirt or something. It’s fast and rowdy number, and I’m pretty sure seeing this live will be almost biblical. I think seeing them live will be just that to be fair. The more I listen to this song, the louder I want it. You want it louder and faster. It’s addictive. I’m pretty sure I’ll play this at the gym and feel I can take on the world.

Something’s Gonna Happen has claimed my heart. I could have this on repeat for hours, and with every listen, I’d find another part of it to adore and call it home. There’s an eeriness to it that would fit perfectly in like, a Norwegian detective drama series. It feels sinister. And you know, the whole record has this dark and sinister feel to it, but you don’t feel threatened. You feel quite safe, but you do feel on edge and that’s what they’ve done with Something’s Gonna Happen. You feel on edge, like it’s going to kick off and fuck me when it does kick off on this- it goes. It absolutely GOES. And I cannot wait to see this live. I just know the live version of this will be intense, and you can hear changes in Karla’s voice as she approaches the edge of the song- and that is the moment where you know you cannot escape your love for this band. It’s the anticipation that holds you so closely. You feel on edge- should you feel safe, or should you try run? As if you’re going to run. Don’t be a fool.

Every song on this record is a prime example of why Sprints are the most vital band around. You feel like you’ve found someone’s diary when you pay close attention to the lyrics, but you also fee like you’ve found a home. There’s a line on Pieces that got me in the gut; “Home is where the heart is, so where’s my head? For the last one who loved me, left me better off dead.” Oh, come on now! What a line! I’d have related to that well over a year ago, and it would have probably made me bawl. Now it just makes me feel silly for feeling that way. There’s always better and I found it. It’s a furious number, and again, is another example of why this record is made to be witnessed live. There is nothing calming about this record in the typical sense. As someone who finds security in loud songs and feels uneasy with the quiet, this record definitely feels good for the soul. It is comforting and its home. It’s just perfect.

Lyrically, this record is Sprints at their most honest and tender. Better is a solid example of the tenderness and it’s definitely got the potential to break the hardest of hearts. It’s one of the slower moments on the record and shows a different side of heartbreak in a way. There’s a healthy mix of rage, heartbreak, and disappointment on this record and Better sums up those emotions in the most perfect way. Sam and Karla’s vocals on this are just divine. I love their voices together anyway, but on Better you really hear how gorgeous they are together.

The record ends with a 6-minute dream of a song, Desire. I compare everything I listen to to the greatest song of all time- A Forest by The Cure. If a song can make me feel like I did when I first heard that aged 13/14, then I’m hooked. It goes without saying that feeling is there throughout All That Is Over but its comes alive on Desire. The last minute of this song feels like Karla is unleashing every single demon she’s ever known and giving it to the world and letting go. That’s how the whole record feels, and that’s how you feel when you listen to the record. Every ugly and intense feeling you have, that you have no idea what to do with is let go of when you listen to this record and for me, that’s what makes Sprints and this record such a joy to listen to. It’s like an exorcism of sorts. It’s a cathartic record and you get a real sense of it having that feeling during the creation of it.

The band in general on this record sound like gang. There’s not just one band member here to focus on- it’s all of them. Jack is a real threat on the drums, and there are a lot of moments on this record where the drums just take your breath away. The addition of Zac adds something that compliments the sound of Sprints in a way you didn’t think could exceed Letter To Self and previous, but Zac’s nailed it- that ferocious guitar sound feels like fireball approaching. Sam is probably one of best bassists around- the way he and Jack create this unique and thrilling rhythm on every song just leaves you in awe. Karla’s voice (and guitar) has never sounded so powerful. She has this tone to her voice which reminds me of my two favourites- Shirley Manson and Patti Smith. Writing this makes me feel like I have found Garbage for the first time aged 6 or 7, and that is what I get with Sprints. The power in their music reminds me so much of Garbage and my heart is so full of love for that. I pretty much could have cut out a thousand words here and just kept that in to sum up this record!

The whole record exposes the bin fire that is the world right now, and you feel less alone listening to the record- especially when you feel so fucking helpless. The world is heavy, and this record explores that heaviness in a way that has you hooked from the start. The production on this record is again flawless (I mean, it’s Daniel Fox- of course it’ll be perfect!) What was done on Letter To Self has been heightened and something entirely new has been birthed. It’s ripper of a record, and one you cannot get tired of. Sprints won’t shrink themselves for you to feel comfortable, and that’s one of the most wonderful things about this band. The hard work, the passion and the drive is right there. It’s always been there, but this record unleashes something entirely different, and you want it to be poured into your eardrums constantly. You simply cannot get enough of it.

All the best records are dark, intense and creep you out a little bit- All That Is Over does all this and more. If this is what they can do with just two records, then imagine what they’ll be like 5 or 6 records in. Dublin’s finest. Ireland’s finest. Just the best. I couldn’t praise this record more if I bloody well tried. It is like a thousand punches to the gut and head. A freight train to the soul. A mirror to yourself. It is perfect.

If you are in need of a record to break or fix you. If you’re looking for a record that puts you on edge but also makes you feel safe. If you’re looking for a beautifully created masterpiece. If you want a record that makes you feel like someone has stepped into your head and exposed all that you think and feel. If you’re looking for something you’ve not heard or felt before- then this is the record you need. It’s a masterpiece and it is a joy to listen to, and to be consumed by.

I don’t think I have ever written about a record in such detail before. Nearly 2,000 words about a record. I didn’t think I had it in me, but sometimes you hear something so important- you just have to let it all out. So, thank you Sprints. Thank you for creating one of the most important records of the year and for making something that feels like home.

PINS: I’ll Be Yours.

Posted on by

The world is terrible, but PINS are back! One of my favourite bands from Manchester are back. Listening to their new single, I’ll Be Yours is making me feel exactly the same way I did when I first heard them back in 2011 or 2012. It was either Shoot You or Luvu4lyf that got me hooked. I felt like I had found a band that were going to make me love a city that I loved even more and truly appreciate the music there. It made me want to leave where I was living at the time. I made that move in 2018, and I’m still here. Music makes this city. As do the people. Home is where the music is.

Alright, soppiness aside- I’ll Be Yours is PINS at their very best and my god how I’ve missed them. It’s been around 5 years since their last record (Hot Slick) was released, and this year marks 10 years of the divine and delicious Wild Nights record. I urge you to buy tickets for this, as this band are wonderful live.

The new single sounds like how The Shangri- Las or how The Crystals would sound if they were around now and had a heavier sound. In short, PINS have that beautiful 60s Girl Group sound that I love so much but have added this heaviness to it that just makes it so exciting. I’ve missed this band so much. I can’t put into words how much it means to have them back. Who needs Christmas or birthdays!? This is what we need.

The guitar on this insane, and you just know it is going to be a dream to hear live! PINS are a band that absolutely need to be seen live. Every show I’ve been to, they’ve just sounded better and better. I cannot wait for the tour, and to hear these songs again. Oh, I’ve bloody missed them.

I’ll Be Yours is a gorgeous number to have on repeat and waste the day away too. It’s everything PINS are in 2 minutes and 6 seconds. If you’ve never listened to them before, start with this and go back. Go back and get lost in their stunning and powerful sound. They’re the best of the best, and I’m so glad they are back.

Tour starts in a week, and you can get tickets here: PINS Tour

This wasn’t so much a review but me going on about why this band are bloody great and a call for you to get tickets for the tour.

VIVA PINS!

JASMINE.4.T : I Can’t Believe I Did This Without You.

Posted on by

There aren’t many bands/singers I will bawl at the second I hear their voice or pay attention to the lyrics. One in particular goes against this, is the beautiful and just wonderful human being- jasmine.4.t.

I’ve written about Jasmine a few times, and her music means so much. Her words mean the world- it’s like feeling at home or safe in the person you are. She’s just amazing and seems to always know what to say. She’s just incredible.

Rather than me tell you why her new single, I Can’t Believe I Did This Without You is incredible and go into detail why, I want to use this to show why this song is important using Jasmine’s words. Anyone can listen to the song and hear it’s importance, but I want to share why it is such a vital song and the importance of the deluxe version of You Are The Morning (which is out on Friday.)

Read carefully, and please support Yulia in any way you can. Free Yulia. Free Palestine.

“This deluxe version of my record is dedicated to political prisoner Yulia Trot aka YBT. I met Yulia at the first queer event I ever attended. It was six months after I had come out, and I was still living in Bristol but staying with friends in Manchester. Yulia and I became really close – she taught me how to do my makeup over FaceTime, supported me through my marriage ending, and when I became homeless I moved onto the sofa of her one-bed flat in Manchester until I found a room. She stayed by my side through the toughest times of my life, giving me the strength to carry on through my transition, and in time we became each others’ chosen family. When I started performing as Jasmine, she would come on the road with me as roadie/security. There were a few times when she put herself between me and men twice her size who wished to harm me.

As the project grew, Yulia continued touring with us, running the merch stand and selling her handmade friendship bracelets for the benefit of Trans Mutual Aid Manchester, an organisation that supports members of my community with essential costs. She became a close friend of the whole band and a vital, supportive and reliable member of our community.

One evening in November 2024, while we were recording a live session for 6 Music, we heard news that Yulia had been arrested that day in a violent raid on her home. She is one of the Filton 24, arrestees alleged to be connected with a group of actionists entering the UK headquarters of Israeli weapons manufacturer Elbit systems in August 2024, where £1m worth of damage was said to be caused. This included killer Israeli drones that have been reported to target Palestinian children in Israel’s genocide in Gaza.

Our beloved Yulia was initially arrested under terrorism law in a gross misuse of legislation that allowed heavy-handed police powers. She was then charged with the non-terror offences of burglary and trespass, but transferred as a political prisoner to a maximum security private prison on the other side of the country, away from her family and friends, where she will be held on remand for a total of two years until her trial. As with several other protestors that the state wishes to make an example of, she was kept in the rehab wing so that she would experience sensory torture from the constant screams of inmates experiencing withdrawal symptoms. The prosecutors’ details were shared with Israeli state officials in a breach of judicial independence. The United Nations have intervened in this case, stating that anti-terrorism legislation “may have been used to circumvent procedural safeguards in relation to detention, and as a specific and general deterrent” in a serious breach of human rights standards. Several international humanitarian law firms have cosigned a letter (https://eldh.eu/wp-content/uploads/2025/06/UK-Filton-18-Statement.pdf) warning that this case signals a serious backslide of democracy and the rule of law.

Since her arrest, Yulia’s chosen family and friends have been regularly visiting her at HMP Bronzefield in Surrey and supporting her financially while in prison. Her absence is felt deeply and the visits to the prison carry an enormous emotional toll for us all. It terrifies me to see how my best friend’s mental health has deteriorated – she is autistic and is really struggling on the inside. There have been several periods where we have worried about her not surviving until her trial.

Entering the prison as a trans woman is terrifying, knowing how trans women are treated in prison. The first time I visited I was groped, and the second time I visited one of the guards made a joke about sexually assaulting prisoners. Though Bronzefield is the largest “Woman’s Prison” in Europe, several inmates there are transsexual men who are forcibly detransitioned on entry and denied access to their testosterone. Recently a trans man died in custody there – he was one of Yulia’s friends. This all happens while pride flags are displayed in the visiting hall. These daily traumas are wearing down on Yulia to the point where she thinks she is no longer herself, and will never be the same again.

Since my record was centred around themes of queer solidarity, queer friendship and queer love, three things that I believe Yulia personifies, it made sense to dedicate this deluxe version to her. These are some of the songs that she loved the most and often requested live, in particular “Did U No”, which was her favourite. I visited Yulia in prison during the recording session for this track, and I remember crying, screaming, and channeling my rage at the state into the vocals when I returned to the studio that evening.

We had planned to record “Did U No” for the album originally, as it was also a favourite of Phoebe’s, but sadly we ran out of time in LA. It is such a joy, now, to be able to finally get it down. It is joined by “Find Ur Ppl”, which was the second song that I wrote after coming out (following “Woman”). “Find Ur Ppl” is a song about meeting Yulia and the Manchester community, which feels vitally important given how many young trans people are in danger, isolated and in need of the safe haven of queer camaraderie. “I Can’t Believe I Did This Without You” and “I Don’t Think Anyone Else Could Hold The Same Place In My Heart” are two new songs on this release that I wrote during the LA recording sessions for the album, up on the roof of Sound City Studio between takes. I recorded five songs as demos and sent them as a thank you to my bandmates and producers after returning home to Manchester from LA. It’s nice to have more polished versions of these two. The remaining song, “Please Can We Hold Each Other Yesterday,” is a more recent ode to lost time with loved ones. I demoed this track on my phone and Steph Marziano (the awesome producer of these new tracks) liked it so much, as it was, that she suggested we didn’t re-record it and release it as is. I love how these tracks have turned out, with the help of Steph and the incredible band lineup that I have been playing live with this summer – Phoenix Rousiamanis on violin and keys, Maeve Westall on drums and Emily Abbott on bass.

Now when I sing these songs, I am singing them to my best friend, my mother, my sister, my daughter – the political prisoner Yulia Trot. Of all the things that I have lived through, nothing has felt as big as losing her. I hope that one day she will be able to hear these recordings. I hope that one day she, all of her co-defendants, and all of Palestine, will be free.

Please support Yulia’s friends and family with visit costs and read more at freeyulia.com and follow @freethefilton24 on Instagram.”

Jasmine will be on tour in the UK and Ireland in November:

11th Nov – Scala, London, UK
12th Nov – Thekla, Bristol, UK
13th Nov – The Art School, Glasgow, UK
15th Nov – Academy 2, Dublin, IE
16th Nov – Gorilla, Manchester, UK

CROCODILES @Zerox, Newcastle 28th August 2025.

Posted on by

Thursday night was my 20th Crocodiles show (it was also the bands 100th show with their current lineup) and it was without a doubt; the best I’ve ever seen them. Of course, my view will be entirely biased because I love that band a hell of a lot, but others at the show said the same thing so, I reckon it’s a fair comment!

The night before, my girlfriend and I had been in Edinburgh to see Chappell Roan and that was something else. Getting back to the hotel at 3am was not the same magical experience and we spent most of Thursday asleep. I think the pizza from Scream For Pizza cured me though. Hands down best vegan pizza I’ve had. I’ll probably say this throughout- but Zerox is my favourite gig venue. My heart does belong to the Shacklewell Arms and I think the Brudenell in Leeds is next level BUT Zerox has something else. It has something I can’t quite describe but it was the perfect place to see Crocodiles for sure.

If you’ve never seen Crocs before, then you may not be sure what to expect. However, don’t do what I did and stand right at the front next to the speaker. It’s been 2 days and my hearing in my right ear is slowly coming back. Anyway, if you’ve not injured yourself in some way at a show- have you even had a good time?! Charlie gently placed a Palestine flag on the stage before the band started, and it just reinforced my love for the band. Crocodiles are for the people. They are for those who get overlooked and they will always speak out. Sometimes they speak louder than most, and it’s why I adore them.

The hour and a bit that they are on stage is what sheer joy feels like. They play all the hits such as Wait Until Tomorrow, Love Beyond The Grave and Upside Down In Heaven but for me, it was Brandon dedicating Mirrors to little old me. I didn’t expect it and I felt like a little kid. The last time someone did this was probably around 8 or 9 years ago, and it was Tall Juan covering Chinese Rocks by the Ramones. I felt so cool! That feeling came back around and was the perfect way to make show number 20. There is something so special about seeing a band you adore live, and being able to see them in a new city is always good too (even if you did feel half dead beforehand!)

Since Raz died, I have honestly found it tough to write about music. I’ve got a lot that I probably need to listen to and write about, but I think seeing Crocodiles has slowly brought that love back and the love for writing. They always get me through. Their set was incredible and I’m pretty sure that when I turned to my girlfriend during the start of their cover of 1969, she probably thought something was wrong with me (more than usual!) It was a ripper of a cover and I hope they keep playing it. There was once a video on YouTube of their take on I Wann Be Your Dog but I’ve searched endlessly for it, and it’s gone. I hope their cover of 1969 makes it online somewhere because it is SO good. They ended the night with another cover- Jet Boy, Jet Girl which always goes down well. They sure know how to make classic songs their own. It’s part of what makes them great. The crowd were gorgeous in every way too and it was so good to see people appreciate Crocodiles in a way that they absolutely deserve. They have my heart for sure!

There’s a handful of bands that I love that I could happily watch play every night, and Crocodiles are one of them. It was easily the best show I’ve seen them play and I think maybe part of it was due to the venue and how you could sense a true feeling of community there. The venue wasn’t rammed but it was definitely full of love for the beloved band from San Diego.

Hearing a large chunk of songs from their latest record Upside Down In Heaven (2023) was so good and it’s safe to say that songs like I’ve Become What I Fear Most and Surfing With Death live are unreal. It makes you appreciate the record even more. They’ve released 9 or 10 records, and each one shows just why they are one of the best bands around and you can truly tell they love what they do when they are on that stage and the bond, they all have with each other is just a joy to watch. Seeing Charlie swing that guitar of his around like a machine gun will never ever get old!

I hope they play Zerox again because I will happily use annual leave from my job to travel to see them. An incredible venue.

Also, it’s vital to say that Jade Hairpins were on before Crocs, and they were gorgeous. Jonah from the band donned Charlie’s slick long leather jacket during Crocs setlist and stood at the front which was one of those “you had to be there” moments. If you weren’t there, then you missed out! Jade Hairpins played an incredible set too, but what do you expect when you’ve got members from Fucked Up there, right?!

In short, the show was just a dream. A wild and sweaty dream, and one I’m going to remember for some time.

BODY MAINTENANCE: Far From Here.

Posted on by

If a band can give you a doom and gloom feeling on a sunny day, then you’ve found musical bliss. I know some may want the cheery type of music, and that’s nice for them. But I want something that emotionally makes me feel like I’ve been punched in the gut. I want music to make me think and feel a type of way that I may not always get. I think it was John Peel that once said, “I just want to hear something I haven’t heard before.” And that’s probably a really strong way to approach listening to music and trying to find something that speaks to you.

I wrote about Body Maintenance a few years ago. I think I was taken aback that they are a band from Melbourne and thought they were from a dark alleyway in Berlin from the 1980s. They sound like every band I’ve ever loved and adored but also have something very new about them. That new sound is smack right in their new record, Far From Here. Some have likened the band to Joy Division (I may have too) but when you listen to this record, you hear something else. I’ve played the record a few times now, and I’m still trying to work out what that “something else” may be. But I guess, I’ve done a John Peel and found something I haven’t heard before.

Far From Here is a remarkable record and is of course, the band at their absolute best. This is the kind of record that would cause you to go down a rabbit hole of trying to find bands like this, and I’ve done this many times before and in turn, ended up finding bands who I’ve become obsessed with. The record opens with the stunning The Surface but for me, it’s all about track number 3- The Face That I Stood Behind. This live would be next level. The whole record feels like an outer body experience, and I reckon seeing this band live would be exactly the same. This song is over 5 minutes of music heaven, and I want to hear it at every single opportunity I can. We then go smack into The Boundaries which reminds me a little bit of The Cure, and that is only ever a good thing.

We’re always looking for something different- not better, just different. Better is a question of taste, so leave that out. This record is different. It’ll get you in the mind, body, and soul. It’ll make you wish you could spend the rest of your days listening to. To be honest, that’s how you should feel when you listen to the band. Everything they do and have done is just a joy to listen to, and their new record really highlights how great a band they are.

Slates is one of the tamer moments on the record, and it goes beautifully into Broken Sculptures which again is another favourite. I’m likely to change my mind on which song I love the most by the time this is written and posted but believe me- this is a record you need to listen to and own. It’s really worth going back and listening to their previous records after immersing yourself in this one too- you may end up appreciating the band even more so because they really are exceptional musicians. I just bloody love them.

In just 8 songs, Body Maintenance have firmly proven why they are one of the best bands around. Australia knows how to put out exceptional music- from my beloved Silverchair to Royal Chant to Amyl And The Sniffers, and to Body Maintenance. There’s something in the water, and we can’t get enough of it. This is such a remarkable record; the drums on Days In Arcadia is another strong moment on the record, and the way it slides right into Golden Fire is divine. Needs to be studied! Golden Fire is a gorgeous way to end the record, and it of course leaves you wanting more- how could you not? The vocals on this remind me a little of the band White Lies (I loved them when I was at Uni.) It’s an atmospheric number that will get you right in the gut, and honestly- that’s the record all over. It was made to be utterly felt with all you have and for it to consume every ounce of you. It’s just a flawless record that deserves your attention, time, and love.

You can stream the record on their Bandcamp now, and it will be released near the end of the month. It will be out in the UK via Drunken Sailor Records on the 27th June.

jasmine.4.t : The Deaf Institute, 31st May 2025.

Posted on by

Sometimes you listen to a record, a song or find a singer and you just know that they are going to impact your life in a way that will stay with you for a long time. A band in particular for me that first gave me this feeling was Garbage back in 1995. Fast forward 30 years, and I get the same feeling with the Angel of Manchester- jasmine.4.t.

Her debut record, You Are The Morning is an ode and celebration of Queer love and community. She lets us in delicately on her journey as a transwoman, and that is something to truly treasure. I’ve been to a lot of gigs in my time but I can honestly say that Jasmine’s show last night at The Deaf Institute was the safest I’ve ever felt and I’m pretty sure I wasn’t the only one. I want to mention briefly (and I will be writing about them separately soon) the support acts from last night Ether Mech and Lucas Assagba. Both acts were divine, and the perfect way to start the night.

There are many reasons as to why the show was so special last night- but the two worth noting are, it was homecoming show for Jasmine and her band. They sold out The Deaf Institute! One of the most iconic and best venues in our beautiful city and it was sadly drummer Eden’s last show with them. Sadness and joy- the two things I felt a lot of last night! I knew in my gut I was going to feel every feeling possible last night, and being in the eyeline of the setlist made me prepare myself slightly. But the second Jasmine and Phoenix stepped to the stage, any mental preparation I did went right in the bin. I saw a few videos on Instagram this morning of the set, and in some of them you can see my little head just staring at the stage with this ridiculous grin on my face. The show felt like home, and I was SO proud to see Jasmine.

For me, I thought Elephant was going to be the one that broke me but instead, I cried out of sheer happiness. To see a room so full of love, kindness, acceptance, and safety really got to me. It’s awful right now for those of us who are part of the LGBTQIA+ community and it’s extra fucking hard on our trans siblings, and to be in a room for those few hours where how we identify doesn’t mean we are at risk felt like being home. I really hope Jasmine knows exactly what she’s done and keeps doing with her music, because it’s so powerful. It’s beyond music, she’s beyond being a singer.

The set opens with Jasmine and Phoenix stepping up to the stage to play Kitchen, and they then treat us to Bobby (and Alex G cover.) These quiet moments showed just how tender music can be. Jasmine then introduces Eden and Emily to the stage where they rip the venue apart with Guy Fawkes Tesco Dissociation. This live hits you in a way a record cannot touch; it’s also a song I’ve sang/yelled at my cat many a time (I’m so sorry Mary, I do it because I love you.) Skin On Skin and Highfield nearly bloody break me as does Breaking In Reverse, but I kept it together because I was just happy to be in a room so full of love and joy. For me, the tenderness of Roan truly cemented just how gorgeous a musician Jasmine is. It was such a quiet moment, and nobody moved. We all just stood in awe of her. The song is beautiful anyway, but you truly feel how much it means to Jasmine when you see it live.

I think a lot us who went last night will agree that the performance of Woman was one of the most precious moments of the show. Jasmine split the crowd so her gorgeous friend, Bola could dance whilst they sang such a vital song. After the hate and hurt that comes from the UK Supreme Court Ruling (and the world in general being hateful), having the crowd chant “Fuck the Supreme Court” felt GOOD. Another person simply cannot police how you identify. Another person NEVER EVER has the right to make you feel small or make you feel like you should hide who you are. Queer people have ALWAYS been here. Trans people have always been here and they always will be. Non-Binary people have always been here, and we’re going nowhere. I never felt more proud of who I am than I was last night, and feeling secure in that is down to the home I have found in Jasmine’s music.

The band rip through Did U Know (which NEEDS to be recorded) but the set ends with an INSANE cover of Toxicity by System Of A Down. We all know that Jasmine has a delicate voice, but have you heard her properly scream and belt out a song? MY.GOD. I loved Emily’s stagedive during this, and the way she launched herself back onto the stage and play her bass as if nothing happened! Everything was left on the stage last night, and it was an honour to see it. I’m just so proud of Jasmine, and to be there for her sell out homecoming show was just extra special. I feel I could write thousands of words on why this was one of the most important gigs I’ve ever been to, but I think, if you’ve listened to her music- you will really get why it means so much. On record you can feel the emotion, but when you see it live, it feels so different. Songs like Roan live felt different and you could just see the love pour out of Jasmine as she sang this. Everyone on that stage last night (support acts too) gave their all, and in return, they received all the love in the world back.

The setlist I took from the stage last night is now signed, framed, and hangs above my record player in my room. It’s more than a setlist. It’s a sign to keep going and to be proud of who I am. I think aged 38, I’ve finally got there.

Jasmine has just announced another tour for later in the year, so if you missed out this time- you’ve got a second chance. I simply urge you to go see Jasmine live because you will truly know what it means to feel safe and seen. And hopefully there will be more System Of A Down covers.

I cannot write this without mentioning Yulia- Jasmine’s friend. If you follow Jasmine on social media or have been to her shows, you will know who Yulia is and how important she is. She is currently in prison because quite simply, like anyone with common sense, believes in a free Palestine. Please read and support Yulia here: https://www.freeyulia.com/info/ It is a heavy read so please be careful.

PSYCHIC PIGS: S/T

Posted on by

If you’re looking for say, 10 really loud Punk songs to knock you out or burst your eardrums- then you need the debut record by Psychic Pigs. A band fronted by half of one of my favourite bands in the world, Brandon from Crocodiles (a write up on Charlie’s Crush Of Souls project is coming) has created Psychic Pigs with his buddy Jonah Falco (yep, from Fucked Up) and made one hell of a rowdy record.

I won’t liken the record to anything Brandon has previously done (but if you loved one of his many bands such as Flowers Of Evil, then you’re going to adore this) but if you are a fan of Crocodiles, then you will love this delightfully loud record.

The record was made in London, and you can hear hints of UK Punk in the record all the way through. With Jonah on production and drums, Brandon is responsible for the vocals and guitar. Put these two together, and you’re of course going to be blessed with something truly incredible. These 10 songs were made for you to trash a room to, break stuff, throw yourself around a room and really get wild. I live on the 8th floor and it’s tempting to throw the TV off the balcony whilst listening to this record (I won’t!) This record was made in only 4 days, and you can really hear the rush and urgency on it. Songs like Everyone Pays massively sounds like it could have been born from early Hardcore days; you can hear what has influenced Brandon a lot on this record and his writing yet again will blow your mind. Charles and Brandon are two of the greatest writers of our time, and their genius shines always- whether together as Crocodiles or separately. I just adore them.

This record by Psychic Pigs is beautifully filthy and is there for you to totally immerse yourself in- in every way possible. It’s a record that’ll cause or cure a hangover; it’s a record to play really loud when you’re on your own. It’s a speedy and mucky record, and only good things can rise from the dirt, right? This is a record that goes beyond being a side project- it’s got this drive and bite to it that makes you feel like you are hearing Brandon’s voice for the first time, and also, you get exactly the same feeling from Charlie’s Crush Of Souls project. In short, they make beautiful music regardless.

The songs on this record don’t really hit over the 2-minute mark, so it’s pretty easy to just have this on repeat constantly. I love Hello Oblivion the most right now, but I’ll change my mind in a few hours and find a different song on the record to adore. I just think Brandon and Jonah have created something really important here, and it goes beyond being a rowdy Punk record. It feels comforting in some ways and maybe that’s because for me, Crocodiles have constantly (since 2008/9) been my ultimate comfort band. Every record is associated with something or has got me through something, kind of like having a buddy there right in your corner, y’know? There are so many hints of Hardcore bands on this record mixed with something that’s utterly nameless, and I think when you find something that you cannot describe, you’ve probably found something to treasure for a long time.

The lead single off the record (self-titled) was the perfect introduction to what we were going to get on this record- that snarly Stiv Bators attitude flows throughout the record and is so prominent on the lead single. It’s a brilliant song to get us all hooked on the Pigs. If I won the lottery, I’d pay for Brandon to bring a Psychic Pigs tour to the UK because this is a record that’s got to be witnessed live. New Dark Age

venue where you don’t know where the stage ends or begins-everyone just merges into one, and personal space doesn’t exist. Beer and sweat falls on you, and neither is your own. Perfect.

For me, the second half of the record is where the rowdiness really kicks in and songs like Masochist oozes a real Punk attitude that may have once scared your mum but she will tell you she’s seen and knows more than she lets on- so who’s scared now?! I know this is a great record because even though I have it playing super loud, my cat Mary, is happy to still be asleep next to me. She’s a Punk at heart- she didn’t really get a say in it.

Cool Society is a dig at how awful politicians are and how those who live in the real world know exactly what’s going on and how politicians aren’t in touch with any of us. How could they ever be? The frustration on this one is glorious and Brandon really lets the world have it with this one. This is another close favourite but truth be told, the whole record is a real masterpiece. The frustrations, the truth and all that goes along with it is what makes this record divine. The record ends on I’m On Drugs, and it’s fair to say this record is a wild trip that you won’t be able to get enough of. Inject these songs right in and let them consume you.

Psychic Pigs are released out of the dirt and into the wild tomorrow via Slovenly Records. And if you live in L.A, they will be playing a release show tomorrow (23rd) at Permanent Records Roadhouse with Tenement Rats

PIGS PIGS PIGS PIGS PIGS PIGS PIGS: Death Hilarious.

Posted on by

Here we go. Record number 5 from the North East’s loudest band- Pigsx7. What can they do on record number 5 that they haven’t already? Like, what is left to be done now?! Haven’t they burst our eardrums enough?! No. They haven’t. There’s more to do, more damage to our ears to be done.

Death Hilarious is a masterpiece, that you can be sure of. Again, Pigsx7 are a band who do not make bad records. Everything they release is so exciting and different- but always beautifully loud to the point where you may need medical attention (not the best kind of attention you can get, but still.) If you’re wanting a record to drown out the noise and to make you feel like every bone in your body is being crushed- this is the record you need. It’s the band at their peak. They’ve done it. They’ve made something that defines their sound in a new way, and I love how with every record they are unafraid to push the person who listens to it. It may be us old fans or it may be new ones; either way they push you and it’s wonderful.

If you’ve been lucky enough to see Pigsx7 live, then you’ll know that it’s an experience that goes beyond anything else you’ve seen or felt. For me, bands like this are the ultimate comfort band. Their sound feels like a secure grip around me, and I can’t get free from it- I guess it feels like home and it’s calming. Others may hear something utterly dripped in chaos and pure noise, but for me, that’s my version of calm. I never claimed to be “normal” because none of us are.

The record consists of 9 songs and is around the 45-minute mark- that’s enough time to let a record utterly consume you. Every song deserves its spot here, and the way it ends on the 8-minute wonder that is Toecurler is magnificent. It’s a grand record, and the ending does not mean the band are going quietly at all. If anything, they get louder. Matt’s screaming on this song is next level, you can really feel how healing it is. It’s like getting every ugly and painful feeling out. It’s the kind of song you’d want playing in a sketchy Slasher film where the killer loses it towards the end.

This is their most experimental record to date, and they won’t lose fans over it at all. If anything, they’ll gain more. Welcome to the cult of Pigsx7! I’ve played the record a lot this morning, and with every listen I’m getting a new appreciation for the band. You can hear the growth on the record. I remember first listening to them and I had NO idea what was going on- all I knew was that I was instantly hooked, and I found a band that were going to change how I listen to music and how I take music in. Turns out, that feeling has stood very firm with every record they released since. Death Hilarious is no exception. If anything, it heightened it.

I started writing this a week ago, with the intent of putting it up by the day had ended. But I felt with every listen of the record, I found something else to cling onto and relate to. So, for once, I let the record stay with me. For a week solid, this has been the only record I’ve listened to. I’ve played it at the gym on a loop, played it to and from work, listened to it at work- that’s a lot of hours. Have my feelings changed? Not in the slightest. I still think this is the best record Pigsx7 have done, and it explores the brutalness of anxiety and everything that comes with it, in a way I’ve not felt before from a record. The way Matt screams some of these lyrics will rip right through you. I know for a fact I cried when I played it the first time. Some lyrics just get you in the gut, and with more listens I feel less alone with whatever goes on in my head. Someone else gets it, and they are expressing it in a way that is a billion times better than I ever could. That’s the power of music- it makes you feel less alone, and less of a burden too.

If you’ve seen Pigsx7 live, you will know how big their sound is in that environment so when you listen to them on record- it can feel different. They’ve managed to capture that huge live sound and put it beautifully on record. They’ve done it. This is THE record they had to make and tonight I get to witness it live. It’s going to leave me hard of hearing tomorrow- it did last time, and I cannot wait.

Death Hilarious is a record I’ll keep going back to for different reasons. This week it’s helped me focus at work and the gym. Maybe next week it’ll feel like a hug, and the week after it’ll be my comfort record. All I know is that it will be one I keep going back to constantly. I don’t think it’s a record you play and just forget about. You don’t do that with a Pigsx7 record, it’s impossible.

Every song on the record does feel like a smack in the kisser and a punch to the ribs, and you just cannot get enough of it. Stitches has a Glam Rock feel to it, and you’ve got the ripper of a song, Toecurler that just sums up the whole record as the closer. In 45 minutes, Pigsx7 give the listener all they want and deserve.

The record feels like an exorcism of sorts and that powerful release is felt on every single song, and I think that’s why you cannot help but feel hooked right from the start. But that’s Pigsx7 all over.