The Japanese House - Albert Hall, Manchester by Emie Grimwood

The Japanese House have been a band consistently on the rise, attracting more attention month after month and it is well deserved. I first came to know of the band when they were playing at Reading and Leeds Festival in 2019 and I’ve been a fan ever since. The music they produce and create is so uniquely theirs and it translates to lives beautifully. 

I arrived just before the band began, the atmosphere was unlike any gig I had been to recently. The crowd was a mixed demographic, different ages and genders yet everyone felt connected through their admiration for the band about to play. People were kind, loving and there was an energy in the air which was infectious. As soon as the band came out, screams filled the room. Closely followed by the belting of the lyrics to “Touching Yourself” which they opened with. They kept the energy high with their upbeat, bouncy track “Sad to Breathe” which is one of my personal favourites and I couldn’t help but have a dance behind my camera!

The set was carefully constructed, there were moments for pause, for love for energy and so much more. The band has an incredible ability to transfix a room, the vocals were faultless. The venue suited them perfectly, fans spanning across two floors, some sitting, some standing, some swaying, some dancing. No matter where you were in the room, it felt special. During “Chewing Cotton Wool” silence fell over the room, an appreciation for the beauty of the song and everyone listened. I had goosebumps as I was watching people hold their friends, family or loved ones. 

Everyone was led to believe the show finished on “Boyhood” but they quickly came back for a surprisingly extensive 3 song encore of “Still” their new song “Smiley Face” and “Sunshine Baby.” The new song I felt had strong The 1975 influences, and I loved it! The reception of Smiley Face felt positive and that it was enjoyed by the crowd, I think it will be a strong release! 

Everything Everything - Live at Rock City, Nottingham by Izzi Glover

Everything (everything) about this gig was exciting.

Manchester band Everything Everything took on Rock City on a warm Thursday evening in Nottingham and the entire atmosphere matched up with the music. 

Local Nottingham legends Divorce opened up the show with some interesting, mellow music. This was special to watch as they clearly were happy to be there in their hometown at such an iconic venue. An odd choice to have them open up, however, as their music is the complete opposite of Everything Everything in terms of pace and emotional response. Simultaneously, the music fits the fandom; what can only be described as ‘man-made’ modern music. The only complaint here is that Divorce are very relaxed and gentle, which can be lovely in a gig setting, but as a support act for an upbeat indie act, they didn’t raise the energy in the room as you would expect. However, it worked. The crowd were silent and had their full attention towards the band during their slower songs, and throughout the entire set really. 

Divorce ended and thanked the crowd for making them feel so loved in their hometown, a warm start to the evening. 

20 minutes to wait before the main act came on; perfect time to grab a drink and for a quick toilet break. 

The stage set up has to be mentioned. A neon sun symbol behind Michael on his drums which made for some lovely silhouettes during the show. Floor lights underneath the raised part of the stage at the back also lit the members of the band in an interesting way, highlighting their faces and their instruments: the most important parts. Opening with The Mad Stone was an excellent choice because the crowd went mental. A track from their newest album, Mountainhead, which is fan favourite, then followed by Wild Guess, a personal favourite of mine, which the crowd also agreed with. The first three songs all being from the new album is an interesting choice that not many setlists take, but the crowd didn’t seem to mind at all. Everything Everything know how good their new album is and I agree with them, the only right thing to do is to show off all the new songs. 

Back to 2022, with Pizza Boy being the next song on the track list, a classic fan favourite, a good break from the new stuff and back to some old classics. The sound was raw, but crisp, electronic, but soft. Johnathon’s intense and steady vocals were heard loud and clear from all corners of the venue, I was at the front, then at the side, at the back and on the balcony, and the sound was crystal clear in all places. 

A healthy mix of all albums was spread out over the setlist, concoctions of old and new, different sub-genres and different sounds, something for everyone. If you were tagging along with a mate or a partner, and hadn’t really heard of the band, there is a guarantee you would find something in their set you would have e enjoyed. Obviously, Everything Everything are notorious for their dance tracks, like the iconic Distant Past. Lots of upbeat tracks thrown in around some more indie mellow sounds. The crowd were kept on their toes. 

Ending on Distant Past before the encore is certainly the only way to do it; such an iconic indie banger that I have most definitely heard in lots of indie DJ sets. The crowd put all their energy into this song. If they weren’t bouncing before, they most certainly were now. As always, they nailed this song and executed it perfectly. 

Overall, an energetic and exciting gig that is great for any music fans. A talented group of people known as Everything Everything blew Rock City away and have big things coming for them, I’m sure.

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Jake Bugg - Live at Keele University Union by Izzi Glover

Who needs a support band when you’ve got yourself? Jake Bugg on the third date of his Your Town Tour at Keele University in Newcastle-Under-Lyme, Staffordshire was not your average gig. 

Usually in a review like this, it would begin with talking about the support bands, but in this case the support was Jake himself performing an acoustic set of some of his acoustic songs. Doors opened at 7pm and the first part of the show wasn’t until 8:10pm, which was quite a while to wait but the fans didn’t seem to mind too much as there is a bar and seating area in the venue. Despite being slightly late on to stage, opening with Strange Creatures was definitely the right song to open with. The crowd all singing together to this song was the perfect way to begin the set. The lighting at this point was warm and the focal point was clearly Jake and his acoustic guitar. The capacity of Keele Ballroom itself is 2,500; the venue was so full, and somehow the set was still so incredibly intimate.

This was due to the combo of the mellow songs to begin the night with, and Jake’s incredible ability to hold a crowd with his timeless voice. He quickly greeted the crowd and that was about it. There was little to no crowd interaction, which can be a bad thing, but in this case, it really was not needed at all; the crowd was already so immersed in the simple but beautiful songs that were being played. This acoustic opener was such a good alternative to having a support band as it was a great opportunity to play more songs from his discography for the audience, who definitely got their money’s worth. 

Gig is the wrong word for this night, show is more fitting. There was a 15-minute interval before the rest of the band came on and the main part of the show begun.  Jake and the band walked out to Love Is Something by Camelphat & Jake Bugg, which got the crowd riled up with the house music and the fast-flashing colourful lights, letting them know something exciting was definitely about to happen. The band consisted of Jake, a bassist and a drummer. Considering there were only three people on the stage, the noise they made was outrageous. The lighting was simple but effective, a blue hue with warm spotlights on all of the people on the stage, making sure everyone was visible.

The opening song to the set was Trouble Town, another perfect opener. A classic song from the debut album that sums up Jake’s life. Some more upbeat songs from his new album and past albums followed, and the set was then broken up with a mellow, acoustic tune, giving the crowd a break. This song was the perfect length of time in the way that the slow part didn’t drag on too much leaving the crowd bored. It was easily noticeable that Jake was genuinely very happy to be there on that stage, which makes for an all-round better experience at an event like this, constantly smiling at the crowd and thanking them for attending. 

Broken really was the pivotal point in this set. The band left the stage and left Jake on his own again, like the forts part, with his acoustic guitar. Why didn’t he do this song in the acoustic section? The answer is simple. It means an awful lot to the fans and it’s too important to be in the opener where the crowd are still getting warmed up, it needs their full attention. Everyone was singing along, hugging, crying. Jake expertly performed the song, hitting all of the high notes every time with ease, which is impressive considering he has to perform this every night. 

Two Fingers was another notable moment in the show. The crowd all unified by doing the two fingers hand sign as Jake sang the iconic lyrics, talking about his hometown, Nottingham, and his childhood. An issue occurred in the middle of the song and in which someone in the crowd needed medical attention and Jake stopped the song to allow everything to be sorted out and he was checking that everyone was okay. It is clear that he cares about his fans and wants to make sure everyone has the best time possible. 

All I Need was the perfect ending to the perfect set. The band was introduced and received the recognition they deserve. Jake then thanked the crowd and said, “it’s been a pleasure coming to your town”. referencing his tour and the purpose being performing in smaller places that don’t get much in the big music scene, so fans don’t have to travel and spend lots of money. This was such a good idea as the venue was still packed out despite it being in the small place of Newcastle-Under-Lyme. I feel incredibly lucky to have experienced such an intimate and unique show in my hometown.

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Loose Articles - Live at the White Hotel, Manchester by Jessica Guscouth

Ready to grab you by your fishnets Loose Articles riot onto Manchester’s White Hotel, a run down warehouse, surrounded by barking guard dogs and peeling paint.

The space is the corner stage with a large banner, inflated sex doll decoration and ceiling attached smoke machines that make the environment for the night shows clear.

Opened by the local rising shoe-gaze band TTSSFU with which the lead singer, Tasmin and her heart shaped guitar, as well as the other talented band members warm the crowd with moody early 20s expression. Donned with bloke-core outfits they perform a series of brand new tracks, as well as a few fan favourites.

The self described “Feminine, Threatening and Working Class” group Loose Articles carry an air of punk rebellion, feminist fervour and are dressed in cheetah print outfits. They start off with a song for everyone who hates their manager, and the crowd cheers in response. A shared expression of contempt. In true punk fashion the subject matter varies greatly in the night but it all has a core of frustration and the need for more. Natalie, the group's front person starts a few chants for everyone’s least favourite bus before dropping into “Buses”.

As a lead vocalist she provides a riotous stage presence, matched in kind with the drummer, Louise, who was frequently yelling into the mic and laughing with the crowd. In contrast the bass guitarist and pianist, (Erin – Tree), while just as present in the music provided a calmer energy which the band oscillated between for show, performing other tracks such as “Want”, “Intern” and “Pinball”

Sinead Loves Bitcoin is a momentous part of the show, where friend of the band Sinead, who was also shooting the gig, jumps on stage and joins in to dance along. Given the bands logo you would not be surprised to hear the following track and band’s new single “I’d rather have a beer” an anthem themed around raising a glass to everyone who’d rather drink than shag.

They announce there will be no encore and state how annoying it is when bands do a mini charade – pretending to leave early and then do one more song. The night ends with a star appearance from the blow up doll – Randy. Thrown into the crowd and bounced around while the band perform he’s then quickly followed by the lead

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Haiku Hands - Live at YES, Manchester by Jessica Guscoth

HAIKU HANDS! An immediate striking stage presence! 

The Australian girl group land on stage, with a dynamic chemistry and atmosphere that ensures a great night for the packed crowd inside of YES Basement, they speak to the audience thanking everyone for showing up and are clearly still coming to grips with a rising global fandom.

Following both the release of their album Pleasure Beast and the successful US tour they continued their leg of shows to perform throughout Europe. The sophomore project is an album self described as containing messages of frustration, anger and revolution.

Beginning the night with “Cool for You”, a pulsing high tempo dance with a growling hook that the audience immediately bounces along with. The setlist of the night provides an encapsulating tour of the fledgling band’s growing discography. 

They bounce around the stage performing “Ma Ruler” with the energy of a girls night dancing with your friends. Claire, Beatrice and Mie perform off each other with beautiful melodies and basslines in “Squat / Onset” “FMA” and “Eat this bass” it’s clear they are enjoying the night just as much as everyone on the floor, which is shown through jumping down into the crowd – singing into the microphone or hanging upside down from the ceiling a feat causing many to stop and stare in awe.

Second to last is the fan favourite “Not About You”, the standout performance screams independence, sisterhood and banding together for the challenges of life. The energy of the show was at its all time high as the alternative dance group built up to a moment that empowered everyone who sang along. 

The show ends with “Feels So Good” , a deserving encore that provides one last pump of energy to the crowd who want to cry and shout. The already strong connection of fan and artist grew closer after the performance the night ends with a large photo for everyone in attendance.

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Cruush - Live at YES Manchester by Jessica Guscoth

cruush take the stage with an engaging and moody performance, which transfixes their small and passionate crowd in the basement of Manchester’s YES bar.

Manchester’s own cruush follow a series of excellent openers and fit right at home amongst the low ceilings, dim lights and foggy atmosphere. With Amber, as front person, Arthur and Charlie performing guitarists and Fotis on the drums. 

Their crowd is a collection of passionate shoe gazers, ranging in age from young to old, they are united in the love of echoey vocals, reverbed instruments and looking down at your feet while you sway side to side. The content focuses on embracing life, rejecting limitations imposed upon you and finding beauty in sadness. 

The performance begins with Wishful Thinker, lead by a deep electric guitar, piercing snares, muffled vocals which blend into the melody alongside the other instruments and all of which is support by a calm baseline. This transitioned peacefully into the As She Grows, the bands latest single. 

The tempo quickly raised, with fast paced drums and energised chords which seek to elevate the vocals. The song regales a tale about neighborhood garden fairies dancing amongst the grass and finding joy in the mundane, a simple wonder which encourages the crowd to dance along in kind. 

There was little crowd interaction between songs, the music passes delicately from one to another which seeks to keep the crowd transfixed, this delicacy is mirrored in the on stage performance from the swaying movement on guitarist to the tip toeing lead singer. 

Rupert Giles is called out as the next song, and an audience which all love “Buffy the Vampire Slayer” cheer out as the band dances across the stage together performing a fun ode.

False Start allows the guitars and drummers to take shine, a long introduction where the sound bounces through the room and creates a deep melancholic atmosphere, a story of love lost and rejection. The crowd feels the passion of resistance and the sadness of wasted time, all of which culminates into a loud crash of sound and energetic chaos which is reserved for select moments. 

The show culminates in the performance of an unreleased track Head Space, standing on stage covered in fog, there is one last ballad which demonstrates the immersive sound of shoegaze.The crowd chants for one more song as the band thanks them for taking part. 

The first show of their short tour, Cruush is sure to continue spreading their moody sound! 

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Against The Current - Live at SWG3, Glasgow by Rachel Cuthbert

From performing covers on YouTube to headlining world tours, American Pop/Rock band Against the Current brought the heat to Scotland’s SWG3 as they continued their largest tour to date, Daydreams and Nightmares.

Call Me Amour first took to the stage, effortlessly engaging with and warming up the crowd. The band combines elements from classic and alternative rock, creating a unique sound that evokes both intense emotion and excitement.

The audience were later treated to the incredible vocals of Canadian singer, LOLO. LOLO transforms old diary entries into alternative indie/pop song lyrics with her upbeat energy and storytelling style being similar to Olivia Rodrigo. The lyrics of ‘u turn me on (but you give me depression)’, were passionately sung back by members of the crowd, with her lyrics appearing to resonate with the teenage audience perhaps going through or thinking of their first heartbreak.

Against the Current wasted no time in dominating the room as they opened their set with ‘good guy’. The band’s setlist seamlessly flowed as they performed old fan favourites as well as new songs, demonstrating the evolution of the bands sound. They performed their new single ‘Silent Stranger’, which was later followed by a powerful encore including ‘Legends Never Die’ (written for the 2017 League of Legends Championships). Lead singer Chrissy spent the night performing immaculate vocals to a captivated crowd, leaving the crowd in awe, wanting more and ready for their next world tour.

Billie Marten - Live at York Crescent by Lily Ajaib

Billie Marten’s captivating vocals can transport you to a completely different world for a night. Her music bonds people together creating a community of love and appreciation.  

Following the release of her most recent album “Drop Cherries” in early April, Marten announced a  UK winter tour including her sold out show at The Koko in London, with a capacity of 1,400. Her  home show at The York Cresent held 250 people, making it a more intermate and memorable  experience. Reminding the audience of her northern roots, she reminisced on her last show in a York pub performing to 4 people. She could only find humour in her achievements since, quoting “And I  loved every minute of it”.  

Her well-crafted setlist of old, new, and unreleased songs showed pure, authentic, raw emotion, as  well as the natural talent that she was noticed for in at such a young age. Her band, which included  instruments of strings, bass, triangles, keyboards, saxophone and, of course, guitars all played well  bringing the studio version of her music to life.  

A new addition to Marten’s band joined her on stage when a fan was invited onstage to play “Vanilla  Baby” with her. Billie played acoustic guitar while the fan (Anushka) played electric. Marten smiled  and described the moment as “an extraordinary experience.”  

Time stood still during “Devil Swim”, a song from the new album showcasing Marten’s talent  perfectly through a striped down accompaniment with just her vocals, guitar and a violin, played  Harry Fausing Smith. She voiced her appreciation of Harry before starting the song, saying how she  asked for strings while he was away from the studio for a new idea, which resulted in the demo for  Devil Swim. The demo is the exact copy of the version on the album, Marten went on to describe how “it felt right to put it on the album as it was.” During this song, it was clear that Marten created  an environment that could only be described as a community, where all were mesmerised by her  performance. No phones in sight, just a sway from one side to the other. The room was full of love. 

Marten called the rest of the band on stage, as well as her opening act Clara Mann, to surround one  microphone and sing “Acid Tooth”. Marten’s stage “family” all harmonizing together, bouncing off one another brought the crowd to a standstill in admiration. Billie ended the song nervously asking  the crowd “Did that work?”. Billie may have been playing 250 people in that room, but you could  hear every single one cheering, realising they were witnessing something special. 

Marten followed with a new song called “Swing” which reminded us of her ability to tell a story within her writing, using descriptive human nature throughout, a common theme throughout all her  music. 

The set lasted about an hour and twenty minutes with performances of “Arrows”, “Willow”, “Nothing  But Mine”, “La Lune” and “I Can’t Get My Head Around You”. The show was a perfect night of live  music, showing Marten’s pure artistic ability within the music industry. I believe that if anyone spent  an evening watching Billie Marten perform as memorably as she did, they would instantly fall in love  with her, just like how everyone did in that room at The Crescent. A perfect show to end the year.

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