When: 7.30pm on Saturday 31 October 2026
Where: Hallé at St Michael’s, 36-38 George Leigh Street, Ancoats, Manchester M4 5DG

PLEASE NOTE: There is no support for this show, with Toria’s set beginning at 8pm.

We welcome Toria Wooff back – for a Halloween night special at St Michael’s!

Lancashire’s woman in black Toria Wooff returns to Manchester to haunt the stage of Hallé at St Michael’s on Halloween night. Following the success of her eponymous debut album (championed by the likes of Uncut, Clash, Shindig, Record Collector, 6 Music and Radio X) and last year’s sold out show at YES, Toria will be joined by her full band playing songs from both her first record and her yet-to-be-released sophomore record.

Containing tales of love, loss, hope, relationships and womanhood, the eponymous debut album is both an exorcism of torment and an invitation to feeling only what is good and as the record takes listeners deeper into her bittersweet world, it’s only a matter of time before countless others will fall under her spell.. Tugging at the cloaks of contemporary folk souls Jake Xerxes Fussell or Richard Dawson, it offers a contemporary twist on the Anglo folk tradition through a bloody cocktail of classic rock origins and transcends time as it nods to the lyrical narratives of Led Zeppelin, Fairport Convention and Townes Van Zandt – all the while infused with inspiration from her collection of gothic literature and historical texts. ‘The self-reflection in the title demonstrates a life lived,’ Toria tells. ‘The songs are chapters to dip in and out of, moments immortalised in time, bound together by nothing more than the human experience.’

Recorded with partner in rhyme and intuition, producer, mix engineer and guitarist James Wyatt in his Sloe Flower studio, the album honours songwriting’s roots with an authenticity captured by its delicate restraint. Only allowing pedal steel and wurlitzer to fill out the intimate space at just the right moment, opener The Plough introduces Toria’s affecting tone and guitar with intoxicating simplicity before a sonic expansion which explores the physical and metaphysical truth of womanhood. Grief comes to the fore in Song For A, which assuredly acknowledges helplessness in the face of an inevitably bad situation and is then healed by the love and commitment which eeks through the cracks on reassuringly uplifting live favourites That’s What Falling In Love Will Do and See Things Through. Toria’s story-first approach closely reflects the emotions of moments in time, and they’re never written down, only manifest as a result of her inspired process.

A painter, poet, songwriter and storyteller, music is just one facet of Toria’s wildly creative imagination which metamorphoses in many forms. Steeped in gothic romanticism, pagan and Germanic tradition, Toria’s unique view of the world is enchanting through an alchemy of sound and vision; a magical blend of her own spellbinding folk-rock concoction. ‘It’s mostly about making mundane things in life beautiful,’ Toria says. ‘There’s a pragmatic reason behind all I do, and I always take the most aesthetically pleasing approach. I combine everyday language with prettier, longer, and poetic words so the surface might have one meaning but there will be many others the deeper you go. The most beautiful words are desperate, pinning and punch at the gut.’

‘Darkly seductive… outstanding’ – Uncut

‘Potent gothic folk’ – Clash

This concert takes place in Hallé at St Michael’s – a former Roman Catholic church, which was founded in 1859 and became the heart of the Little Italy Community in Ancoats.

This is a 14+ show. Under 16s must be accompanied by an adult.

Poster hand-painted by Toria Wooff.

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When: 7pm on Saturday 7 November 2026
Where: YES Pink Room, 38 Charles Street, Manchester, M1 7DB

After back to back sold out shows Gustaffson return to Manchester for their biggest show to date at YES Pink Room.

Gustaffson are back with a UK tour in 2026. The five-piece Manchester outfit are on a journey to redefine what it takes to make ‘real music’ as a band in 2026. They encourage their fans to pick up the lyric book, unite as a collective and disconnect from the numbing comfort of the algorithm.

Gustaffson are quickly becoming renowned for their curation of venue-specific, standalone shows that become calendar shaping events for their audience.

Their debut elbow produced album Black & White Movie achieved critical and commercial success, reaching #14 in the Official Record Store Chart as well as being featured in Rolling Stones’ ‘7 Albums You Need To Hear This Week’. It earned high praise from Jo Whiley, Chris Hawkins, Guy Garvey, and Gaby Roslin. The band celebrated with a spectacular sold-out show at London’s Bush Hall.

They finished 2025 with an elbow produced single Dance To The Algorithm. A retro funk anthem which featured on ITV Granada Introducing and had Gustaffson included in The Manc and Audio North’s ‘best artists of 2025’ alongside Richard Ashcroft and The Charlatans.

This year the band will return to the studio to record their second album with elbow’s Craig Potter.

‘The vivid musical world Gustaffson creates here is truly technicolour’ – Rolling Stone UK

‘Gigs of the year 2025’ – RGM Magazine

Special guest is Coruja Jones. Coruja Jones is a Manchester-based songsmith who makes dreamy, indie-folk – beautiful songs combined with intricate, delicate guitar work into cavernous reverbs, which take aim at your heart. He has been touring music from his latest record Undo, and will be previewing songs from his forthcoming debut album Big Feelings, working with producer Sam Vicary (The Cinematic Orchestra).

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When: 7.30pm on Monday 9 November 2026
Where: YES Pink Room, 38 Charles Street, Manchester, M1 7DB

We’re delighted to welcome Matthew and the Atlas to YES as they mark the 10th anniversary of Temple!

Matthew and the Atlas is the project of Hampshire-based songwriter Matt Hegarty — one of the first artists signed to Communion Records. Over fifteen years and seven albums, he has traversed a range of musical territories from classic acoustic folk to synth-laden electronica and guitar-led alt-rock, touring extensively across the UK, Europe and the US with the likes of Mumford & Sons, Bear’s Den and The Civil Wars, and earning the tag the “British Bon Iver” from Q Magazine along the way.

Temple was recorded in Nashville in 2015 with production duo Foreign Fields and released in April 2016, producing fan favourite Elijah. Later that year, Hegarty headed back into the studio with the rest of the band and producer Ian Grimble to rework the songs using the instruments they had — acoustic guitar, harp, clarinet, banjo, piano and double bass. Temple Unplugged came out quietly in December 2016 and found an audience Hegarty hadn’t expected — over the years it has become the record fans mention most at shows.

This autumn, Hegarty heads out as a three-piece alongside longtime collaborators Emma Gatrill and Alex Roberts to celebrate the tenth anniversary of both records — a rare chance to hear Temple Unplugged performed from start to finish, in the intimate spirit in which it was originally made, alongside favourites from across the MATA catalogue.

‘A very rare talent’ — Clash

Tour support comes from AK Patterson. AK Patterson is a London-based singer-songwriter and multi-instrumentalist whose music blends gritty honesty with haunting beauty. Known for her unflinching exploration of dark and complex themes, Patterson crafts songs that find hope in the bleakest corners of human experience. Described by fans as ‘Buckley with boobs’ (in reference to Jeff Buckley), she prefers to label her style as modern chamber pop fused with the melancholic spirit of 90s Lilith Fair.

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When: 7.30pm on Wednesday 11 November 2026
Where: Gullivers, 109 Oldham Street, Manchester, M4 1LW

We’re delighted to welcome Flora Hibberd to Gullivers!

Like a textile artist, Flora Hibberd weaves layers of meaning into her music. Born in London, she has called Paris home since the age of eighteen. As likely to veer into guitar or synth-driven pop as to take up a 17th century traditional, the songs pulse with surreal allusions and mundane emotions, a tapestry of everyday life shot through with cosmic signs. Hibberd sees her songwriting as a walk in a strangely familiar neighbourhood, revealing and reveling in the oblique and the mystic.

Her acclaimed debut album Swirl (2025, 22TWENTY) was recorded in Eau Claire, Wisconsin and praised by press internationally, including Le Monde, who hailed it as one of the standout indie-folk releases of the year, and KEXP, who hailed her last release as ‘a timeless collection of sweeping folk-pop’. With her haunting melodies, literary lyricism, and magnetic live presence, Flora has quickly established herself as one of the most compelling new voices on the scene.

Hot on the heels of her acclaimed 2025 album, Flora’s new record Mammoth gets weirder. Produced by The National’s Ben Lanz between a Basque mountain and the Paris suburbs, the album is peopled with ghosts of history and prehistory that roam the present, to stare into the future with a clear and unblinking eye. Echoes of Lanz’s trombone and longtime collaborator Victor Claass’ feverish guitar, and whispers of familiar voices drift down from the hill, the swirling mists of an album that is at once more energetically pop, and more odd and disquieting, than what came before.

Local support comes from Run Remedy. New Jersey-born, Manchester-based songwriter and violin nerd Robin Koob makes lo-fi alt-indie as Run Remedy, wobbly guitars, scruffy edges, emotionally precise songs and a healthy dose of grief and goof. Somewhere between Wilco and Mitski, with a little stand-up-comedy energy thrown in.

She’s had BBC 6 Music spins and even been hailed ‘an amazing songwriter’ by her champion Guy Garvey. She’s played everywhere from New Colossus NYC to Kendal Calling, across the pond and tip to tail of the UK (but mostly in Manchester), earning an ‘utterly beautiful’ from Record of the Day and an ‘on the rise’ from The Line of Best Fit. After years of being everyone else’s strings and sings, she’s finally letting her scruffy Jersey girl energy take the spotlight. She’s currently performing songs from her latest release, Not at the Table, five tunes about uncomfortable conversations, finding the right words, and getting them out before the end of the meal.

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When: 7.30pm on Thursday 12 November 2026
Where: Kamera at Lloyd & Platt, 617 Wilbraham Road, Chorlton, Manchester, M219AN

We’re delighted to working with Spafford Campbell for the first time!

Spafford Campbell are twenty-something mould-breakers, fiddle player Owen Spafford and guitarist Louis Campbell.

The two first met as teenagers playing traditional music. The connection, they say, was immediate. The duo Spafford Campbell began playing live in 2018, prompting double takes with their delicacy, dynamism and seemingly telepathic exchanges, with the startling intimacy of musical conversations nurtured in improv-led writing sessions.

Their latest album Tomorrow Held is a visionary body of eight largely instrumental tracks that hold space, resolve into mystery, that fold in elements of jazz, post-rock and chamber classical music while raiding the folk music toolbox. Call it what you want: post-folk. Trad-noir. Folk nihilism. Then know that Spafford Campbell are blazing a trail that erases genre — and finds gold in the embers.

While redolent of Talk Talk’s moody, experimental 1988 opus Spirit of Eden, and riven with a Bon Iver-ish sense of transcendence, Tomorrow Held is a work of bold singularity. A whole greater than the sum of its parts — parts that include effects pedals, ambient cassette loops, flashes of electric guitar, electronic processing on fiddle and impressionistic accompaniment.

‘Mingling traditional tunes with influences from minimalism, post-rock and jazz, they shift moods exquisitely’ – the Guardian — 10 best folk albums of 2025

‘This is a fusing of the traditional and the futuristic that is quietly groundbreaking, and beguiling with it’ – The Times — albums of the year so far 2025, 4*

‘England’s finest and most innovative instrumental duo’ – Songlines — Top of the World, 5*

Local support comes from Quincey May Brown. Quincey’s second album Careful, Pockets is out now on Other Shoe Records. Marked by her distinctively tender vocals, acerbically playful lyrics and harp-propelled textural arrangements, DIY musician Quincey May Brown is a singular force. Raised in Northamptonshire and now based in Manchester, her songwriting has been praised for its depth and subtle humour.

Following the release of her debut album, Basic Surgeon, the new album expands on Quincey May Brown’s intoxicating exploration of both organic and non-organic sounds in unexpected ways. Quincey leans away from folk conventions, instead creating a world of strings, drones and woodwind, dancing to the beat of its own off-kilter drum. Careful, Pockets is a collection of stories on loss, human nature and childhood scrapes.

Kamera is the brand new venue upstairs at Lloyd & Platt (formerly The Lloyd’s) in Chorlton – by the team behind the Castle Hotel and Gullivers. The pub downstairs offers Indian street food by Chapati Cafe.

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When: 7.30pm on Saturday 14 November 2026
Where: Gullivers, 109 Oldham Street, Manchester, M4 1LW

We’re delighted to be working with Zoh Amba for the first time – with support from hot springs!

In April, Zoh Amba announced their Matador debut album Eyes Full, out June 5th, an album of tough and soulful songs that feel like a pure transmission from the heart. Today, Amba shares the album’s pensive and darkly hypnotic title track, a song about what makes someone’s heart full, and questioning why. It’s accompanied by a video directed by Grace Bader Conrad, featuring Amba and album musicians Jim White (drums) and Kevin Hyland (electric guitar).

‘Eyes Full’ follows first single ‘Another Time’, on which The Guardian said, “the free jazz saxophonist turns equally remarkable songwriter for a record that twists their Appalachian roots with openhearted, choppy indie rock”, and Stereogum in their Best 5 Songs of the Week noted, “that voice, along with those lyrics about being lost and seeking transcendence, make for pure beauty, rustic country-rock style.”

Alongside a recent sold out headline show at New York’s Nightclub 101 previewing songs from the new album, Amba performed in Coachella as part of Iggy Pop’s band. They will tour the US throughout the summer supporting Courtney Barnett and Folk Bitch Trio. A full list of tour dates is below.

Eyes Full is distinctly, instinctively tied to Zoh’s hometown of Kingsport, Tennessee and the rediscovery of their first instrument, the guitar. The album courses with a type of muddy, loose acoustic blues, punctuated with bursts of feedback-laden electric guitar and sweet burnishes of Appalachian folk. It’s a remarkable turn for an artist who has already become one of the most exciting saxophonists to emerge from NYC’s avant-garde scene,

In music, Amba is always striving for greater proximity to the divine. On Eyes Full, they’ve never come closer. Every song circles the idea of seeing and being seen. The record looks closely at the lives of working-class folk in small towns who bust their asses off while trying to find any salvation they can.  “I hope these songs touch people’s hearts,” Amba says. “They’re about people who really need to be seen and heard.”

For years, Amba tried to find an identity outside of where they came from. Raised in the mountain towns of Tennessee, they left at seventeen for San Francisco, then moved to New York City soon after. Yet no matter how far they traveled, home always wrapped itself around their ankle. “When you try to run from something it ends up catching up to you,” they say now, speaking in a thick Southern drawl they no longer attempt to hide. “And you have to deal with it.”

Though Amba had long believed that pure instrumental music could help souls, and that transcendence could be reached without language, words eventually pushed their way in. While playing saxophone, they often felt as though they were being carried heavenward: their body burning, tears rising, the music opening a direct line to God. But alongside that ecstasy came flashes of darker childhood memories. The guitar became a way to face those visions directly, to hold them at eye level rather than flee. They sang their way through it, and back to Kingsport.

Growing up, Amba watched their small town pass through a difficult, destabilizing period. For a time, they tried to keep that reality at arm’s length, only later recognizing how thin the line was between themselves and those who suffered most. They grew a greater sense of grace and understanding for these people. Each song on Eyes Full, which is entirely character-driven — from the kid benumbed by medication (‘OCD’) to the weed-eating man who plays hide-and-seek with God (‘Weed Eating’) — is an act of love for them. “They all deserve to go to heaven,” says Amba, rejecting the punitive theology that surrounded them in the Bible Belt. Songs about damnation never made sense to them; what interested them instead was mercy, and the possibility of redemption.

The record was tracked live at Drop of Sun Studios in Asheville, an hour from Amba’s hometown, with no overdubs. Their best friend Kevin Hyland plays electric guitar, while drummer Jim White, whom Amba met on the streets of New York years earlier and now calls the closest thing they’ve had to a family, plays drums. The three musicians rehearsed relentlessly, playing together all day, every day, “until we got real tight,” says Amba. White and Amba play interlocked, while Amba and Hyland weave around one another, Amba playing rhythm and Hyland playing lead; currents of life running alongside one another.

The music itself sounds moonshine-drunk, Amba’s voice snarling and fiery, their guitar slowing then gathering speed like a steam train edging off the tracks. They veer suddenly between abrasion and gentleness. One moment they’re all teeth, the next, they go soft and still. On ‘Emahoy,’ they play a drowsy and velveted guitar line while singing with unguarded tenderness about the sadness dancing in their soul.

Standout ‘Southern Soil’ is the song with the most stakes, its eyes the most difficult for Amba to look into. “When that song finally came to me, I was like oh shit. I could have cried.” It was a feeling Amba had been trying to get to the bottom of their entire life: the reason their heart would swell at a show only to deflate again once they returned to the hotel room. Writing it filled and emptied them at once. Addressed to the people who first taught them what could and couldn’t be said, it confronts the silence that shaped much of their young life. The lyric “you don’t have to keep a secret,” the most hard-fought of them all, is Amba’s triumph over pain with grace. They consider it one of the greatest achievements of their life.

Eyes Full is a lesson in how to look and to stay open to the universe, and to all the hearts that inhabit it. Through Amba’s gaze, the album restores spirit and dignity to those who are often overlooked or dispossessed. Across Eyes Full, Amba sings for people who rarely see themselves reflected back with tenderness. The music carries an ache for communities pushed to the margins, for those growing numb or losing touch with their innermost sense of self. These songs insist on sustained attention: on looking closely, meeting another person’s gaze, and refusing to look away.

Support comes from hot springs. hot springs is the musical project of Swansea-born, Manchester-based songwriter Rachel Rimmer. With alternative-folk intimacy and art-pop mischief, hot springs invites us into a world where infectious rhythms, oddball riffs, and hypnotic vocals merge into something equal parts soothing and strange. hot springs’ self-titled EP was released in 2026.

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When: 7pm on Saturday 14 November 2026
Where: Band on the Wall, 26 Swan Street, Manchester M4 5JZ

We’re excited to be welcoming The Sheepdogs back to Band on the Wall!

The Sheepdogs are Canada’s leaders in rock ’n’ roll entertainment. Four-time JUNO Award winners from Saskatoon, with multiple Gold and Platinum records to their name, they blend killer harmonies, dual-guitar wizardry, and a stage presence that turns audiences into true believers.

The Sheepdogs deliver the real goods: rock music that’s loud, loose, and full of soul. They’ve taken their unmistakable sound from bars and roadhouses to festival fields and arenas around the world, earning a well-deserved reputation as one of the most electrifying live bands today.

With 13 releases — including the recent companion EPs Paradise Alone and Hell Together — the band continues to prove that the spirit of classic rock will never die. Now, thanks to their own label, Right On Records, they are masters of their own destiny. Their new single, Nobody But You, is the first taste of new music to come and proof that The Sheepdogs are charging full steam ahead into 2026 and beyond.

This show is for ages 10+. Under 16s must be accompanied by an adult.

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When: 7pm on Wednesday 18 November 2026
Where: New Century, Mayes Street, Manchester M60 4ES

We’re excited to welcome Jesca Hoop to New Century – with special guest Nadia Reid!

Jesca Hoop‘s Long Wave Home spills with hope for a broken world. The seventh solo album from the California-born, Manchester-based songwriter took shape amidst a period of both personal and geopolitical upheaval: a web of schisms that seemed to reflect one another as they unfolded. It is the first album Hoop produced by herself, and it marks both a fresh start and a deepening of her extensive, multifaceted discography. Across the record’s rich and sumptuous tracks, Hoop deeply considers what it is that people owe to each other: in individual relationships, in community, and as witnesses to the broader world. These days run thick with terror. Long Wave Home sinks into it and surfaces anew with a nimble, inquisitive spirit.

At the end of 2024, Hoop began mapping out what would become Long Wave Home with a focus on her own independence as an artist and working musician. “I shed a lot of superfluous roles and structures wherever I was making too many compromises,” she says. “With that blank slate, I started to write.”

The songs, at first, came slowly. Hoop’s life moved at an even keel, and she struggled to find points of tension that might serve as the basis for new music. “If life doesn’t present you with a change, how do you grow?” she asks. Then, in 2025, change came for her. Some of Hoop’s most trusted relationships began to shift considerably. “My writing opened up. I had more tension than I knew what to do with, and plenty to explore about human relationships,” Hoop says. “I was able to engage by just recording what I was seeing around me.”

As the songs on Long Wave Home grew from this generative state, Hoop made the choice to produce the album herself. “I really had to commit and do what my hero would do,” she says, referring to Joni Mitchell and her storied artistic independence. In the past, Hoop had worked with a roster of seasoned, brilliant producers: John Parish (PJ Harvey, Tracy Chapman); Tony Berg (Taylor Swift, boygenius); and Blake Mills, (Fiona Apple, Alabama Shakes). Hoop learned from all of these partnerships. As she embarked on her seventh album, she was ready to apply that knowledge from the cockpit.

Hoop recorded Long Wave Home in studios around the United Kingdom. She asked her collaborator Jesse D. Vernon to arrange accompaniments for her songs, then set out in a camper van to meet session musicians and begin tracking. Her travels took her to The Shed in London, Empire Sound on the Isle of Wight, and J&J Studios in Bristol. Throughout the process, she worked closely with engineers Tim Thomas (Bright Eyes, British Sea Power) and Leo Abrahams (Belle & Sebastian, Frightened Rabbit) to foster the sound she envisioned for the album.

Under her careful hand, a populous, dynamic sound emerged. These songs about relationships hold relationality at their bones, from the rolling tuned percussion on “Now the Ash” to the call and response among brass, piano, guitar, and voice on “Adam.” “Listen to me, I’m your witness / And I believe in who you are,” Hoop sings on “Love is Salvation” as horns swell around her, tall enough to serve as sanctuary walls.

Hoop stares into darkness with equal warmth and precision. With “Designer Citizen,” she takes a sardonic edge to questions of nationality and belonging as she sings about observing American political instability from her home across the ocean. On “Signal to Noise,” Hoop reflects on an overwhelming media landscape that seeks to prevent political momentum from accreting among like-minded people: “If revolution can be sparked by a feeling / Turn up the system, point the finger, send them reeling,” she sings, her voice cradled by gentle backing vocals. And the driving, mournful “Playground” bears witness to the children whose playground has been reduced to rubble, then poses the question: Where does the trauma go?

“‘Playground’ was the quickest song I ever wrote. It usually takes me about a month to write a song, and I wrote this song in two days after watching Netenyahu give a press conference,” says Hoop. “I had such clarity on what I was seeing, and an inarguable statement that I could deliver in a song.”

The political landscape and the interpersonal landscape flow into one another, and to be a conscious inhabitant of both requires us to question ourselves. What do we owe to one another, and how do we deliver it? Where are our efforts most sorely needed, and how do we arrive there? Hoop’s songs remind us that evolution necessitates scrutiny: a searing gaze fixed on both the outer world and the inner self. “I don’t draw the line between a love song and a political song,” she notes. “To me, it’s all about being here. All of these songs are love songs, and in one way or the next, they’re all protest songs, too.”

The album settles with a delicate and powerful title track whose atmosphere hangs heavy with the resonance of its commingling instruments. With “Long Wave Home,” Hoop wraps warm arms around the empty skeleton of isolation and blankets you. There is strength in solidarity, in the bare recognition that we all yearn for connection. “You’re not alone,” she sings. “Long waves are carrying you all the way home.” Somewhere there is a shore. Somewhere there is a receiver. Somewhere, and it isn’t as far away as it seems, the ocean waters break on solid ground, the static is tuned to a song, and the heart burns bright again, like pulsing lights atop distant radio towers.

Special guest is Nadia Reid. Nadia Reid’s fourth studio album Enter Now Brightness (Chrysalis, 2025) was praised by the Guardian, and drew four stars from MOJO and 8/10 from Uncut. A distinctive voice in contemporary songwriting, she has steadily built an international reputation through acclaimed records and compelling live shows, including appearances at Glastonbury and Green Man. Live at Old St Paul’s with NZ Trio, a live recording with string arrangements that extends the world of Enter Now Brightness, was released for Record Store Day 2026 and is out now on streaming platforms.

This fully seated show is for ages 14+.

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When: 7.30pm on Friday 27 November 2026
Where: Gullivers, 109 Oldham Street, Manchester, M4 1LW

We’re delighted to be helping Adam Hopper & the Wimps launch their debut album!

Forged in the box room of a Ladybarn terrace house and honed in the pub back rooms, rehearsal spaces and grassroots venues of the North of England, Adam Hopper & the Wimps provide anti-folk tinged songwriting, equal parts heartwarming and heartbreaking. 2026 sees them release their debut album and head out on tour.

Steadily building on a catalogue rich in disarmingly honest, open-hearted lyricism, the band uses its debut long player Adam Hopper & the Wimps to set out the stall for what it has become over years of refinement on the stage and in the practice room. A tight band of tightly knit friends using their music to unravel the complexities of relationships, vulnerability, and the reconciliation of longing versus reality. Plaintive and grounded folk swells into psychedelic crescendo; Americana-inflected lead guitar parts act as expansive foil for wry, almost cast-off observations; admissions of gnawing insecurities to Go-betweens jangle bubbles over into full-band wig outs.

Adam Hopper & the Wimps follows on the heels of 2025’s EP Remember To Have Fun, which saw the band secure a live session on Riley and Coe’s BBC 6 Music show. Since then Hopper has moved across the Pennines to Sheffield to immerse himself in the thriving DIY scene there, making use of renowned venue and recording studio Delicious Clam, where the record was recorded.

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When: 7.30pm on Saturday 28 November 2026
Where: Kamera at Lloyd & Platt, 617 Wilbraham Road, Chorlton, Manchester, M219AN

We’re delighted to welcome Skep Wax Records’ Swansea Sound to Kamera – with Committee of Sleep!

Swansea Sound are Hue Williams (The Pooh Sticks), Amelia Fletcher and Rob Pursey (Talulah Gosh, Heavenly, The Catenary Wires), Bob Collins (The Dentists), Ian Button (Death in Vegas, Railcard). Formed during lockdown, they recorded three singles without actually meeting each other.

Corporate Indie Band appeared as a cassette on specialist label Lavender Sweep. It got a lot of airplay, and the next releases were on 7-inch vinyl, including Indies Of the World, which made it into the UK vinyl Top 10.  A debut album, Live At The Rum Puncheon, was released in 2021; Twentieth Century followed in 2023. Both albums won considerable critical acclaim.

Swansea Sound have recorded live sessions for Riley & Coe (BBC 6 Music), John Kennedy (Radio X) and Evan Davies (WFMU, New York). They were selected by Stewart Lee for his ‘Legends Of Indie’ series of gigs in 2025 and are regular performers at the Laugharne Festival in Wales. They recently two tours of the US with Skep Wax label-mates Heavenly.

The band will be playing a series of UK live dates in November and December to promote their third album.

‘The glorious sounds of C86 brought into the now’ – Thomas Patterson, Shindig

‘Close to an indie pop miracle’ – Tim Sendra, All Music

‘An essential broadcast from the forefront of the indiepop resistance’ – Andy Brown, Louder than War

‘The C86 Crass’ – Stewart Lee

Support comes from Committee of Sleep. Committee of Sleep are a four-piece lo-fi pop band from the North of the UK, crafting textured, emotionally driven songs that drift between shoegaze, bedroom pop, and DIY experimentation. Fronted by songwriter Olly Lightfoot, whose 2022 cancer diagnosis informs much of the band’s lyrical landscape, their music explores themes of love, loss, renewal, and quiet gratitude. Blending nylon-string guitars, cascading drums, warm basslines, and hazy harmonics, the band create a sound that feels intimate, dreamlike, and deeply human.

Their debut EP Ruling Overturned arrives in April 2026, led by the single The Planet of Chocolate Bars, a lucid, reflective track recorded in a rural cottage over New Year’s 2025. Committee of Sleep have shared stages with Yowl, Legss, HighSchool, Cruush, Constant Smiles, Pebbeldash, Midnight Rodeo and Bloodworm. Sitting somewhere between Duster, Bedhead, Elliot Smith, Slowdive, Pixies and Guided By Voices, the band continue to build a world of introspective, DIY-spirited indie built on honesty and atmosphere.

Kamera is the brand new venue upstairs at Lloyd & Platt (formerly The Lloyd’s) in Chorlton – by the team behind the Castle Hotel and Gullivers. The pub downstairs offers Indian street food by Chapati Cafe.

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