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Soup Kitchen

LIVE: James Chance and Die Contortions @ Soup Kitchen, Manchester


It’s quite the ‘chance’ encounter – best to get that out of the way early – to have the no wave legend and jazz-punk curmudgeon on these shores, let alone in the stark basement of the Northern Quarter’s Soup Kitchen. Many of tonight’s gig-goers, themselves possibly survivors from the scene’s experimental ‘80s heyday, seem aware of the bill’s implausibility, as well as highly discerning – so particular is Chance and his Contortions’ smoky jazz-bar vibe that it calls for a support act that’s similarly fully-realised, which on this occasion is found in Glaswegian six-piece KAPUTT. Featuring sharp saxophone and two intertwining percussionists, it’s an intriguing set-up, which suddenly jerks into life with blocky beats and a tangle of summery guitars.

A wiry, besuited front man holds the crowd’s sway with nonsensical barking, propping up demented instrumentals with a vintage swagger; his coarse, repeated vocal stabs play off the anxious-sounding melodies, and pleasurably interlock with the skittery dual percussion. Pleasingly, the song Highlight lives up to its name, leaving tonight’s most gratifying impression with its wobbly bass line, jumpy cowbell and frantically-traded vocal parts (“Highlight”/”HIGHLIGHT!”). Long before the group’s set ends, the audience act as visibly enraptured as their wildly hopping saxophonist, finding a shared joyousness in the bouncy, yet deeply cerebral grooves.

Soon enough, the crowd’s eagerness becomes palpable, with masses huddling to the front of the stage to catch a glimpse of Chance’s diminutive, scowling figure. Suddenly, the world-weary Contortions are finger-snapped into a rigid post-punk beat, which supports Chance’s own strangled lounge-singer yelps, and instantly showcases the group’s skilfully layered percussion, elastic-sounding bass and a mesmerising guitar talent. Following this is the menacing, yet measured Gil Scott-Heron cover Home is Where the Hatred Is, which leads with Chance’s deftly slinking saxophone, and builds over a strutting bass foundation; at his signal, the shrill instrumentation slowly fades to just a passage of muted percussion, heightening the existing tension and forcing the crowd’s focus onto his eerie, confrontational lyrics, before slicing through the atmosphere with razor-like sax parts. The set then swerves into dissonant organ jamming – a genuine vintage Hammond, as I’m reliably informed by my companion – before settling at the darkened crawl of the provocatively-named Sax Maniac, whose relatively thin structure carefully reinforces its unsettling nature.

Chance masterfully controls his band’s flow throughout wildly expansive and more restrained sections, sometimes multiple times in the same song, yanking it back with a snarling ‘c’mon fellas.’ It’s at the point of lovelorn ballad The Days of Wine and Roses – which plays off the guitarist’s busy, effortless chords with the mournful leading sax – that my friend most feels like he’s walked into an episode of Twin Peaks, and with good reason; the song’s vintage instrumentation and tender crooning truly encapsulates the mood of an intangible bygone era, and its dedication to Chance’s wife Judy, who ‘sadly couldn’t be here tonight’, only adds to its emotive charm. Further pushing this energy is a smouldering Sinatra cover of That’s Life, which abandons all of its original triumphant melody for a disaffected and dissonant post-punk interpretation.

A broken guitar string threatens to halt the night’s simmering tension, but stands no chance against Chance’s signature track (and most well-known ‘hit’) Contort Yourself, which harks back to his explosive no wave bandleader days – its paranoid, jerky grooves elicit the greatest amount of recognition and movement from the audience, who exude a relief that the night ends with a bang, rather than a whimper.

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LIVE: Mothers @ Soup Kitchen


It’s a Friday. The one day that’s slightly better than the other 6 in the week. Merrily the pre-drinking of premium reasonably priced lager, slightly taught wine, fizz, cider and other liquids are all being pre-drunk. Presumably in flats and other living arrangements in an unanimous ‘do-one’ to the weeks pedestrian headaches and salary motivated activities. With the sabbath of fun on our hands, everything is always a bit more special on a Friday. None the more special as an evening well spent watching bands in the basement of Stevenson’s Squares’ beloved Soup Kitchen.

Tonight, we are blessed with the intoxicating experimentalism of Athens, Georgia’s: Mothers. Touring their sophomore album, the excellent Render Another Ugly Method one of this year’s blistering sonic highlights. If that wasn’t good enough also on the bill two of the most exciting bands that Manchester has to offer the mighty Chew Magna and Blanketman. 

Kicking off proceedings with a hefty serving of snap, crackle and fuzzy pop the awesome Chew Magna, who played an absolute stormer. Taking their name from the sleepy village of the same name there was nothing sleep educing about the band’s set. Currently playing songs from their recently released ‘White Hotel Ep’ recorded in the drug den of the same name, they play 6 songs all of which seem to be sonic love letters to the great idols of American Indie rock I.e. Pavement, Guided by Voices, Broken Social Scene etc. Although the influences are clear, this isn’t parody or poor imitation like say Yuck for example who attempted something similar with their music but lacked the heart and personality to pull it off. Chew Magna do the opposite of this.

They are still uniquely English as the name suggests as do singer’s Laurie Hulme’s vocals, each song stands alone as an ode to a well spent childhood in Northern towns where more than a hand full of Sonic Youth records were hanging around on bedroom floors. With the subject matter of their songs casually swinging from Jean Paul Sabre to Sylvia Plath to “compulsive liars”, they’re a well-read band with much to say both sonically and lyrically. There was even a few non-ironic tapping guitar solos and pure shredding which only added fun the proceedings, plus a disgustingly tight rhythm section whose drummer played so hard a symbol fell off mid song yet they still carried on. They were really the only faultless band of the evening and the only thing I wished was that there were a few more people in the audience to witness the great thing I’d just witnessed. Fun, brilliant fuzzy pop songs that Alex Chilton would be proud to have in his arsenal; go see Chew Magna and if you don’t you deserved to have “I’m really lame” all over your forehead for 3 weeks. 

Next up the hotly tipped MCR Live favourite Blanketman, if you haven’t heard of them already you may have come across them in Friday’s edition of the Manchester Evening News proclaiming them as one of Manchester’s best up and coming bands. From their performance I’m not going to disagree with our local newspaper’s claim. One did feel I was seeing a different Blanketman from which I’ve seen in sweaty basements around the city. There was much less jumping around and slam dancing at this performance as the group settled on more subdued yet hypnotic set. Opening with the angry yet meditative Gridlock Fears (recently recorded by the excellent gang at Dead Basic Studios in the city’s Northern Quarter), the influence of Anton Newcome was definitely felt in the building. Before one was allowed to slip into a deep paisley underground inspired twangy haze, Blanketman would kick you awake with punchy numbers like 5 Days a Week and Flip It Over. These bangers in particular I  saw a few people singing along to, a testament to the band’s growing popularity. They look excellent, sound fab and aren’t afraid to take a few set risks despite their growing popularity. They really added something ace to the evening’s pleasantries. 


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Finally we have the magnificent Mothers lead by the brilliant sprawling song-craft of Kristine Leschper. It would be easy of this reviewer to make note of the band being from Athens, Georgia home of fellow genre-bending hypnotists Deerhunter and make comparisons to their work, or even suggest that the band sound like a bizarre amalgamation of early 80’s R.E.M., Pylon, Basinski’s The Disintegration Loops and Joanna Newsom. These all being the notes I made on my phone on my phone whilst watching the gig and I still think is somewhat true but in hindsight I don’t think comparing Mothers to a bunch of other bands really gives an honest representation of the uniqueness of the experience of seeing the band.

The cocooning slow-core experimentalism was somewhat torturous and agonising but in the most amazing way possible. To explain what I mean by this, the band would tease you with little blasts of frantic and explosive poly-rhythms, note and mind-bending fireworks of noise. Then halt. The band in stilted in tableaux. Not moving in a self-imposed Pinter pause whilst Leschper would switch between guitar and keyboard with slow painful haunting droning anti-ballads. The band would then unfreeze themselves and join in the dream tapestries of sound and tease you further. None conformists to the rock tradition and audience expectation, Mothers are the forerunners of a new kind of audio experience and one of the most exciting and original acts I’ve seen for some time. I urge for you to buy all their records and merchandise so this beautiful experiment can be continued for the world’s benefit. Do it up suckaa!

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LIVE: Surfbort @ Soup Kitchen


Surfbort, a wild and wonderful four-piece band hailing from across the pond. Formed in Brooklyn New York the band are made up of vocalist Dani Miller, guitarists Alex Kilgore and David Head and drummer Sean Powell. Their inspirations are undoubtedly that of the electric ’80s punk scene that provides for an explosive and provocative live show. Surfbort‘s discography is made up of three albums Trash, Surbort 7” and their latest Bort To Death, which they are currently touring across Europe.

Joining the band on the Manchester date are local lads, Bleach Boy. The quartet is made up of Milo(vocals), Sam(bass), Cian (drums) and Tommi (guitar), despite hailing from all around the UK the group are based in Manchester and will surely be taking the music capital by storm. The grungy lyrics and blaring guitars give for an energetic set with Milo seeing no boundaries in the stage-while spending a large amount of time in the audience. This was to the liking of the crowd and even audiences’ members whom of which had no prior knowledge of the group were dancing and engaging in the set. The band looked at home on the stage and their raw passion and energy carried the set along at a speed in which would be missed at the blink of an eye.

In terms of Surbort, there was no questioning why they were headlining a venue such as Soup Kitchen, by the time they were to start the venue was packed, many of the people there were avid fans and had pushed their way to the front of the venue, ready to start a mosh pit. When the band walked out, the room was filled with cheers, which quickly turned into the eclectic 80’s punk that could insight any riot. The crowd was awash with energy and everyone in the room even the sound engineers and bar staff were nodding and dancing along.

The band’s presence was most noticeable with their choice of extravagant clothing and even more crazy hair. It couldn’t have been longer than 5 minutes before Dani was in the crowd hugging and dancing with the eager fans, many of which were starstruck by her presence. A variety of their tracks were playing including the fantastic and hauntingly catchy Trashworld and my now personal favourite – the elegantly titled Hippie Vomit Inhaler. Despite being unaware of them before this show, I was pleased and excited to see such a thrilling live show that despite knowing only a few songs I could enjoy profusely.

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LIVE: Elder Island @ Soup Kitchen | 31.10.18


Much of the buzz around Elder Island at the moment seems to be trying to pin down their unique feel, aiming to condense it to a just a genre or two. But that’s what’s so exciting about this Bristol-based trio – their eclectic mix of bass, loops, and funky guitar riffs, with some cello thrown in for good measure produces a vibrant sound that makes for easy listening and an even better live experience.

As their set begins in the Northern Quarter’s Soup Kitchen, it’s clear from the off that it’ll be an energetic, lively gig. The crowd doesn’t stop moving throughout, and neither does the band, because it’s hard to keep still when the sound of hit ‘Bamboo’ with its insanely catchy melody and beats fills the room.

Elder Island’s debut album ‘The Omnitone Collection’ is due for release in February 2019, and the band play a few new tracks. It’s usually a hit-or-miss situation at any gig, however, every single song is met with raucous applause. The trio don’t slow down once, turning the venue into a disco with a dreamy twist with their relentless beats and mesmerising synths.

‘Black Fur’, from 2016’s ‘Seeds in Sands’ EP, proves to be the climax of the night. It starts as a slow burn but as a crowd favourite, it has everyone singing every word through a massive grin, standing up on the benches that line the edges of the room.

Katy, David, and Luke truly are a dynamic trio onstage – adding to the rich synth sounds, singer Katy’s vocals are an instrument on their own. It’s possible that her voice is part of what sets the band apart from some generic electronic bands around right now; it’s got a kind of sophistication and luxuriance to it that sounds just as refreshing live as on the record. It comes into play particularly on tracks ‘Hotel Beds’ and ‘Bonfires’, which hark back to the golden era of house music – confirmed when Katy gleefully tells us that there’s time for one more song, before the band launches into Crystal Waters classic ‘Gypsy Woman’. It’s a perfect fit for Elder Island, who tells the crowd they only really play it at festivals – and for a few minutes, we’re transported from a cold, drizzly October night to a sunny field in the height of summer.

Elder Island are a must-see. If you’re on the fence about seeing them on their current tour (supported by FAVELA and Dirty Nice), bite the bullet and get that ticket. They really know how to bring their hypnotic tunes to life and it’s tons of fun.

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COMMENT: The New Wave Of Psychedelia


The first album to define its own contents as psychedelic was the debut album by Texas garage rockers The 13th Floor Elevators, in October 1966 (The Psychedelic Sounds of the 13th Floor Elevators). Within a year, psychedelia had exploded across the music scene like a giant paint bomb, turning everything from monochrome to technicolour almost overnight and inspiring 1967’s epochal Summer of Love. The reverberations of the scene staked out in the Summer Of Love, are continually making waves in the pool of new musicians.

Four years since the first one, Manchester Psych Festival is now a fully fledged institution. With a selection of gigs promoted across the city each month under their moniker, it’s surpassed itself as a festival. Going beyond the boundaries of art and music the festival brings a like-minded community together in the heart of Manchester’s Northern Quarter. Psychedelia is making a re-imergence into the scene, leaking through the dusky cracks of post-punk and indie-rock and oozing into the forefront of the music scene.

Slow Knife at Manchester Psych Festival 2018

As one of the most prominent festivals in Manchester with a massive influence on the music scene, Manchester Psych Fest is a clearly dedicated to the cause. Taking over 4 dedicated venues, the festival embraces the new and unique. Recently, the festival saw it’s 6th edition and of course, we couldn’t miss it. Starting early, Slow Knife scoop up the crowd and place them on a level playing field: knowing exactly where the day is headed. Saxophone, keys and strings at the ready, their post-punk sound makes for an entertaining first viewing for the day. Spoken word at it’s greatest in ‘Nuke The Moon’ echoes through the Soup Kitchen basement and out through the door. All hail the knife. This is what psychedelia is about.

A quick switch over to Night & Day Cafe and we’re with MOLD for their well-anticipated afternoon slot. The five piece bring a theatrical onslaught to the stage, equipped with face paint and satirical smiles. The psych genre is set to take hold of the scene and is breathing deeply through bands like MOLD that set the stage alight and stand for something new.

MOLD at Manchester Psych Festival 2018

But what exactly is psychedelia? The Oxford English Dictionary describes it as “music, culture or art based on the experiences produced by psychedelic drugs” which is a little reductive for such a grand institution. LSD might have been the original inspiration, but it doesn’t explain why psychedelic music is still being produced and enjoyed by people who’ve never dropped acid in their lives. Psychedelia is appealingly vague and open-ended – a merger of philosophies, colours and styles all happening at once. It’s about opening your mind to the myriad possibilities that we’re met with each and everyday. It’s about reconnecting branching out, seeing clearly and letting go. It’s exciting, but also a little bit scary. Psychedelia isn’t a destination; it’s all about the journey.

The type of bands that are connected with this new unearthly scene of new age psychedelics are the type that set apart from the ordinary and bring a whole new offering to the table – whilst simultaneously not giving a shit about what the rabble think. With this year’s Psych Fest as an example, it’s not just a simple one-trick-pony movement. The festival comprises one day of such musicians – with artwork featured by local artists who are set to break the mould – and sounds from guitar-bass-drums outfits stretching the possibilities of the standard rock band set-up to electronic artists. There are so many acts that it raises the question: is all music, if it’s doing its job right (experimenting, blowing minds), psychedelic?

Madonnatron at Manchester Psych Festival 2018

The classic music of the psychedelic heyday was rooted in social opposition, a countercultural vibe that resonated with baby boomers, students and protesters. The music was not exclusively political or related to your everyday stoner, but in a climate of diverging identity, these new sounds flourished hand-in-hand with the changing landscape. Evolving through the present day, psychedelic music and social commentary are mutually exclusive. With politics a common topic, the psych collective consciousness seem to weigh on the side of identity and social preservation.

It’s been a long, strange trip for the genre that came to fruition through various different routes, starting with the whir and buzz of the 60s and 70s and not showing any sign of stopping, having become embodied by a myriad of current acts like Madonnatron, Yassassin and Meatraffle. For the remainder of Psych Fest, we caught the likes of the Wytches, Baba Naga, The Cosmics, Holy and Josefin Öhrn, each with their own unique take on the psychedelic movement but with a refreshingly new twist. Psychedelia is moving but at it’s own pace, in a strong, independent movement that’s reaching the nook and cranny of each and every musical alliance – whether you like it or not.

Meatraffle at Manchester Psych Festival 2018

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Andrew Savage

Review: Andrew Savage and Jack Cooper @ Soup Kitchen

It endorses a lot of confidence in an artist if their own solo gig receives a lot of attention by way of whispering mentions of their feature band. There was no warm-up or sense of a ‘headliner’ as Jack Cooper (of Ultimate Painting) and Andrew Savage (Parquet Courts) united with an evening to present their solo work together at Soup Kitchen.

Both men were involved in each other’s performances on the night, with Savage taking lead guitar and backing lyrics whilst the sultry vocals of Jack Cooper sang odes to his hometown of Blackpool. Cooper is one half of the Ultimate Painting duo, having launched a separate solo career last year (aside from the band he cohorts with James Hoare). We briefly spoke to Jack after his set that evening in Soup Kitchen, who spoke of the almost “relationship-like” attitude amongst himself, James and their combined work. They both work on different projects – James with The Proper Ornaments and Jack his solo work – of which Jack mentions in jest that he worries sometimes that they each feel they are cheating on their united band. Though, thankfully, they are both happy and eager to return to the security of Ultimate Painting and watch it grow further. In terms of tangible results, this is proven by the current work with plans for an album to be released in April.

A few more shows playing Sandgrown and also playing guitar/keyboards with A.Savage Mon. Jan. 22 - Berlin, DE @ Monarch Tue. Jan. 23 - Cologne, DE @ King Georg Wed. Jan. 24 - Amsterdam, NL @ Paradiso Upstairs Thu. Jan. 25 - Gent, BE @ Nest Fri. Jan. 26 - Paris, FR @ Pop Up Du Label Sun. Jan. 28 - Brighton, UK @ The Hope Mon. Jan. 29 - Bristol, UK @ Louisiana Tue. Jan. 30 - Leeds, UK @ Oporto Wed. Jan. 31 - Glasgow, UK @ Broadcast Thu. Feb. 1 - Manchester, UK @ Soup Kitchen Fri. Feb. 2 - London, UK @ Garage

The collaborative work continued throughout, with Cooper playing keys and guitar as visual artist Andrew takes to stage under the moniker A.Savage. Parquet Courts are the Brooklyn band known for their intellectual synergy of rock music that Savage performs under, alongside Austin Brown, Sean Yeaton and his brother Max Savage. The packed-out basement seemed to be filled with people who were aware of Jack’s solo project & intrigued by Andrew’s performance, those that were commonly fans of Parquet Courts but had little heard of the A.Savage titled work. This night in Soup Kitchen, American singer-songwriter Andrew struck a cord with many and held his own with both individuals staring the stage, twisting and nudging. I don’t think a single person wasn’t in awe of the savage sound he produced, bending the strict rules of typical rock music and announcing a new way to perform. Ultimately each individual left the night with proclamations of “that was incredible” with the audience sticking around even after the Soup Kitchen curfew was met, the lights switched on revealing very different people than those of whom first took the steps down to Soup’s basement. In short, passionate musicians are passionately followed.

Interview with Pixx - Soup Kitchen Manchester - Gigs and Events - MCR Live Blog

Interview: Pixx – Soup Kitchen

Following the great success of her debut album ‘The Age of Anxiety’, Hannah Rodgers, better known as Pixx, hits the road for her UK tour. Signed to the record label 4AD, and constantly pushing the boundaries of electronic dream pop, Pixx is definitely an artist to check out.

So your first EP ‘Fall In’ came out in 2015, how do you think your sound has changed since then?

In some ways it’s stayed very similar, in others there was a way more poppy element introduced. That first EP was recorded all in one place with one producer so it has more of a continuous feel throughout it, whereas on this album I worked with a lot of different people to make a collection. I was still figuring out where I wanted it to go.

Do you think your process has become more collaborative recently?

No, if anything, going forward it will be the opposite. It will be less working in the studio with producers and more back to the basics which is really how the EP originated.

I’ve read that many of your songs have been inspired by dreams. Do you keep a dream journal and what is the weirdest dream that you’ve had recently?

I don’t keep a dream journal. I used to, I went through a phase but I’m not very good at remembering to do that. I’ve had some really weird dreams. Well, my favourite ever dream that I had just six months ago in the summer was where I was floating around and this really big goldfish just came and kissed me on the face. It was a really nice moment between me and a fish that I’ll probably never forget.

‘The Age of Anxiety’ references a WH Auden poem – could you talk a bit about how you discovered that poem and what made you become interested in poetry?

It’s funny with the WH Auden thing, I got it from my brother Luke who plays in a band. He gave me a notebook and he’d filled out the first twenty pages with quotes from things he’d read because he’d studied English Literature. He quite often hands down books to me. I didn’t ever read that book, I just really liked the name and it felt very fitting for the sort of topic of what I was writing. I’ve loved poetry forever really, as far as I can remember. I think if I wasn’t doing music I probably would have studied English Literature as well.

That was going to be one of my questions actually! If you weren’t a musician what would you be?

I don’t know – a poet? A vet, maybe. Saving people’s overpriced pets.

I really enjoyed your music video for ‘Grip’, do you find that you write songs with a visual aspect in mind, or think about that once the song is finished?

I guess in certain ways if the song has come from a dream then I have the imagery of the dream in my mind when I write the song and there’s a certain sort of feel you want to capture on screen. Generally, all my videos have been collaborations with people who have bigger imaginations than me for visual stuff.

Do you prefer the creative process of writing music or going on tour and playing gigs?

Probably the creative side of it, but I think that one without the other would be a shame. I like them both. If you’re working towards something and you finally have the opportunity to go out and play it to people that’s the cherry on the cake.

And where have you been on tour so far?

We did a show in Paris on Saturday, then we did Brighton, Nottingham, then we’ve got tonight and then Bristol.

What has been the highlight of your travels?

I mean, going to Paris is pretty nice. Generally when you have musicians that are going over to another country to play people seem to get a bit more excited.

Did you have a good Halloween?

We played a gig on Halloween, did a bit of fancy make up and went to a gold old halloween party after the show. I didn’t really get dressed up, it was just how I always look but I think I probably blended in better than I normally do.

What are 5 essential items that you take with you on tour?

  1. A blanket, for the van.
  2. A book.
  3. I went through a phase of embroidering in the car, so that maybe.
  4. I always want to remember to bring slippers but I forget. My feet get really cold in normal shoes.
  5. My steamer

Wow this makes me sound as though I’m 90!

Just some questions about your music taste now – what was the last album you bought?

The Solange album ‘A Seat at The Table’ is the last vinyl I bought. I love that. I’ve been listening to a lot of Andy Shauf as well at the moment.

Are you looking forward to going to any gigs after you finish the tour?

I’m going to see Parcels at KOKO in Camden. They’re one of our favourite bands, we actually saw them for the first time here when we were playing a little festival. I haven’t really fangirled about any band like this in a long time.

Interview with Pixx - Soup Kitchen Manchester - Gigs and Events - MCR Live Blog

Who would play you in a movie about you and why?

Does it have to be someone who everybody knows?

No, it can be obscure if you like.

Okay. Maybe my friend Charlie? He’s a boy but I feel like he would play me quite well.

I heard that you sometimes write songs from the perspective of other people, if you had to compare yourself to a fictional character who would you pick?

When I was younger I liked Pocahontas, she was my favourite character ever.

A lot of people have compared your style to Siouxie Sioux and Kate Bush – who would you say are your biggest fashion icons?

I don’t know, I feel like I’ve never really been that into fashion. I always buy stuff because I love shopping for cheap, but I’ve never really followed fashion. I didn’t even know what Siouxie and the Banshees looked like until really recently. I’d never even heard them. My best mate’s parents told me that I had to listen to them. Maybe I saw a picture of her once and it just stuck in the back of my head somewhere.

What advice would you give to yourself starting out two years ago or other young aspiring musicians now?

I guess just focus on yourself as much as possible. Make sure that you’re making music that you enjoy. Be creative.

And finally – what’s next for Pixx?

I’m doing some writing now. I’m going to take some time to get back into my little world of words and melodies. Hopefully I’ll have some new music to show fairly soon!

Daphni at Soup Kitchen

Manchester Preview: Daphni at Soup Kitchen

Canadian Dan Snaith’s alias Daphni comes to Manchester for an all night long shindig at Soup Kitchen on the 2nd March. If you want tickets to Daphni at Soup Kitchen, unfortunately it has sold out. However, we thought we’d give you a preview of what to expect from this awesome show.

If you don’t know Dan Snaith then you may know his more popular outfit Caribou that have been a staple of the electronic scene since 2007 and were last seen in the UK warping people’s minds on the West Holts stage at Glastonbury in 2015. A mathematician, composer and musician, he’s a man of many talents and now he’s making a rare appearance in Manchester in one of our coolest and most distinguished clubs.

Expect to hear one of the most eclectic electronic sets you’ve ever heard as Daphni’s sets have often seen him selecting tracks from artists as varied as Theo Parrish, Billy Byrd and Les Sins. He is well renowned for pushing the boundaries with his musical output and so congratulations to everyone who managed to get a ticket as this is guaranteed to be one of the best DJ sets we’ll see in our city this year.

If you want to bag tickets for other nights and gigs like Daphni at Soup Kitchen then get involved and head over to our official ticketing partner Skiddle.