JON SPENCER | Spencer Sings The Hits | ALBUM REVIEW

JON SPENCER | Spencer Sings The Hits | ALBUM REVIEW

Jon Spencer | Spencer Sings The Hits | Album review

Review by: Graeme J Baty

Jon Spencer | Spencer Sings The Hits | Album review

The Blues Explosion man makes his thrilling solo debut. Spencer Sings the Hits is a good old rock ‘n’ roll record, more of an amalgamation of styles showcased in his other work and bands. It’s got that unmistakable Jon Spencer sound and certainly wouldn’t feel out of place in the JSBX back catalogue.

A big movie soundtrack placement has opened a lot of new ears to the #1 band. I’ve been a fan since I was 16 years old when I first heard the scuzzy slice of perfection that is ‘Wail’, I’m not sure where I heard it, probably on a John Peel show. They may never have hit it huge, too good and too punk to be a commercial act but their output and legacy is a marvellous back catalogue. But it’s great to see them getting some attention and the time is right for this record. A big UK tour with the Melvins will surely help bring the songs to a wider audience.

One of the great things about a Spencer related release is the uncertainty of what you’ll hear. He’s a creative soul who could make banging on cardboard boxes sound utterly amazing, his impeccable showmanship ensures live shows are fantastic and I can proudly say Jon Spencer Blues Explosion is one of the best live bands I have ever seen, the Pixies used to hold that title (in my mind, there’s not an actual award for that I’m afraid). Got that instantly recognisable Spencer guitar tone.

‘Fake’ finds him commenting on the current climate of social media overload and overwhelming negativity of an overly hypercritical Trumpageddon world, that’s slowly crushing everyone. ‘Time 2 Be Bad’ is a standout track for me, with it’s Boss Hog groove and swagger. Spencer shouts “It’s a good time to be bad!”

‘Alien Humidity’ is another album highlight with its punk-blues vibe. The album closes on Cape. It’s a short record at 33 minutes, many albums these days feel bloated and padded to fill the sides but this is how rock ‘n’ roll should be, short, sweet and no bullshit. 12 magnificent songs that are a very welcome addition to my Spencer collection. I firmly believe this album ranks up there with the best of his work.

I really want to see Spencer in a Cape on the upcoming tour. I was already excited to see JS with the Melvins but on hearing this record, having a few days to digest it and replay it multiple times, I think I am now REALLY excited to hear these new songs in a live setting, as he boldly states He Got The Hits!

Spencer Sings The Hits is out on 2nd November 2018 on the perfect home for his music; garage rock haven In The Red Records.

EMMA RUTH RUNDLE | On Dark Horses | Album reaction

EMMA RUTH RUNDLE | On Dark Horses | Album reaction

Emma Ruth Rundle | On Dark Horses | Album reaction

Emma Ruth Rundle is set to release her fourth and possibly finest release to date On Dark Horses on 14th September 2018. It’s a densely rich, layered aural experience and is further evidence that Sargent House can do no wrong!

The press release that accompanies the album reveals that the album was conceived in late 2017/early 2018. Engineered and produced by Kevin Ratterman at La La Land studios in Louisville, Kentucky in just ten days. It is quite a remarkable feat of work in such a short time frame. It’s an album of superbly crafted songs, further highlighting Rundle’s evolution as a talented songwriter, as showcased on Marked for Death and hinted at in her previous recordings. 

On Dark Horses makes for a perfect for Sunday morning soundtrack. I’m sat writing this, whilst drinking a coffee in a busy city on a cloudy Sunday morning, watching the world go by as I indulge in the sounds on my headphones. It’s quite a calming and soothing experience. Shoppers are rushing around me, as I sit here in a world of my own escaping in the dreamy sounds of Darkhorse.

Light Song is undoubtedly an album highlight for me. The lyrics really speak to me and my own battle with inner demons this year, wading and struggling through life. Guest Jay Jayle perfectly compliments the vocals providing a nice contrast and balance to the track with his deep tones. I just adore the reverb-drenched guitar on this track.

You Don’t Have To Cry closes the album with a beautiful crescendo that reminds me of Low, building and building on the same motif. 8 songs done in 43 minutes, seems too short and I’m left craving for more. However, I feel that is a good thing. It encourages me to put it on again and it’s an album that rewards with multiple plays. You really need to take time to digest the arrangements and subtleties. It certainly will appeal to fans of Chelsea Wolfe, albeit in a restrained and perfectly subdued fashion.

Emma is touring the UK in November including a show in Newcastle on the 7th November at the intimate Cluny 2 which is the perfect setting for her. As an added bit of good news Jaye Jayle is also opening on the tour!

RAT THE MAGNIFICENT | The Body As Pleasure | Album reaction

RAT THE MAGNIFICENT | The Body As Pleasure | Album reaction

Rat the Magnificent | The Body As Pleasure | Album reaction

First in a new series of reviews; I play the debut LP from Rat the Magnificent and give you my off the cuff reaction track by track! I’ve only heard one song (Olon) before venturing into this review and I really liked what I heard. So let’s give it a whirl!

Some background info I’ve been given; “The band is made up of members of Family Manderson, Sunshine Republic, KLLR, Hot Sauce Pony, Modern Men and Brenda. The trio’s cacophony of beguiling yet unnerving fuzz-laced experimental noise rock has earned the group a reputation as a must-see live act, having played with the likes of McLusky, IDLES and Adam Betts. Not least, they have also previously recorded with Steve Albini earning the rare would-be plaudits of “I’d have no problem with you being my house band.” Now with an EP and several singles to their name, Rat The Magnificent are set to release their debut LP, ‘The Body As Pleasure’. A collection of 10-tracks that fully encompass the raw, unhinged energy and dark melodic sensibilities that have garnered them much acclaim in the past.”

1) In The Middle. A single note riff with pleasing slow bend opens the album with a brilliant filthy bass tone providing a solid groove. Okay, already I’m really digging this, this is something special! The vocals fit nicely into the mix, cutting their way through the sludge. Halfway through first track and I’m blown away. This is ace. I was lulled into a false sense of simplicity, they take simple motifs on such an exhilarating intense journey. Superb opener leaving me quite excited to hear the rest I’m resisting going back and playing this song again, I must march on. What a start!

2). Marrtalon hits with a Krautrock doom style groove to it, big fat simple bass. Less is more! I think I could listen to that bass tone all day, so good! A minute and a half into it and big drone chords strike in as the track builds in tension and drama. 

3). Up the Street brings a big old blues riff that wouldn’t be out of place on an Oblivians album!. My head is bobbing along to this one, this is great then along comes a killer grunge-esque anti-guitar solo!

4). Where You Been Approaching the halfway point and this album is still throwing up surprises. Here’s a great little scuzzy mid-paced number. 

5). The For is a massive Curveball! A cheeky unexpected synth opens track 5; Taking the album into breather mode. The track builds into a high drama ballad and a huge wall of sound rattles my speaker monitors with shoegaze guitar. There’s a great use of dynamics on this record, the sound pulling and pummeling me in all directions.

6). The Parlour opens the second half of the album. Bringing in a lush jangly sound, leaving me full of anticipation, where is this going?! A lush fuzzy Arpeggio guitar awaits, which is trippy as hell. “When I am king, I’ll hide the corpses at your door” lyrics gives me a distinct Radiohead feel 

7). Olon brings another deep plodding baseline which hooks you into their world. It’s instantly enjoyable yet shows their unique character in the sound and bluesy undertones and Billy Corgan angst.

8). Ilsflat follows on in the same vein as Olon with a slab of spaced out Lift to Experience blues.

9). The vocals take on an almost Kate Bush tone for The Inevitable. They’ve found their groove for this side of the record, less sprawling and diverse but confident and engaging. 

10). Panarron closes the album. A beautiful and unexpected little piano-based lullaby type piece. Giving big Sparklehose and Tom Waits tinkling vibes.

It’s all over much too soon for my liking. An incredibly diverse record, packed with brilliant ideas and songs. The album was recorded over a 3 year period and it really shows. It’s a marvellous piece of work and that effort truly shines through. It’s a record where I am a bit perplexed and slightly overwhelmed, hence I’ve made lost of comparisons. It’s quite difficult to put into words from just one listen. This record demands to be played multiple times and I fully intend to do so!

For a trio their sound is impeccably balanced, they make the most of the sonic space, everything fits just right, with well-defined bass, solid drums and the vocals fit just right, sounding like a more aggressive but melodic Alec Ounsworth.

I NEED to see these live. The album is a treat for the ears from start to finish. In a sea of indie dredge, it’s refreshing to get something original and important.

Excuse me while I go play this one again! It’s quite the album. 10 songs of brilliance and varying styles. There’s sense of creatively and defiantly refusing to be pigeonholed. It’s a whole album of curveballs, just when you think you’d got them sussed they throw another style in. To put it bluntly, it’s bloody magnificent! 

Grave Lines | Fed Into the Nihilist Engine | REVIEW

Grave Lines | Fed Into the Nihilist Engine | REVIEW

Grave Lines – Fed Into the Nihilist Engine – Album review

Review by Neil Ainger

While handing over my money for a cassette copy of the bands debut full length Welcome to Nothing earlier this year, I told bass player Matt at their merch table that as long as the first track they played that night (in January at The Cluny, Newcastle with Black Moth) was on the new album that I’d be buying that too. I was enamoured with the near 15-minute album opener Failed Skin from the very first gentle notes that were played that night and it is just as astounding on the record. It is an absolute whirlwind of gentle, almost gothic rock that builds into blistering. stinging sludge. Its beauty really lies in the vocals of Jake Harding, which are as powerful as they are haunting.

It is very difficult to pin this album down with labels, whether it be doom metal or sludge but of course this is no bad thing. Fed Into the Nihilist Engine stands on its own merits, of which there are countless. The album is driven by skilled and expansive guitar work such as the rugged riffs evident on Silent Salt, the psychedelic and chaotic noise on The Greae or the gentler acoustics of Shame Retreat. Julia Owens’ drumming is a key, precise constant throughout and serves as the backbone of the record and the vocals, simply put, may just turn out to be the most elaborate, alluring and potent vocals heard on any metal record this year. At times warm and lenient and at times guttural and jarring, Harding excels where so many others fail. He is distinguished, he is original and he squeezes every last drop of desired emotion from every wretched note and from every tormented lyric.

The record is sludge metal on a grander, Amenra-style scale. It is intelligent doom metal that is measured and never repetitive. It is dark neo-folk that probes at the most dismal of human emotions. It is bleak and misanthropic, it is cloaked in misery and yet it allows for brief but frequent moments of gleaming light. There can be beauty in darkness too, if you choose to look for it.




Earthless – Black Heaven

Review by Neil Ainger

For the past 17 years the power trio from San Diego, California have been at the forefront of the modern day heavy psych scene, crafting long and complex instrumental psychedelic jams. The warped and roaming wizardry of guitarist Isaiah Mitchell (Golden Void, Howlin’ Rain) and the unshackled and commanding drumming of the brilliant Mario Rubalcaba (OFF!, Hot Snakes, Rocket from the Crypt) helps to harness the raw power of the Jimi Hendrix Experience while calling back to the likes of Leaf Hound, Flower Travellin’ Band and Amon Düül II.

Throughout their first 3 full length records, the band have offered mostly a series of instrumental cosmic jams between 15 and 30 minutes in length and very, very rarely have the band stepped outside of this formula – until now.

Four of latest release Black Heaven’s six tracks have Mitchell taking the mic and the longest track is just shy of 9 minutes in length. This is a very different Earthless and, as someone who loved the band exactly the way they were and never once pondered the introduction of vocals, I’d have to say the changes are very welcome. It certainly isn’t a case of out with the old and in with the new. Earthless, at their core, remain a tripped-out space rock band and Mitchell still wields his guitar with a swirling, abstract ferocity, however Black Heaven more clearly embraces a number of “classic” and blues rock influences and a more conventional approach with defined and organised choruses and verses.

One of the lead singles and the album opener, Gifted by the Wind, is reminiscent of the great Eddie Hazel ripping some killer solos over a Thin Lizzy track and the riff-heavy Electric Flame is a concise and incisive blues number that quickly spins out in to a fuzzy, euphoric trip the band have become known for.

Mitchell taking the mic is actually nothing new and while his vocal duties within Earthless have been very occasional, outside of the band he has frequented the mic. On Black Heaven his vocals are, at all times, authoritative and authentic. Rubalcaba’s drumming is as masterful and as dynamic as ever and with the wandering basslines of Mike Eginton (especially on the combustible title track) to complete the trio, Earthless’ greatest quality is perhaps their understanding and skill and I’d go as far as to say they have never sounded so tight. When you consider the switch to a more conventional approach, the embracing of a wider range of their influences into their sound and the more accessible nature of the record, it should attract fans of ZZ Top and Led Zeppelin just as much as those of Acid Mothers Temple and Boris and therefore should, you would imagine, be their biggest success to date.

Black Heaven is out 16th March 2018 on Nuclear Blast Records



Desert Storm – Sentinels

Review by Neil Ainger

With the release of 2015s Omniscient, I felt as though Desert Storm grew, though their output to that point was impressive in its own right. 2010s Forked Tongues was the first Desert Storm album I heard, having picked it up at a gig in 2012 where the band were supporting Karma to Burn.

The follow up in 2013, Horizontal Life, is not without merit either. There was something just that little bit different about their third release however. Whether it’s the better record of the three is up for debate but for my money it was just that little bit more accomplished, more focused. It was a band learning from their experiences and becoming more adept at doing justice to their explosive live shows in the studio.

On stage Desert Storm are loud and they are heavy. On stage Desert Storm carry with them an arrogance and a swagger befitting the meaty riffs and the gravelly tones of Matt Ryan’s voice which combine to create the sleazy, boozy and bluesy stoner sound the band have adopted over the last decade.

With Omniscient, the band continued down this path but were happy to stop off a little more along the way to reveal more strings to their bow and with the new release Sentinels, the band have simply taken one more step forward in this regard. Sentinels, simply put, is the band’s most seasoned and polished effort to date, as well as their most penetrative work lyrically.  

The opening track Journey’s End and the accompanying video explore the issues of mental health, depression and anxiety followed by Too Far Gone, which tackles alcohol abuse and addiction. Heavy topics for sure, set to heavy music. Journey’s End sports perhaps some of the band’s biggest and meanest sounding riffs yet and Too Far Gone breaks down into a blackened groove amid Elliot Cole’s frantic beats. Together, they really send the message that Desert Storm are still here and are still heavy however they’re not entirely unchanged in the three years that have passed between studio albums.

Don’t get me wrong, if you’re a fan of Desert Storm you won’t be pulling out your hair or penning any angry letters. The trademark bouncy, bluesy riffs of The Drifter sound as though they would fit perfectly on the band’s debut album and the likes of Gearhead, The Extrovert and Convulsion all feel very familiar. They do all however sound that little bit more fresh and full of colour, thanks in part to Jamie Dodd who recorded and mixed the album. His previous work with Orange Goblin is the perfect experience to make this band sound as heavy and as brutal as possible. The growth in the band can be measured mostly by the track Kingdom of Horns. Beginning delicately with clean, ethereal vocals, the near 8 minutes that follow are an epic, melodic journey to every corner of the band’s musical make-up and back again, a journey the likes of which Desert Storm has never truly taken before.

For a band that all have jobs also, it’s kind of hard to imagine where they get the time to put out four records in 8 years and to tour as often as they do. Desert Storm work hard, seemingly in all aspects of their lives, and their work ethic is not without reward. Sentinels is the bands most accomplished, most skilled and, simply put, best record to date.

Sentinels is released 16th March 2018 on APF Records.

Desert Storm - Sentinels



Conjurer – Mire

Review by Neil Ainger

Conjurer are a band that have been making a name for themselves the tough way, through hard work and touring. Following the release of their first EP ‘I’ in 2016, the band hit the road at every opportunity and were met with praise and open arms seemingly everywhere they went. Frustratingly, I was never able to attend a local show whenever the band came through Newcastle, and at Damnation Festival in Leeds I was able to see the extent of the praise the band are receiving when I simply was not able to even get anywhere near the stage on which they were performing. Conjurer, many will tell you, are the real deal.

Conjurer - Mire
The 4 piece from Warwickshire have created such a stir over the last 18 months or so that they already feel like a trusty piece of the UK extreme metal furniture and it is actually rather odd to think that this is the band’s debut full-length release, because it sometimes feels as though they have been around for much longer than they have. At times a band can take a few records to find their feet, and other times a debut album can become so anticipated that it’s very difficult for it to be anything other than a disappointment. On this occasion, neither of these scenarios is true of Mire.

Brady Deeprose (guitars/vocals) has been quoted as saying, of their approach to making the record “Once you start thinking about songwriting in terms of genre, you’re automatically setting up barriers between parts” and this outlook is really laid bare. The band visit death, doom, sludge, black and beyond while some post-rock-style sections blend the frequent and abrupt mood swings of the record together seamlessly. At times the resulting sonic assault sparkles in an atmospheric glow, while always being destined to viscously return to depths of misanthropic bleakness and Converge-like violence.

Opening track Choke offers a slow burning introduction to what lies ahead with repetitive, chugging sludge riffs and restrained, minimal drum beats before taking the first of many sharp turns of pace and hinting subtly at the album’s probing and exploratory nature.

The longest track on the record, Thankless, clocking in at 8 and a half minutes, immediately launches into a fury of driving blastbeats yet swerves through melodic choruses backed by clean backing vocals and back again with an expertise you won’t find on many debut efforts.

All of the differing influences perhaps converge best during the brilliant Of Flesh Weaker Than Ash. For over 7 expansive minutes the band’s ability to intelligently craft charming melody, interrupted by sudden and impactful brutality, while blending tight and technical instrumentation, is expertly encased in arguably the band’s most profound statement to date.

Believe the acclaim and embrace the hype because Conjurer have created a debut album way beyond their years and the scary thing is that this band is only going to grow stronger with every show they play, and unless they show any signs of slowing down then the sky could really be the limit in the coming months and years.

Mire is released 9th March 2018 on Holy Roar Records

Conjure Bandcamp store



Dunes EP 2

Review by Neil Ainger

Dunes released their first EP only last year. Short and packed full of energy, the release showcased the Newcastle trios brand of compact and infectious desert rock. The grainy guitar tones and thunderous drumming, as well as a keen sense of melody, are somewhat reminiscent of large parts of the Queens of the Stone Age catalogue.

Not even 12 months later and the band are back, offering their latest release and second EP. The new release offers much of the same as far as style goes. Still compact, EP2 boasts another 5 tracks that walk the line between desert and stoner rock while expanding on what came before it.

While describing the guitar tone as grainy was no insult, the new material bites that bit harder and with a little more clarity. The result is a release that continues the knack for writing contagious choruses while packing a more explosive punch.

Opening track Everything is OK is a ray of light. Upbeat and defiantly positive, it encompasses the bands approach to easily-digested and irresistible hooks with a pop sensibility, laced with biting stoner riffs. There’s even a rather superb use of hand-clapping.

Seapig is probably the most melodious track on the record, with a tuneful chorus and subtle vocal harmonies before the band break it down into a groove and perhaps their meanest riff to date. There is more groove to be found on Simian Circus along with a furious, machine-gun-like bass and Black Bridge is textbook, brooding, Kyuss-style desert rock.

Bringing the record to a close with the pacy, psychedelic outro to Illegitimate Hulk I’m left to conclude that while the latest EP is very much a continuation of the first, it’s the result of a band growing in ability and fine-tuning their craft, in capturing the energy of their live performances on record and in showcasing their strengths in the studio. EP2 suggests that when the time comes for a debut full length, the strides forward taken here should help to ensure that it is as good as it can be and personally I can’t wait to hear it.

Dunes EP 2 is out now available on CD and download here




Geomancer – Khatt Al-Raml

Review by Neil Ainger

With an abrasive wall of shrieking feedback, which soon settles comfortably into the slow gloom of the riffing, you could be forgiven for thinking, even 30 seconds in, that you understand Geomancer. It would come as little shock at this point to learn that Geomancer play a brand of crawling, dreary doom.

In fact the opening, self-titled track Geomancer continues to crawl until it reaches almost an absolute halt before defiantly bursting into life once more, the pace quickened and more urgent, even the teasing of something resembling an unexpected guitar solo before the track is pulled back around to where it began. A fleeting moment of colour in an otherwise cheerless opening 10 minutes that comes full circle with the reintroduction of the same gloomy riff and feedback bringing it to a sharp end.

Geomancer - Khatt Al-Raml review

Second track Grief initially offers no respite. The deep, guttural growls are bleak and the pace tired. For the first few minutes the track, and therefore the album, barely has a pulse. Much like in the opener however, the track erupts. The riffing is sharp and precise with only a hint of fuzz and breathes life deep into its failing lungs, but where the track turns next is what perhaps will help to set this album apart from some of Geomancers peers this year – continuing to speed until the only way to go is down, the descent is not in to its dreary beginnings but in to glittering light as the remainder of the track is bathed in a gentler post-rock glow.

Clocking in at a little under 4 and a half minutes, Visions is the only sub 10-minute track on the album. Simplistic and minimalist, the band wind the album down into a much more subtle and reserved psychedelic haze, like the calm before a storm. A storm entitled Greed.

Greed begins with the most aggressive few minutes on the record. There is more assertion and vigour in the vocals than at any other point in the just over 50-minute journey of Khatt Al-Raml.

The riffs are at their most compact and arguably most focused and where this album really shines are in the instrumental passages of this track as well as the albums closing track Sacrifice.

The aggression at the outset of Greed is soon washed away in a hazy and fuzzy whirlwind of heavy psychedelia and feedback and the more subdued tone is only continued in to the opening moments of Sacrifice, with a slow and hypnotic beginning of precise post-rock, eventually interrupted by the marching beat of the drums and the most evil sounding riffs on the record. For a record with many peaks and troughs and several different influences pulling it in multiple different directions, it is, at its core, a slow, sludgy, gloomy doom record and comes to an end in the only way it can. Not in a blaze of glory, but in a whimper of a fade out.

The Geordie doom trio does not exactly shatter genre limitations entirely nor provide the most diversified and complex record you are likely to ever hear, but they do refuse to be labelled easily or at least accurately without doing them something of a disservice. Plenty of fans of stoner rock, post-rock, doom and sludge will find more than enough to hold their interest here and if we can put genres and labels to one side for a moment, hopefully most of them will be able to agree on one thing, and that is that with a debut album such as this, Geomancer may just be a band worthy of paying close attention to in the coming months and years.

Tracklisting and credits;

  1. Geomancer
  2. Grief
  3. Visions
  4. Greed
  5. Sacrifice

Rich Cartey – vocals, guitar
Calum Piercy – bass
Ruben Guastapaglia – drums

Recorded, engineered, and mixed by Tom Goodall, Mirrorman Recordings, at CHUNK, Leeds, UK
Mastered by Matt Deamer, Glide Studio
Artwork by Thee Ruiner

Download available now

Physical copies available soon via



IDLES – BRUTALISM album review

I’ve been watching these with keen interest, the hype machine is in high gear and for once it’s bang on the money.

Bristol-based lads offer a refreshing blend of aggressive, melodic punk, bordering on shambolic at times, the working class southern drawl with some clever and often humorous lyrical content. Which makes a soundtrack to a Tory abused Brexit blighted Britain.

Quite frankly it’s the most exciting album I’ve heard since Blacklisters a few years ago. I’ve just blasted through their debut album and I’m about to begin my second play. Which no doubt will lead to a third play!

There’s a lot of easy comparisons in their sound (which I won’t make) the sum of it’s parts is equal something far greater and deserves to be recognised as such.

When Frank Carter went all Arctic Monkeys-esque here’s a band for us that can’t stomach the sickly sweet dredge, but still want that raw energy and passion. IDLES  arrived with a fat slab of hooky punk rock for a broken Britain. Politics and social issues often inspire great music. 2017 go see Idles on tour and find out why.

Touring tons including Newcastle…

March 2017

Monday 6th – Cambridge – Portland Arms
Wednesday 8th – Bristol – The Fleece
Thursday 9th – Colchester – Arts Centre
Friday 10th – London – Moth Club
Sunday 12th – Southampton – The Notes Café
Tuesday 14th – Birmingham – The Hare And Hounds
Wednesday 15th – Guildford – Boileroom
Thursday 16th – Brighton – The Prince Albert
Friday 17th – Tunbridge Wells – Forum
Saturday 18th – Bedford – Esquires
Monday 20th – Oxford – The Bullingdon
Tuesday 21st – Sheffield – The Plug
Wednesday 22nd – Newcastle Upon Tyne – Think Tank
Thursday 23rd – Aberdeen – Tunnels
Friday 24th – Dundee – Buskers
Saturday 25th – Edinburgh – Sneaky Pete’s
Monday 27th – York – The Crescent
Tuesday 28th – Hull – The Adelphi
Wednesday 29th – Nottingham – The Bodega
Thursday 30th – Liverpool – O2 Academy 2
Friday 31st – Wakefield – Unity Hall

April 2017

Monday 3rd – Stoke-On-Trent – The Sugarmill
Tuesday 4th – Preston – Guildhall
Wednesday 5th – Cardiff – Clwb Ifor Bach