Double Take

A fresh Wet Leg session for KEXP, recorded last month, has just been posted online and it is rather wonderful.

00:48 catch these fists 

04:04 davina mccall 

07:59 CPR 

11:02 mangetout 

This led me to look up Wet Leg's KEXP debut in August 2022, captured live at the THING Festival at Fort Worden in Port Townsend, Washington. 

00:49 Being In Love

02:59 Wet Dream

05:32 Angelica

10:20 Ur Mom

I was planning to go into a whole spiel about Wet Leg's - and especially Rhian Teasdale's - transformation in a few short years.

And then I remembered that I'd done that exact thing as recently as July, when I compared and contrasted their Tiny Desk Concerts in 2021 and 2025.

Well, it's still remarkable, and so is their second album moisturizer, which tipped me from being interested but not invested, to a fully-fledged fan.

I Really Think That I Am Ready For The Call

I've heard bits and bobs of music by Midlake over the years, but nothing ever quite burrowed itself into my consciousness like Roscoe, Young Bride and subsequently the wole of their second album The Trials Of Van Occupanther.

Nearly twenty years on from that landmark album, Midlake are back with their sixth, with The Calling as their, er, calling card.

And it's pretty darn good three minutes.

I need to do some homework, clearly. Any recommendations for where to start with the post-Tim Smith Midlake catalogue (aka most of it)?

And I Feel And I Fear And I Feel And I Fear And I Feel And I Fear And I Feel And I Fear And I Feel And I Fear And I Feel And Fear And Feel That You’re Never Gonna Get It

Continuing yesterday's theme, HAAi aka Teneil Throssell was born in Karratha, Western Australia, is currently based in London and has been releasing music since 2017.

I have heard the name, have zero in my collection and jumped in at the deep end by watching her live performance of upcoming second album Humanise at Drumsheds, posted online on 1st October. 

The wonderfully evocative after hours 1990s office set grabs your attention, as do the rotation of guest 'co-workers' as the album plays out. None of that detracts from Humanise as an audio and lyrical narrative, however; musings on the meaning of humanity in an age where we are torn between virtual (digital) and actual (emotional) responses to the world around us.

If you're also new to HAAi, a 46-minute introduction might seem like too much in one go (it's not, and it's worth it, I promise you) so here's an appetiser, courtesy of lead-in single Can't Stand To Lose.

Alternatively, you can skip straight to a specific song via one of the timestamp links below.

00:00 Satellite (ft. Obi Franky & Trans Voices)

06:42 Stop The Clock

8:24 Printer

9:42 Go

13:59 Humanise

16:55 Rushing (ft. ILĀ & Trans Voices)

21:36 Shapeshift (ft. KAM-BU)

26:12 Voices (ft. Jon Hopkins)

31:01 Can’t Stand To Lose (ft. Alexis Taylor)

36:00 Baby We’re Ascending (ft. Trans Voices)

42:53 HQ (ft. Kaiden Ford)

Great timing for me, as Humanise is officially released on Friday (11th). 

Not so great timing, insofar as HAAi is at Rough Trade Bristol for an in-store appearance the same day...when I will be in another city - another county - altogether. 

Drowning In The Sound Of Orpheus

Austra is another artist that has been around a long while, but who I know little about.

Austra is essentially Katie Selmanis, who has been releasing music under this name since 2011. Which is kind of where I came in, as my collection includes two songs by Austra, both from 2011 but neither from their debut album Feel it Break.

Austra is now about to drop their fifth album, Chin Up Buttercup, preceded by the singles Math Equation in August and Siren Song on Tuesday (7th). I like them both a lot.

The electronic chord structures and beats are familiar territory perhaps, but Katie's voice that soars from opera to Cyberman and back again, provides a pleasing combination that sets it apart from other like-minded singer songwriters.

Chin Up Buttercup is out on 14th November and available for pre-order. You can also find Austra's previous four albums and Katie's soundtrack for Canadian docu-series Swan Song on Bandcamp.

Here are the two Austra songs I already have.

First up, a cover of Alone, Together by The Strokes, which appeared on the MP3-only 2011 release Stereogum Presents… Stroked: A Tribute To Is This It. 

At the time, it was available as a free download; now, it appears that you need to be a paid-up subscriber to access the album.

Orpheus The second tracks is a remix of Beat And The Pulse from Austra's debut, by New York's Still Going aka Eric Duncan and Oliver Spencer (who ironically, aren't still going as Still Going). 

I found this one as the opening track on the 2012 double CD Motion Sickness: A Domino Remix Compilation, which was troubling the bargain bins during a record store browse around that time. I was admittedly drawn in by other artists, and I was more familiar with Still Going than Austra, but it's strong start to a consistently good collection.

Further investigation required.

Five From The '65 Archive

I've been listening to Having A Rave Up With The Yardbirds recently, which then got me taking a sidestep and digging out music by female artists from the same year (1965).

I've selected five pop picks - four solo, one band - with an accompanying TV appearance (in black and white naturally). 

Sandie Shaw's performance of Long Live Love appears to be a rehearsal for Top Of The Pops, barefoot and bereft of any emotional response...and audience members! I love it.

No idea where Twinkle's version of Terry comes from, though it appears to be live on stage, rather than the studio. I first came to Terry via the cover version by Spell (Rose McDowall and Boyd Rice) in the early 1990s, though my proper introduction to Twinkle - like Sandie Shaw - was courtesy of The Smiths in the 1980s.

I had never heard of Goldie & The Gingerbreads until I acquired the superb compilation Love Hit Me! Decca Beat Girls 1962-1970 a few years ago. In 1963, they were the first all-female band to sign to a major label. Can't You Hear My Heartbeat gave the band their sole UK Top 30 single (#25) in March 1965. Lovely, though it seems very tame compared to the rest of today's company!

I'd also have said that I've never heard of Donna Loren either though, as well as being a singer, Donna also appeared (as 'Donna') in the movies Muscle Beach Party, Bikini Beach and Beach Blanket Bingo, as well as episodes of Batman and The Monkees, so I've unknowingly seen her countless times on screen before. This is her take on Shakin' All Over, backed by The Shindig Dancers. Groovy!

To end, as all things must, the wonderful Marianne Faithfull performing As Tears Go By on Top Of The Pops. Mesmerising.

 

You Don't Do Heavy Metal In Dobly

Something Thomas Morgan Robertson or, to give him his more commonly accceptable appellation, Thomas Dolby knows only too well.

Songwriter, singer, producer, entrepreneur, teacher and unabashed advocate of the "hair replacement system", I've been a fan since his debut album, The Golden Age Of Wireless in 1982, although I've admittedly followed his 21st Century music releases less closely.

A chance viewing of a 1983 performance of Hyperactive! on BBC 2's The Old Grey Whistle Test prompted me to dig out a few other Dolby classics from the (YT) archives, including a memorable performance of She Blinded Me With Science with Buzz Aldrin (as of August 2025, the oldest living astronaut) at The Smithsonian in 2013.

It's Thomas' birthday next week, so it is highly likely that more of his music will make an appearance then. Mixed in Dolby not Dobly, naturally.

1) Hyperactive (Live @ BBC's Old Grey Whistle Test) (1984)

2) Radio Silence (Official Video) (1982)

3) Europa And The Pirate Twins (Official Video) (1982)

4) Airhead (Official Video) (1988)

5) I Love You Goodbye (Official Video) (1992)

6) The Toad Lickers (Official Video) (2010)

7) She Blinded Me With Science (Live @ 'The Future Is Now' conference, The Smithsonian dt. Buzz Aldrin) (2013)

  

 

 

 

 

 

The Endless Are Possibilities, The Possibilities Are Endless

On Tuesday 30th September, it was time to see Edwyn Colllins at Komedia in Bath for the fifth stop on The Testimonial Tour 2025: A Last Lap Around The UK.

There's something poignant about knowing that you're seeing an artist perform live in concert for the first and last time. I mean, it's happened plenty of times before, but I've never knowingly gone to a gig with the knowledge that this would be my one and only opportunity to see them. And unlike acts that seem to be stuck in a revolving door of "final" tours, there is little question that Edwyn means it. 

The fact that Edwyn is even able to do "A Last Lap Around The UK" is nothign short of a miracle. In February 2005, Edwyn was struck by a major cerebral haemorrhage, then a second. He survived, but was left with right-sided weakness and speech difficulties. Resultant aphasia meant that at first Edwyn could only repeat four phrases: "Yes", "No", "Grace Maxwell" (his wife) and "The possibilities are endless".

That last phrase proved to be prescient as, following an operation and a long-term rehabilitation programme, Edwyn returned to performing live and recording music, releasing four albums up to now. The latest, Nation Shall Speak Unto Nation, emerged in March this year and is as good as anything in the Edwyn Collins catalogue.

The latter point then raises the question: how on earth did Edwyn decide on a setlist for your final tour, when his entire career is bursting with pop gems that other prospectors can only wish were theirs?

As the five-piece band took to the stage, followed by Edwyn, assisted to reach and assume (seated) position at the mike, it was not long before we had our answer.

 

Edwyn reasonably determines that there are two key milestones for fans: his debut album with Orange Juice in 1982 and his third solo album, 1994's Gorgeous George, which spawned the monster hit single A Girl Like You. The set serves both albums well.

Opening with Falling And Laughing and Dying Day from You Can't Hide Your Love Forever, Edwyn then launches into three songs from Gorgeous George, including the title song. It's a wonderful start to the evening, and the first of many moments where I'm grinning from ear to ear, yet also feeling a bit choked up.

Despite the lasting impact on his speech, and confessing to losing his voice after the previous night's gig in Buxton, Edwyn is chatty between songs, and the audience are enthusiastic in their engagement. 

And despite the obvious challenges with ad-hoc conversation, once Edwyn starts singing, it's like he's free of neurological and physical constraints and just soars. Although he acknowledges that his cold has resulted in an even deeper baritone than usual. On occasion, there are fluctuations in key but really, who cares? The joy of seeing Edwyn perform and the joy that he clearly gets from performing, is overwhelming.

Perhaps the best example of this is midway through the show, when son William takes time out from staffing the merch stand in the foyer to join Dad on stage for a wonderful version of In Your Eyes, from Losing Sleep, the first album that Edwyn wrote and recorded after his recovery and rehabilitation. 

It's a wonderful moment, not least seeing the love that William and Edwyn have for each other. Yep, and more welling up from at least one audience member, I don't mind admitting.

The band are tight, having regularly performed and recorded with Edwyn over the years. A special mention for Patrick Ralla, who performs the guitar parts and solos that would previously have been Edwyn's lead. When Edwyn praises his contribution later in the night, Patrick nods and modestly replies, "I had a great teacher". 

We're nearing the end, and Edwyn marks the occasion by standing up. Crowd pleasers - and obvious contenders - Rip it Up and A Girl Like You sandwich the surprise inclusion of 1987 standalone single Don't Shilly Shally, much to the delight of me and pretty much everyone else.

In fact, the entire show has been full of these delights. More or less half-and-half Orange Juice and solo songs, it's breath taking to realise how many songs are aired over 75 minutes or so. Much as I would have been happy to hear more than two picks from the current album, or classics such as Johnny Teardrop, one of the greatest singles ever written, I could not fault any of the selections.

There's a beautiful moment about halfway through when Edwyn sings Intuition Told Me, Pt 1 from the Orange Juice debut, segueing seamlessly into Simply Thrilled Honey.

After A Girl Like You comes to a crashing end, everyone leaves the stage and if those 18 songs had been it, then it would have been a superb night. Yet, minutes later, they're all back on for a four song encore. 

Keepng with Gorgeous George, the "Last Lap" opens with a pared down reading of Low Expectations, followed by the title track of Home Again, recorded before but mixed and released after Edwyn's cerebral haemorrhages. Then, to end as it began, a return to Orange Juice for Felicity and Blue Boy, their sixth and second singles respectively. Those tears were threatening to flood again.

Edwyn and the band exited for the second and final time, then the lights came up, and it was time to go home. 

I'd been there in the audience with friends Mike and Duncan but, in all honesty, for the entirety of the gig, I was completely and utterly transfixed by one amazing man and his incredible band. I think it was fair to say that we were all affected deeply by what we had just experienced.

Thank you, Edwyn. For everything.

Today's selection recreates Tuesday night's setlist, with a few alternative versions, re-recordings and extended versions thrown in to add flavour. I think the end result slightly outlasts the running time of the actual show itself, but I'm not complaining!

1) Falling And Laughing (Album Version): Orange Juice (1982)

2) Dying Day: Orange Juice (1982)

3) Make Me Feel Again: Edwyn Collins (1994)

4) The Campaign For Real Rock (Album Version): Edwyn Collins (1994)

5) Gorgeous George: Edwyn Collins (1994)

6) Nation Shall Speak Unto Nation: Edwyn Collins (2025)

7) Knowledge: Edwyn Collins (2025)

8) The Wheels Of Love: Edwyn Collins (1989)

9) What Presence?! (Extended Version): Orange Juice (1984)

10) In Your Eyes: Edwyn Collins ft. The Drums (2010)

11) In A Nutshell (Cover of Orange Juice): Edwyn Collins ft. Bernard Butler (1995)

12) Intuition Told Me, Pt 1: Orange Juice (1982)

13) Simply Thrilled Honey (Single Version): Orange Juice (1980)

14) Consolation Prize (Live @ Barrowland, Glasgow) (Cover of Orange Juice): Aztec Camera ft. Edwyn Collins (1990)

15) I Can't Help Myself (Long Version): Orange Juice (1982)

16) Rip It Up (The Intermediate Edit): Orange Juice (1983)

17) Don't Shilly Shally (Single Version): Edwyn Collins (1987)

18) A Girl Like You (Album Version): Edwyn Collins (1994)

19) Low Expectations: Edwyn Collins (1994)

20) Home Again (Harmonies/Album Version): Edwyn Collins (2007)

21) Felicity (Album Version): Orange Juice (1982)

22) Blue Boy: Orange Juice (1980)

1980: Blue Boy EP: 22

1980: Simply Thrilled Honey EP: 13

1982: I Can't Help Myself EP: 15

1982: You Can't Hide Your Love Forever: 1, 2, 12, 21

1984: What Presence?! EP: 9

1987: Don't Shilly Shally EP: 17

1989: Hope And Despair: 8

1990: Good Morning Britain EP: 14

1994: Gorgeous George: 3, 4, 5, 18, 19

1995: Volume 13: The Lucky Issue: 11

2002: A Casual Introduction 1981-2001: 16

2007: Home Again: 20

2010: Losing Sleep: 10

2014: The Possibilities Are Endless OST: 20

2025: Nation Shall Speak Unto Nation: 6, 7

The Endless Are Possibilities (1:23:45) (GD) (M)

Some of the photos are mine, but I've also used some fantastic pictures from other audience members that I'd like to give thanks for:

Lorraine Inglis (@lorraineinglisd.bsky.social) captured the incredible front-and-centre close ups of Edwyn, sitting and standing, as well as the set list sheet above.

Dave (@grooveisintheheart.bsky.social) took the striking photo of the empty stage. Admittedly, this was before Edwyn and the band came on but for the purposes of this post, it made sense to include it at the end. Artistic licence!

If you've made it this far, I should also include an apology to support act The Hanging Stars. I thought that they were due to play from 7.30-8.00pm and was feeling quite pleased that I'd managed to get to Bath from work in Gloucester without breaking the law and more or less on time. 

I met Mike outside Komedia, Duncan arrived a few minutes later, we went inside and paused briefly to look at the merch stall and buy a drink, then found our way to the front. At which point, singer Richard Olson struck a chord on his guitar and said, "Thank you very much, see you soon!" 

I guess that they came on at 7.15pm, not 7.30pm... Sorry, guys!

Anyway, The Hanging Stars have been recording their sixth album at Edwyn's studio in Helmsdale, produced by none other than Gerry Love. The album's out next year but the first single, Sister Of The Sun, was released on Friday.

If you're still here after that post-script detour then, as a reward, I've reactivated the previous Edwyn Collins selection that I posted in July. Happy listening!

Missed Opportunity In A Jam Jar

Reggae legends The Cimarons played The Jam Jar in Bristol on Friday (3rd), supported by the equally brilliant hometown heroes Talisman. All for £16.20 a pop.

You'd be a fool to miss it, right?

Unfortunately, I discovered this was happening way too late to do anything about it, so I have to console myself with watching their respective ets from the Uprising Festival in Slovakia (2023) and the Balla Coi Cinghiali Festival in Italy (2017).

Both are superb from start to finish, and I'm sad that I was stuck at work on, rather than immersed in the experience of seeing both bands live on stage.

However, I did get out and about earlier this week to see another legend. Whilst not especially known for their reggae excursions, they have worked many times with the mighty Dennis Bovell. I'll be telling you all about that unforgettable night on Sunday.

Bag o' Tunes, Tunes, Tunes

Little in the way of commentary, plenty in the way of quality music to buy today, if you're reading this on Friday.

1) PIHKAL (Phenethylamines I Have Known And Loved): Dirt Bogarde

2) Marmite Marimba (Re-mastered): Bedford Falls Players ft. Kai Cooper

3) Ganja Provides The Answer (Gaudi Remix): Phonolab ft. Flowdan

4) Niemand: Duncan Gray

5) Illuminator (Demos): GIFT

6) Never Falter / Rootsland: Elastica Dub ft. Gabriel Blue

7) Earth Wind & Fire (Prince Fatty Remixes) EP: Paul Blackman

8) Chaos Outside (Free Association Remixes incl. Lambchop): Friendship

9) All That Is Over (Bandcamp Exclusive Bonus Edition): SPRINTS

10) Forces, Reactions, Deflections: Scanner

 

 

 

 

 

 

 

 

 

Funky Beggar

In July 1981, Spandau Ballet delivered their fourth single, Chant No. 1 (I Don't Need This Pressure On), with a suitably sweaty club video.

This saw Spandau Ballet step fully from the New Romantic movement into soul and funk and it worked, proving to be their biggest hit to date, spending seven weeks in the UK Top 20 and peaking at #3 in August 1981.

This resulted in the inevitable performance on Top Of The Pops.

To be honest, despite the chiselled features, slicked back hair and trendy threads, even as a 10-year old, I thought Tony Hadley was a bit of an arse, an opinion I'm not sure has shifted seismically in the last four decades.

However, the appeal for me here was the expanded line-up on stage, with three men in black leather trousers, carrying brass and grooving in the background in a way that Tony and the lads could only dream of. 

Yep, Beggar & Co. were here to steal the show. It wasn't their first appearance on TOTP, either. They'd had a #15 hit with their debut single (Somebody) Help Me Out, where the BBC and/or their record label had convinced them to dress a little more to (stereo)type with their band name.

Not ones to miss an opportunity to strike whilst the proverbial iron was hot, Beggar & Co.'s second single came in September 1981. Mule carried the subtitle Chant No. 2 in the hopes of drawing in some Spandau Ballet fans along the way.

Two weeks in, the single had reached #41, but was enough to get them back onto Top Of The Pops.

Sadly, a TOTP appearance doesn't guarantee a significant sales boost and, after a peak at #37 the following week, Mule (Chant No. 2) had two more weeks outside the Top 40 before disappearing altogether.

Being the 1980s, as you might expect, both versions of 'Chant' came with an extended version on the 12" single.

 

Fast forward to the 21st Century and Flash Atkins, the superhero alter ego of DJ and producer Ben Davis, had a stab at Chant No. 1 (I Don't Need This Pressure On) in 2010, with vocals by Danielle Moore (RIP).

Nobody has attempted the same with Mule (Chant No. 2) as far as I am aware, though in 2018 the always dependable Greg Wilson provided a satisfying update of Beggar & Co.'s debut single.

Built Upon Life's Little Sighs

Not one but two EPs from Jo Bartlett came out in September, both of which i'll be buying in October's imminent Bandcamp Friday (3rd).

In reverse order, first up is The River Or The Road, four songs recorded with Neil Haydock (Submarine). A cyberspace collaboration in June this year, files swapped in June, "mixed and tweaked" by Jo then released three months later. 

Lead vocals by Jo throughout, and in keeping with the vibe of her 2024 album Ghost Tapes 1 To 9, which I loved (and still do). This time though, the songs with a pastoral, acoustic feel that, with Neil's vocal and musical elements, lends a warmth to the offset the chill of oncoming Autumn.

Opening song Frozen In Time comes with a promo "made up of videos from the Green Man Festival 2007" that Jo found on You Tube, and all four songs are worth the purchase price. EP closer Innocence left a particularly deep impression on me.

The September To September EP is another four-tracker. Three of the songs have been out before - These Simple Things and Time And Time And Again (both April 2025) and Before The Police Car (October 2024) - however, this is the first time that they have been available to buy.

Completing the EP is The Story Of The Buzz Club, the soundtrack to a short film that Jo was commissioned to make for a project called the Aldershot Mix Tape, which premiered at the West End Centre in Aldershot on 13th September.

The Buzz Club was organised by Jo and Danny Hagan and held at the West End Centre. The list of bands that made a stop in Aldershot to play at the club in the 1990s makes for eye-widening reading: Blur, Cornershop, Dodgy, Elastica, Happy Mondays, Manic Street Preachers, Primal Scream, Spiritualized, Suede, That Petrol Emotion, The Beautiful South, The Charlatans, The Stone Roses, and many more.

You can watch The Story Of The Buzz Club on You Tube, whilst the soundtrack provides the opener for the September To September EP.

Both EPs recommended, both in my Bandcamp Friday shopping bag.

He's A Complicated Man, But No-one Understands Him

Theme From "Shaft" by Isaac Hayes was released as a single in the USA on 30th September 1971.

The original, full length 4:39 vocal version was the opener of the double album soundtrack to the blaxploitation film, out in July the same year.

The single was edited to a more radio-friendly 3:15, whilst retaining the almost two-minute instrumental introduction. As an aside, I've love to see Richard Osman have the balls to include this in the 'Win When They're Singing' round on his House Of Games.

Theme From "Shaft" got to #1 in the Billboard Hot 100, and spent two weeks at #4 in the UK from 12th to 25th December 1971.  

Isaac deservedly won an Oscar for "Theme from Shaft" in 1972 for Best Original Song, itself becoming a historic moment. Hayes was not only the first recipient who had both written and performed the winning song, but he was also the first African American to win any Academy Award in a non-acting category. 

Apart from a slew of cover versions released around the same time as the single and film soundtrack, there have been relatively few since, and even fewer of note.

However, there are two in my collection that rate amongst my personal favourite covers, not least because given the artists involved, they are both surprisingly faithful versions.

Cabaret Voltaire are believed to have recorded their take on the Theme From 'Shaft" around 1981, though it didn't appear on an official release until the Eight Crépuscule Tracks collection in 1987.

The Wedding Present included their version of Theme From 'Shaft" as the B-side of Boing!, the eighth of twelve singles released every month during 1992, spending one week at #19 in the UK.

I've uncovered another couple of gems on t'internet, firstly a 1999 cover in Arabic by Malik Adouane, which adds a whole new layer of thrills, with a video that allows Malik to live his Richard Roundtree moment.

And lastly, an interpretive dance like no other by Lola Falana. You have never seen cops like this before... It's been recorded off the telly, so has the expected sound and vision glitches, but the arresting sight of Lola and her police squad provide ample distraction.

Did I say lastly? The last word has to be Isaac Hayes, naturally. If the 4:39 album still feels too short - DJDiscoCat clearly thought so - then how about his 2019 'Soul Purrfection' re-edit, all nine minutes of it?

I can dig it.

Return Of The Rebel

This Is Ska is a new single by Double Trouble and Rebel MC, their first in three and a half decades.

I wasn't expecting that!

Those who will remember their collaborative smash hits Just Keep Rockin' (UK #11, June 1989) and Street Tuff (UK #3, October 1989) will be reassured that this is a bouncing, upbeat tune in the same vein.

Coming along for the ride are the legendary Blackout JA and contemporary artist Kaya Fyah, who also happens to be Rebel MC's daughter.

In 1994, Rebel MC aka Michael West converted to Rastafari and changed his name to  Mikail Tafari. From this point, he continued to release music as Congo Natty.

So, it's a real blast from the past - and breath of fresh air - to hear This Is Ska. Guaranteed to blow away those Monday blues.

And, in case you need reminding...

 

Nobody Starts This Way

After two previous failed attempts, it was third time lucky as I got to see Billy Nomates perform live at Electric (formerly SWX) in Bristol on Wednesday night (24th).

A mad dash from work, a quick stop at home for a change of clothes, then via the M4 and M32 to Bristol. I'm always keen to catch the support act and feared I'd be late but, when i approached the stage, this was the sight that greeted me. 

 

Had John Medd arrived before me?

 

No, this was the stage device for Emily Sadler. I'd done zero research into the support but had I done even a casual search, then the clues were there: her Instagram moniker @cirquemily and a show billed as "Beneath The Big Top"; this wasn't going to be your standard 30-minute singer/songwriter acoustic support slot.

 

Emily describes herself as an "Aerialist, Handbalancer and Roller Skater" and we got two out of three live on stage...well, would you attempt roller skating with all the cables and kit lying around?

 

It was a truly arresting sight, as Emily performed to a backing tape, switching from introductory narration to music and back again, as she moved through several 'acts.

 

Not everything went strictly to plan, but you try walking across four upright narrow necked glass bottles, in ballet shoes and on point. Emily managed two, stumbled and dropped on the third, though from the audience's perspective, it was a win. 

 

That moment of seeing Emily perfectly poised, the tips of her toes resting in the mouth of two bottles, was jaw-dropping. The aerial hoop routine the choreography, the sheer novelty of seeing something off-kilter at a music gig got the evening off to a great start. 

 

Never skip the support act, kids! 

 

One thing that has dramatically changed in my gig-going experience since my teens is how punctual everything is these days. By necessity, of course, driven by venue curfews or club nights following hot on the heels of live music. For the punter, it's almost entirely eliminated the interminable wait between support slot and headliner.

 

And so, pretty much on the nose at 9.00pm, Billy Nomates took to the stage. The pendatic complaining consumer may have placed a call to Trading Standards at this point, as Billy clearly and unmistakably now has mates, in the form of Mandy Clarke (bass) and Liam Chapman (drums). Or, maybe they're not friends at all...

 

Friendship status aside, and frequently cited stage nerves notwithstanding, Tor Maries is a natural on stage, delivering stunning vocals, energy and presence, along with frequent and endearing between song banter.

 

"Whose idea was it to have a hometown gig to open the tour?" asks Tor at one point. "Promoters!", shaking her fist in mock indignation. 

 

It was a good call, though. There was a hugely positive vibe, the sense that no-one here was present to be convinced or persuaded that Tor Maries is an exceptionally talented songwriter and performer. Boy, did she and the band deliver, though.

 

Even the occasional fluffs were styled out with great humour: Mandy couldn't get a bass groove right early on and it took three starts before it locked in. And we just applauded all the more. On another occasion, Billy's banter was supposed to be a cue for Liam to lead in to the next song, and he missed it. Twice.

 

"in fairness," reflected Tor. "We haven't practiced it." 

 

All but one song from current album Metalhorse was played (what did Comedic Timing do wrong?), including Moon Explodes ("We were sat in the back of the van, definitely not stoned" remembers Tor with a twinkle in her eye) and Dark Horse Friend, with Liam doing a fair impression of Hugh Cornwell, who guests on the studio version.

 

Barring the set closer, Metalhorse dominates the first half of the show, concluding with Strange Gift, Tor's tribute to her dad, seeing her strap on an acoustic guitar, whilst LIam and Mandy remain seated and reading newspapers. After the energy of the last half hour or so, it's a beautiful, touching performance.

 

"Any interesting stories in the papers?" asked Tor after the song.

 

"Man drives 800 miles to return bag," deadpans Liam *

 

"800 miles?" wonders Tor aloud to the audience. "Uh oh... that's dangerous: 800 miles, I'm between two Scottish musicians; before you know it, you'll be asking me for...

 

When I wake up...

 

...maybe I'll do it at the end." (Spoiler: she didn't)

 

What we were treated to though, was a second half that delved into the already expansive Billy Nomates back catalogue, with songs from the self-titled debut and 2023 follow up Cacti.

 

2020's Emergency Telephone EP also got a couple of outings, with Heels and Petrol Fumes. Even more satisfying were a couple of songs from the growing "Tor Tape" collection that Tor has been gradually adding to Bandcamp since August 2023. 

 

pornos in the waiting room came out in July this year, knives in September 2023 and whilst these Tor Tape songs are described as B-sides and demos, they're every bit as hard-hitting and complete songs as those that have appeared on any of her albums.

 

After a muscular version of balance is gone - this 3-person line-up is spectacularly good - we're sadly at the end of the night. 

 

Joking that the band were "way too cool for an impractical encore", Tor, Liam and Mandy launch into The Test from Metalhorse, a highlight amongst highlights. 

 

"You know I can't come down," Tor sings at one point and, as I walk back to the car, reflecting on the last couple of hours, I'm not sure that I can either.

 

If you can get to any of the remaining dates on Billy Nomates' UK tour, I'd urge you to run not walk. Don't miss out.

 

Setlist hasn't (yet) posted details for the Bristol show but looking at the post for Southampton a couple of nights later, I think it's pretty much the same, so I've used this as the basis for today's hour-long selection. If you're new to or relatively unfamiliar with Billy Nomates / Tor Maries, then you are in for a treat.

 

As a bonus, I'm also reposting the 44-minute Dubhed selection I created in June 2023. A few duplicates/overlaps between the two but when the music is this good, who cares?

 

1) Life's Unfair (2025)

2) Metalhorse (2025)

3) Nothin Worth Winnin (2025)

4) Plans (2025)

5) No (2020)

6) Moon Explodes (2025)

7) Dark Horse Friend (ft. Hugh Cornwell) (2025)

8) Override (2025)

9) Heels (2020)

10) Gas (2025)

11) Strange Gift (2025)

12) pornos in the waiting room (2025)

13) knives (2023)

14) blue bones (deathwish) (2023)

15) Hippy Elite (2020)

16) Petrol Fumes (2020)

17) Spite (2023)

18) balance is gone (2023)

19) The Test (2025) 

 

2020: Billy Nomates: 5, 15

2020: Emergency Telephone EP: 9, 16 

2023: Cacti: 14, 17, 18

2023: knives EP: 13 

2025: Metalhorse: 1, 2, 3, 4, 6, 7, 8, 10, 11, 19 

2025: pornos in the waiting room EP: 12 

 

Nobody Starts This Way (1:03:11) (GD) (M)

 

 

And here's a bonus link to Little Boy, Don't Think You Quite Understand, my previous Billy Nomates selection from 2023.

 

 

* This is a true story!