Manchester Gorilla had a coup a few years ago when none other than Kylie Minogue requested to play two intimate European dates prior to her upcoming arena tour and she chose to play Berghain in Berlin alongside the Gorilla. I believe as a result the tickets went like hot cakes!
My next visit to describe was the exceedingly welcome reformation of Rocket from the Crypt (RFTC), who in my personal view were the best live band on the circuit for a couple of years in the late 1990’s and was the first time I had witnessed them in twelve years. They were still in fine fettle, and I enjoyed the show.
Manchester Gorilla. Image Credit Visit Manchester.
The driving force of RFTC is the lead singer John ‘Speedo’ Reis, who owns the Swami record label and has also been in several other bands over the years including Pitchfork, Drive Like Jehu, Sultans, Night Marchers, Swami and Hot Snakes. In January 2018 I saw the last named act who serve up a more stripped down sound than RFTC where John was more in the background and during the first track dampened down the ‘Speedo’ chants from the admittedly sparse audience. They produced an urgent, vibrant and thoroughly enjoyable performance.
On a cold January night in 2015 we trogged over to see Neneh Cherry for the first time. She was born in Sweden under the name of Neneh Mariann Karlsson and her half-brother is musician Eagle Eyed Cherry. She has punk heritage as a 15 year old member of the Slits and around that time roomed with lead singer Ari Up in a squat in Battersea. In 1989, she had a huge hit with ‘Buffalo Stance’ and has also dabbled in DJing and broadcasting.
She cut a spiky intriguing presence and was a veritable bundle on energy on stage and we very much enjoyed the show however we unfortunately had to scamper off early to guarantee we could catch a train home.
The Slits. Image Credit billboard.com
Next up was Parquet Courts, a four piece from New York who met whilst at university in Texas. They were touring to support their fifth album ‘Human Performance’, for which the art and packaging of that particular release garnered a Grammy Award nomination.
Later that year, I had my latest dose of the unique Lovely Eggs who were in fine form. It was Gill’s first exposure to them, and she was swiftly converted. They were supported on the night by the Hornblower Brothers, who have nobody named Hornblower or any brothers in the lineup! What I can tell you is that they had more than a passing resemblance to Half Man Half Biscuit. A couple of years later in 2018 we saw the Eggs again there and they marked a milestone as it was the first time I reached a century of gigs in a calendar year.
The next one on the roster was a band that I had been chasing for a long time, but events always seemed to conspire against me when they announced tour dates. The act in question was Mono, an instrumental band from Tokyo. They formed in 1999 and have released eleven albums in total, and my favourite is the epic titled ‘Walking Cloud and Deep Red Sky, Flag Fluttered and the Sun Shined’. In 2005 they took the unusual route of releasing a split album with the aforementioned Pelican and restricted the recording to vinyl and only 4000 copies.
They have more of a lush classical sound then their post-rock compatriots. They are seated when they play live, but they are definitely not Westlife as they break into some noisy sonic guitar sounds when the muse takes them. The only remaining band of this ilk who I have still not seen is Built to Spill.
Mono were joint headliners with French post-rockers Alcest, who started originally as a black metal combo before moving into less abrasive territory, and their sound evoked comparisons with My Bloody Valentine.
Mono on stage. Image Credit asiapacificarts.org
In April 2018 I witnessed the Madrid majesty of the Hinds. They were originally a two-piece called Deers but risked legal action from The Dears so changed the name to their current moniker, but to a degree retained the original as it can be translated in some languages to ‘female deers’. They then morphed into a four-piece and released 4 albums before resorting back to a duo in 2023.
They are firmly in the garage rock domain with lovely harmonies and were terrific fun and had a fine stage banter and presence. My most recent attendance at the venue was in 2025 to see the band again for a second time. In 2019 I had my second sighting of Fontaines DC who were very entertaining again and were supported by Cut the Mustard.
At the final ever Dot to Dot festival later that year I saw Crows who provided some thunderously loud abrasive post-punk. Their latest album ‘Reason Enough’ was recorded in a former Catholic church and convent in Stroud and their lead singer James recently fronted the band Humanist on their arena support slots for Depeche Mode. Finally in May 2024 I saw Maybeshewill, a post-rock band from Leicester who I enjoyed as much as the previous time I had seen them at the Ferret in Preston in 2011.
Now, for the very eagle-eyed (not Cherry!) among you, you will have noted that I have only documented seventeen gigs at the venue, the eighteenth I will document next time in its own specific article, and the reasons for this will then become apparent.
