Chenny 7.45 – 8.30
The 900 8.45 – 9.30, 9.45 – 10.30
The 900 are the UK’s first and only “Tony Hawk’s Pro Skater” cover band. Formed by their mutual understanding that no other soundtrack could ever top THPS, The 900 gives you a reason for your back to hurt in the morning. With the approval of the Birdman himself, as well as Goldfinger’s John Feldmann, they’re ready to kickflip into every big banger from THPS1 to American Wasteland.
Expect to hear tunes spanning all the games including AFI, Alien Ant Farm, Bad Religion, Black Flag, CKY, Dead Kennedys, Goldfinger, Green Day, Lagwagon, Less Than Jake, Millencolin, Motorhead, NOFX, Papa Roach, Powerman 5000, Rage Against The Machine, The Ramones, Refused, Suicidal Tendencies, System of a Down and many more!
Chenny 7.45 – 8.30
The 900 8.45 – 9.30, 9.45 – 10.30
Captain are a British alternative rock band from London, England, who formed in 2004. Influenced by groups such as The Smashing Pumpkins, The Beach Boys, My Bloody Valentine and The Cure, their music has also been compared by critics to Prefab Sprout, The Beautiful South and Deacon Blue. The group signed to EMI Records and achieved success in 2006 with their singles “Broke” and “Glorious”, which reached numbers 34 and 30 on the UK Singles Chart respectively. Their Trevor Horn produced debut album, This Is Hazelville, was released on 14 August 2006 and reached number 23 on the UK Albums Chart.
Captain recorded their second album with EMI but due to the company being acquired, were dropped (with many other artists) before it was released. It remains unreleased to this day.
‘For Irini’ was Captain’s 3rd studio album which was self-released and crowdfunded via PledgeMusic.
Now Captain are back once again with their 4th studio album and also some live shows now being booked for 2024!
For singer, songwriter and multi-instrumentalist Jordan Lee, who has recorded as Mutual Benefit since 2009, the title of his expansive fourth studio album, “Growing at the Edges”, is many-layered. “I became interested in the unruly first signs of growth after a disaster, and the beautiful ways lives start to blur into each other through relationships,” Lee says. “Edges are where spaces are negotiated.”
The title took on another dimension as Lee actualized his desire to grow his range as a songwriter, pianist, and collaborator. Written over the span of five years, the seeds of “Growing at the Edges” took root with two artist residencies completed in 2019: one at a former watchtower in Northern Ireland, where he was commissioned to compose a soundtrack, and another in Gainesville, Florida. Both allowed Lee time and space to experiment, to spontaneously explore, and to live inside his emergent songs.
Serving up art-pop for the anthropocene, “Springs Eternal” is the Mercury-nominated, critically acclaimed artist William Doyle’s most ambitious and most playful creation to date. Taking a panoramic view of the ecstasies and agonies of life in the 2020s, the record asks how we exist as fragile flesh and blood – our hearts beating and our minds racing – in an unprecedented, almost unimaginable time of runaway climate destruction and technological expansion.
“Springs Eternal” presents a strange and thrilling cast of characters – from cowboys to castaways – who just might be Doyle, once or twice removed. “Most of the songs are in the first-person, but rather than being autobiographical, I was trying to imagine hyperreality versions of myself,” Doyle says. “What if decisions I made in my life had resulted in the self of each particular song? How many degrees of separation am I from those realities? It’s a frightening thought, and frightening thoughts often make for good songs.”
Over the span of her career, Jolie Holland has knotted together a century of American song – jazz, blues, soul, rock and roll – into some stew that is impossible to categorize with any conventional critical terminology. This is her burden and her gift, to know all of these American songs of the last ten decades in her head and her heart, and to have to wrestle with their legacy. She dives straight to the pathos of a song the way the very greatest singers, singers like Mavis Staples, or Al Green, or Skip James, or Tom Waits do.
Upon first encounter her songs seem challenging, perhaps unsettling at times, but as so many poets and rockers have shown us (from Dante Alighieri to William Blake to Sylvia Plath to Patti Smith to Nick Cave to Mark E. Smith) that’s where the beauty lies. As evident on her first recordings, Holland apparently has no fear of the truth, and there is no emotional core that she cannot reach in song. In fact she thrives on the red hot centre of a musical composition, in all its strange and brutal detail.
The group have become renowned amongst peers for their shape shifting sound that blends experimental post-rock with swelling choral textures. Today’s track was produced at Church Studios by Balázs Altsach, assistant to Paul Epworth who has worked on music for The Last Dinner Party, Wet Leg & Blur.
Hailing from Cambridge and its surrounding areas, UGLY originally evolved through the band’s choral background. Glimmers of its influence can be heard throughout their catalogue – instantly gripping infectious melodies, explosive dynamic changes and rich, intricate harmonies.
Toby is an English musician and actor who was born in Oxford and grew up in Spain with his three sisters. Touted as ‘One To Watch in ’23’ by Rolling Stone Magazine, Toby released his first track of 2023 ‘Too Good” and the first track from his upcoming album. Too Good draws on the sounds of the late 60s and early 70s, and artists such as Marc Bolan and David Bowie. The track delivers a modern and comical look at the insecurities Toby experienced when he was younger, with driving guitars, relentless backbeat and catchy melodies.
Simmering memory and unspoken truth righteously seethe in songs with tenderness, anger and startling leaps of joy and optimism. To see it live is to truly feel it. Dominie Hooper, long-time session musician, collaborator and multi-instrumentalist, takes flight in the centre of a stage wrapped in musical alchemy with bandmate mainstays Phil Self and Dave Hamblett.
Her folk-steeped debut EP “Anno” was described as “beautiful, challenging, fruitful… captivating” (Liverpool Sound & Vision), and “confident and impressive” (Fatea Magazine), and was triumphantly celebrated with a sell-out debut headline tour in June 2022.
Cambridge Portland Arms, Thu, 18 Apr 2024 at 7:00pm
The Baby Seals are a punk garage band based in Cambridgeshire, made up of Kerry Devine, Amy Devine and Kate Shore.
Their debut album – “Chaos” – is slated to be released by Trapped Animal in 2024.
“The Baby Seals are a smart, talented group of girls who know how to shout back against oppressive patriarchal values; and have a shit load of fun at the same time” – Gigslutz
“A great lairy sound, I love people who promote the idea of being happy with your body during a time when people see whitened teeth and implant-filled arse cheeks as perfection” – Fresh Off the Net
Following the success of their debut album Forever Whatever, released at the start of 2020 and with a solid foundation built over years of touring and writing, October Drift affirmed their place as an important new presence, with their heavy, pop-inflected rock delivering a rejuvenating injection of fresh blood to the genre. The album was met with widespread critical acclaim on release, garnering praise from the likes of CLASH, Kerrang! Louder Than War and many more. Their newly released sophomore album ‘I Don’t Belong Anywhere’ – via Physical Education Recordings – is a taut, visceral record, a step forward for the band into an even more powerful, brutal sound. Far less introspective than their debut, ‘I Don’t Belong Anywhere’ is October Drift’s totem for bringing us all together again. “A feeling of not belonging is something everyone feels or has felt,” explains vocalist and guitarist Kiran Roy
Having already thrilled audiences at festivals including Glastonbury’s John Peel Stage, Reading & Leeds and BST Hyde Park, as well as on a major European tour with Editors, We Are Scientists, Archive & Slow Readers Club, Forever Whatever, The Naked EP and the new album I Don’t Belong Anywhere together condense years of relentless touring and expertly crafted performance into showcases of flawless songwriting; statements of intent from a band more than ready to cement their place as future icons.
“Intermittent Fast Living”, the third studio release by PET NEEDS in as many years, is inspired by the relentless, breathless, stop-start lifestyle PET NEEDS have found themselves living in recent times.
Founded originally by brothers Johnny and George Mariott and later joined by Jack (drums) and Ryan (bass) only a matter of years ago, PET NEEDS’ career has been sky-rocketing ever since the release of their acclaimed debut “Fractured Party Music” back in 2021. From getting signed to sold out shows, rave reviews to rabid fans, and embarking on extensive global tours with the likes of Frank Turner, The Lottery Winners, Skinny Lister; demand for these four lads from Essex has been on a trajectory with the stratosphere.
Almost Nothing is a new band from Scottish musician and writer Roddy Woomble.
The debut album was written and recorded throughout 2021/22 in collaboration with four different producers: Scott Paterson (Protection), Andrew Wasylck, Le Junk, and Luciano Rossi.
Almost Nothing is an exercise in artistic freedom, the album shifts from electronica to moments of shimmering art pop – a genre fluid record – melodic, poetic, catchy and just confusing enough to escape full comprehension.
Bare Jams started out in 2011 with the aim of breaking their serial festival fence-jumping habit. Schoolmates Ollie and Sam hunkered down in Sam’s garden shed, later known as the Bare Jams cave, to jam and write original music, performing as an energetic acoustic duo.
After recruiting D-Slice on bass the band began to evolve into to a flamboyant, high energy ever-changing collective; finally settling on their current 6-piece line up in 2018: a sonically tight tour-de-force of experienced musical alchemists effortlessly cooking up a credible fusion of musical styles with a sound that is uniquely their own. They are a frequent must-see on festival aficionados’ lists with the band’s reputation for tight and exuberant, yet wholesomely candid performances frequently filling tents to their sweaty capacities.
Never ones to keep still, the band continues to delight fans old and new bringing a relentless energy that envelopes a core moral message to both their live performances and recorded music.