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**This show has been cancelled. Customers with tickets will be notified by their ticket outlet that they can attend their Cambridge Junction show in September**

Rock folk band Flint Moore don’t believe in doing music by halves – it must be ferocious and raw, or delicate and emotional. When people try and describe their sound, they reach for many different names – from Pearl Jam to Mumford and Sons, Audioslave to Dave Matthews Band. Whatever their choice, it always speaks volumes of Flint Moore’s powerful and honest performances.

Flint Moore is grassroots in their attitude and grounded in their worldview. They believe music is best experienced when everyone in the room feels fully connected. If you’ve seen them before, it’s never been like this; if you haven’t, this is the time.

Jess Silk
Guitarist, singer and songwriter from the Black Country. Her shouty but melodic brand of folk/punk music often has her being likened to a female Frank Turner or Billy Bragg, and it gets people sitting up and listening. Armed only with an increasingly sticker-covered acoustic guitar and a distinctive, gravelly voice that many don`t expect.

Brad Dear
A raw and rowdy modern folk sound of foot stomping anthems and sing along choruses

Myles Knight
Singer/Songwriter from Nottingham playing a medley of original songs and poorly done covers. All played in an alternative acoustic style with melodic undertones.

Blending harmony-heavy indie noise with a twist of Pixies dynamism, these guys have hit on a formula that makes for essential listening. They draw influence from classic 90s American indie rock like Pavement and The Breeders.

Yard Act formed in Leeds in September 2019 when Ryan Needham found himself temporarily living in James Smith’s spare bedroom. The two had been pub associates for years, but their new living circumstances served as a catalyst for their friendship and creative partnership which saw them fuse James’ interest in spoken word with Ryan’s primitive proto-punk demos using an ancient drum machine and borrowed bass guitar. They released their first material in March 2020, coinciding with you-know-what, and with just three singles (The Trapper’s Pelts, Fixer Upper and Peanuts) and three gigs to date, Yard Act have staked out a territory all their own. Setting up their own imprint Zen F.C. they released their debut 7” which can now only be found for exorbitant sums on Discogs, they’ve scored two 6music playlists, and they’ve won a growing fanbase with their coruscating, narrative driven, spoken word dance-punk. Now girding their loins for a 2021 filled with new music, new recordings, debut novels, and (fingers crossed) plenty of live shows, Yard Act have most definitely marked our cards as one of UK’s most exciting prospects.

Billie – born Isabella Sophie Tweddle – got her early start in music thanks to parents who surrounded her with the music of Nick Drake, John Martyn, Joni Mitchell, Joan Armatrading, Kate Bush, Loudon Wainwright III and northern folk artist Chris Wood (who once told a nine-year-old Billie to “go for it!”). The family lived in the pastoral rolling hills of Ripon, North Yorkshire, where Billie grew up in and around the Dales. “I feel a lot of emotion [in nature],” she says. “Like this extreme form of empathy. I find it a very comforting blanket. It cradles you, it’s always there. It’s not going away.”

Built on the minimalist acoustic folk she made a name for herself with, Billie Marten?s breath-taking new record Flora Fauna is a mature, embodied collection of songs fostered around a backbone of bass and rhythm. “When I was younger, I was quite trepidatious in my songwriting,” she reflects, while sitting in the winter sunshine in her adopted home of East London. “I concealed myself in my music. Now, I’ve gained more personal strength than I had before, I was so obsessed with what people thought of me then. Over time, you learn to care a bit less ? and you start writing about the things that really matter.”

Be it the buzz of an overly exhausted tour van, or the green light and smell of sausage rolls in the near Beaconsfield distance; inspiration can be found in the funniest corners of this place we call home; and it’s in the heart of day-to-day simplicities and sprawling services, that we gladly receive Amsterdam’s beamy-grinned, indie-pop powerhouse Pip Blom, back into lives.

Following an extensive touring schedule which saw the Dutch 4-piece roam over field, oceans, and Glastonbury’s John Peel stage following the release of their debut record “Boat”, any such cool-cat would be forgiven for wanting to kick back, and indulge in some very appreciated, time off. As is often the way, such timely-abandon cannot be said for Pip Blom however, who immediately began to gather up all her soaked-up inspirations taken from the road, and manifest a re-energised sense of self, and ritualistic songwriting. Cosying down in a room of her parents’ house (which she shares with her brother and fellow bandmate Tender Blom), Pip, a self-confessed “fan of deadlines”, set aside three months to write twenty songs; sixteen of which were to become demos for the band to structure and flesh out, once in the studio together.

Music Venue Trust & The National Lottery = The Revive Live Tours

Buy a ticket to this show and bring a friend for free! We’ve all missed music and mates over the last year. Now is the time to #ComeTogether to #ReviveLive music.

The free ticket holder must just need to demonstrate you’re a National Lottery player by showing either a physical ticket or one on the app at the door. This could be a weekly draw ticket or a scratch card and they must be over 18 to purchase and hold a National Lottery product.

This event has been rescheduled to Friday 15th April 2022. All tickets remain valid.

Shonen Knife – from Osaka, Japan – formed in 1981 by sisters Naoko & Atsuko long before terms like ‘riot girrrl’ entered the lexicon, the all-female trio were happily snapping guitar strings to the sound of imported Ramones covers. Like fellow cult Japanese girl group The 5,6,7,8s, Shonen Knife have weathered decades of musical change by adhering to what they know best: belting out their own infectious brand of feelgood pop-punk.

Over the last 40 years they might not have packed out out stadiums but have been credited as a huge influence on alt rock acts from Sonic Youth to Nirvana. Despite years on the road, their enthusiasm for live
performances remains a joy to see as they delve into an extensive back catalogue ranging from solid thrash rock through to hit parade melodies.

This event has been rescheduled from Thursday 1st April 2021. All tickets remain valid.

An immersive wall of distortion envelopes the powerful fragility of frontman Kiran Roy’s vocals, while he paints a verbal landscape of introspection, despair and hope amid a sonic palette that evokes both the driving, spacious absorptivity of My Bloody Valentine and the poetic, visceral honesty of Nick Cave’s lyricism.

With their 2017 debut album “Live For The Moment”, Sheffield quartet The Sherlocks established themselves as key contenders in a new wave of British bands keeping alt-rock and indie vital for a new generation of fans. The album fired into the charts at #6 as the band inspired devotion wherever they went, from shows with Liam Gallagher, an international array of festival dates to rapturously received shows in Japan.

While “Live For The Moment” remains a scintillating insight into the hedonism and heartbreak of youth, “Under Your Sky” finds frontman Kiaran Crook writing songs which bridge the exuberance of youth with the reflection and maturity of young adulthood.

That approach – worldly songs with one eye cast homeward – is perfectly demonstrated in the album’s lead single “NYC (Sing It Loud)”, which received its exclusive first play courtesy of Annie Mac at Radio 1. “I wanna see the world with you,” Kiaran sings, imagining “getting lost in the city for a day” with someone left behind.

CHILDCARE were formed in 2016 by Ed Cares, formerly one of west London’s most in-demand male nannies. Overheard humming a song he had written years before, Ed was persuaded by Katie, then aged six, to form a band. He enlisted local musicians Emma Topolski (bass), Rich Le Gate (guitar) and Glyn Daniels (drums). The band has now been together for several years, performing successfully under the only logical moniker in the circumstances: CHILDCARE.

Enthused with the energy of punk, the infectiousness of The Police and a by-numbers approach to songcraft akin to Happiness In Magazines-era Graham Coxon, CHILDCARE are a band on the up, making skewed, idiosyncratic, art-punk pop that is gaining them eager fans across the continent. Having recently sold out Omeara and releasing two critically acclaimed EPs with extensive BBC Radio 1 support and wide-spread blog coverage from the likes of Indie Shuffle and The Line of Best Fit, CHILDCARE will be babysitting their way onto a stereo near you in the future.

*This date has been rescheduled from 19th April/ 6th Dec, tickets purchased for either of those shows are valid for this date*

One of the finest bands on the Americana/Alt Folk circuit, Noble Jacks are coming to The Portland Arms, straight off the back of their sell out tour with The Dead South.

With the fiddle leading the charge, Noble Jacks are out to take no prisoners with their high-energy footstompin’ rhythms, which have taken crowds by storm across the UK.

2017 saw the release of Noble Jacks’ debut album What the Hammer to much acclaim. A fiddle driven thrill ride, the band set out to capture the raw energy of their notoriously hectic live shows. Achieving radio play internationally, including support from BBC Introducing and Radio Caroline, the riotous album has become a firm fan favourite.

Since this point Noble Jacks have been touring relentlessly, with sold out shows across the UK on their headline tours, as well as shows at major festivals including Glastonbury, Isle of Wight and Bestival, plus major European festivals. With their second album, Stay Awake, released Spring 2019, the Jacks went straight into the top 10 Official UK Americana Album Charts – with a sold out Concorde2, Brighton (650 cap) launch party.

Hailed as the finest purveyors of folk-influenced Americana, the band were invited to showcase at this years Americana Fest in Nashville where they went down a storm!

+ Supports TBA

It’s often hard with Lazarus Kane to know where the line between sincerity and irony truly lies. They’ve been called everything from high-concept performance art to disco provocateurs, but it is perhaps this sense of uneasy mystery that sets them apart. In an industry often plagued by a dour self-seriousness surrounding art and the creative process, Lazarus Kane emerged as a breath of fresh air in 2019 with their Speedy Wunderground single “Narcissus”, a strutting, rhythmic exploration into the superficiality of modern life. They followed this up with the inescapable strut of “Night Walking” in 2020, further blurring the expectations of what a band could, or should, do.

So where now in 2021, with the world on pause? For front man Ben Jakes, FKA as the eponymous Lazarus Kane, the answer was simple. Rip everything up and start again.

This event has been rescheduled from Friday 16th April 2021. All tickets remain valid.

https://www.avalancheparty.com/

“The most exciting rock & roll band in the UK right now” BBC Radio 1

“A tsunami of mega riffs and eardrum-popping bass lines. Definitely don’t want to wear your Sunday best to one of their raucous gigs” NME

Avalanche Party is feral garage-punk rock & roll from the North Yorkshire Moors. Their sound is intense and immediate, so new yet so familiar, brimming with an urgency that explodes off the stage like the front lines of a war you didn’t even realise was being fought. Every note played through white knuckles, every word spat through gritted teeth.

Magic, miracles, ghosts, world leaders; these days it seems there is little left to believe in. Lies outweigh truth and even truth can be dangerous. Raising everyone’s spirits Already Dead – the fourth album and the first for nine years from Willy Mason – explores honesty and deception, anonymity in the digital age, good intentions with unexpected consequences, freedom, colonialism, love, god, and purpose because, its storyteller says, now is the time to restore some much-needed faith.

“Already Dead is a spiritual state to aspire to; it is freedom from the trappings and inhibitions of one’s ego, culture, and mythology. It is freedom and love and freedom to love in the face of death,” tells Willy of the philosophy behind the writing. “It’s about the necessary destruction of one’s mythology; mythology of species, sex, race, nation, self. It’s about the pain and tragedy that comes with such destruction, but also about the freedom, possibility and opportunity for reconciliation; reconciliation with the natural world and with each other.”

Already Dead arrives at a time when certain words must be said. It is a quest for love in a society which fears and discourages it; for truth and justice in a society which prioritises convenience and profit. “I ended up diving so deeply into this record because it felt at the time, like the only way I could hope to do some good for somebody,” Willy says. “All the concern and care I have for people, fear, frustration and sadness, all came pouring out.”

Centred around Asha Lorenz and Louis O’Bryen, two 22-year-old childhood best friends, Sorry were signed by Domino after developing a reputation as the most thrilling new band on London?s underground circuit. Sorry?s lineup is completed by Lincoln Barrett on drums and bassist Campbell Baum alongside a new addition in Marco Pini on synths.

Having spent the past couple of years releasing a string of singles and a pair of video mixtapes that won the band praise from the likes of Pitchfork, The Fader, Vice, Dazed and more, the band are preparing to announce their biggest project to date with new music right around the corner.