Friday, 5 July 2019

Latest Launch Event Line-Up


Launch Event Volunteers

We could do with some volunteers on hand over the weekend. We may need a little help on the food stalls, some litter picking and other odd-jobs. If you're free at any point - even if it's just an hour or so - please drop our landlady Abigail an email with your availability.
Email Abigail

As part of the celebrations this weekend we're holding our very own bake-off, with a bottle of gin and some Fevertree mixers for whoever is crowned the Grear Ryton Bake-Off Champion.

Anyone who would like to enter needs to drop their cakes off between 10am and 11am on Sunday, and we'll judge and announce a winner at 1pm.

Space for stall holders...

There's still some space in our stall area for anyone who'd like a charge-free spot to sell your crafts or products. Let our landlady Abigail know if you're interested.

Cattle and Cane



CATTLE & CANE share their euphoric and sun-drenched new single Mexico, the first track to be taken from their eagerly anticipated upcoming album Navigator ahead of its release on Friday 8th November 2019.
Produced by Pete Hammerton (Kylie Minogue, The Shires, Wandering Hearts, Tom Gregory), Mexico has already picked up plays from BBC Radio 2, including a live session on the Saturday Afternoon show.
The confidence and maturity on display delivers an enticing statement of intent from sibling duo Joe and Helen Hammill.
“For the first time ever, we took a step back last year and actually thought about how Cattle & Cane should sound and where we want to take it” says Joe
“Being in a band isn’t always easy and sometimes it can take some time to find your way, but this is undoubtedly the most excited we’ve ever been about sharing new music” he adds.
“We’ve always been ambitious,” explains Helen, “but I think locking ourselves away with Pete [Hammerton] for the last few months has enabled us to create some songs that really justify our ambition” she adds. 
Having spent the past couple of years sharing stages with the likes of Tom OdellBrian WilsonStereophonicsThe Head & The Heart and Lewis Capaldi, Cattle & Cane have every right to be ambitious.
Sold-out signs are commonplace at their own headline gigs, including huge regional statement dates at Sage Gateshead and Middlesbrough Town Hall, where a crowd of over 1,200 witnessed a magical performance alongside the Northern Orchestra last June.
Helen and Joe have also appeared at acclaimed international tastemaker events Canadian Music Week and Reeperbahn Festival, as well as at some of the UK’s finest boutique and inner-city showcases like TramlinesLive At LeedsLiverpool Sound CityBlack DeerCornbury and Deer Shed.
To coincide with their new album, Cattle & Cane are on tour across the UK this autumn and if you can’t wait until then, you can catch them at a number of festivals this summer:
21st July Bitts Park, Carlisle 
2nd August Cambridge Folk Festival 
18th August Hardwick Live, County Durham 
24th August Cottingham Folk Festival 
23rd October Glad Café, Glasgow
24th October The Lemon Tree, Aberdeen
25th October Hemelvaart Bier Café, Ayton
26th October New Adelphi Club, Hull
27th October Oporto, Leeds
29th October Castle Hotel, Manchester
30th October Hare & Hounds, Birmingham
31st October Hen & Chicken, Bristol
2nd November Northern Edge, Berwick
8th November Tyne Theatre & Opera House, Newcastle
12th November Oslo, London

With blogs such as Clash, Impose, Bitter Sweet Symphonies, Louder Than War, Wolf In A Suit, Queen Beetch and Gigsoup singing their praises, not to mention Music Weekthe IndependentMetro and Record of the Day, Cattle & Cane are on the tip of respected tastemakers tongues.
They’ve received airplay from such luminaries as Dermot O’Leary on BBC Radio 2Elton John on Beats 1Tom Robinson on BBC Radio 6 MusicFrank Skinner on Absolute RadioGary Crowley on BBC London and John Kennedy on Radio X, as well as the BBC Introducing and Amazing Radio teams.
Cattle & Cane have accumulated millions of Spotify streams, thanks in part to playlists like New Music Friday UKYour Coffee BreakFresh FolkYour Office Stereo and Feelgood Pop.
Over on TV, their music has featured on shows including Sunday BrunchMade In ChelseaThe Only Way Is EssexAvenida Brasil and MTV’s Catfish, as well as on BT TV Music and Vintage TV.
Further support came from Middlesbrough FC, who printed some of the band’s lyrics on the club’s home shirts during the 2018-19 season: 

Paul Gilbert on Tour


This September PAUL GILBERT is set to play a string of live dates as part of the ‘Behold Electric Guitar Tour’.
Live Dates:
16th - The Fleece, Bristol
17th - Riverside, Newcastle
18th - Brudenell Social Club, Leeds
19th - Academy 3, Manchester
20th - Sub89, Reading
21st - Engine Rooms, Southampton
22nd - o2 Academy Islington, London
23rd - The Mill, Birmingham
24th - Crauford Arms, Milton Keynes
It’s a question every artist has to grapple with: If you’re not pushing yourself creatively, how can you grow? And that’s exactly what acclaimed guitar maestro Paul Gilbert tackles with fervor on his new solo album, I Can Destroy, coming out May 27 via Ear Music / Edel. “One thing I’ve always struggled with as a writer is I don’t think I’ve written a lot of songs that make it easy on the improviser,” the consummate soulful shredder admits. “Coming from a heavy rock background, that’s been a real challenge. But I worked really hard to rework all my fingerings so I could emphasize different tones the way my ear hears them. I’m still working on it, but that was a major step forward for me as a guitar player — to be able to get that sound on purpose, rather than by accident.”
It’s no accident that Destroy cuts a wide swath of styles and textures, from the full-frontal assault of “Everybody Use Your Goddamn Turn Signal” to the jazz-blues lament of “One Woman Too Many” (which also features Gilbert’s patented four-pick Makita drill-bit riffery) to the radio-friendly balladeering of “Love We Had” to the smoking-hot gut/heart punch of “I Am Not the One (Who Wants To Be With You),” the latter track’s title a playful reference to the ubiquitous #1 hit Gilbert enjoyed as part of his gig as lead guitarist for the still-going-strong Mr. Big. (More on that in a bit.)
Gilbert knew that Destroy producer Kevin Shirley (Led Zeppelin, Iron Maiden, Rush, Joe Bonamassa), whom he previously collaborated with on Mr. Big’s 2011 release What If, would push him to do his best from the get-go. “One thing I knew about working with Kevin as a solo artist is that there weren’t going to be that many overdubs on the record — not that many takes, and not many fixes,” Gilbert reports. “As a musician, that puts the fear into you. It’s a good fear, and it made me want to prepare in a pretty healthy way.”
With Shirley onboard to get behind the board, Gilbert next had to cull together some top-drawer musicians to bring into the studio. “On drums, we’ve got Thomas Lang, who’s somewhat of a drumming legend, and on bass is Kevin Chown,” details Gilbert. “He was the only guy I’d never worked with before, and he was great. He played all the right stuff. He’s played with everybody from Chuck Berry and Little Richard to Sebastian Bach.”
Gilbert was excited to deploy a three-prong harmonic guitar attack for Destroy, so he reached out to some familiar faces and fingers — namely, Tony Spinner and Freddie Nelson. “We did a lot of guitar harmonies that were reminiscent of what you might hear on an Eagles song,” Gilbert observes. “And even though our style of music is probably different than that band, when you’ve got this lineup and that set of instruments to orchestrate with, it’s inspiring. It’s like, ‘Man, we’ve got this, so let’s use it.’ They’re also singers in their own bands, so having guys like them behind me is good pressure. In a way, it makes it easier, because they sound so good, and I can just ride on top.”
Having the right personnel in place helped fuel Gilbert’s approach to his songwriting for the album. “At the time I began thinking about the record, I was having a lot of self-doubt,” the ace axeman admits. “I was wondering if the well was dry, and if I could write anymore. But the enthusiasm of Kevin Shirley and the musicians in their responses to the ideas I was bringing up and the song seeds I was sharing with them made the difference between having self-doubt and being confident. I couldn’t have done it without them. I have profound gratitude for that. They’re all great guys, and really fun to hang with.”
Since Gilbert wanted to expand his horizons during Destroy’s gestation period, he immersed himself in music he hadn’t spent much time listening to over the course of his life — namely, blues and jazz. “The thing that really got me thinking about that was the fathers of a couple of my heroes — Eddie Van Halen and Pete Townshend —were jazz saxophone players, and I also know that Paul McCartney’s dad was a jazz musician,” Gilbert points out. “So I have a feeling having that music in the house informed a lot of what those guys did. It might be under a layer of Alex Van Halen bashing away, but when you hear the breakdown of ‘I’m the One’ [from 1978’s Van Halen] — the ‘Bop bah dah, shoobie dooby dooby doowah’ section — that’s total jazz!”
Gilbert’s new listening habits unlocked new doors for his own playing. “I’m really into the blues side of things, because I’m really greedy in terms of wanting to improve my guitar playing,” he says. “It’s so related to rock, and to listen to jazz guys do it, there’s just so much good stuff for the taking — this free buffet of scales and licks, the way they bend notes and phrases, and the way they connect to the music. It’s not exotic, it’s not weird, and it’s not alienating. It’s allowed me to add stuff I wouldn’t have added before, and it makes me go, ‘Oh man, why didn’t I think of this before?’”
These newly unearthed influences can be felt instantly via the vibes evident on a track like the aforementioned “One Woman Too Many.” As Gilbert recalls, “I didn’t grow up with jazz, so I’m catching up now. I’m really into Johnny Hodges, the Duke Ellington sax player. I’ve been listening to a lot of the ’50s jazz guys, the horn and clarinet players who played blues, because blues is such a big part of being a rock guitar player. But rock guitar players tend to play a lot of the same phrases, because the instrument leads you in a way that leads to a certain sameness. If you listen to people using other instruments playing the same sort of music, they approach it in ways you wouldn’t think of — not shred-crazy stuff, but three amazing notes that I never would have found without hearing a guy do it on a sax or clarinet.”
Destroy’s lead track, “Everybody Use Your Goddamn Turn Signal,” also covers a broader stylistic palette — as well as puts a spotlight on the sweet way the band continually harmonizes on the G-word. “That puts a big grin on my face,” Gilbert chuckles. “It’s a contrast between the meaning of the word and the happy spirit we sing it with. The groove itself is a swing groove, which is connected to jazz. The first thing you learn about playing the blues is whenever you play the third, you always bend it up, unless you’re playing a minor blues like ‘The Thrill Is Gone.’ As for the solo, I wanted to get one that I could really nailbecause I knew I had to get it right with Kevin at the helm, so what you hear is a straight major blues scale. Obviously, I wrote the song for my own amusement, but if I get the benefit of it helping save people’s lives, that would also be a wonderful thing.”
Another Destroy highlight is “Adventure and Trouble,” the first song Gilbert wrote for the album. “After I had my meeting with Kevin Shirley and found out he was enthusiastic about the project, I was happy. I was driving home, and that song came into my head,” he recounts. “The title came to me right away, and I started scatting it. To me, it’s kind of a gospel thing. It was really satisfying to do a tune like that, because I’ve always been a fan of chord changes. I’m still a heavy metal fan — I could put on Heaven and Hell(1980) by Black Sabbath and not want to change anything because it’s perfect — but that was the most limiting thing during my beginnings as a heavy metal musician. To have a whole career just playing those chords would be really constricting to me, especially when I know there’s other stuff out there.”
Gilbert found special inspiration for the title track to I Can Destroy, which is also buttressed by that propulsive three-guitar attack. “I was inspired by being a new dad, just watching my son tear things apart as he learns what the world is,” he reveals. “Suddenly, I’ve got this little boy to introduce to the world. In a way, he’s like an alien, because he’s never been to the planet before, and it’s my job to show it to him. Of course, it’s also his job to learn about it, and the way he often does that is figuring out, ‘What can I destroy and pull apart?’ He’s not malevolent about it; he’s doing it for knowledge. The connection I made about it is the biggest machine in the world is the Large Hadron Collider (LHC) at CERN near the French-Swiss border, where people are trying to learn about how atoms are put together by smashing them together. Certainly, it’s more sophisticated than my son crushing a cup, but the principle is the same: Let’s destroy it, and then look at the parts.”
As noted earlier, Gilbert enjoyed coming up with “I Am Not the One (Who Wants To Be With You),” which pokes gentle fun at the storied legacy of Mr. Big. “It’s been amazing to put the band back together and have a second life,” he readily acknowledges. “That one is an ‘anti’ song — me just being angry, going, ‘Really? I’ve gotta do this?’ It’s kind of like me saying, ‘I Am Not the Walrus’!” Gilbert laughs. “But the other emotion there was the appreciation of what [Mr. Big vocalist] Eric Martin and I have together as people and as bandmates. It also made me think of relationships when you’re younger and you have that first love or first marriage or first band, and all the things that you go through. Nothing is ever quite like that first time.”
Ultimately, the joy Gilbert expresses all throughout I Can Destroy celebrates the freedom and creativity he enjoys as a solo artist. “I do my best. It’s pretty incredible to have been living the dream and putting food on the table by banging it all out on an electric guitar,” he concludes. “This is actually my 30th year as a recording artist, and I still enjoy the search. I like looking around, trying to find things I haven’t done yet, and then seeing if I can do them.”
If I Can Destroy is any indication, Gilbert is on the right path to continue creating material that’s clearly built to last.

Sunday, 12 May 2019

Shakespears Sister back together and on tour!

Shakespears Sister have today announced their official reunion as a band, twenty-six years after they originally disbanded.   
Shakespears Sister will release a Singles Collection, Singles Party on 19th July. The album features two new tracks ‘All The Queen’s Horses’ and ‘C U Next Tuesday’, as well as classic hits from the duo’s back catalogue. They embark on the Shakespears Sister Ride Again tour this October and November playing an extensive run of UK shows, including a night at The London Palladium. Full tour dates are listed below. Pre-order the album and gain access to the tour pre-sale at https://shakespearssister.tmstor.esGeneral sale for the tour begins 9am Friday 10th May at

UK tour dates:
31/10/19 -  Royal Concert Hall -  Nottingham 
01/11/19 - New Theatre - Oxford
02/11/19 - Empire -  Liverpool
04/11/19 - City Hall - Sheffield
05/11/19 - Palladium - London 
08/11/19 - Royal Concert Hall - Glasgow
09/11/19 - The Sage - Gateshead
11/11/19 - Bridgewater Hall - Manchester
13/11/19 - Pavilion Theatre - Bournemouth
14/11/19 - The Forum - Bath
15/11/19 - Regent Theatre -  Ipswich 
 17/11/19 - Cliffs Pavilion - Southend
 19/11/19 - Symphony Hall -  Birmingham
 20/11/19 - Dome Concert Hall -  Brighton
Speaking about the reunion, Siobhan and Marcy said:
Siobhan: “Neither of us wanted to go into it if there was anything apart from friendship and unity. We did not want a repeat of 1992. Life's too short. So I think we just explored it slowly. I realised what a perfect writing partner she is for me…there’s some sort of weird fusion of energies that feels fated. It's like this third entity exists that is neither me nor her, it's the two of us”
Marcy: “There was no stopping this. It was like this snowball that just kept on gathering more and more speed. I think we've come to a point where we respect and understand each other more than we ever could have back then. That’s the simplest way to put it. We've come to a mutual understanding of and respect for who each other are. It’s just about acceptance - acceptance of who we both are, for each other and to each other”
As well as the new tracks ‘All The Queen’s Horses’ and ‘C U Next Tuesday’, Singles Partyis made up of classic Shakespears Sister singles, including ‘Stay’, ‘You’re History’, ‘Hello (Turn Your Radio On)’, and ‘I Don’t Care’. The deluxe version of the album features another unreleased track ‘Cat Worship’ and remixes of ‘You’re History’ and ‘You Made Me Come To This’ remixed by Catz ‘n Dogz and HMD Pulsatron respectively.  
Shakespears Sister’s debut album, 1989’s Sacred Heart was a top ten record and spawned the band’s first hit single, ‘You’re History’, which also went top ten. Even greater success followed with a second album, Hormonally Yours, in 1992; amongst its hit singles ‘I Don’t Care’, ‘Hello (Turn Your Radio On)’ and ‘Stay’, which remained at number one for eight weeks. The triumphs and accolades piled up: over a million albums sold, a Brit award for best video for ‘Stay’ and an Ivor Novello award for Outstanding Collection of Songs for the band’s second album, 1992’s Hormonally Yours. The pair went onto headline the Pyramid stage at Glastonbury in 1992 and supported Prince at Celtic Park at Prince’s personal request.
Singles Party is released through London Records on 19th July. 
Singles Party tracklist:
1 - Break My Heart (remastered)
2 - Heroine (remastered)
3 - You’re History (remastered)
4 - Run Silent (remastered)
5 - Dirty Mind (remastered)
6 - Stay (remastered)
7 - I Don’t Care (remastered)
8 - Goodbye Cruel World (remastered)
9 - Hello (Turn Your Radio On) (remastered
10 - My 16th Apology (remastered)
11 - I Can Drive (remastered)
12 - Bitter Pill (remastered)
13 - Pulsatron (remastered)
14 - Bad Blood (remastered)
15 - It’s A Trip (remastered)
16 - All The Queen’s Horses
17 - C U Next Tuesday
18 - Stay (acoustic version) (remastered)

CD2 (Deluxe Only):
1 - Cat Worship
2 - You’re History (Catz ‘n Dogz Remix)
3 - You Made Me Come To This (HMD Pulsatron Mix)
4 - Pretty Boy (Remastered)
5 - Mr Wrong (Remastered)
6 - Remember My Name (Remastered)
7 - Do I Scare You? (Remastered)
8 - Excuse Me John (Remastered)
9 - Singles Party (Remastered)
10 - Heroine (Heavenly Mix) (Remastered)
11 - Black Sky (The Black Dub) (Remastered)
12 - Break My Heart (Shep Pettibone Dub) (Remastered)
13 - Goodbye Cruel World (BTO Remix) (Remastered)
14 - You’re History (Brothers In Rhythm Remix) (Remastered)

 released 16th May 2019

Monday, 6 May 2019



This May, Ronan Harris’ European based alternative electronic project VNV NATION returns to the UK for a handful of live dates.

VNV Nation’s sound blends poetic and thought provoking lyrics with a sound that ranges from melodic dance beats and indie-electronic anthems, to haunting ballads and post-classical soundtrack pieces. The live shows are legendary for their energy and positive emotion, drawing a devoted fanbase from across the musical spectrum to sold out tours and headline appearances at festivals in Europe and America.
Over the course of the project’s career, VNV Nation has continued to reach new heights, with its last 3 albums charting top 10 in Germany, as well as the most recent album reaching top 5 Billboard Chart positions in the US. 
Known for unforgettable, energetic and inspiring live performances, the tour promises more to fans than seen before, with an extra long show covering songs from the new album, as well as fan favourites and rarities. 

UK Live Dates
23rd - The Garage, Glasgow
24th - Plug 2, Sheffield
25th - Cluny, Newcastle Upon Tyne




Twisted Wheel today announce their emphatic return with exhilarating new single: ‘Nomad Hat’. 

Revived and re-invigorated, the track is first to emerge a brand new album from the cult outfit,  ‘DNA’, slated for release in November 2019. The new material also lands on the day that the Northern rock’n’roll four-piece embark on a lengthy run of tour dates throughout the UK & Europe. (Full dates and details below).

Opening single ‘Nomad Hat’ empathically flips the narrative of loss, pain and self-destruction mirrored throughout the ‘Jonny Guitar’ EP. The focus now on new beginnings, of new possibilities and a never-say die invincibility. Brown’s ability to shift the tide from a place of no-hope to a place of assertive class and triumph encapsulates the fighting spirit of the band.

‘Nomad Hat’s’ opening lines: “A wall is not an obstacle, it’s something we can smash all over the floor” re-announce the group as a true force to be reckoned with against the grain of dourness and predictability. The lyrics strike a call for freedom against the digital hysteria which now dominates every corner of our lives. There is nothing purer than the simplicities of breathing in the fresh air, taking in the landscape and feeling alive with the world at your feet. It is this northern grit and sharp poetic aura that trickles throughout a glacier of stylish, new wave sounds which the band have crafted through a lens of 80’s sonic shine within a 21st century landscape. As Brown states:

“We’re not just in a rock ‘n’ roll, punk box. This time, more of my poetry will come out which focuses on things that matter, a commentary on what’s going on in the world. Bands play it safe because they don’t want to upset people. But your job as an artist is to say what others can’t, to speak the truth”. 
‘Nomad Hat’ was mixed by Dean Glover at Vibe Studios and further mastered by Katie Tavin.
The ‘Nomad Hat’ tour starts today (3rd May) will see the band once again taking the UK and Europe by storm with dates ranging from Manchester to London, Glasgow, Dublin, Berlin and all the way back again. With Reading & Leeds, Kendal Calling, Y Not, Mosfest and a headline slot on the BBC Introducing stage at Highest Point festival already announced, this summer promises to be a textbook demonstration of the bands continuing momentum.
2018 saw Twisted Wheel complete a relentless and brutally empathic comeback. The sold-out ‘Snakes and Ladders’ tour was followed by high profile festival appearances at Reading & Leeds, Kendal Calling, Blackthorn, Mostfest and EH6 along with two huge gigs at Finsbury Park and Old Trafford supporting Liam Gallagher. Despite having no record label or major radio play the band reached number one in the UK physical charts with the Jonny Guitar EP. This achievement is testament to the un-paralleled loyalty of Wheel’s ever growing fanbase. With new members; Ben Warwick and Ben Robinson joining the dynamic duo of Jonny Brown and Harry Lavin, the Jonny Guitar tour kicked into gear with the band sounding bigger and better than ever before. Crowds that had starved in the absence of a real rock-n-roll band stormed a string of sold out shows last year. 
Having spent the first few months of this year recording ‘DNA’, the band is now primed and ready to produce its most relevant, complete and inspired material to date. Don’t miss them preview their revitalised new material at the following European dates: 

Friday 3rd May – Doncaster (The Leopard)
Saturday 4th May – Bristol (The Lanes)
Friday 11th May – Huddersfield (The Parish)
Saturday 12th May – Leicester (Soundhouse)
Saturday 18th May – Highest Point Festival
Friday 31st May – Newcastle (The Cluny)
Saturday 1st June – Mosfest
Friday 14th June – Hull (The Adelphi)
Saturday 15th June – Cheltenham (Frog and Fiddle)
Friday 21st June – Liverpool (EBGB’s)
Friday 26th July – Y Not Festival
Saturday 27th July – Kendal Calling
Friday 23rd August – Reading Festival
Saturday 24th August – Leeds Festival
Friday 4th October – Dublin (Whelan’s)
Friday 11th October – Leeds (The Wardrobe)
Friday 1st November – Glasgow (King Tuts)
Saturday 2nd November – London (Borderline)
Friday 8th November – Nottingham (Bodega)
Friday 15th November – Manchester (O2 Ritz)
Friday 22nd November – Berlin (Musik & Frieden)

(+ More dates to be added)

For Twisted Wheel, redemption and revival is not a religious concept but a CV. Born in the backwaters of Saddleworth in 2007, the young band, fronted by the feral, precocious Jonny Brown, roared into the race of indie rock with such anthems as ‘You Stole The Sun’, ‘She’s a Weapon’ and ‘Lucy The Castle’. Their irrepressible energy and ability to deliver inspired rock’n’roll gained them the support slots with Oasis, Kasabian, Paul Weller, The Courteeners, The Happy Mondays and Ian Brown to name but a few, as well as sell-outs on their first UK and European tours. Twisted Wheel were one of the hardest working bands in 2009, gaining the PRS Award for playing the most gigs of any young band.
Twisted Wheel has indeed rocked and rolled, been smashed up, fallen off the wagon, gone solo, kicked to the kerb, frozen itself off homeless and hypothermic crashing in bushes – before finding its groove and getting back on it, full speed ahead.
Twisted Wheels uncanny ability to maximise the elusive eternity in the ordinary along with their ability to create anthems and palaces from the trash of life separate them from the rest. The struggles of addiction, despair and recovery are counterbalanced by never-say die push towards a bright, triumphant future retaining the bands relevance.
“We can spend our lives letting the world tell us who we are. Sane or insane. Saints or sex addicts. Heroes or victims. Letting history tell us how good or bad we are. Letting our past decide our future. Or we can decide for ourselves. And maybe it’s our job to invent something better” Chuck Palahniuk.


Please contact:

#iamyourniche #newep #sayingsomethingdifferent

I Am Your Niche

May 16th sees the digital release of Julie Grant’s EP
I Am Your Niche

Julie Grant stands out with her fearless attitude to dealing with human issues that don’t always make their way into modern songs. Subjects such as domestic violence, stillbirth, mental health issues and the changes in the music industry and decline of live music venues. Ageism is another problem that is close to Julie’s heart as a mature artist with a band of older musicians: the advantage of this being their wealth of experience and reliability when it comes to playing live. Julie describes herself as an “old bird who’s saying something different.”
The EP launch will be at the Cumberland Arms, Byker on 16th May and the band are also playing the Westgarth Club in Middlesbrough on 14th June and the Cluny on 27th June.

The track listing for the EP:

Killing Sound
Green and Purple
Marry Yourself
Money Says
Over And Out

The songs will be available to download and stream from Spotify, Itunes, Amazon Music and several other platforms. Preview the tunes on Julie's Soundcloud

Julie on Facebook

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