Specky Cult is the best named band in many a moon in my opinion. It makes me feel guilty for calling another lad at my school, even more moons ago, we called him Specky followed by another four letter word beginning with C. The new Specky Cult single is called “Dad Dance” which is definitely a style of dance I am familiar with and perhaps the only dancing I can do!
The song is infectious and draws you into it with some towering hooks and a bass line built for the dance floor. There is a post punk feel to it, but without that early 80s misery, this is a track that will make you smile and get you off your arse. Wherever you are when you hear it you will have to dance. If you fail to sing along to the chorus after a couple of listens I feel that you need to get your head checked. Has there ever been a song that mentions Rednex huge 1994 hit “Cotton Eye Joe” before this stomper from Specky Cult. In the fade of of “Dad Dance” they even throw in a bit of the 60s Batman theme. “Nananana nananana Dad Dance” indeed!
The band is made up of Rob Glover (lead guitar, vocals), Carol Stephen (lead vocals, guitar, cowbell), Rob Bradford (bass, keys, buttons), and Steve Bradley (drums, vocals). The band are tight and clearly know how to have fun. Of “Dad Dance” the band said that they are “throwing our hat in the ring for this summer’s catchiest song“. Is it the catchiest song this summer? It is certainly a top contender and deserves to be heard in festival fields across the land! Are they the finest madcap punk band in the North East of England? Probably, and one of the best in the UK too.
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This new single from Montreal based singer songwriter Guilhelm has pop, punk and a slacker laid-back Weezer type vibe. A summer anthem for 2025 with a wonderfully positive “I know I’m not gonna die” vocal hook. Guilhem described the song “This song explores the different ways to overcome a hangover in some sort of quest for self-improvement. It’s about inadequacy and self-destructive behavior, but it also expresses a hopeful, yet uncertain, desire for a better future“. The video, finely shot by Alex Charron, exaggerates that cool laid back vibe too. I love the song and I love the video. Guilhem’s new album ‘A Good One’ hits the streets on 5th September. It was mixed and mastered by the one and only Frank Turner, a great favourite here in Mayhem Towers!
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Back in April we reviewed, “BLAIR!”, Industry Standard’s debut single, we bloody loved that one, so there was a lot of excitement here at Mayhem Towers when their latest hit the world. It is wonderfully titled “C.J.O.S. (Circle Jerk Of Sadness)” and is rather different, but just as explosive, as “BLAIR!”. This new track is a post apocalyptic plea hopefully telling us to sit up and fucking do something about our world. Maybe more people will listen and actually try to do something to save our planet. But the first United Nations Climate Change Conference, COP1 was in 1995, later this year COP25 will be held in Belém, Brazil. So 30 years and 25 conferences and still the earth is dying while the rich and powerful do absolutely fuck all! OK, I am told that killing the rich might be a little extreme but let’s at least tax the bastards.
Pictures by Lou Smith
While billionaires, filthy rich tech bros, oligarchs, dictators and would-be dictators continue their own obscene circle jerk while counting their money and rockets the rest of us are left to rot so that this vile group of people can wank themselves into oblivion while covering each other in their, probably gold flecked, salty discharge like some kind of bukkake Armageddon. Perhaps that is why Trump is so orange.
Picture by Simon Milner
Anyway as for the song it is a controlled chaos driven punk attack. According to lead vocalist Gaby, the song is “a panic attack disguised as a joke” which deals head-on with themes like climate collapse, existential burnout, and dissociation, and “watching it all happen with a milkshake in hand”. The anxiety here is off the scale but there is also a brilliantly crafted injection of very dark humour. When was the last time a Greek mythological figure got mentioned in a punk song? Has it ever happened? Cerberus gets a part in this lyric. He is the monstrous, multi-headed dog that guards the gates of the Underworld, preventing the dead from leaving and barring the entrance to the living. Lines like “A masterpiece of human emissions” and “even the ants are tired” might be short but they use the language supremely well in a way that oozes frustration.
Picture by Nasser Yebovi
If anyone chose to merge line dancing with punk, this song would be a perfect fit. Imagine replacing the classic punk Pogo dance with a violently punky Morris dance, without the bells, obviously. Incidentally I fucking hate Morris Dancing, but a screaming, raucous, high octane version in the mosh pit is something that many of us would love. That kind of celebration of all that is good about the world might just help to avert our minds, albeit briefly, from the shitty state of the world. Bottom line though this is a stonkingly good song that deserves massive exposure.
Industry Standard are the previously mentioned lead singer Gaby (Gabriella Gonzalez) and three punk powerhouse musical henchmen: Phillip Stakem whose riffs are like small megaton explosions, Oliver Jackson’s bass playing split an atom and Tim Sketchley plays his drums so hard the echo bounces off the moon. I reckon if you love Scene Queen, Delilah Bon, tiLLie and Casseyette you will worship Industry Standard.
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“L‑Shaped Couch” is the fabulous new glitter ball of a single from the phenomenon that is Scene Queen. It is a stunning, pop based move away from her signature bimbocore sound. It is a delightful divergence into a sparkling disco sound. This song would not be out of place on a classic disco playlist, but it still retains the essence of who Scene Queen is. In addition to the funky synth sounds there is also some chunky guitar riffage. Her vocal is full on pop and would give Kylie a run for her money. There’s a thought, how about a Kylie and Scene Queen collaboration? In the meantime put on your best disco trousers and glitter flecked tank top and get down to some discocore from Scene Queen.
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Last Sunday I was one of the lucky people that experienced Kindelan’s intimate gig at the Vinyl Whistle record shop in Leeds to support the launch of her new double‑single ‘After Before’. The release features two tracks, “Cigarettes” (After) and “Wish I Wrote A Love Song” (Before). Before I tell you about her set let me give a shout out to the Vinyl Whistle. It is a wonderfully cosy and welcoming record shop/ bar hybrid in Headingley. I will return, obviously I bought some vinyl on this visit, four albums to be precise!
The gig featured just Laura and a guitar and that outstanding voice. Many of her recent releases, particularly her EP ‘you can reach me if you try’ from 2023 feature her soulful, unique take on 21st Century R &B. But when everything is stripped back to that distinctive Kindelan voice and her guitar playing it is hard to drop into any genre box. I have likened Kindelan to Jeff Buckley in the past an in this setting it shows clearly. Her latent talent for telling stories through songs and never being afraid of the silence in a song shows her in the same talent bracket as Buckley in my opinion.
Laura opened with a brace of recent Kindelan classics, “The Other Side” and “Hazel Frustration”. Her between song chat is always, personable, eloquent, fun and interesting. I love the way she shares how her songs were born, what triggered them and what helped them develop. The new songs, “Default” and “Big Sky” sound very promising. “Can’t Sleep” was dedicated to overthinkers everywhere, while I may not be an overthinker it describes someone very close to me.
When Kindelan finally treated us to the two songs from ‘After Before’ there was a beautiful air of positive expectation which was met in bucket loads. “Cigarettes” has an undercurrent of pent-up anger and a dark side that Laura plays so well in some songs. It strips feelings down to very raw levels that deal with heartbreak, and lost love and intimacy. Meanwhile “Wish I Wrote A Love Song” keeps a mist of regret of a relationship that was in the end not right. It is a melancholy view on the hope that existed in the beginning.
Vocally, Kindelan struck a fine balance between poise and raw feeling. She spent her notes, filling spaces with soulful warmth. This nuance made the songs breathe—each guitar pluck and vocal inflection had emotional weight. It might be basic jazz‑soul, but the performance was anything but ordinary. The fans in the shop responded with whoops and an applause that only let up because we wanted to hear the next song. This set was stylish, charming, buzzing with passion and intimate. This was yet another fabulous Kindelan performance. This was the fifth or sixth time I have seen Kindelan play live and she is an artist that gets better every time!
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Cardiff-based punk quintet Panic Shack, who exploded onto the scene back in 2018, will unleash their much-anticipated self-titled debut album on 18 July 2025 via Brace Yourself Records. This energetic slab of perfect punk energy was produced by Ali Chant (PJ Harvey, Perfume Genius, Yard Act). The album opens with a classy combination of punk and pop sound in “Girl Band Starter Pack”. It was the second single from the album. It has sharp riffs and a thunderous bass line and keeps the band’s spirit of rebellion and fun. The album’s lyrical themes embrace passionate feminism and tight friendship. In the first single from the collection, “Gok Wan”, the band rages towards malignant media beauty standards with no apologies, this is a riot grrrl feminist anthem for theses times. Current single “Thelma & Louise” is a wonderful love song, but not in a lovey dovey valentine sense. I think it is about the joy of a platonic friendship.
So many of their lyrics are conversational. In “Pockets”, literally a song about having no pockets, the line “Got my vape in my bra / Drink in my hand” is literally something that vocalist Sarah Harvey said on a night out. “Unhinged” is about swiping through dating app Hinge, and the mostly, white lies people tell on there. Misogynists will almost certainly be afraid of Panic Shack, and I have no sympathy for them at all. Sexual harassment is on the receiving end of a musical powerhouse right hook from the band on “SMELLARAT”. The industry plant brigade showed their showed their cards early in Panic Shack’s career, around the time “The Ick” was released, accusing them of simply cosplaying being working class. Frankly that is utter bollocks! I doubt that anyone who had not grown up in a working-class environment could write a punk classic like “Tit School”. This is my current favourite on the album. The lyrics are perfect, take “I didn’t go to Bedale’s / Instead I got free meals,” for example.
The band consists of Sarah Harvey (vocals), Meg Fretwell (guitar/backing vocals), Romi Lawrence (guitar/backing vocals), Em Smith (bass/backing vocals) and Nick Williams (drums) and together they are on fire. When Sum 41 said all killer no filler they could have been describing this monumentally great debut album. The album is fun, funny, furious and simply fantastic. Punk this good can hit harder than a heavyweight boxing champion. It is riotous, rebellious and roars like a hungry punky pop lion. This is a banger that is definitely a contender for album of the year! Thank you to Eddie at Vinyl Eddie for sending this record my way!
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Those delightful people at The Modern Record asked me to review Simple Minds at the Piece Hall in Halifax last Monday and that was an opportunity I did not intend to miss. Check out my review on the Modern Record site by clicking here. All the ace photos are from rock photographer extraordinaire John Hayhurst!
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On a baking hot July evening, the Fulford Arms in York was lit up with an electric mix of energy, activism, and genre-hopping joy for this year’s Jamnesty gig, a fundraiser in support of Amnesty International. (If you would like to donate, just click here) The lineup was packed with local talent and rising stars, each bringing something distinctive to the stage, a fiery combination that nearly blew the roof off. It was also great to see so many staff and students from Huntington School on the night and on the stage!
The evening opened with El & Ewan, a duo whose stripped-back acoustic set delivered a punch of raw honesty. Armed only with guitar and their voices they gave us a delightful set of gorgeously performed, mostly, sad songs. They both seemed a little nervous, but that didn’t stop them from playing a simply gorgeous cover of Keane’s “Somewhere Only We Know”.
Next up, the Sparrows took the stage with a richer, bluesy, dirty garage rock sound. There were covers from the 60s to the 90s from artists that included the Stone Roses, Johnny Cash, Oasis (sadly), James and the Beatles. “Sit Down” was a mega hit with the crowd as they swayed, then stomped, then whooped. A huge shout out to the drummer who was, frankly, phenomenal! A great set from a fresh band.
The tone shifted both dramatically and delightfully with The Fruity Pebbles, who brought neon energy and a funk-pop vibe that was danceable and addictive. They had the room bouncing from their first song. Beneath their wonderfully playful façade was tight musicianship and a band that clearly seemed to have rehearsed well. Their take on Abba’s “Voulez Vous” poured funk into an already funky tune and the emotion was off the scale as they closed with a powerful take on Robbie Williams’ “Angels”.
Next it was a chance for deep groove to meet grit as the Apocalypse Disco lived up to their name. This was a fusion of funk, disco, and dystopian theatrics. Think Giorgio Moroder meets Nine Inch Nails in a synthy warehouse rave, or perhaps the Prodigy on speed. Frontman Robin led a hypnotic performance of “Alive” that turned the Fulford Arms into a sweaty dance floor, the ceiling was dripping sweat too. The apocalyptic groove ran deep as the duo showed that they were easily the most danceable protest music of the night. Namaste motherfuckers!
Then came Fendry, whose headline set proved exactly why they’re one of the UK’s most talked-about rap acts right now. He gave the early part of his set to the mightily talented Rashevos (I hope I spelled that correctly).After that Fendry commanded the crowd from his first rhyme to his last cipher. He has confidence, style, skill and just the right level of arrogance. He has the talent to be as big as Skepta or even Eminem. Fendry is a rapper and grime artist originally from York, but now based in Wembley, London. His recent rise has been through the PenGame rap battle circuit and a string of energetic singles, he continues making waves in the underground scene. He is undefeated in several battles, including wins against JM and Domi Dusk. He gave the crowd a bold, beautiful end to a night of music that meant something.
Jamnesty 2025 at the Fully wasn’t just a gig, it was a statement. The Fulford Arms provided the perfect DIY venue vibe, and the acts each channeled the spirit of resistance, rebellion, and release in their own way. Whether it was acoustic melancholy or disco-punk anarchy, the message rang clear: music can, and will, fight back! Our world needs more nights like this, if you fancy organising your own Jamnesty event then click here for more information.
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It was great to catch up with friends old and new at another mega gig in the Museum Gardens in York. Headliner for this one was Richard Hawley, a man who was once a member of Longpigs (1993-2000) and a touring member of Pulp (1998–2002, 2011–2012). He released his first solo album ‘Late Night Final’ in 2001. But enough of him for now, because the bill included some fine support acts. First on stage was Hamish Hawk. This is a man who produces classic Scottish pop rock that in my opinion could only be made in Britain. Imagine, if you will, Edwyn Collins travelling back in time to the Middle Ages and coming back as Hamish Hawk. While the wonderfully frantic punk funk of “Caterpillar” closed the show it was “The Mauritian Badminton Doubles Champion, 1973” that was the highlight of the set for me.
Next it was the turn of BC Camplight a Manchester-based American songwriter and multi-instrumentalist (a.k.a. Brian James Christinzio). He released his first album, ‘Hide Run Away’ in 2005 and his latest, ‘A Sober Conversation’ earlier this year. The band were tight and at times sounded like a much rockier early Elton John. The backing vocals occasionally showed great prowess for some doo-wop style vamping. BC Camplight and his band are a fucking awesome unit, how the hell have I never seen them live before? There were way to many high points to mention all of them, but I loved “I Only Drink When I’m Drunk” and “Two Legged Dog”.
Photo from Museum Gardens social media. If you look carefully you can see me and my mate Simon P!
The penultimate band was last year’s Mercury Music prize winners English Teacher. If Indie was a genre (it isn’t) then I am sure some people might suggest English Teacher as a part of the genre definition. But they are so much more than what many see as Indie. The band has some wonderfully deep rock depths overlaid with sometimes intriguing but always gorgeous lyrics. They played a new song, “Tooth Pick” and that has some delightful prog rock overtones. Every song in their set was perfect but “R & B” and “Albert Road” were mountainous. I have been listening to that debut album ‘This Could Be Texas’ again while I have been writing up this review. I can see English Teacher being a force in British music for years.
Photo from Museum Gardens social media
Finally it was time for Richard Willis Hawley to grace the Museum Gardens stage. Including the main man himself there were ten people on stage, the string quartet added some beautiful almost cinematic soundscapes to Hawley’s magnificent songs. While he didn’t play my favourite, “Tonight The Streets Are Ours”, the seventeen song set was so majestic I didn’t really notice it hadn’t been played until I was on my journey home. But he did play the soon to be 20 years old ‘Coles Corner’ album in full and what a delight it was. “The Ocean” actually had me welling up a little. Then when Richard remained on stage to play the traditional lullaby, “Who’s Gonna Shoe Your Pretty Little Feet?”, accompanied just by his acoustic guitar it made me think of my now adult children when they were very young. Hawley’s interaction with his audience was funny, self-deprecating and at times very emotional. He explained the reason that many of the band were wearing was to show support for Dioga Jota, the Liverpool footballer, who died recently. That got a well deserved warm reaction from the crowd. His skit about giving up smoking 40 cigs a day and now saving £15,000 a year as a result was very funny and featured his ace blunt Yorkshire dry humour. It was good to hear “Galley Girl” again, that song was always one of my favourites from his ninth album ‘Further’ (2019). The band closed out on a slightly psych wig out of a rock fest with a towering “Heart Of Oak”. This ranks as one of the best sets I have ever seen. The last time that I saw Richard Hawley was at the V Festival in 2006. I promise not to leave it as long next time!
Big shout out to Futuresounds for pulling together such a great run of shows in the magnificent setting that is the Museum Gardens in York. I am already excited for next year, are you?
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After seeing local heroes Shed Seven at the Museum Gardens in York last year I returned to the venue to witness the legend that is Nile Rodgers and Chic. I have seen Chic once before, but that was back in 1979! Was Nile on good form? Read on to find out, I need to tell you about the support acts first! First up it was Durand Bernarr a Cleveland born singer songwriter and producer. He performs like a 21st century descendant of the late great Sylvester. There were shades of George Clinton in the funk fuelled harmonies. The song “Generous” had me thinking of Alexander O’Neal. But throughout his stunning performance I sensed an influence from Marvin Gaye and Bobby Womack. Durand is one of the finest purveyors of modern soul on the planet and has some awesome songs in his canon.
Next it was highly acclaimed soul singer and artist Jalen Ngonda. Perhaps not as entertaining as Durand Bernarr but he has an incredible voice reminiscent of Eddie Kendricks, Philip Bailey (Earth, Wind and Fire), Eddie Holman and Russell Thompkins Jr (Stylistics). Sometimes you could feel the ghost of Prince in his playing and singing too. It was a mostly uplifting set, but it perhaps dipped a little when Jalen took to the keyboard the first time which for me resulted in a stretch of over indulgent jazz vibes. But throughout the playing was impeccable. Later in the set Ngonda performed a deeply soulful take on Bacharach and David’s “The Look Of Love” the song that was a hit for Dusty Springfield in 1967.
Finally it was time for Nile Rodgers and Chic to take the stage. Opening with “Le Freak” it was a night of banger after banger after banger. Every Chic classic was included from “Dance, Dance, Dance (Yowsah, Yowsah, Yowsah)” to “My Forbidden Lover”. There was even a great snippet of their 1982 hit “Soup For One”. Nile shared some great anecdotes about the stellar gang of artists that he has worked with over the years as his set created some Dad dance heaven moments, not just for me. There was also plenty of groups dancing around their handbags too. For those of us at a certain age (some might say old) it was glorious nostalgia. Sister Sledge’s Chic produced discography was represented with “We Are Family”, “Thinking Of You”, “He’s The Greatest Dancer” and “Lost In Music”. The latter received one of the best receptions of the night. The Grammy winning hit that Rodgers had with Beyonce, “Cuff It” went down well. The Daft Punk song “Get Lucky” was one of my favourites along with the lesser known classic “Spacer” originally a hit for French artist Sheila B Devotion in 1980. As expected there were a couple of Madonna songs, two from Diana Ross and a brace of David Bowie tracks from 1983. “Modern Love” was particularly good. He even played the Duran Duran hit “Notorious”, I would have preferred “Skin Trade”, but I guess you can’t win them all, right? Nile closed the showed with a mountainous “Good Times” including some great elements of “Chic Cheer” and “Rappers Delight”. The Sugarhill Gang lifted the main riff of what many consider the first rap hit from Chic’s “Good Times”. This was a magnificent set and my wife Catwoman (a.k.a. Catherine) said that this was the first headline show she had ever seen where she knew absolutely every song.
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