Issue 35 / July 2013

FREE 

Issue 35 

July 2013 

Amique by Robin Clewley 

Amique 

Two Sunsets 

Sugarmen 

The Pharcyde

BLADE 

FACTORY 

FRIDAY 28TH JUNE 

BLADE FACTORY PRESENTS: 

OUTFIT, BIRD, LUNAR MODULAR & EX-EASTER ISLAND HEAD PLUS DJS 

8PM DOORS FREE 

SATURDAY 29TH JUNE 

WATERTOWN IN ASSOCIATION WITH EIGHTIES VINYL PRESENT: 

FESTIVAL FOR BOB AFTERPARTY. 

11PM DOORS £3/£5 

WEDNESDAY 3RD JULY 

LIVERPOOL PSYCH FEST PRESENTS: 

SIC ALPS & THE LUCID DREAM 

8PM DOORS £6 

SATURDAY 13TH JULY 

THRASHGIG & DKP PRESENTS: 

TRASH TALK, SSS AND IRON WITCH 

8PM DOORS £9 

SATURDAY 17TH AUGUST 

BLADE FACTORY PRESENTS: 

DAN CROLL “IN/OUT” SINGLE LAUNCH WITH SPECIAL GUESTS 

(CAMP) 7PM DOORS FREE 

THURSDAY 29TH AUGUST 

PESTE PROMOTIONS PRESENTS: 

DRAGGED INTO SUNLIGHT, LAZURUS BLACKSTAR, BONG AND MORE 

6PM DOORS - £7/£9 

www.campandfurnace.com

Bido Lito! July 2013 

3 

Editorial 

We’ve all had those powerful moments of expectant reflection, the quiet before the storm. The 

young first-year professional sat in the stand of an empty football ground the night before his debut 

with the floodlights blazing: just him, an empty stadium and his thoughts. The cavernous music hall 

before doors. The empty examination hall. Well, I had one of those moments this week, at Arrowe Park 

Hospital Maternity Unit. 

All the obvious labour concerns aside - Cerys seems to have that all pretty much in the can - our 

little daytrip to the delivery suite brought with it one stark pressure, something that had until this 

point slipped me by. The phenomenon that is the delivery playlist, or what has now become the 

delivery DJ set. 

After I’d run through the logistics of bringing a pair of Technics 1210s, a Numark mixer and a 

disappointingly modest pair of powered speakers (space is a bit of an issue) into the delivery suite with 

the incredibly accommodating midwife, I was left with one question: how on earth do you soundtrack 

the arrival of a new-born baby? Now, I’ve DJ’d at many pretty important occasions: weddings, funerals, 

birthdays and all that jazz, but this takes things to a whole new level. Talk about pressure. I’d take the 

pushing over this any day. 

My initial thought was to go with Captain 

Beefheart’s Trout Mask Replica, from start 

to finish, throughout the later stages of the 

birth. As an introduction to planet earth, I 

thought this would make an interesting first 

impression on young Buzz (that’s the name 

my mum has given to our unborn child and 

for ease I’ll use it here, but don’t worry it 

won’t stick). Cerys didn’t agree. 

Can’s Tago Mago and Country Joe And The 

Fish’s Electric Music For Mind And Body were 

Spiritualized perhaps? 

met with a similar fate. So, I’ve decided to 

break things down a little, and try to select a series of records to soundtrack key junctures in the labour. 

Rest assured, Europe’s The Final Countdown has been loaded up on the car stereo for the ride into 

the hospital, when that moment comes. Inner Circle’s Sweat is a dead cert as the contractions really 

start to take hold. I’m leaning towards Spiritualized’s Stop Your Crying for the Simba-held-aloft-by-Rafiki 

moment after the birth. This will be closely followed by Beastie Boys (You Gotta) Fight for Your Right (To 

Party!), as my post-birth realisation of impending incarceration kicks in. 

Admittedly there are a few holes there in terms of what I have on 7”, so I’m feeling a final spree 

may well be in order. But, I’m also looking for some help and guidance. We won’t be doing the whole 

constant-flow-of-baby-pictures-on-facebook thing, principally because I know how annoying it is (they 

all do kind of look the same, don’t they?), yet I’m openly encouraging some input into the delivery DJ 

set. Hell, we may even stream it from the labour ward (I’ll drop the guys at Arrowe Park a line and see 

what the wi-fi is like). 

So, I’d like your suggestions via Twitter @BidoLito on the hashtag #BirthBeats. If you were to be born 

to one tune what would it be? What song would you have had kick in just as you emerged into the 

world? The best suggestions may well make the cut... 

Personally speaking, and I’m not really a fan per se, but I think REM’s It’s the End of the World as We 

Know It (And I Feel Fine), may do the trick nicely. 

Craig G Pennington / @BidoLito 

Editor 

Features 

6 

8 

AMIQUE 

WHEN LAURA MET LAURA 

10 

CHEWING ON POP 

MUSIC’S CUD 

12 

TWO SUNSETS 

14 SUGARMEN 

16 

THE PHARCYDE 

Regulars 

4 NEWS 

18 

PREVIEWS/SHORTS 

20 

REVIEWS 

Bido Lito! 

Issue Thirty Five / July 2013 

bidolito.co.uk 

4th Floor, Mello Mello 

40-42 Slater St 

Liverpool L1 4BX 

Editor 

Craig G Pennington - info@bidolito.co.uk 

Assistant Editor 

Christopher Torpey - reviews@bidolito.co.uk 

Assistant Reviews Editor 

Naters Philip - live@bidolito.co.uk 

Online Editor 

Natalie Williams - online@bidolito.co.uk 

Designer 

Luke Avery - info@luke-avery.com 

Proofreading 

Debra Williams - debra@wordsanddeeds.co.uk 

Intern 

Joshua Potts 

Words 

Craig G Pennington, Christopher Torpey, Mike 

Townsend, Amy Minshull, Phil Gwyn, Steven 

Aston, Maurice Stewart, Jessie Main, Joshua Potts, 

Richard Lewis, Alex Holbourn, Jack Graysmark, 

Clarry M., Sam Turner, Gary Caldwell, Kev McCready, 

Joshua Nevett 

Photography, Illustration and Layout 

Luke Avery, Robin Clewley, Keith Ainsworth, Michael 

Sheerin, Jennifer Pellegrini, Amée Christian, Garreth 

Gibson, Matt Ball, Aaron McManus, Darren Aston, 

Chris Hindle 

Adverts 

To advertise please contact ads@bidolito.co.uk 

The T 

views expressed in Bido Lito! are those of the 

respective contributors and do not necessarily reflect the 

opinions of the magazine, its staff or the publishers. All 

rights reserved.

News 

Paddling To The Masses 

Camp And Furnace has only one high concept left to conquer – ping pong. Yes, on the third Friday of each month, the storied 

venue will host PING SOCIAL, a chance for paddle enthusiasts to mix their love of the sport with live music courtesy of Bido Lito! 

and charity organisation CALM. Garage trio THE WILD EYES will be kicking off the first night on 21st June. Coaches are on hand for 

newcomers and experienced players alike, whilst tournaments will crown the ‘King or Queen of Ping’ with a handmade trophy. 

Best of all, it’s free. For more information visit campandfurnace.com 

Vinyl Lovers Sent Spinning 

EIGHTIES VINYL RECORDS are treating us to a special compilation release this month, celebrating a not-for-profit approach to 

championing local artists. Following on from a string of successful 7” releases, Eighties Vinyl Records are upping their game by 

pressing a limited run of the Just Records 12” LP. Their first full-length release will be a snapshot of Liverpool music now, containing 

tracks by THE SAND BAND, SANKOFA and THE MERRYLEES amongst others. Get yourself along to Probe Records to pick one up but 

be quick about it – there are only 250 copies available. Or pre-order at eightiesvinylrecords.co.uk 

Psych Fest Unveils Headliners 

LIVERPOOL INTERNATIONAL FESTIVAL OF PSYCHEDELIA’s two-day trip-out is proud to announce that they’ve added space rockers MOON DUO 

(pictured) and the iconic DEAD MEADOW as event headliners, alongside THE BESNARD LAKES and the already announced CLINIC and FUZZ. 

Meanwhile, acts like SINGAPORE SLING will represent the farther reaches of European psych, competing with UK darlings HOOKWORMS for 

standout performance status. They join a line-up already boasting PSYCHIC ILLS and THE HOLYDRUG COUPLE, solidifying this year’s event as 

the definitive showcase for a scene that is only growing in momentum and creativity. Tickets are available at bidolito.co.uk 

X&Y Festival Hots Up 

Those looking to keep the summer music binge chilled out and doorstep-ready need look no further than X&Y FESTIVAL, returning 

for its second run at the O2 Academy and East Village Arts Club from 6th-7th July. After the modest success of last year’s shindig, the 

organisers have upped their game by scoring DOG IS DEAD, THE HEARTBREAKS and THE CROOKES (pictued) for what promises to be 

a vibrant series of shows. Hotly-tipped five-piece DISCOPOLIS provide the electro thrills amidst a roster bursting with guitar bands: 

headliners THE MILK stop marginally short of strapping dancing shoes to your feet. Head over to bidolito.co.uk 

for tickets. 

Summercamp Pitches Up 

Taking root in the Baltic Triangle on 24th and 25th August, SUMMERCAMP FESTIVAL aims to mix good food, art and tunes together in 

a mouth-watering cultural brew, bringing punters within spitting distance of MARTHA WAINWRIGHT and GHOSTPOET, the latter looking 

to play new tracks from acclaimed sophomore album Some Say I So I Say Light. Pioneering electronic duo MOUNT KIMBIE (pictured) 

are also on the menu, which will serve up culinary treats by Michelin-starred restauranteur GLYN PURNELL. On top of that, expect cult 

DJs soundtracking after-hours revelry, anticipating the “village-fête-meets-bloc-party” vibe. All ages welcome. summercampfestival.co.uk 

Bido Lito! Dansette 

Our pick of this month’s wax wonders… 

Boards of Canada 

Tomorrow’s Harvest 

WARP 

Everyone’s favourite epiphany-makers 

deliver a dense, apocalyptic collection of 

tracks best described as hymns for dying 

monitors. Typically oblique, their mood 

sometimes bypasses coherence and 

charm, but the Scots bring large helpings 

of strangely beautiful electronica to 

compensate. This is an album that hits you 

in waves, which is fitting since its creators 

never tire of retreating from the limelight. 

Baths 

Obsidian 

ANTICON 

Jesus . . . that bout of E. coli must’ve fucked 

Will Wiesenfeld up something major 

if this is the aftermath – dark, twisting, 

hypnotic pop from another dimension. 

Without easy paths through the nihilism, 

listeners might be forgiven for opening 

a window to breathe. That’s if you live in 

a house, of course. Songs like No Eyes 

want to burn that house down. 

Various Artists 

Mind Explosion 

PSYILOCYBIN SOUNDS 

Building Momentum 

COMPETITION! 

PRS for Music Foundation and Arts Council England have announced the launch of the MOMENTUM MUSIC FUND, a £500,000 pot 

of money set aside up to help develop the careers of talented artists and bands. Over the next two years they will be awarding 

somethingin the region of 50 to 75 grants of £5,000 to £15,000, to musicians. Applications can be submitted by the artists themselves 

or those who are working on their behalf, e.g. a manager, and priority will be given to those that haven’t been funded by PRS for 

Music Foundation in the previous twelve months. More info can be found at prsformusicfoundation.com/funding 

Billed as “innovative” and “award-winning”, independent festival KENDAL CALLING is a three-day event with a relatively small 

capacity, but a music festival which punches above its weight year after year. Based in the Lake District, its organisers are proud 

of their baby, touting it as the best North Western festival experience on the market. Such hyperbole would be laughable if they 

hadn’t gone and booked PRIMAL SCREAM (pictured), BASEMENT JAXX, PUBLIC ENEMY and THE CHARALTANS for their eighth goround, 

alongside SEASICK STEVE and JOHNNY MARR, with more acts still to be announced. We’ve been the past couple of years 

and can testify that it’s a proper blast. 

That’s why we’re giving away a pair of tickets to this unsung gem. To be in with a chance of winning, simply answer the following: 

Which of these is a popular confectionery with mountaineers? a) Barrow Cereal Bar b) Windermere Fruit Muffin c) Kendal Mint Cake 

Email your answer to competition@bidolito.co.uk 

by Friday 19th July. All correct answers will be placed in a big pink hat and selected at random. The 

winner will be notified by email. 

Back after a four-year sabbatical, Psyilocybin 

Sounds come up trumps on their return 

with this split 12” EP that traverses the 

outer boundaries of the known universe. 

HELICON’s side-B journey through the Crab 

Nebula is as dark and drone-powered 

as you’d hope, while Catalans CELESTIAL 

BUMS channel Jefferson Airplane’s rabbithole 

trippiness on side-A highlight The 

Procession. Mind exploded. 

Emily Barker & The Red 

Clay Halo 

Dear River 

LINN RECORDS 

Plaintive and life-affirming despite breaking 

no new ground, the acclaimed Ms Barker 

continues to refine her brand of defiant folk, 

drawing a fantastic performance out of her 

three Halos. She manages to nail a vocal 

delivery that perfectly matches the light 

and shade pulling at tracks like Everywhen, 

a sophistication that most of her European 

peers should aspire towards. 

Gig Guide and Ticket Shop live at www.bidolito.co.uk

Tues 25th Jun • £18.50 adv 

 

Sat 29th Jun • £9 adv 

 

 

Sat 29th Jun • £6 adv 

 

Mon 1st Jul • £12 adv 

 

 

Fri 5th Jul • £8.50 adv 

 

 

Sat 6th Jul • £10 adv 

2pm 

 

 

 

 

 

 

Thurs 11th Jul • £9.50 adv 

 


 

Tues 16th Jul • £15 adv 

 

 

 

Wed 17th Jul • £6 adv 

 


 

 

Sat 3rd Aug • £6 adv 

 

Sat 17th Aug • £7.50 adv 

 

Fri 6th Sep • £6 adv 

 

Mon 9th Sep • £23 adv 

 

Sat 14th Sep • £6 adv 

 

Mon 23rd Sep • £8.50 adv 

 

Tues 24th Sep • £15 adv 

 

 

Wed 25th Sep • £13.50 adv 

 

 

Sat 28th Sep • £12 adv 

 

 

 

Tues 1st Oct • £14 adv • 8pm 

 

Wed 2nd Oct • £16 adv 

 

Fri 4th Oct • £12.50 adv 

 

 

Sat 5th Oct • £15 adv 

 

 

 

Thurs 10th Oct • £16 adv 

 

Sun 13th Oct • £16 adv 

 

Weds 16th Oct • £26.50 adv 

 

 

Fri 18th Oct • £20 adv / £50 VIP 

 

 

Sat 19th Oct • £10 adv 

 

 

 

 

Tues 22nd Oct • £14 adv 

 

Thurs 24th Oct • £15 adv 

 

Sun 27th Oct • £18.50 adv 

 

Mon 28th Oct • £15 adv 

 

 

Tues 29th Oct • £29.50 adv 

 

 

 

Tues 29th Oct • £16 adv 

 

 

Thurs 31st Oct • £12 adv 

 

Sat 2nd Nov • £10 adv 

8pm - 2am • over 18s only 

 

 

 

 

Sat 2nd Nov • £15 adv 

 

 

 

Sun 3rd Nov • £15 adv 

 

 

Mon 11th Nov • £8.50 adv 

 

Sat 16th Nov • £18.50 adv 

 

 

Fri 22nd Nov • £12 adv 

 

Sat 23rd Nov • £10 adv 

 

 

Fri 29th Nov • £11 adv 

 

Sat 30th Nov • £7 adv 

 

Mon 2nd Dec • £12 adv 

 

Fri 6th Dec • £9 adv 

 

 

 

 

 

Sat 7th Dec • £28 adv 

 

 

Sat 7th Dec • £15 adv 

 

Mon 9th Dec • £19.50 adv 

 

Thurs 19th Dec • £25 adv 

 

Fri 10th Jan 2014 • £13 adv 

 

Mon 4th Nov • £14 adv 

 

Thurs 7th Nov • £12.50 adv 

 

Sat 9th Nov • £20 adv 

 

 

 

Tues 25th Jun • £18.50 adv 

Mon 9th Sep • £23 adv 

Wed 2nd Oct • £16 adv 

 

Sun 13th Oct • £16 adv

6 

Bido Lito! 


Words: Mike Townsend / @townsendyesmate 

Photography: Robin Clewley / @robinscamera 

“Today was my day off and I had a lot of things I wanted 

to do, but then the sun came out and everything changed.” 

The evening sun shines brightly on 22-year-old multiinstrumentalist 

AMIQUE, and you get the feeling that his world 

might be full of distractions. 

Working as a music-based youth worker, Amique uses both the 

history and the performance of music as a tool to help young 

people develop, alongside their education. “A lot of the kids we 

work with are a bit disillusioned, so we use it [music] to get them 

creative and to get them focused.” Writing and performing since 

the age of sixteen, he found solace and inspiration through his 

parents’ record collection: “My folks have a wonderful taste in 

music, which is something I’ve always given them a lot of credit 

for. My mother was always listening to people like Sade, Kate 

Bush, Stevie Wonder, Led Zeppelin, and then my Dad would be 

playing Robert Johnson, Talking Heads, Bowie.” Between this, his 

vocation and his regular involvement with Parr Street’s Soul4Soul 

jazz collective, Amique has immersed himself in music, allowing it 

to drive how he sees the world and how he sees himself. 

Amique vehemently resists classifying his music, and you’d be 

a brave person to give it a go yourself. It really is all over the 

place, and I mean that as the greatest of compliments. It’s soul 

music but it isn’t aiming for the hips. It’s gospel but it doesn’t 

belong in the church. It’s jazz but it’s fiercely choreographed. 

You will find five demos on his Soundcloud page, all providing 

a snapshot into the creative process of an artist very much still 

trying to define his sound, as he bounces between Lauryn Hillesque 

moments of quiet introspection, Tom Waits’ brash bravado 

and the proto-ambient brain massage of late sixties Miles Davis. 

There is a breadth of focus, sure, but between that is a poise, 

as Amique meanders through his songs with remarkable grace, 

playing with tempo, pull-backs; I mean, this is a man who is very 

comfortable with his idea of what music means to him and his 

ability to express it. “The demos on SoundCloud were all made 

at different points of my life. I’ve got a very short attention span 

when it comes to music, and I couldn’t imagine sitting down now 

and going ‘for the next six months we’re only going to play this’”. 

As he eulogises the malleability of his heroes Joni Mitchell and 

Miles Davis, it’s clear that moving, improving and progressing is at 

the core of Amique’s existence as an artist. 

Fresh, the lead single from new EP Conception, sees Amique 

abandon the mellow, more sombre tones of his demos 

and move further towards soul and R&B. His broken vocals 

weave their way around a walking bass and woozy, hi-hatled 

percussion, allowing a refrain of “for those who know the 

reason/for those who know the vibe” to dance imperturbably 

above. As is always the case, the EP bounces between genres, 

almost to the point of bewilderment. What’s remarkable, 

though, is that it does so without compromising quality or 

cohesion. Every musical and conceptual element drafted in 

comes out just a little bit skewered, until we’re left with a 

performance that is unmistakably different and unmistakably 

his own. “It’s probably a blessing and a curse. I just go where 

the spirits tell me. The thing is, I just don’t know how to make 

one track sound similar to the next.” I know it might all sound 

a little unfocused, and there will certainly be those who find it 

too disorientating, but fuck is it exciting. 

There is a flamboyance and extravagance to Amique, both in 

his recordings and his live shows. The scatting on All 4 U, the 

ludicrously overdubbed vocal arrangement on U Will Know, the 

frantic abrasions on the EP - all contribute to a persona that is 

extremely difficult to get your head around. It is a balancing act, 

though, when tackling such ambitious subject matter. Make it too 

relatable and it can sound obtuse, but make it too guarded and 

it’s dehumanising. By placing his songs in wider social contexts, 

Amique puts himself on the most exposing of pedestals. This 

is hardly Gil Scott-Heron, though, and by keeping it lively and 

accessible, we are left with an EP that’s reachable, yet still too 

much to take in all at once. This is a concept Amique relishes: 

“I want to get the second EP out in a couple of months. I don’t 

really want to give people time to take my music in. I’d prefer to 

just give them everything all at once and let them experience it 

in their own time; allow people to build their own relationships 

with my music.” 

There is an impalpable stimulant flowing through Amique’s 

veins, something that drives him in both his recordings and his 

performance. “For me, the ability to play music is a gift from God. 

It’s not something I’ve created; it’s something that I was born 

with.” His self-assurance is striking, both in his vision and his 

ability. This is an artist who, through his exploration of faith, of 

death, of human emotion, is deeply invested in archetypes rather 

than the daily details of modern life. It certainly is an ambitious 

approach, this notion of tackling and confronting only the deepest 

states of being and ignoring the noise the makes up the rest of 

the world. Whether you’re a spiritual person or not, though, this 

belief that music can hold an inherent position in people’s lives 

and maybe even change them is what has - and always will - drive 

great artists. “If you have to explain your actions then I think you’re 

doing something wrong,” he says softly. By his own measure, in 

Amique we have an artist with no explaining to do. 

soundcloud.com/amique 


8 

Bido Lito! 


When Laura Met Laura 

The Caledonia, MelloMello and the future of Liverpool’s grassroots venues 

Words: Amy Minshull / @AmyMinshull 

Photography: Keith Ainsworth / arkimages.co.uk 

It’s a hot summer’s day and the Caledonia regulars, including 

that they want to.” 

the brass section of the Philharmonic Orchestra, have retreated 

Of course, one of the most important roles both places play is 

into the cool interior of the pub for a pint, some home-cooked 

as part of Liverpool’s music scene, with the quality of local bands 

food, and the company of two small dogs called Miss Havisham 

improving as a direct result of having supportive venues to play 

and Sir William Huskisson. Two months ago, the future of this 

in. “It’s like a little incubatory nest,” says Powers-del Arco. “There’s 

Georgian Quarter local didn’t look quite so rosy, as landlady Laura 

this platform that says you can do this and get paid for it.” 

King was given just 28 days to vacate the Cale after the Admiral 

“I think where other venues have perhaps failed and 

Taverns group accepted an offer for the building’s lease. For fans 

closed it’s because they don’t care, they’re just there to make 

of Liverpool’s grassroots music scene and its associated venues, 

money,” adds King. By contrast, the Caledonia has built a 

this felt like the latest in a long line of beloved businesses coming 

solid reputation promoting genres which traditionally shy 

under serious threat. MelloMello, for example, a place that acts as 

away from the mainstream, such as jazz, Americana and folk. 

a community arts space, bar, music venue, rehearsal studio and 

“Because everything’s free, it creates accessibility and you get 

vegetarian café, is similarly being faced with closure after their 

the opportunity to listen to so many things that you wouldn’t 

offer to buy their building was declined in favour of a larger bid 

normally consider. I certainly know from our customer base that 

from a private developer. 

it’s made people a lot more broadminded.” 

Happily, however, it’s not all doom and gloom. Those intent 

It’s a testament to the inclusivity of this scene that neither 

on closing the Cale didn’t count on the determination of King 

and the huge wave of public support which rallied behind the 

#savethecaledonia campaign, with a petition of over 3,000 

signatures and the backing of Liverpool councillors and Mayor 

Joe Anderson. Just before the pub’s third birthday, the date it was 

supposed to close, Admiral renegotiated the deal and the new 

buyers asked Laura to carry on as usual, now as a free house, with 

a contract to stay on for five years and then possibly indefinitely. 

Bido Lito! met up with two of the women involved in these crises, 

Laura King of the Caledonia and Laura Powers-del Arco of the team 

behind MelloMello, to ask is there still hope for our favourite 

independent venues? 

“I was overwhelmed by the reaction of people when we had 

the news we were closing,” says King in between pulling pints. 

“It wasn’t jumping on the negative bandwagon it was, ‘We can do 

something about this’.” 

“It’s such a wonderful example that it can work,” adds Powersdel 

Arco, who experienced a similar reaction through MelloMello’s 

campaign to raise funds for a deposit on the building. “It was 

unbelievable. When something like that hits you, doubts can 

sometimes set in and you can think, ‘Why are we doing this?’ But 

those levels of support imbibe all those who work there with a kind 

of positivity. It’s good to have those moments to remind you.” 

Despite this largely encouraging reaction, there will always 

woman feels her gender is much of a consideration in the 

be some who question the importance of one pub or bar in the 

admittedly male-dominated world of music. “We just get on with 

grand scheme of things, but these businesswomen know the 

it,” says Powers-del Arco, “as does everyone else.” 

positive effects a well-run venue can have on a community. 

“It has its implications sometimes, certain people do take 

“You’ve got your venue, I guess, and your immediate walls but me less seriously but I just tell them to fuck off,” says King. 

it’s also about the area at large that one helps to shape and make “It’s hard to change history: there are less women in business 

a better place,” says Powers-del Arco, explaining that Mello was because there are less women in business, and the only way to 

completely derelict when they moved in but has helped to improve change that is over time, and by us being in the position where 

the surrounding area over time. “It just brightened up that corner we don’t even consider it.” 

didn’t it?” says King. “Now there’s tons of little bars and venues 

While both women are obviously competitive in a business 

round there, and it’s not that Mello is the whole reason for that sense, it is also clear that they are not necessarily competing 

but it’s probably a big part of it. It’s got the community feel. with each other, as Powers-del Arco points out: “There’s a little 

“When I took over here it [the Caledonia] was a terrible place, network and a community; there are obviously different venues 

and there’s a lot of people in the immediate community who but while we’re different our ethos might be quite similar, 

have said thank God they don’t have to cross over the road and which I think is really strong.” 

walk past it any more. They don’t necessarily come in here but it’s 

“We’re all rooting for each other because we all know we’re 

nice for them to feel safe and have somewhere to go if they feel 

unique so we don’t have to fight for customers, we share them,” 

says King. “I think having multiple venues with the same ethos 

makes us busier and better.” 

With the Caledonia saved and the good folk of MelloMello 

vowing to push forward regardless, both women’s plans for the 

future are now looking surprisingly bright. 

“I think for Mello it’s about securing a bit of longevity in some 

respect that can then strengthen the whole locality in terms of 

a real, serious and respected alternative scene,” says Powers-del 

Arco. “The thing that gives us a little bit of optimism is that when 

we first started it was literally just the little coffee bar, bring your 

own booze, and a couple of very weird, experimental jazz nights 

and from there it’s grown into its building. And you think, well, if 

we’ve done it once maybe we could do it again.” 

“I hope to be here for a long time to come,” says King. “The 

business is at a great point now where we can push forward even 

further. In the distant future I might do another venue as well, but 

for now it’s just picking up all the bits that have been chucked up 

in the air over the past couple of months.” 

Looking back to those couple of months, what have they both 

learned from their recent trials? 

“Have security,” replies King immediately. “I wasn’t protected. 

Now I am and I wouldn’t have learned that if it wasn’t for this. I 

think the things we’re going through are going to highlight that 

city-wide.” 

“I guess being a bit fearless and taking risks,” says Powersdel 

Arco. “Yeah, be confident in your own ability,” adds King. “You 

might be young, you might be a girl, but you’ve got a brain in your 

head and that’s how you ended up in this position.” 

And with that bit of encouragement the interview is over, and 

the two Lauras are busy inspecting a jukebox from 1975 that 

King is renovating herself. It seems that if there’s one lesson 

to be gained from the hardships suffered by the Caledonia and 

MelloMello, it’s that the passionate and hard-working people 

behind our favourite venues are slowly getting the recognition 

they deserve, and that we can become involved not only by 

showing our loyalty before they desperately need it, but by going 

out and doing something similar to benefit the community at 

a grassroots level, in the true spirit of DIY. In the wise words of 

Laura King: “Just get on with it!” 

thecaledonialiverpool.com 

mellomello.co.uk 


REGINALD 

D HUNTER 

In the Midst of Crackers 

Friday 14 June 

8pm £23, £29 

 

americana 

MIKE 

OLDFIELD’S 

TUBULAR BELLS 

‘FOR TWO’ 

Saturday 20 July 

7.30pm £21, £27 

Weekend 

beausoleil 

avec michael 

doucet 

support 

chris moreton 

 

steve riley 

and the mamou 

playboys 

 

Guitar Workshop 

with Chris Moreton 

 

 

£30 

 

 

 

 

In the Midst of Crackers 

LUCINDA 

WILLIAMS 

Thursday 27 June 

7.30pm £19.50-£29.50 

THE 

MAVERICKS 

Monday 22 July 

7.30pm £34.50, £40 

RUFUS 

WAINWRIGHT 

Monday 1 July 

7.30pm £29.50-£50 

STEWART 

LEE 

Much A-Stew About Nothing 

Sunday 13 October 

8pm £20, £26 

CHRISTY 

MOORE 

WITH DECLAN 

SINNOTT 

Saturday 12 October 

8pm £30-£38.50 

EXTRA DATE ADDED 

JIMMY CARR 

Gagging Order 

Saturday 13 July 

8pm £25, £31 

IRISH SEA 

SESSIONS 

2013 

Friday 18 October 

7.30pm £19.50-£28.50 

Box Office 

0151 709 3789 

liverpoolphil.com

10 

Bido Lito! 


Words: Jessie Main / @JessieMainMusic 

Illustration: Garreth Gibson / @garrethgibson 

The KLF’s Bill Drummond and Jimmy Cauty (aka The Timelords) 

demonstrated their true genius when it emerged that other artists 

had been successful in utilising their almanac The Manual (How 

To Have A Number One The Easy Way) to break into the charts. The 

anarchists’ project perfectly illustrated the flaws in the industry, 

showing how, with the right line of attack, really anyone could 

make it to the top spot, without money or musical skills. Their labrat 

was a horrendous self-proclaimed meaningless landmark of 

shite based on the Doctor Who theme tune, and it was as glorious 

as it was demoralising. Amongst their explicit instructions on how 

to approach the industry big wigs, lifestyle advice - “first you must 

be skint and on the dole” - and tools needed for the job, lie the 

“Golden Rules”. The Manual was written in 1988, but these still 

make for a fairly frustrating read: 

“Firstly, it has to have a dance groove that will run all the way 

through the record and that the current 7” buying generation 

will find irresistible. Secondly, it must be no longer than three 

minutes and thirty seconds (just under 3’20” is preferable). If they 

are any longer Radio 1 daytime DJs will start fading early or talking 

over the end, when the chorus is finally being hammered home 

– the most important part of any record. Thirdly, it must consist 

of an intro, a verse, a chorus, second verse, a second chorus, a 

breakdown section, back into a double length chorus and outro. 

Fourthly, lyrics. You will need some, but not many.” 

It’s 25 years old, 

but still pretty depressingly 

‘on 

the 

money’, 

as it 

were. It showcases the naked truth of the lucrative pop song’s 

building blocks, viscerally geared towards the quantifiable success 

story. As a method it is not indicative of emotions or experience, 

instead it emphasises the feeding of our ears with a formula that 

has ‘worked’ for at least the past quarter of a century, if not since 

the advent of pop music. It is a sign of the perpetual cycle that 

means pop music is littered with the same ideas over and over 

again. The famed music journalist David Quantick touched on 

this idea, ultimately coining the phrase ‘pop will eat itself’, after 

which the group formerly known as Wild And Wandering renamed 

themselves. And we don’t have to look far to see examples. In Rob 

Paravonian’s Pachelbel Rant, (which can be found on YouTube) the 

comedian laments the repetitive cello line in Pachelbel’s Canon 

in D following him. It highlights the sheer number of pop songs 

based on that chord progression, something I’m not sure our 

mate Johann could have ever predicted back in the 1700s. 

It’s not just ‘pop’ that is implicated: our western tonal system 

has been used for literally hundreds of years, and most ‘popular’ 

(that is, not classical) genres tend to showcase tracks under five 

minutes long that stick to one major or minor key. Are we not 

eventually going to run out of anything completely original? Have 

we already done so? Are we not just swallowing and regurgitating 

ideas like cows chewing the cud, coughing up the same mulch 

again and again, which we’ll eventually have to gulp down for 

good, leaving nothing but malnutrition and a bitter 

aftertaste? The cows will eventually move on 

to fresh pastures – and we must do the 

same. Who was the last artist to 

sound like no other before, and 

also have a profound effect on 

all who came 

after? 

There isn’t a priority to sound like no other before. On the 

contrary, musicians are proud to list the artists who have influenced 

them. Taking inspiration external to the formula means that there 

is potential for an array of variations. One thing the Pachelbel 

rant does show is that, given four chords, different people will 

come up with vastly different ideas. Maybe not entirely original 

sounding, but different. 

Perhaps a more aligned and less shoot-a-stake-through-myheart-I-can’t-listen-to-this-crap-anymore 

example is the rich 

tradition of the blues – a whole genre based on the same or a 

similar chord progression, which yet has a plethora of emotion 

and real experience running through it. 

“So why don’t all songs sound the same?” ask the KLF. “Why 

are some artists great, write dozens of classics that move you 

to tears, say it like it’s never been said before, make you laugh, 

dance, blow your mind, fall in love, take to the streets and riot? 

Well, it’s because although the chords, notes, harmonies, beats 

and words have all been used before, their own soul shines 

through; their personality demands attention.” 

To an outsider, perhaps it does sound the same. But maybe 

that’s OK. I think the familiarity of popular music doesn’t detract 

from its value. I’m not saying when it comes to manufactured 

pop one should find meaning that isn’t there in what is 

usually a guilty pleasure. But instead, like the arse-coloured 

misery paste that is eventually served up to us in the form of 

Chicken McNuggets, perhaps some kind of originality lies in the 

experience of consumption. The elements of the composition 

are pretty much identical, but our experience is slightly different 

every time, depending on where we are in life, or even what 

else we have consumed that day. The product is serving a 

certain purpose and is serving it well. I love McNuggets, but not 

in the same way I love foie gras or, say, The National. And, as 

that tenuous analogy starts to lose its legs, within music 

that inspires us the quest for originality turns in on itself – 

what we’re actually listening out for is music that keeps us 

feeling, that speaks to us. 

The likelihood is that we are always going to be subjected to 

what the Radio 1 Chart show can spit out, with the perpetrators 

gleaning little pieces of ‘sellable’ information each time. As we 

evolve, they will produce music that reacts well with the 

taste buds of the masses. They always have done. 

Luckily, in our city and so many others, in communityrun 

music venues, in garages, in warehouses, in 

bedrooms, or in my case in the shower, there are people 

pouring new experiences into the music they write, using 

the language of tonality to manifest their uniqueness. 

Unable to provide a phrasebook to everyone listening, 

writers leave their work open to the interpretation of 

the varied complicated lives of music lovers. 

And it’s happening with all genres, 

even the ones that come out 

sounding like pop. 



11

12 

Bido Lito! 


Words: Phil Gwyn / notmanyexperts.com 

Photography: Michael Sheerin / michaelsheerin.photoshelter.com 



13 

It’s halfway through talking to TWO SUNSETS that Sean 

(Butler, Vocals and Synths) declares of their music that “I think 

of it sometimes like an explosion of sound, it kind of hits you 

all at once... it’s that euphoric feeling.” It’s the sort of spot-on 

summation that makes me feel like the duo should be writing 

their own feature, so aware are they of exactly what they want 

to achieve. And with just one single in the bag in the form of 

Venetian Skies, they’re clearly already adept at actually achieving 

those intentions; just press play on Searchlights, and you’ll be 

enveloped by the bleary-eyed euphoria that they’re talking about. 

The other half of the musical marriage, Phil (Bridges, Guitar), 

then animatedly outlines the root of this sound as being what 

he calls their “collage of sound”; a sort of paradoxical tapestry 

of euphoria and melancholia tied together by their melodic 

instinct and, as he says himself, “lots of layered vocals”. The 

end product, Sean suggests, is what he calls “gorgeous cloud 

music”; an ambitious description, but the immaculate, hazy 

sweep of Venetian Skies is sturdy evidence for their claims. This 

ambition gives a sense of just how involved the duo are in the 

world of their music, a fact that was not lost on The Great Pop 

Supplement, the pioneering record label who were impressed 

enough to release Two Sunsets’ debut single in February and 

will be releasing the band’s next outing in July. 

But the Liverpool-based outfit have not always pursued their 

music with such single-minded confidence. Only after Sandunes 

was written did they have the self-assurance to share their 

creations with the public, and Phil recalls that “once we wrote 

Sandunes it gave us the belief to pursue it as a worthwhile 

project, as we were happy with the blend of melody and sounds.” 

Yet Two Sunsets had existed in one form or another for years, 

born from the alignment of the musical minds of Sean and 

Phil, as the latter explains: “We were both really into the same 

music; I don’t think I’ve ever met anyone else with such similar 

taste.” It’s not hard to notice traces of this well-informed musical 

heritage in their music, which oscillates between the direct 

impact of melodies, and something altogether more undefined; 

perhaps not surprising as the first two shared passions that they 

mention are 60s girl groups and synth pop. In a sense, it’s that 

interplay between the instantaneous and the veiled that defines 

their music, and never more obviously than on Venetian Skies, 

with the vocal hook nailed in place by blissfully warped guitars. 

Yet, at the risk of sounding pretentious, Two Sunsets really 

are about more than just the music. It’s not without some 

significance that all of their tracks so far have been accompanied 

by striking videos, or that Phil also produces collage art under 

the name Low Coney. For Two Sunsets, what goes into the eyes is 

almost as important as what goes into the ears, for, as Sean says, 

“The combination of music and images definitely increases the 

sensory experience of consuming music.” This artistic approach 

is often a tightrope between being conceited and actual artistic 

merit, but Two Sunsets seem to be making a breeze of that 

balancing act, mainly because their visuals genuinely add to the 

music rather than simply existing as promotional devices. Take 

the video of Moonshadows, for example, in which grainy footage 

of an old fairground evokes the nostalgia of the track itself. 

Through these videos and the home-made art that hangs from 

their various pages on the internet, Two Sunsets have created a 

world to be immersed in which plays on the emotions as much 

as the ears. As Sean explains, “I think a lot of the time we talk 

about our music in terms of feelings rather than sounds... We’ll 

work together to try and recreate the feeling of watching the 

sun rise or something like that.” There’s definitely a sense of a 

need to provide stimulating imagery in a digital age, as Sean 

continues that art “makes it [music] less disposable. I think 

you’re more likely to really engage a listener on YouTube than on 

SoundCloud or Spotify.” 

You might expect a group with such a detailed vision for their 

output to be control freaks, but although Two Sunsets currently 

do literally everything themselves, they argue that they do like 

doing things this way, but they wouldn’t disregard the possibility 

of working with like-minded people. Phil explains that, “We home 

record at the moment through necessity rather than a deliberate 

lo-fi ideal. But at the same time, it’s been OK not going through 

a huge production filter.” As he points out, there’s an effort not 

to distort the natural sound of Two Sunsets: “Our music goes 

through filters anyway, so if we had another filter of another 

person in a studio we’d get further and further away from the 

source.” This comes across in their music, as each track is edged 

by that blurry introspection characteristic of Two Sunsets, which 

could become diluted by the pressures and time constraints that 

come with professional studios and producers. Yet, at the same 

time, the duo are open-minded about working with people who 

are going to add something to their sound; in fact, it has just been 

confirmed that Sonic Boom is going to be mastering their next 

single, Katy Komatsu, and the band are understandably pleased: 

“We’re fans of his production work on Panda Bear’s Tomboy and 

MGMT’s Congratulations, so going forward it could be a good fit, 

as we share some intentions.” 

Katy Komatsu itself, although cut from the same melancholic 

cloth as their previous releases, certainly re-imagines some of the 

band’s central aspects in new ways. It’s a vivid paean to love, still 

cloaked in their enigmatic fuzz, but is perhaps more direct than 

we’ve heard them before. As Phil says, “It’s possibly the catchiest 

chorus we’ve recorded so far, but our desire to create slightly out 

of focus dream pop/shoegaze/psych/Balearic music remains the 

same.” Yet, it’s still abstract enough to suggest a multitude of 

images with evocative lyrics like: “Sun spills in winter/pale on 

the shore/falling around you/burden no more.” Phil explains that 

the abstract approach was intentional, saying that “It’s a really 

surreal song about what love is... but it’s hard to put the lyrical 

meanings into words without trivialising them, really: we’d quite 

like people to interpret them and take what they want from 

them.” Musically, Katy Komatsu really exemplifies the breadth of 

Two Sunsets, and Phil continues that “If you listen to the Super 

Furry Animals they have such a wide variety of work on just one 

album. So we want to achieve a mood, certainly, but to be free 

to explore different avenues.” This exploratory edge is definitely 

something that sets the duo apart, as they have such a strong 

identity that they can be more ambitious and the end product 

will still fall under the umbrella of that Two Sunsets aesthetic. At 

this, Phil trails off suggestively with: “We just don’t yet know how 

wide that umbrella is...” But judging by how involved they are in 

making their music, it seems fair to assume that we’re going to 

find out. And that when we do, there will be pictures. 

facebook.com/twosunsets 


14 


Cue The 

Sugar Rush 

Words: Steven Aston / gigslutz.co.uk 

Photography: Jennifer Pellegrini / jennifer-pellegrini.com 

“Very fucking cool,” says front man and guitarist Luke Fenlon 

impulsively, when asked to describe the sound of the band he 

fronts, SUGARMEN. This assertive and self-assured answer is 

indicative of a band who you will be hearing a great deal more of, 

sooner rather than later. 

Sugarmen are Luke (Guitar, Vocals), Chay Heney (Guitar) and 

Sam McVann (Drums) from Liverpool, and Ali Horn (Bass), the token 

Southerner. Together they have formed one of the most exciting 

guitar bands to emerge from Liverpool in a long time. Having 

been together for a mere five months, and playing only a handful 

of gigs, they are already creating the kind of buzz which seems to 

have bypassed many new bands. “I’d definitely say we are worthy 

of the hype,” says Luke. “It’s hard to get the right balance, but we 

definitely want people talking about us.” 

Formed by Luke (22) and Chay (19) after a drunken night in 

Milk:Presents’ old hangout on Bold Street, it didn’t take long 

before they recruited Sam (21) and Ali (26 - although you might 

find him telling you he is younger!) to their ranks. Ali wasn’t 

going to make it easy for them though: “I made them court me 

before I got into bed with them,” he laughs. “I wasn’t going 

to be easy!” And since Ali succumbed, the honeymoon period 

has shown no sign of ending, as their future looks extremely 

exciting, to say the least. 

Still in their infancy, Sugarmen have only recorded one song, 

the stomping Circuit Queen: a belting, passionate, riff-laden 

melodic bruiser, which was recorded for Eighties Vinyl Records. 

So who exactly is the Circuit Queen? “It’s me bird!” exclaims Luke 

Gig Guide and Ticket Shop live at www.bidolito.co.uk 

in a fit of laughter. “She knows it’s her and hopefully she loves 

the fact she has a song about her. She asked me to write a song 

about her and I think she expected it to be all lovely dovey but I 

just took the piss! It’s also a story about Liverpool in many ways, 

all the connections and everyone knowing each other. I suppose 

you could say it’s just a song about being in La’Go!” 

There are many more songs to come and there has already 

been interest from some big hitters to get involved with the band. 

“Jon McClure from Reverend & The Makers is keen to produce the 

single when we get round to doing it, although we’re unsure 

whether we want to use him yet, and Mick Jones wants to do a 

dub remix of us,” says Chay, trying to keep his cool on what seems 

like a runaway train. Chay only picked up the guitar because of 

Mick Jones and recalls a watershed moment: “I’ve been lucky 

enough to play with Mick a couple of times. When he did the 

Justice Collective I got a call from Davo, his guitar tech, who asked 

if I wanted to do Should I Stay Or Should I Go on stage with him. 

He introduced the song as Should I Chay Or Should I Go!” 

If you like your rock ‘n’ roll to follow the blueprint, watching 

Sugarmen live for the first time may well have you doing a 

double take. Anyone who witnessed them upstage The Strypes 

- the supposed best new band about - at Leaf in March can vouch 

for that. And what made the performance more remarkable was 

that it was only their second gig. “We did a demo and gave it [to] 

Harvest Sun who on the back of it put us on with The Strypes. It 

was nice for us, as The Strypes had sold [Leaf] out. It was like, 

wow this is all right for a second gig,” says Luke. “On the back 

of that we were offered gigs in London and in Leeds, too. They 

phoned up asking how much cash we wanted to play - we have 

no idea of how they heard of us. It was only meant to be a warmup 

gig.” 

So, playing live seems to be second nature, but what about 

when it comes to the recording process? “We are definitely about 

the live thing,” says Luke, before Chay points out: “We want more 

layers put down when we record though – get some keys on 

there, and sax solos, like the Talking Heads, that will then make 

it more interesting live.” “Let’s be both,” interjects Ali. “It doesn’t 

have to one or the other; let’s be a great live band that make 

great records. I get really bored of going to see bands who sound 

exactly like how they do on record.” 

Sugarmen possess all the vital ingredients to be a ‘proper’ rock 

‘n’ roll band: the looks, the hooks, the belief and the togetherness 

mixed with a rare live energy, unique in such a new group. “What 

stands us out is the chemistry we have,” says Chay. “We aren’t 

exactly playing anything which hasn’t been played before, it’s not 

that original; but there is something special going on when we 

play.” Ali continues, “We have no weak links in the band; we are all 

up for it and we’re all into it, which you don’t get in many bands. 

It’s easy playing together, not in a way that we aren’t trying, but 

it’s just easy to give everything.” 

Are Sugarmen the latest in Liverpool’s long line of saccharine 

guitar pop, rock ‘n’ roll heartbreakers? Cue the sugar rush. 

soundcloud.com/sugarmenuk

KICK START 

YOUR MUSIC PRODUCTION SKILLS 

ELECTRONIC MUSIC 

PRODUCTION CERTIFICATE 

6 MONTHS PART-TIME 

BA/BSc (HONS) 

AUDIO PRODUCTION * 

2 YEAR DEGREE (SLC FUNDING AVAILABLE) 

*Validated by Middlesex University 

APRIL & SEPTEMBER 

INTAKES 

OPEN DAY 

17TH AUGUST 2013 

11am -3pm 

0151 255 1313 liverpool.sae.edu

16 

Bido Lito! 


Bizarre Ride II 

The 

Pharcyde 

Words: Maurice Stewart / theviewfromthebooth.tumblr.com 

Illustration: Ameé Christian / @ameecrizzo 

Every now and then, a show will be announced that will stop 

you in your tracks, sending a lightning bolt of excitement up 

your spine like a toddler who’s just found out they’re going to 

Disneyland. It’s a feeling hip hop fans are becoming increasingly 

used to. After years of envious glances towards Manchester (not 

to mention the sprint for the last train home), the last 18 months 

has seen a plethora of legends land on our doorstep. Following in 

the footsteps of Snoop Dogg, Wu-Tang’s Gza and Big Daddy Kane, 

Californian quartet THE PHARCYDE mark the 20th anniversary of 

their seminal debut Bizarre Ride II The Pharcyde by bringing it in 

its entirety to East Village Arts Club on 1st July. 

Playing a well-loved album front to back 

has become a slightly cynical trademark of the 

reformed-band circuit, but this time it’s a more than 

justified celebration. A 16-track opus jam-packed 

with funny, inventive rhymes backed by fresh 

jazzy samples, Bizarre Ride... laid down the 

template for the likes of Jurassic 5, Eminem, 

and Dilated Peoples. The tales of lost love, 

bad sex and bad jokes, evidenced by singles Ya 

Mama, 4 Better Or 4 Worse and particularly the 

often-sampled Passin’ Me By, have grown in 

reputation with every passing year, delighting 

generation after generation of hip hop fans as 

they discover it for the first time. 

Bido Lito! caught up with Trevant ‘Slimkid3’ Hardson 

to ask him how it all came about. “J Swift [Bizarre 

Ride... producer], Mike Ross and Rick Ross [of Delicious 

Vinyl Records] decided to throw a 20-year anniversary 

party that went VERY WELL, and we all decided to keep 

this shit going. It was so much fun, and the fans took to it 

like it was the best thing in the world. We had to follow the 

call of the energy.” 

Back in November ‘92, Slim, Derrick ‘Fatlip’ Stewart, Romye 

‘Bootie Brown’ Robinson and Emandu ‘Imani’ Wilcox were 

finding their voices as rappers, having only recently given up 

on careers as dancers. Their ease of movement is reflected in 

their hyperactive flow, intertwining verses with the rhythm and 

dexterity of a ballet troupe. Hip hop itself was finding its feet 

at the same time, as people slowly began to accept it as more 

than a passing craze. 

The Native Tongues collective - featuring amongst others A 

Tribe Called Quest, De La Soul, Queen Latifah and the Jungle 

Brothers - had just exploded in New York, eschewing the 

aggressive gangster tales that made stars of Public Enemy and 

NWA to accentuate hip hop’s sunnier side. The Pharcyde were 

the first artists exploring similar musical themes to come from 

the West Coast. In the era of The Chronic and Doggystyle, these 

guys were going against the G-funk grain to head to the jazz 

section for their nuggets of inspiration. 

Although Slim denies their methods were born out of rebellion: 

“I just think funk and jazz are two different things and we 

gravitated to the jazz style. Think about it though...jazz loops are 

fresh as fuck. So much colour to them. Funk is super dope - One 

Nation Under A Groove is one of the greatest songs ever created, 

Gig Guide and Ticket Shop live at www.bidolito.co.uk 

to me - but how many more times are you going to loop it?” 

Slim has many great memories (and I’m sure some cracking 

stories) about the time spent constructing their debut: “My 

memories of us recording at 

Sound 

are 

the 

best. We were 

always 

surrounded 

by family and friends, 

particularly other MCs in 

the game. The pool table 

room was the best because 

Hollywood 

that’s where a lot of the Momma Jokes and pool competitions 

took place. The Pharcyde crew never had any mercy for you, or Ya 

Momma, when it came to telling jokes!” 

While the playground battles of Ya Mama gave them local 

recognition, it was Passin’ Me By that made the world listen. 

Unrequited childhood love has been the most popular theme 

since people started putting words to music, and undoubtedly 

the most universal. What makes Passin’ Me By so special is how 

it describes those raw feelings of confusion and frustration in 

painful detail without sounding clinical, illustrated perfectly by 

Sanji Senaka’s wistful black and white video. 

As a letter to lost love, it’s very powerful, as is that 

killer organ riff sampled from Quincy Jones’ 

Summer in the City. Slim was aware very 

early on they had a hit on their hands: 

“I always felt like 

Passin’ Me By 

was going to do big from the 

very beginning. We would 

sit and listen to the loops for 

hours, with no words coming 

to mind, just vibin’. That song 

always gave us chills. Then 

when Sanji came with the 

video, it was a guaranteed 

hit. Everything fell into 

place with that song. I feel 

blessed that J-swift chose to 

give it to us. Just the music 

alone was uplifting.” Followup 

album 

Labcabincalifornia built 

on their initial success, 

spawning classic singles 

Runnin’, She Said and 

Drop 

(augmented by director 

Spike Jonze’s, and arguably 

hip hop’s, best video), but the 

band’s fortunes began to take 

a turn for the worse, with both J-Swift 

and Fatlip falling into much-publicised drug 

problems. By the time of their final album, 

2004’s Humboldt Beginnings, only two original 

members remained. 

As is often the case, time - not to mention a 

healthy financial boost - heals all wounds, and Slim 

is excited to get back on stage: “I used to get bored 

singing our songs, because I wanted new material, 

but after a long break from them I feel like they are 

super fun. Makes me wanna slam dance.” 

That energy will certainly be reciprocated by an eager Liverpool 

crowd, as the wave of excitement that has spread across social 

media since the show’s announcement reaches a crescendo. The 

European leg of the anniversary tour began late last year, and 

Slim admits he’s amazed that so many people have connected 

so strongly with something the band made in their 20s: “I’m so 

grateful that our magic vibes are still spreading around the world 

- so many new fans and supporters. There is definitely something 

I love about Europe. The crowds are super receptive and true to 

us. I appreciate that; it makes me wanna give more.” 

The Pharcyde play Bizarre Ride II The Pharcyde at East Village 

Arts Club on 1st July

LIVERP OOL I N T ERNA TIONAL 

F ESTIV AL OF P S Y C HEDELIA 

camp a n d f urnace / b l ade factory. liv erp ool 

2 7- 2 8 SEPTEMB E R 2013 

MOON DUO. FUZZ. CLiNIC. 

DEAD MEADOW. THE BESNARD LAKES. 

PEAKING LIGHTS SOUND SYSTEM. WHITE MANNA. 

THE HOLYDRUG COUPLE. PSYCHIC ILLS. 

NIGHT BEATS. HOOKWORMS. 

THE LIMIÑANAS. JACCO GARDNER. MUGSTAR. SINGAPORE SLING. 

CARLTON MELTON. MMOSS. KLAUS JOHANN GROBE. YETI LANE. 

THE PAPERHEAD. LORELLE MEETS THE OBSOLETE. WARM DIGITS. 

THE RESONARS. MASTON. THE OSCILLATION. NOVELLA. 

SAUNA YOUTH. COLD PUMAS. THE WANDS. Ekoplekz. 

BARON MORDANT. Vindicatrix. Zeke Clough. 

PLANKTON WAT. THE LUCID DREAM. THE KVB. THE WOKEN TREES. EAT LIGHTS; BECOME LIGHTS. 

HELICON. ALFA 9. MO KOLOURS. KULT COUNTRY. NEGATIVE PEGASUS. DEAD HORSE ONE. 

THE SOFT WALLS. THREE DIMENSIONAL TanX. DELTA MAINLINE. OS NOCTAMBULOS. 

ALIEN BALLROOM. MIND MOUNTAIN. PSYENCE. BONNACONS OF DOOM. 

TROUBLE IN MIND RECORDS STAGE / 

MORDANT MUSIC MIASMA 

Djs RICHARD NORRIS. TROUBLE IN MIND. 

SONIC CATHEDRAL. PETE FOWLER. 

Akoustik Anarkhy. THE BLACK MARIAH. BERNIE CONNOR. 

FAUX vs GRINGO. GREAT POP SUPPLEMENT. BAD VIBRATIONS. JOE McKECHNIE. 

l i verpoolpsyc h f e st. com + T w i tte r:@L PoolPsyc h F est 

2 Da y Ticket s £4 0 F or Limi t e d P e riod Fro m bidoli to. co.uk, 

ticket web . co.uk, Probe Rec o rds (Li verpool) , Piccadil l y Records 

( M ancheste r ) , J umbo Records ( Leeds). 

Edinburgh Comedy 

Previews 

Markus 

Birdman 

A hilarious new show about love and loss 

from Comedy Store regular 

Markus Birdman 

James 

Acaster 

Low key stand up from the acclaimed 

Fosters Comedy Award 2012 nominee 

Vikki 

Stone 

Following her smash hit run in 2012, Vikki 

returns with a new hour of musical comedy 

John 

Robins 

Tue 23 July | 8pm | £8 

Wed 24 July | 8pm | £8 

Book both evenings for just £14e Book both evenings for just £14e 

As seen on Russell HowardÕ s Good News 

a story of growing up and indie clubs 

0844 873 2888 | unitytheatreliverpool.co.uk 

1 Hope Place 

(off Hope Street), Liverpool, L1 9BG 

Funded by

18 

Bido Lito! 


Previews/Shorts 

Edited by Richard Lewis 

MATTHEW E. WHITE 

Making his Liverpool debut, 

MATTHEW E. WHITE visits these 

shores with last year’s highly 

acclaimed debut LP Big Inner to draw 

from. His experiences as an arranger 

and leader of a jazz band bleed into the record, which is a mélange of Al Green, Curtis Mayfield 

and Bon Iver. White’s gospel-infused tracks possess a psychedelic edge and he featured in just 

about every end of year list for his hugely accomplished first album. 

Leaf / 1st July 

TRASH TALK 

The Blade Factory is cranking up 

the volume in July as it hosts an 

excellent bill headed by Californian 

hardcore punks TRASH TALK. Touring 

in support of last year’s critically 

hailed 119 LP, the band were the first non-hip hop signing to Tyler, The Creator’s Odd Future 

label. Stellar support comes from SSS, and everyone’s favourite shirtless metal drone 

merchants IRON WITCH. 

Blade Factory / 13th July 

What is geek rage? Allow 

DEAD WOLF CLUB to show you. 

DEAD WOLF CLUB 

If you like your punk served dark 

(really dark) and with an aggressive 

edge, then DWC’s pulsating album 

RAR should be on your hit-list. Get there early too as the band play with an unbridled 

urgency that normally sees them rattle through their sets in record time. Take earplugs 

and wear strong pants. 

MelloMello / 6th July 

Shangaan Electro 

An absolute must for attendees of Africa Oyé, a month after the Sefton Park shindig The Kazimier 

Gardens takes up the baton with an all-day event. A hook-up between promoters Deep Hedonia and 

the venue brings SHANGAAN ELECTRO to Liverpool for the first time. Originating in Soweto, South Africa, 

the movement became well known via street parties where dancers competed to show off their moves, 

harking back to the fledgling days of hip hop. 

With some of the tracks peaking at a dizzying 188 bpm, videos of Shangaan performers and dancers 

went viral across Europe and the States, leading to Damon Albarn releasing the groundbreaking 

Shangaan Electro compilation through his Honest Jon’s label. Bringing the form to an even wider 

audience, the group have since appeared at festivals across the world including Sydney, Roskilde in 

Denmark, and Berlin’s Berghain. 

The centrepiece of the event is an hour-long dance workshop for all ages and abilities. Interested parties 

are advised to book early as the workshops are free and limited to small numbers of participants. 

Also performing will be afrobeat futurists AUNTIE FLO, Boiler Room owner DJ THRISTIAN, London RnB 

alchemists YOLA FATOUSH, and Merseyside’s own rising techno producer BANTAM LIONS. In addition to 

the music there will be South African street food and an analogue A/V party hosted by Deep Hedonia. 

The Kazimier Gardens / 20th July 

DAVID KITT 

Best known in the UK via 

his work with indie stalwarts 

Tindersticks, DAVID KITT has 

registered double platinum sales in 

his native Ireland: Small Moments 

(released on Rough Trade in 2000) and 2001’s The Big Romance (Blanco Y Negro) hint at 

quietly masterful songwriting talent. Originally from a folk background Kitt appeared at the 

David Bowie-curated Meltdown Festival in 2002, and is now at work on his sixth LP. 

The Lomax / 4th July 

RUFUS WAINWRIGHT 

Clearly the preferred venue 

amongst the Wainwright clan, it 

comes as no surprise that chamber 

pop/torch song artist RUFUS 

WAINWRIGHT makes his way to the 

Philharmonic at the beginning of July. After shows by his Dad Loudon and his sister Martha 

over the past few years at the esteemed concert hall, it’s the turn of arguably the most 

accomplished of the family to take to the stage. Tickets are sure to move fast. 

Philharmonic Hall / 1st July 

Comprised of four bass players 

and a drummer, EVIL BLIZZARD are 

EVIL BLIZZARD 

the sound of Hawkwind and PiL repopulated 

with characters straight 

outta Royston Vasey. The gothic acid 

rockers are building a fierce live reputation, with one punter, who was left reeling after their 

support slot with The Fall, describing them as “the most disturbing band I’ve ever seen.” Support 

comes from the resurgent ELMO AND THE STYX along with THIRD THUMB and MINION. 

MelloMello / 5th July 

Americana Weekend 

Bouncing between the venerable old Philharmonic Hall and the quaintness of The Caledonia, 

Liverpool will be rocking to a familiar beat in late July as the two venues team up for an AMERICANA 

WEEKEND. Having pioneered it successfully last year, the Phil have teamed up with their neighbours 

this time round to put on a series of events, small and large, that will show why there’s a thirst for an 

Americana festival in these here parts. 

Events kick off on Wednesday 24th July at with THE CALEDONIA’S FAMOUS CAJUN SESSION, part of the 

pub’s fortnightly series of events, this time with an added Cajun buffet. On Friday THE LOOSE MOOSE 

STRING BAND busk outside The Philharmonic Hall from 6.30pm, ahead of the Philharmonic’s opening 

night, featuring BEAUSOLEIL AVEC MICHAEL DOUCET. A distillation of New Orleans jazz and Cajun swamp 

pop, Bob Dylan has described the group as “my kind of music!”, which should be enough endorsement 

anyone needs. Afterwards The Caledonia are inviting THE DOWNTOWN DIXIELAND BAND and friends in 

for a full-on hoedown. 

For the earlier risers on Saturday there is a guitar workshop with CHRIS MORETON at the Rodewald 

Suite from 2pm, described by The Independent as “the best bluegrass guitarist in the country”, and 

things get rounded off on Sunday (28th July) by STEVE RILEY AND THE MAMOU PLAYBOYS (pictured) back 

in the Philharmonic Hall. Draw things to a close after this with The Caledonia’s closing party, and rest 

your feet for another year. 

Philharmonic Hall and The Caledonia / 24th – 28th July 


UPCOMING GIGS 

FRI 21ST JUNE 

RANDOM HAND 

THE STOPOUTS + ED ACHE 

@ MELLO MELLO, LIVERPOOL 

FRI 5TH JULY 

EVIL BLIZZARD 

ELMO AND THE STYX + THIRD THUMB + MINION 


THURS 25TH JULY 

FREE ROCK AND ROLL SPECIAL 

THE MURDERBURGERS 

THE FRANCEENS + THE WALKING TARGETS + BLEAK 


SAT 27TH JULY 

AOS3 

+ CAPTAIN HOTKNIVES 


23-26 AUGUST 

AUGUST BANK HOLIDAY 

FRINGE FESTIVAL 

@ VARIOUS VENUES 

FRI 27TH SEPTEMBER 

DIRTY REVOLUTION 

+ HONNINGBARNA + THE VERMIN SUICIDES 


SAT 5TH OCTOBER 

THE RESTARTS 

BITEBACK + ROTPM + HATED TIL PROVEN + THE WASTERS 

THE KAZIMIER, LIVERPOOL 

WWW.ANTIPOPRECORDS.COM 

SEETICKETS | TICKETMASTER | WEGOTTICKETS | BIDOLITO 

"+"-" 

"+"-" 

 

 

 

 

!"# !"# $"% $"% 

&" &" '( '( '()* 

'()* 

! +, +, 

-!" 

-!" 

&. &. + "# "# $"% $"% 

&" &" '/ '/ '()* 

'()* 

'()* 

," ," ," 0& 

0& 

0& 

" " " + + + 

! ! '1 '1 

+ + + -"+&" -"+&" -"+&" 

 

2"" 

2"" 

2"" 

" " " + + + 

," 3 3 3 !%+"'()* 

!%+"'()* 

!%+"'()* 

4" 4" 4" 0-"5" 

0-"5" 

0-"5" 

% % % &"# &"# &"# $"% $"% $"% 

!" !" !" ') ') ') !%+"'()* 

!%+"'()* 

6 6 6 

 

 

 

 

!"# !"# !"# $"% $"% $"% 

'7 '7 '7 !%+"'()* 

!%+"'()* 

64 64 64 8 8 8 

&. &. + "# "# $"% $"% 

! ! * * " $+"'()* 

$+"'()* 

!+ !+ 

&. &. + "# "# $"% $"% 

!" !" / / 9+" 

9+" 

& & 8:!& 8:!& 8:!& 8:;& 8:;& 8:;& 8:; 8:; 8:; :& :& :& 8

20 

Bido Lito! 


Reviews 

ED HARCOURT 

Catherine AD 

Harvest Sun @ Scandinavian Church 

“We were supposed to play upstairs in the 

chapel, but the piano was too small and I 

have delusions of grandeur,” ED HARCOURT 

announces to the 100-strong crowd packed into 

the church’s reception room, before launching 

into opener Lachrymosity. Harcourt plays with 

sincerity and intensity from the outset, and it’s 

not even halfway through the song before you 

find yourself dumfounded that we are able to see 

a talent as big as this in such an intimate venue. 

The same can be said for God Protect Your Soul, 

a dark and tumultuous number with piano work 

bordering on the virtuoso. While his talent is 

unquestionable, what truly sets him apart from 

his peers is his passion. As unrelentingly intense 

as his lyrical themes are – love, religion, death – 

it’s clear that Harcourt means every word. 

His technical skills are superb on each 

instrument, but just as impressive is his level of 

innovation as a musician. Nowhere is this more 

blatant than the brooding swing of I’ve Become 

Misguided, during which he uses a loop pedal 

to its fullest potential, building layers on top 

of a solemn guitar riff, leading to a screaming 

crescendo over a wall of vocal harmonies. 

Towards the end of the set, he invites 

support artist CATHERINE AD back on stage. 

Ed Harcourt’s songs are heart wrenching 

enough as it is, but the added dimension of 

haunting female vocal harmonies on songs 

like Loneliness is enough to make grown 

men cry. After yanking our heartstrings for 

the best part of two hours, Harcourt leaves 

the stage to thunderous applause, and then 

returns with the most unorthodox and brilliant 

encore imaginable. He invites the entire crowd 

upstairs to the building’s picturesque chapel 

and proceeds to perform Brothers And Sisters 

on the church’s organ, followed by completely 

unplugged acoustic guitar versions of Last Will 

And Testament and the anthemic Born In The 

Seventies in the middle of the awestruck crowd 

gathered between the pews. Finally, he takes to 

the piano and bids farewell with a beautifully 

intimate version of Metaphorically Yours. 

Perhaps I really shouldn’t be admitting this, 

but sometimes words just can’t do justice to 

the power of music, and it is performances like 

this that make that crystal clear. I could draw 

a thousand parallels between the spirituality 

of the surroundings and the healing power of 

music and reel off any number of clichés, but 

when all is said and done, you really just had to 

be there. This is as good as live music gets. 

Alex Holbourn / @AlexHolbourn 

D/R/U/G/S 

Ghosting Season - The Slow Revolt 

Harvest Sun & Evol @ The Kazimier 

The success of dance music nights popping 

up across Liverpool means that tonight’s 

electronica extravaganza should be a sure-fire 

hit; however, competition from other areas 

means that we’ve all got the luxury of our own 

personal dancing space in the Kazimier. 

Armed with a guitar and surrounded by a sea 

of cables, London-based producer THE SLOW 

REVOLT underlies each track with his soulful 

vocals, reminiscent of Mayer Hawthorne. It 

catches you off guard, yet at the same time his 

voice never threatens to overwhelm the sound; 

instead, it intertwines with the music. The 

rich tones are in their element on the bubbly 

electronics of new single This Dark Matter, 

weaving around the striking chimes and 

energised by a lively beat. Proving himself an 

accomplished producer, Joe Mirza’s attention 

to variation results in something quite 

unexpected, but refreshing. 

What’s most striking about Manchester’s 

GHOSTING SEASON is the force of their 

performance. Emerging from the ashes of their 

post-rock electronica outfit Worriedaboutsatan, 

the music carries an ominous nature: Gavin 

Miller’s use of a cello bow on his guitar 

causes the notes to screech unforgivingly over 

John Ragsdale’s pulsating beats. Animated 

throughout their set, the duo seem possessed 

by the nightmarish tones of tracks like Far End 

Of The Graveyard. 

The set doesn’t stop to release the crowd 

for a moment. The isolated tone of their 

electronica is heightened by the duo’s stance: 

facing each other head on, they seem locked 

in to one another, operating like a well-oiled 

Ed Hardcourt (Keith Ainsworth / arkimages.co.uk) 

unit. Fully absorbed, the lack of interaction 

means they are totally reliant on their music to 

do them justice. The risk pays off; considering 

the ice-cold nature of their nerve-splitting 

techno, the overall effect is more invigorating 

than intimidating. 

Special guest D/R/U/G/S is up the minute 

that Ghosting Season take a bow, and he 

proves to be considerably more uplifting. 

Prime cuts of chilled dance are mixed with his 

own ambient techno, a highlight being the 

serene Love/Lust. The warm buzz of the synths 

is transported by a considerable bounce 

and, as a hazy cloud of smoke envelops The 

Kazimier, the euphoric synths seem to carry 

you above the clouds, soaring and dazzling in 

equal measure. 

Throughout the set, Callum Wright remains 

bent over his soundboard, just as engrossed 

as the previous acts. What’s intriguing is 

that he never plays full mixes of his original 

material; instead, he deconstructs them and 

manipulates them, meaning the crowd never 

knows where the set is going to turn. It 

makes for a captivating experience, and as he 

bounds off the stage to thank each person for 

coming down, you’re struck by a sense of real 

innovation in his performance. 

In fact, every act tonight has been pushing 

the boundaries of electronica: The Kazimier 

has had a gem of a night, on display for all to 

see, only to go unnoticed by the majority. 

Jack Graysmark / @ZeppelinG1993 


ERICSLIVE.COM 

0151 236 9994 

9 Mathew Street 

Liverpool L2 6RE 

Tickets from Eric’s 

(0151 236 9994) / 

ticketmaster.co.uk 

PRIMITIVES 

BLOW MONKEYS 

KAZABIAN (Tribute) 

HOT 8 BRASS BAND 

SMITHS LTD (Tribute) 

STONES (Tribute) 

MOUNTAIN OF LOVE 

SECRET AFFAIR 

TRANSMISSION (Joy Division Tribute) 

EZIO (*Date Change) 

JON ALLEN BAND 

BON GIOVI (Tribute) 

STATE OF QUO (Tribute) 

THE BEAT 

MONOCHROME SET 

BIG BOY BLOATER 

TOUCHSTONE / VON 

HERTZEN BROTHERS 

KINGS OF LYON (Tribute) 

Sat 22nd June 

/ 

£12 Adv 

Sun 7th July 

/ 

£16.50 Adv 

Fri 19th July 

/ 

£8 Adv 

Sat 20th July 

/ 

£15 Adv 

Fri 26th July 

/ 

£8 Adv 

Fri 23rd Aug 

/ 

£8 Adv 

Fri 13th Sept 

/ 

£8.50 Adv 

Fri 20th Sept 

/ 

£15 Adv 

Fri 27th Sept 

/ 

£8 Adv 

Sat 28th Sept 

/ 

£10 Adv 

Thurs 10th Oct 

/ 

£8 Adv 

Fri 11th Oct 

/ 

£8 Adv 

Fri 18th Oct 

/ 

£8 Adv 

Sat 19th Oct 

/ 

£15 Adv 

Wed 23rd Oct 

/ 

£12.50 Adv 

Thurs 24th Oct 

/ 

£10 Adv 

Sat 26th Oct 

/ 

£12.50 Adv 

Fri 15th Nov 

/ 

£8 Adv

22 

Bido Lito! 


Reviews 

ROLO TOMASSI 

Bastions - The Bendal Interlude 

You Do The Math @ The Blade Factory 

The white walls of the Blade Factory invite 

a painting with sound and colour tonight, 

as a baying crowd of hardcore scene fans 

gathers in the darker corners. Liverpool fourpiece 

THE BENDAL INTERLUDE offer stoner 

thrash metal in its most fun form. Featuring 

strong, simplistic riffs with screaming vocals, 

their melodic, plunging rock is solid and 

thorough. A song about “losing stuff” sets 

the tone for their approachable sincerity, 

and rolling breakdown sections give rise to 

fiery guitar riffs, with their big jammy beats 

simultaneously joyous and nerdy. Nat Gavin 

(Vocals) nods along as if listening to a radio 

jingle whilst swigging from a cider jug. The 

Mange is their most ferocious song yet, 

while their final song is a new offering, a 

slower, melodic jam with downward chunks 

of guitar and cowbell vibrating the walls 

around us. 

BASTIONS present a more sombre affair, 

with the lyrical content tenderly purveyed 

by singing and spoken word, alongside the 

screaming. Animated singer Jamie McDonald 

leaves the stage to strut along in front of 

his audience, highlighting their high-energy, 

high-impact approach to performance. For 

Bastions, each song tells a tale: their latest 

project, Bedfellows, is a record made up of 

individual EPs about the story of wrongly 

institutionalised teenagers. “Is there any 

fire in the heart of Liverpool?” McDonald 

asks the audience. Apparently not much, as 

the crowd retain their attentive, respectful 

stance. The careering, scowling throes of 

Grief Beggar are followed by the rage-filled, 

repetitive vocal rolls of Life Less Lived from 

the record The Bastard Son. During In The 

Shadow Of A Mountain, the lyrical content 

is heard clearly, as McDonald screams away 

mic-less till the end. 

The members of ROLO TOMASSI arrive 

onstage and join in playing one by one. A sinister 

crescendo of chaotic execution ensues, as their 

hectic blend of progressive hardcore begins. 

Eva Spence (Vocals) is the brutal frontwoman, 

whose ghostly vocals contrast with synth player 

James Spence’s screams to create a lyrically 

dynamic twosome. Abrupt changes in pace, 

dynamics and timbres make the listener never 

quite feel at ease, as the band launch into their 

second song, a scrambling malady of sound. 

Throughout, Rolo Tomassi combine tracks from 

their latest record Astraea, such as Empiresk, 

with older tunes songs like Kasia, with its 

synth-led, flowing build-up of layers reaching 

into a heartfelt slow burner. Ex Lunar Scientia 

showcases Eva’s ever-dynamic vocal talents; 

she’s the very gem of the stage, throwing 

herself around in time with the fluid mathcore 

lilts. Oh Hello Ghost, from 2008’s Hysterics, 

is atmospheric and dreamlike, progressing 

into raw, power-charged emotion. Reams of 

different sections are unfurled in a cascade of 

erratic noise and songs slow to a clattering halt, 

before building to bursting point. 

Each song spirals into a completely different 

beast from whence it began. Unpredictable and 

a challenge to keep up with, it’s questionable 

how well the band’s live performance 

translates, as the audience is left feeling 

delirious and uneasy, yearning for those old 

comrades familiarity and repetition. However, 

Rolo Tomassi’s intricacy and complexity results 

in a refreshingly different experience of music, 

blending math, prog and screamo into a 

schizophrenic whirlwind of a ride. 

EDGAR SUMMERTYME 

TG Elias – Chris Elliot 

Rolo Tomassi (Matt Ball) 

Clarry M 

Mellowtone @ Sefton Park Palm House 

In the grandeur of Sefton Park Palm House 

among the Aigburth blue bloods tonight 

feels a bit like one of Jay Gatsby’s legendary 

soirées. However, this showcase of The Viper 

Label artists is an altogether more reserved 

affair, with cabaret seating and candlelight 

setting the scene. 

CHRIS ELLIOT kicks proceedings off with 

a solid set of FM-radio-friendly folk rock. As 

with all tonight’s performers the set-up is 

minimal, the singer-songwriter joined only 

by Paul Hemmings on lead guitar. The young 

plaid-shirted songsmith deals in the type of 

Americana-tinged classic songwriting which 

will always find an enthusiastic audience, 

but perhaps won’t gain favour with hipsters 

or the mainstream. Good, inoffensive fun 

nonetheless. 

TG ELIAS can’t quite continue the inoffensive 

fun as he shocks the mild-mannered audience 

with stories of women on buses covered in dog 

shit, and referring to himself as an ignorant 

c**t. However, the Manchester troubadour 

redeems himself by delivering an excellent 

set of dusty country blues. Sporting a murder 

of feather-cut black hair, the Mancunian looks 

like an obvious heir to Ronnie Wood’s crowking 

crown. Elias could be the next star of 

the Viper Label: his Rod Stewart-esque croon 

is complemented perfectly by sidekick Lucy 

Ridges, and carries songs which occasionally 

threaten to lapse into dallying blandness. 

Despite the coarse language of his stage 

banter, heart-wrenching ballads such as Final 

Fling As An Englishman win over the familyfriendly 

fans. 

Viper boss Mike Badger, one of three local 

legends to grace the stage tonight (along 

with Hemmings and the headliner), then 

introduces EDGAR SUMMERTYME. The moptopped 

blues alien proves himself a cut 

above the rest right from opener More Than 

You’ve Ever Had. Summertyme appears to be 

a Martian who some years ago landed on 

Seel Street and was immediately presented 

with the best records from the 1960s, a big 

bag of weed, and a guitar. Since then he has 

produced some of the best music heard on 

Merseyside since the last blues obsessive 

overcame skunk lethargy to commit their 

ideas to wax. Jones should have done for 

Liverpool what Jack White did for Detroit in 

the early 00s, but it’s obvious he has never 

been willing to tear himself away from the 

music long enough to play the game. 

Edgar Summertyme is perfectly chosen to 

headline a night dedicated to a record label 

devoted to promoting eccentric virtuosos 

such as Captain Beefheart and Lee Mavers. 

Summertyme, with only his guitar as support, 

mesmerises the Palm House audience with 

a career-spanning set of riffs as thick as oak 

trees and melodies as irresistible as cedar. The 

one low point may have to be the political 

song about the current government: Michael 

Gove, no matter how disparaging the lyrics, 

has no place in pop music. However, should-be 

classics from the bluesy side of Summertyme’s 

repertoire rather than the psychedelic - such 

as I Would Do Anything and Skin Up For Me 

Baby - delight as darkness falls around this 

floral oasis. 

The hugely entertaining evening is pitched 

just right: soul and blues bangers dropped 

by Beaten Tracks DJs, and live visuals (albeit 


distorted on palms) provided by Howard Be 

Thy Name, add to the spectacular setting, 

altogether doing justice to an institution like 

Viper. Jay Gatsby would approve. 

THE COMPUTERS 

The Dead Formats - The Midnight 

Ramble – Midnight Playground 

Sam Turner 

Bam!Bam!Bam! @ MelloMello 

The agreeable confines of MelloMello seem 

rather at odds tonight with the turbulent rock 

and soul communion so eagerly anticipated 

by the savant flock beginning to gather. This is 

going to be a treat. 

MIDNIGHT PLAYGROUND get things started 

and their indie guitar musings are politely well 

received. Stepping up a gear, genre-spanning 

soul and blues rockers THE MIDNIGHT RAMBLE 

squeeze onto the stage. They’ve chosen tonight 

as the launch event for their new release High 

Time/Live and you could be forgiven for thinking 

that this was the act everyone has come to see. 

Frontman Paul Dunbar guides us through the 

set with an assurance justified by the rich and 

pleasing textures his talented band produce. 

In keeping with the heterogeneous music 

mix of the evening, mod rockers THE DEAD 

FORMATS dash through a truncated set 

of energetic tunes from their At Sixes And 

Sevens album. Unfortunately, in an ill-judged 

manoeuvre on a slippery stage, guitarist Glenn 

Wizik takes the type of tumble that may prevent 

the band completing the tour in Aldershot 

tomorrow night. 

As the rebooted and burgundy-suited THE 

COMPUTERS plug in and scroll through their 

current setlist, we recognise cuts from the new 

record Love Triangles Hate Squares. It’s a new 

direction which they’ve honed to perfection, 

playing and preaching round the UK and Europe 

pretty much all spring. The relentless blasts 

of screeching hardcore have been usurped by 

soulful “whoa whoa” swing-a-longs: this is no 

longer niche moshing music, it’s a radio-friendly, 

good time dancehall revival. 

This particular revival features the (friendly) fire 

and (rolling) brimstone preacher formerly known 

as Screamin’ Al Kershaw, who spends most of 

his time in amongst the congregation. No pulpit 

preaching, but this sermon is delivered from the 

windowsill, the speaker stack, several chairs and 

a couple of tables. He is evangelising to converts 

of course and, as the band launch into the first 

three tracks in order from the album, the pattern 

is set: we will hang on his every word, our gaze 

will follow his ups and downs, and we will 

remember the name of the band. 

Kershaw is in full flow; snatching up a crowd 

member’s phone, he explains that a conversation 

“isn’t really possible right now, I’m in the middle 

of a show!” Next, he’s partnering up strangers for 

community dancing to Call On You, then dividing 

the room for the coordinated bedlam of closer 

Music Is Dead, all the while trailing his mic and 

its long-suffering stand. 

There’s hardly a breath before the 

contemporary nostalgia of the encore kicks off 

more soul, more reverence and more chaos. This 

is memory-making music: tomorrow is June, and 

it’s all sunshine and joy from here. 

SUNSTACK JONES 

Bold Street Coffee 

Gary Caldwell 

An English summer has arrived, typically late 

and unapologetic, and there is a buzz in the air, 

but it’s not that of angry bees. Emanating from 

the rarefied airwaves of Marc Riley’s show on 

6Music and Tom Robinson’s BBC Introducing 

Mixtape is the fact that the rest of the country 

has caught up with what Liverpool has known 

for ages: that SUNSTACK JONES are great and on 

the verge of something big. 

The cause of all this buzzing is single You Can 

Help Me Out - a flimsy, tricksy little thing which 

has just been released as a limited edition 7” 

on Eighties Vinyl Records, and the reason we’re 

all here tonight. On first hearing, their music 

is an identikit of what stereotypical Liverpool 

music sounds like: jangly pop for a ferry ride 

on a summer’s day. But that wouldn’t get near 

to describing the depths present here: the true 

sound of Sunstack Jones seems to be created 

out of the pure quintessence of warm melodic 

English pop, West Coast California influences, 

and East Coast of Scotland vocals – singer 

Chris Jones has the nasal, yet plaintive tone 

of a young Roddy Frame. Their music has true 

heart and soul, and yet some huge indefinable 

sadness. Sunday Comedown is the sound of an 

angel’s hangover, full of love and regret. 

This is not to say they are all about acoustic 

bliss. The band, constantly in flux (on this 

occasion a four-piece), is tight enough to up the 

pace when necessary and play with the formula. 

When they go psychedelic, dipping their toes into 

the warm waters of fuzzy guitar, it is a pleasant 

change of scenery, showing that sometimes the 

beaten track is more fun than the smooth path. 

If Sunstack Jones need to work on anything, 

though, it is their stagecraft. Gigs at Bold Street 

Coffee have an intimate air, where it’s always 

nice to see random strangers walking past the 

windows and looking in. Jones has a quiet yet 

friendly word with passers-by and those leaving 

early, and the songs seem casually tossed at 

the audience like cardboard boxes, when they 

should be handed reverently on, like a bunch 

of flowers. 

Still, these are minor quibbles. Behind the 

plate glass windows of Bold Street Coffee, the 

Saturday night world is looking in. Sunstack 

Jones have just made our lazy English summer 

a little warmer. 

Kev McCready

MU-Page ad 148x117_Layout 1 12/04/2013 15:15 Page 1 

‘Would I have made it without the MU? Probably. 

If I was starting out again, would I still join? 

Definitely.’ 

— 

‘The MU has been around even longer than me. 

Helping musicians of all ages and genres. 

Let’s make sure they continue to do so.’ 

— 

Jimmy Page 

Join us now. 

theMU.org 

Membership is open to all musicians. 

BidoLito!&YeahSkinnyBoy / MCTonyBroke / SessionsFactionDJÕ s present ! 

TheBidoLito!Social! 

vsHipHopKaraoke! 

Thursday 

25 th .! 

July 

9-late 

giveaways! 

. . wack 

prizes & beer want to get involved with BidoLito! magazine?! 

....come meet the gang at the Social Club!! 

BrooklynMixer 

78SeelStreet Liverpool!

26 Bido Lito! 


Reviews 

LOS CHINCHES 

Supra Lingua 

Amazonika @ MelloMello 

Liverpool’s music scene provides many 

things during the course of a month and 

tonight is a celebration of all things Latin 

American. The Mello faithful are as hyped for 

it as ever, possibly helped along a little by the 

free fruit punch on the door. Come and join the 

psychedelic cumbia party… 

Local act SUPRA LINGUA, featuring 

Amazonika organiser Ken Clarke (no, not that 

one), have formed specifically for this event, 

and are thoroughly impressive, especially 

considering they have only been a band 

for less than a month. Their mix of brass, 

percussion, and electronics is innovative and 

highly enjoyable, going down a storm with 

the steadily growing crowd. The sun starts to 

sink, the dancefloor gets progressively busier, 

and there’s a real sense of a special night on 

the cards. Although the focus is on live music, 

tonight’s DJ Mr Resistor does a fantastic job of 

weaving the whole night together, from samba 

to bossa nova and goodness knows what else, 

ensuring that no-one has to stop dancing for 

more than a second or two. 

Headliners LOS CHINCHES shimmy up to 

deliver their brilliant modern cumbia music 

with a level of infectious enthusiasm which 

ensures that anyone who is even thinking 

of keeping their feet still for the rest of the 

night is dragged right back into the party. The 

combination of traditional Latin American 

instruments and electric guitar is a potent one, 

and the percussion section kick out a steady 

grove that is just irresistible. Their ska punk 

gets washed up in the surf of twanging guitars, 

transporting you on a psychedelic journey from 

the heart of Liverpool to the mountains of 

Los Chinches (Aaron McManus / aaronmcmanusphotography.co.uk) 

Peru, and all the way back again. As we dance 

into the small hours, there’s a satisfaction 

in knowing that this kind of party just isn’t 

happening anywhere else. 

You could attribute the roaring success of 

Amazonika to many things: it could be the 

sheer value for money, with so many quality 

acts for a few measly pounds; it could be the 

vibrant multiculturalism of our fair city; the free 

punch probably doesn’t hurt either (turns out 

it’s pretty strong). Whatever it is, it’s great to 

see an event so out of the ordinary going down 

so well, and seeing so many beaming smiles 

around the venue. 

Of course, not every day can be this thrilling. 

Come tomorrow afternoon, this room will be 

back to organic teas, carrot cake and Scrabble. 

But for the time being, the night is young and 

there are rugs to be cut. Vamos dançar! 


THE SPECIALS 

Liverpool Olympia 

“RUUUUDE BOY, RUUUUUDE BOY!” bellow 

the crowd in anticipation of the arrival of their 

ska heroes as sweat drips off the ridiculously 

high ceilings in the grand old venue that is the 

criminally underused Olympia. Although the 

place is rough around the edges it is perfectly 

suited for gigs such as this and its depleted 

exterior and interior make it the perfect place 

for social commentators THE SPECIALS. 

There isn’t a support act tonight, but that’s 

not important as the DJ gets the place in 

the mood by pumping out ska classics from 

Althea & Donna and Toots And The Maytals. 

The Specials hit the stage bang on 9.30pm 

and the opening tribal drum beat signals 

the introduction of Concrete Jungle. Going 

hand in hand with the beat is a collective 

Fri 16th August, 7:30pm. 

ROB KINGSLEY 

A VISION OF ELVIS 

Sat 5th October, 8:00pm. 

THE SPIRIT & SOUND OF STEELY DAN 

NEARLY DAN IN CONCERT 

Fri 15th November, 7:30pm. 

GARY MURPHY’S 

ALL NEW GUITAR LEGENDS 

Sat 29th June, 8:00pm. 

LIMEHOUSE LIZZY 

THE BEST OF THIN LIZZY 

Fri 19th & Sat 20th July, 7:30pm. 

JAMES BURTON 

ALOHA FROM NEW BRIGHTON 

Sun 25th August, 7:30pm. 

SUPERSTARS OF SOUL 

WITH BEN E KING & 

JIMMY JAMES 

Sat 31st August, 7:30pm. 

GREG FRANCIS, 

HIS ORCHESTRA & SINGERS 

BERT KAEMPFERT GALA CONCERT 

Thu 12th September, 7:30pm. 

ALBERT LEE & HOGAN’S HEROES 

Fri 13th September, 7:30pm. 

THE BEATLES 

A MUSICAL CELEBRATION 

Fri 13th September, 8:00pm. 

LED ZEPPELIN EARLS COURT 1975 

SHOW BY MOTHERSHIP 

Sat 14th September, 7:30pm. 

FISH 

MOVEABLE FEAST TOUR 


RAT PACK LIVE 


WISHBONE ASH 

Sun 20th October, 7:30pm. 

THE SOUTH 

PLUS SUPPORT 

Wed 6th November, 7:30pm. 

JOE BROWN 

Thu 7th November, 7:30pm. 

SHOW OF HANDS 

THE ‘HAND IN HAND’ TOUR 

AUTUMN 2013 


MAGIC 

A KIND OF QUEEN 


REGENESIS 

SELLING ENGLAND 

BY THE POUND 

Tue 12th November, 8:00pm. 

WALTER TROUT 


JOHN WILLIAMS 

Sat 16th November, 7:30pm. 

CAPERCAILLIE 

Tue 19th November, 7:30pm. 

COLIN HAY 

Fri 22nd November, 7:30pm. 

BILL WYMAN’S RHYTHM KINGS 

WITH SPECIAL GUEST 

MARIA MULDAUR 

Sat 23rd November, 8:00pm. 

THE BLUES BAND 


STEELEYE SPAN 

WINTERSMITH TOUR 


GLENN TILBROOK 


I DESIGN 

BIDO LITO! 

// LUKE-AVERY.COM 

// INFO@LUKE-AVERY.COM 

// 07729 308307

The Specials (Darren Aston) 

audience bounce as plastic pint pots go 

flying and 50 year-old bald men in braces 

completely lose themselves. 

The visuals on stage are totally stripped 

down: no backdrop or exuberant light shows, 

just the band on stage doing their thing. 

Standing towards the back affords me quite a 

sight, as I get to witness the place collectively 

jump and sing along with every lyric. The 

Specials were formed in 1977 and made many a 

political statement along the way: it’s a shame 

that 36 years on, the lyrics still carry as much 

meaning as they do. 

Terry Hall manages to live up to his moody 

reputation by spitting on the floor and 

grumbling down the mic about a dodgy stand. 

Once that minor discretion is out the way, 

Manchester United fan Hall turns his attention 

to Liverpool fans: “No joy with the top four this 

year.” Although there’s no Jerry Dammers or 

Neville Staple alongside the grump fest that is 

Terry Hall, you do still have Lynval Golding who 

is still showing as much passion and desire as 

he did back in the day. “Liverpool are you ready 

to skank?” he questions as he takes the lead to 

play Monkey Man. 

Also still playing is Horace Panter on bass, 

who keeps to his side of the stage and looks 

like he’s loving every minute during Rat Race. 

Not as much as Nik Torp on the keyboards is 

though, who looks like he’s having the time of 

his life jumping and dancing about the stage 

whilst remarkably still being able to play in 

time. He grasps his moment to shine on Ghost 

Town, which still sounds almost perfect to this 

day. The classics keep coming as Stereotype 

and Do Nothing keep the floor bouncing 

before a brilliant rendition of Message To You 

Rudy brings the set to an end. 

After a prolonged absence makes the crowd 

wonder whether or not they’ll actually do an 

encore, Hall and Golding return solo initially and 

launch into Doesn’t Make It Alright which gets 

a passionate sing-along and seems to strike a 

chord with the multicultural crowd. 

After a topical Maggie’s Farm, Golding tells us 

that this is the best he’s ever heard this band play 

together, before going into encore closer Enjoy 

Yourself, which unites everyone. Hall brings the 

curtain down with a typical mumble - “I’ve left 

the gas on so we better go”. A brilliant night’s 

entertainment, which shows that The Specials 

are still as relevant today as they were all those 

years ago. 

Steven Aston / gigslutz.co.uk 

FESTIVÁL BOMBARDA 

Williamson Tunnels 

It’s a Friday night and the Williamson Tunnels 

are packed to the rafters with revellers who 

just can’t stop dancing. Perhaps it doesn’t hurt 

that it’s the end of term for most students in 

Liverpool, but nevertheless, it’s a testament to 

the tenacity and connectivity of the Liverpool 

music scene that a venue forged from a disused 

tunnel in the middle of nowhere can have such 

a strong turnout. 

Opening with an African drum workshop and 

featuring acts spanning genres from reggae to 

marching jazz, it’s obvious that the organisers 

have made a concerted effort to include music 

with origins from all over the world, and it’s 

impressive that they manage to achieve this 

while still maintaining an overall musical theme 

to the line-up. 

JOHNNY PANIC AND THE FEVER stand out 

from the rest of the bill, with their infectious 

concoction of Celtic folk and indie giving the 

crowd exactly what they’re looking for. In fact, 

such is the appreciation of this mass of music 

lovers that an improvised riff by violinist Emily 

Ferrie while a guitarist is changing a string turns 

into an impromptu hoedown. Johnny Panic And 

The Fever are positively bursting with energy 

and their musicianship is highly impressive. They 

could be a good solid guitar band in their own 

right, but the addition of strings, brass, and the 

striking soprano vocals of singer Clary Ball take

their arrangements to another level entirely. 

HIGHFIELDS continue in the same vein, with 

even more youthful enthusiasm. While their 

musicianship isn’t as virtuosic, they are certainly 

more than competent musicians and the 

songwriting is solid. The waltz-time swagger of 

Make Your Own Luck is instantly memorable, and 

goes down a storm with the crowd. At times the 

quality of their songwriting does dip, and a fair few 

of their efforts feature the same generic indie beat 

we’ve heard on an almost daily basis since 2004. 

However, their enthusiasm carries them through 

nicely, and with a little more focus on musical 

direction they could be a force to reckon with. 

The introduction of an outside stage on Saturday 

provides the perfect accompaniment to the 

afternoon - an intimate setting for the enjoyment 

of some of Liverpool’s best acoustic acts. 

THE ROSCOES play as a duo, a set-up that 

works very well for them; both singers have 

strong voices, and their catchy summery tunes, 

as exhibited on Start Again, feature some special 

harmonies. Duncan Smith’s brainchild MILFORD 

SOUND cram around the two mics to deliver 

their vocal-centred strand of folk. Smith channels 

Andy McKee in Finger Picking, a gorgeous 

instrumental, which captures the attention of 

the face-painters, and draws the crowd closer. 

The buskers-in-spirit BOLSHY are on top form 

as ever with their shifting beats and strong 

melodic turns. They inject life into the afternoon 

- the audience are fitting in awkward dance 

moves in between bites of freshly cooked pizza, 

and the ska punks leave us with an enthusiasm 

for the evening’s line-up. 

First act on, DEAD HEDGE TRIO, bring their 

fusion jazz to the chamber reverb of the tunnels, 

which adds an audacity not seen from them 

previously. Nick Branton’s saxophone cuts 

through the air with a precise boisterousness, 

kicking off the satisfyingly sordid affair. Finishing 

a brilliantly dynamic set, the concoction of subtle 

harmony and defiant rhythmic progression 

we find on Melt Your Polar Bear highlights 

an encounter that even at its most brash has 

captured something quite stunning. 

With this evening coinciding with the launch 

of their EP Manor Park Sessions, Great Plain 

Sundance bring an animated, foot-stomping 

buzz to the Festivál. The EP has taken them down 

a new road, opening up the songs written by 

singer Brendan Fitzpatrick (Lead Vocals, Guitar) 

to the creative input from Great Plain Sundance’s 

other well-accomplished musicians, a process 

which has truly bound them together. Although 

we slightly lose sound clarity in the tunnel, the 

crowd are most definitely present in voice and 

the anthemic hook of My Love is bellowed back 

at the band with an exhilaration that rings from 

the walls. 

ALL WE ARE complement the space perfectly, 

spilling out of the tunnel in a cinematic wave. 

The audience floats on a reverie, travelling with 

the trio as they transcend the boundaries of their 

generation, revelling with them in a timeless 

moment. Utmost Good delivers, as we always 

knew it would, falsetto “oh”s punctuating the 

drowsy swells of the bassline like a spoon in 

syrup. Their delighted relationship with the 

audience, perpetuating the almost familial spirit 

the city emanates, establishes these ethereal 

aficionados as a real Liverpool success story. 

A magnificent evening of Liverpool music is 

topped off with almost hedonistic performances 

from UNITED VIBRATIONS and FIRE BENEATH 

THE SEA which keep our spirits high for the next 

Bombarda instalment. 


Jessie Main / @jessiemainmusic 

WOLF ALICE 

Harvest Sun @ The Shipping Forecast 

“Wow, this is a really nice dungeon,” 

enthuses WOLF ALICE frontwoman Ellie 

Roswell, scoping the sullied basement of The 

Shipping Forecast as if she were fortuitously 

browsing a showroom for a medieval castle. 

Hers is a twee shtick that belies her husk 

of gentility, though - and this is exactly the 

kind of squalid sweatbox that the London 

quartet have been familiarising themselves 

with during the previous six months since 

their reinvention from doe-eyed folk couplet 

to the multi-faceted, angst rockers we see 

before us tonight. The crux of this reinvention 

is the addition of a rhythm section: Joel Amey 

(Drums) and Theo Ellis (Bass) are the parts that 

make up the numbers, while original member 

Joff Oddie (Guitar/Vocals) is the amped-up, 

freak-out merchant who nudges the volume 

dial to face-melt. 

It’s scarcely 20 seconds into their set and 

a smouldering Roswell has already affirmed 

she’s every inch the femme fatale and riot 

grrrl that this audience has been baying for. 

On opener Your Love’s Whore she encourages 

them to the foreground by way of her demure 

seductiveness, before snarling in their 

collective face with the brutality of a blooddrunk 

hyena. Think Tanya Donnelly (Belly/ 

Throwing Muses) via Kim Deal (The Breeders/ 

Pixies). 

There are still fleeting remnants of Wolf 

Alice’s previous idiosyncrasies present in 

their 2012 debut single Leaving You, though. 

Via Roswell’s delicate and tender delivery 

they still shift through their newly installed 

gearbox, spewing dusty guitar squalls and 

cluttered percussion from the engine. Despite 

devoting the body of their set to large swathes 

of unrecorded tracks cut from the same 

baggy cloth as Hole or Veruca Salt (Stupid 

Bitch, Nosedive, Jack), tonight’s atmosphere 

maintains rabid for this onslaught of 90s 

grunge motifs throughout. “We’re all going to 

a karaoke bar after this to get as pissed as we 

can,” shouts Oddie, gesticulating fervently as if 

to coax every person in the room to join him. 

Instead of waiting for responses, though, he 

chimes in with the shimmering indie-pop fug 

of penultimate track (and latest single) Bros, 

which is cheered on like an instant classic. 

That’s only until the saw-toothed pre-Puzzle- 

Biffy opening riff of previous single Fluffy is 

unleashed for a toe-curling climax. “SIXTEEN! 

SO SWEET!” howls Roswell for the chorus, with 

the growling bloodlust of Siouxsie Sioux et 

al. Wolf Alice may be newbies, but they’re way 

past teething – the fangs are sharpened and 

already gnawing at the jugular. 

Joshua Nevett / @JoshuaNevett 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

Tickets currently on 

sale at bidolito.co.uk 

Matthew E. White 

Leaf 

Sic Alps 

Blade Factory 

X & Y Festival 

Weekend Wristbands 

Rob Vincent 

Camp & Furnace 

Dead Wolf Club 

MelloMello 

Scott & Charlene’s 

Wedding 

The Shipping Forecast 

Dinosaur Pile Up 


Fell Foot Sound 

Festival 

Weekend Tickets 

AOS3 

MelloMello 

Eliza And The Bear 


Giant Drag 

The Kazimier 

Liverpool Psych 

Fest 2013 


Fossil Collective 

Leaf 

Robyn Hitchcock 

The Kazimier 

Low 

The Anglican Cathedral 

26- 

28/7 

27/7 

27/9 

28/9 

4/9 

14/9 

11/10 

3/11 

18/11 

1/7 

3/7 

6-7/7 

6/7 

6/7 

7/7 

13/7 

Wolf Alice (Michael Sheerin / michaelsheerin.photoshelter.com) 

their arrangements to another level entirely. 

HIGHFIELDS continue in the same vein, with 

even more youthful enthusiasm. While their 

musicianship isn’t as virtuosic, they are certainly 

more than competent musicians and the 

songwriting is solid. The waltz-time swagger of 



Make Your Own Luck 

goes down a storm with the crowd. At times the 

quality of their songwriting does dip, and a fair few 

of their efforts feature the same generic indie beat 

we’ve heard on an almost daily basis since 2004. 

However, their enthusiasm carries them through 

nicely, and with a little more focus on musical 

direction they could be a force to reckon with. 

The introduction of an outside stage on Saturday 

provides the perfect accompaniment to the 

afternoon - an intimate setting for the enjoyment 

of some of Liverpool’s best acoustic acts. 

THE ROSCOES play as a duo, a set-up that 

works very well for them; both singers have 

strong voices, and their catchy summery tunes, 

as exhibited on Start Again 

Start Again, feature some special 

harmonies. Duncan Smith’s brainchild MILFORD 

SOUND cram around the two mics to deliver 

their vocal-centred strand of folk. Smith channels 

Andy McKee in Finger Picking 

Finger Picking, a gorgeous 

instrumental, which captures the attention of 

the face-painters, and draws the crowd closer. 

The buskers-in-spirit BOLSHY are on top form 

as ever with their shifting beats and strong 

melodic turns. They inject life into the afternoon 

- the audience are fitting in awkward dance 

moves in between bites of freshly cooked pizza, 

and the ska punks leave us with an enthusiasm 

for the evening’s line-up. 

First act on, DEAD HEDGE TRIO, bring their 

fusion jazz to the chamber reverb of the tunnels, 

which adds an audacity not seen from them 

previously. Nick Branton’s saxophone cuts 

through the air with a precise boisterousness, 

kicking off the satisfyingly sordid affair. Finishing 

a brilliantly dynamic set, the concoction of subtle 

harmony and defiant rhythmic progression 

we find on Melt Your Polar Bear highlights 

an encounter that even at its most brash has 

captured something quite stunning. 

With this evening coinciding with the launch 

of their EP Manor Park Sessions, Great Plain 

Sundance bring an animated, foot-stomping 

buzz to the Festivál. The EP has taken them down 

a new road, opening up the songs written by 

singer Brendan Fitzpatrick (Lead Vocals, Guitar) 

to the creative input from Great Plain Sundance’s 

other well-accomplished musicians, a process 

which has truly bound them together. Although 

we slightly lose sound clarity in the tunnel, the 

crowd are most definitely present in voice and 

the anthemic hook of My Love 

My Love is bellowed back 

at the band with an exhilaration that rings from 

the walls. 

ALL WE ARE complement the space perfectly, 

spilling out of the tunnel in a cinematic wave. 

The audience floats on a reverie, travelling with 

the trio as they transcend the boundaries of their 

generation, revelling with them in a timeless 

moment. Utmost Good delivers, as we always 

knew it would, falsetto “oh”s punctuating the 

drowsy swells of the bassline like a spoon in 

syrup. Their delighted relationship with the 

audience, perpetuating the almost familial spirit 

the city emanates, establishes these ethereal 

aficionados as a real Liverpool success story. 

A magnificent evening of Liverpool music is 

topped off with almost hedonistic performances 

from UNITED VIBRATIONS and FIRE BENEATH 

THE SEA which keep our spirits high for the next 

Bombarda instalment. 


Jessie Main / @jessiemainmusic 

WOLF ALICE 

Harvest Sun @ The Shipping Forecast 

“Wow, this is a really nice dungeon,” 

enthuses WOLF ALICE frontwoman Ellie 

Roswell, scoping the sullied basement of The 

Shipping Forecast as if she were fortuitously 

browsing a showroom for a medieval castle. 

Hers is a twee shtick that belies her husk 

of gentility, though - and this is exactly the 

kind of squalid sweatbox that the London 

quartet have been familiarising themselves 

with during the previous six months since 

their reinvention from doe-eyed folk couplet 

to the multi-faceted, angst rockers we see 

before us tonight. The crux of this reinvention 

is the addition of a rhythm section: Joel Amey 

(Drums) and Theo Ellis (Bass) are the parts that 

make up the numbers, while original member 

Joff Oddie (Guitar/Vocals) is the amped-up, 

freak-out merchant who nudges the volume 

dial to face-melt. 

It’s scarcely 20 seconds into their set and 

a smouldering Roswell has already affirmed 

she’s every inch the femme fatale and riot 

grrrl that this audience has been baying for. 

On opener Your Love’s Whore she encourages 

them to the foreground by way of her demure 

seductiveness, before snarling in their 

collective face with the brutality of a blooddrunk 

hyena. Think Tanya Donnelly (Belly/ 

Throwing Muses) via Kim Deal (The Breeders/ 

Pixies). 

There are still fleeting remnants of Wolf 

Alice’s previous idiosyncrasies present in 

their 2012 debut single Leaving You 

Leaving You, though. 

Via Roswell’s delicate and tender delivery 

they still shift through their newly installed 

gearbox, spewing dusty guitar squalls and 

cluttered percussion from the engine. Despite 

devoting the body of their set to large swathes 

of unrecorded tracks cut from the same 

baggy cloth as Hole or Veruca Salt (Stupid 

Stupid 

Bitch, Nosedive, Jack 

Jack), tonight’s atmosphere 

maintains rabid for this onslaught of 90s 

grunge motifs throughout. “We’re all going to 

a karaoke bar after this to get as pissed as we 

can,” shouts Oddie, gesticulating fervently as if 

to coax every person in the room to join him. 

Instead of waiting for responses, though, he 

chimes in with the shimmering indie-pop fug 

of penultimate track (and latest single) Bros, 

which is cheered on like an instant classic. 

That’s only until the saw-toothed pre-Puzzle- 

Biffy opening riff of previous single Fluffy 

Fluffy is 

unleashed for a toe-curling climax. “SIXTEEN! 

SO SWEET!” howls Roswell for the chorus, with 

the growling bloodlust of Siouxsie Sioux et 

al. Wolf Alice may be newbies, but they’re way 

past teething – the fangs are sharpened and 

already gnawing at the jugular. 

Joshua Nevett / @JoshuaNevett 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 


. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 


. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 


. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 


. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 


. . . . . . . . . 


. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 


. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . ṡale at bidolito.co.uk 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 


. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . .sale at bidolito.co.uk 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 


. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 


. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 


. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 


. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

Leaf 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

Leaf 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

Sic Alps 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

Sic Alps 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

Sic Alps 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

Sic Alps 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

Blade Factory 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

Blade Factory 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

Blade Factory 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 


. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 


. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 


. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 


. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 


. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

Rob Vincent 


Dead Wolf Club 

MelloMello 

Scott & Charlene’s 

Wedding 


Dinosaur Pile Up 




Fell Foot Sou 

Festival 

Weekend Tickets 

AOS3 

MelloMello 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

MelloMello 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

Eliza And 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

Eliza And 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

Eliza And 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

The Bear 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

The Bear 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

The Bear 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 


. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 


. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 


. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

Giant Drag 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

Giant Drag 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

Giant Drag 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

The Kazimier 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

The Kazimier 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

The Kazimier 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

Live 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

Live 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

Live 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

rpool Psych 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

rpool Psych 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

rpool Psych 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

rpool Psych 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

Liverpool Psych 

Live 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

Live 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

rpool Psych 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

Live 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

Live 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

rpool Psych 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

Live 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 


. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 


. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 


. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 


. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 


. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 


. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 


. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 


. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

Leaf 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

Leaf 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 


. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 


. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 


. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

The Kazimier 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

The Kazimier 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

The Kazimier 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

Low 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

Low 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

Low 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 


. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 


. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 


. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

26- 

28/7 

27/7 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

27/9 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

27/9 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

28/9 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

28/9 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

4/9 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

14/9 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

14/9 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

11/10 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

11/10 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

3/11 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

3/11 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

18/11 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

1/7 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

1/7 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

3/7 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

3/7 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

6-7/7 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

6-7/7 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

6/7 

6/7 

7/7 

13/7 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

Wolf Alice (Michael Sheerin / michaelsheerin.photoshelter.com)

PART OF 

WWW.SUMMERCAMPFESTIVAL.CO.UK 

BUY 

TICKETS 

NOW 

ONLINE FROM SEE TICKETS, 

TICKETLINE, TICKET QUARTER 

OR STRAIGHT 

IN YOUR PAW 

VIA PROBE, 3BEAT RECORDS 

AND CAMP AND FURNACE. 

MOUNT KIMBIE 

MARTHA WAINWRIGHT 

GHOSTPOET 

MERCHANDISE 

MORE TBA 

MUSIC, FOOD, ART, FRIENDS & FAMILY 

AUGUST BANK HOLIDAY 

SATURDAY & SUNDAY AUGUST 24 / 25 

LIVERPOOL BALTIC TRIANGLE 

CITY CENTRE

Issue 35 / July 2013

Create successful ePaper yourself

Delete template?

Save as template?