Live – Post-Punk Music

THOMAS DOLBY @ O2 SHEPHERD’S BUSH EMPIRE, LONDON

Making a rare return to the UK, the electronic artist was on his ’80s recollection tour performing his classic set including from his ‘The Golden Age of Wireless’ and ‘The Flat Earth’ first two studio albums, interweaving in cover samples from the likes of the Police (‘Bring on the Night’) and ‘One of Our Submarines’ with Gary Numan’s ‘Cars’; the latter riding sonar waves and one of his finest pieces, a tribute to his late uncle who died in World War II. He closed this song on a cover of the Cure’s ‘Lovesong’, which was perhaps a little surplus.

In this same vein, and for the majority of the remainder set, Dolby then previewed his ‘Iconic 80s symphony’ which was far from iconic: it consisted of multiple covers like a cheesy ‘80s DJ set, inspired by his interest in making synthesisers sound more symphonic using his favourite music from the ’80s, combining riffs and chord sequences to create symphonic motives. With his backing band of Mat Hector (drums) and Ana Pshokina (bass), the latter of whom appeared virtually on screen after being refused entry to the UK from Ukraine, the final product was a little naff.

The symphonies named Movement 2, 3 and 4 opened on his spoken word narration involving Dolby’s fictional encounter with Michael Jackson and sampled the following songs: Comfortably Numb / Here Comes the Rain Again / Red Rain / Sign Your Name / Little Red Corvette / Billie Jean / This Must Be the Place (Naive Melody) / I Love You Goodbye / With or Without You; Bonnie / Libertango / New Year’s Day / The Killing Moon / The Things that Dreams Are Made of / Sweet Dreams (Are Made of this) / Ordinary World / Roam / All Around the World; Woke Up this Morning / White Wedding / Love Will Tear Us Apart / Dancing with Tears in My Eyes / Vienna / Don’t Dream It’s Over by the likes of Pink Floyd, Eurythmics, U2, Peter Gabriel, Terence D’Arby, Prince, Michael Jackson, Talking Heads, Echo & the Bunnymen, the Human League, Duran Duran, Tears for Fears and the B-52s.

However, the sad and perhaps overlooked factor of this “celebrity karaoke” was that none of this was Dolby’s own material and instead of moving forward with his own music, he was choosing to regress to nostalgia by singing and playing other artist’s songs, also not entirely in tune. His plan to calibrate this into a symphonic orchestra – which for now he was virtually conducting onscreen in another moment of cheese – next year as a holistic tribute to ’80s music is a shocking oversight and one hopes that he does not go ahead with his jukebox karaoke venture, instead focussing on writing new tracks despite by his own admission not being a trained musician. Dolby ended his set returning to ‘The Golden Age of Wireless’, with singles ‘She Blinded Me with Science’ and ‘Airwaves’, although by this point these fantastic compositions by his own making were somewhat lost amongst the confusion from earlier in the set.

21/05/26: Thomas Dolby @ O2 Shepherd’s Bush Empire, London.

Photos © Peter Tainsh.

NOKO + DAVE FORMULA @ THE GARAGE, LONDON

For the first time in 15 years, Magazine songs returned to the live arena courtesy of the long standing partnership between founding member and keyboard player Dave Formula and 2009 replacement guitarist Noko, but most significantly toured under their names and not that of the band to signify this was not Magazine without its frontman Howard Devoto, who respectively refused to be part of this venture. Together with their band formed partly of French new wave group Affection Place (Peter Petersen on lead vocals and his son Tim on bass) and Formula’s son Max Tomlinson on drums, they rekindled a set of Magazine covers, some songs of which have never been heard live before both in the UK or even at all.

The band’s 1979 second studio album, ‘Secondhand Daylight’, was a frequent citation in the set; underrated when it was first released, it has also not received enough live play over the band’s existence. Being Noko’s favourite album and ‘The Thin Air’ always having been a track he wanted to perform live, the show opened on this icy organ-led instrumental. The recorded version contains saxophone parts by original guitarist John McGeoch which Noko attempted to evoke using flanger equipment, however, alongside the heavy keyboard it needed a little more push. ‘Back to Nature’, not played live since 1979, punched in its presence with reverberating basslines and sweeping keys.

The lazy and loose basslines of 1978 single, ‘Give Me Everything’, had an evolved trilling keyboard solo against the swing of rhythm guitar and bass; although it was good to refresh the song, the original keyboard solo composition cannot be replaced and perhaps should have been retained. The band also played from Magazine’s 1980 third studio album, ‘The Correct Use of Soap’, with ‘Sweetheart Contract’, Formula playing string synth, and debut album track ‘Motorcade’ was performed to perfection with Tomlinson’s precision drumming (original drummer John Doyle would be proud) and Noko’s wild flanger guitar.

It was then back to ‘Secondhand Daylight’ with its opening track ‘Feed the Enemy’; one of Magazine’s epic compositions, its grungy basslines needed to spring louder and it was lacking the authenticity of the original such as in the spine tingling keyboards and backing vocals. ‘Rhythm of Cruelty’ was perhaps a bit rushed through but had a more upbeat, playful feel, whilst surprise and rare track, ‘Cut-Out Shapes’, excelled with Petersen’s vocals, which throughout despite the Anglo-Francais twist had adapted to the lyrics well despite the ghost of Devoto coming through; he also sang in French for Magazine’s regularly performed Sly & the Family Stone funk cover, ‘Thank You (Falletinme Be Mice Elf Agin)’.

There were two marvellous side-by-side renditions of ‘Permafrost’ and ‘Parade’, the former with Noko’s whirling guitar and Formula’s queer keyboards; the latter, after a Fyodor Dostoevsky reading, was sung partly in French. The band finished their set fairly predictably but appropriately on the band’s best known 1978 and 1980 singles: the jazzy piano of ‘A Song From Under the Floorboards’ and the choppy ‘The Light Pours Out of Me’ respectively – the latter of which again could have pushed the guitar more – with a triple-song encore thereafter featuring the off-the-wall experimental noise piece ‘Twenty Years Ago’; a traditional song played on Magazine’s live circuit during their reform years from 2009 to 2011. This went straight into the uplifting fantasy of ‘Definitive Gaze’ – the song that restarted this whole journey after Formula had an epiphany of wanting to play it live again – and finally the band’s 1978 debut single ‘Shot by Both Sides’. An emotional evening for Magazine fans who thought they might never again hear the band’s material live – thank you Dave and Noko. It shouldn’t have worked but it did.

16/05/26: Dave Formula + Noko @ The Garage, London.

Photos © Peter Tainsh.

KIEFER SUTHERLAND @ UNION CHAPEL, LONDON

On his European/UK tour, the British-Canadian actor turned musician Kiefer Sutherland was promoting the forthcoming please of his fourth studio album, ‘Grey’, due to be released later this month and from which he performed seven tracks, opening on new song ‘Down Below’, combed by Chris Hillman’s dark, spinning pedal steel guitar. He included some covers in the set of songs that are personally meaningful to him, picking up the pace with his country blues version of Garbage’s 1995 seminal single, ‘Only Happy When It Rains’; it could have benefitted from more of a guitar solo, but its chorus melody melded well with his vocals that also added something to the original.

He moved onto ‘Goodbye California’, a lead track on his new album: a ballad about leaving California where he’s lived so much of his life, although its golden sunshine guitar melody was unfortunately impaired by the harsh drum sound which was an issue throughout the set. The grungy lullaby of ‘Come Back Down’, one of Sutherland’s self-confessed favourites amongst his catalogue and the first track on his new album, was sung alongside pedal steel guitar which produced a spellbinding, harmonic Chinese oriental folk sound and his Marshall Tucker Band cover of ‘Can You See’ added some purring boogie strut and a rock ‘n’ roll guitar solo to the set.

Sutherland also played from his last studio album, ‘Bloor Street’, with ‘Chasing the Rain’, before returning to his new album to perform ‘American Farmer’: particularly unique amongst the new track list and starting with Sutherland solo on acoustic guitar, it describes the tragic and exhausting plight of American independent farmers and their struggles against the corporations – a feeling which passionately came through his vocals amongst a beautifully paired bridge with his backing guitarist – showing how in touch this famous Hollywood actor can be with the common cause, a feeling further echoed in his new single that followed, ‘Simpler Time’, about growing up in a pre-technological age. Opening on honey-sweet harp sounds, ‘See You On the Other Side’, far from the Ozzy Osbourne song of the same name, is actually an unreleased composition written by the musician that themes on loss signified by mournful pedal steel bends; his father Donald Sutherland having passed away in 2024.

Ever full of creative songwriting, Sutherland performed more new material as he neared the end of his main set with the mellow ‘Love Will Bring You Home’, currently an unreleased track having not been included on his new album. The western swing of his last album tour was revisited in the burnishing vivacity of ‘Two Stepping in Time’, with the band continuing the upbeat feel in the slide blues and artillery drumming of ‘This Is How It’s Done’ from his ‘Reckless & Me’ album and the gritty, hellish depths erupting into frenzied guitar solos of ‘Down in a Hole’ from his debut album. The band finished the main set on the samba percussive shake of ‘Agave’.

The encore contained a surprise cover in the way of Phil Collins’ ‘In the Air Tonight’, beginning on a proggy guitar instrumental; it was perhaps left wanting on the famous drum part, although like the other covers of the night, was a refreshing change in a set full of country genre. Final song ‘Starlight’, one of the strongest tracks on the new release with its medley of pedal steel and guitar, was spun out into an cosmic web of noise and ascending solos by Sutherland’s incredible band. With both driving country jams and touching sentimentality, Sutherland continues to show his colours and expansive talents as a musical artist, and not just an actor, to be taken seriously in his own right.

12/05/26: Kiefer Sutherland @ Union Chapel, London.

Photos © Anna Marchesani/Nocturna Photography.

BRUCE FOXTON + CHRIS DIFFORD @ CADOGAN HALL, LONDON

Doing a solo tour supporting artists Bruce Foxton and Christopher Cross, Chris Difford took a break from his band’s tour schedule as part of two-nights at Cadogan Hall performing their classics alongside his own solo material. The Squeeze co-founder opened his set on a blend of acoustic and electric guitar in Squeeze’s 1978 debut album single, ‘Take Me, I’m Yours’.

Between songs he did a sort of standup comedy act, with self-deprecating jokes about Squeeze’s humble beginnings in Deptford playing in the Oxford Arms pub and also Dublin, embittered that their contemporaries and supports such as Dire Straits and U2 achieved far more commercial success. It was partly on these stories that he based the allegorical ‘Deptford’ which was frilled with pedal steel guitar played by his Squeeze bandmate Melvin Duffy.

Amongst crude jokes about the size of his contemporaries’ genitalia, he covered Squeeze’s 1979 number two hit ‘Up the Junction’ – kept off the number one spot by Tubeway Army’s Gary Numan, who Difford jokingly called “a wanker” – and ‘Pulling Mussels (From the Shell)’, both tracks he has recorded on his solo discography. While ‘Is that Love?’ was a bit off-key for want of a percussive backing which was amiss without a drummer, audience participation fleshed it out and ‘Tempted’, another underrated release covered by Sting on a Belgium B-side, was sung by guitarist Andy Caine on lead vocals. Difford finished his support set on Squeeze’s 1981 song ‘Labelled With Love’ (number four in the charts), including a melding lap-steel solo, and ‘Cool for Cats’, another number two charting single uniquely driven by Difford’s vocals.

The Jam’s Bruce Foxton headlined the evening with his From the Jam band of Craig Joiner (guitar, lead vocals), Mark Brzezicki (drums) and Andy Fairclough (keyboard), performing the band’s best known songs and some rarities, beginning on 1980’s ‘That’s Entertainment’ – the UK’s best selling import single of all-time – with Foxton’s petrol chugging basslines, and the traffic organ of ‘Start’, sung by Joiner in his fresh sounding vocals that matches original Jam frontman Paul Weller’s spontaneity. They played many of the band’s charting singles, such as 1978’s ‘Down in the Tube Station at Midnight’, which also featured a drum solo.

The band continued to perform from the Jam’s 1979 third studio album, ‘All Mod Cons’, with Foxton doing lead vocals for the staccato Kinks’ cover on that album, ‘David Watts’. Big Country’s Brzezicki paid tribute to past From the Jam drummer Rick Buckler before the delicate piano and acoustics keys of ‘English Rose’ were underpinned by Foxton’s heavy bass strings, with more gothic touched folk in ‘The Butterfly Collector’. The reverberating basslines popped in a further track from that album, ”A’ Bomb in Wardour Street’. The band finished their set on the ringing Farfisa chimes of 1982 and 1980 number one hits, ‘Town Called Malice’ and the boxy ‘Going Underground’ respectively, with them returning for an encore of the Jam’s 1979 first top-ten hit, ‘The Eton Rifles’, containing a flaring keyboard solo.

08-09/05/26: Chris Difford + Bruce Foxton @ Cadogan Hall, London.

Photos © Peter Tainsh.

AU PAIRS @ ELECTRIC BALLROOM, LONDON

For the first time in over 40 years, the feminist post-punk band Au Pairs reformed for a live tour to celebrate the 45th anniversary of their debut studio album, ‘Playing with a Different Sex’, only now formed with sole original member, songwriter and vocalist Lesley Woods after the rest of the lineup did not wish to reunite. Instead Woods has recruited a fantastic, younger band formed of bassist Estella Adeyeri (Big Joanie), guitarist Alex Ward (Thurston Moore Group, Pere Ubu) and drummer Jem Doulton (Thurston Moore Group) who have also put a fresh twist on the older material.

Playing from the whole debut album track list, they began on the tangy guitar and funky walking basslines of ‘Come Again’, the chaotic clang of ‘We’re So Cool’ and Gang of Four-like backing vocal exchange between Woods and Ward in the explosive ‘Love Song’, although Woods’ bossy vocals could have developed more of the unusually psychedelic vocal midsection as in the recorded version. They also performed the band’s cover of David Bowie’s ‘Repetition’, a song covered by the original band on the album because of its subject matter about domestic abuse.

Amongst the older material, they also premiered new songs that they are in the process of recording for a new album, with ‘Let it Go’, reminiscent of Josef K, and ‘Cross the Bridge’, a moody ballad opening on plucky guitar scaling, before playing more tracks from the debut album with the creeping ‘Headache (for Michelle)’ and the frantic ‘Armagh’, which Woods dedicated to the Palestinians; a further new song ‘In the Wrong Body’ centres around transgenderism. The new material is still in the rough which affected the slightly longer track lengths.

Au Pairs ended their main set on their second single ‘It’s Obvious’, which closed down on Ward’s unconventional guitar solo featuring crying noise feedback. For the encore, the band performed their 1979 debut single, jangly punk rock chant, ‘You’, and also did a surprise cover of Erma Franklin’s ‘Piece of My Heart’, which the audience sang along to, well suiting the timbre of Woods’ vivacious voice.

01/05/26: Au Pairs @ Electric Ballroom, London.

Photos © Peter Tainsh.

THE FARM @ G LIVE, LONDON

Supporting the Happy Mondays on their 35th anniversary tour of their acclaimed ‘Pills ‘n’ Thrills and Bellyaches’ album, the Liverpudlian indie dance rock band performed a short set of seven songs primarily from their debut and newest studio albums, ‘Spartacus’ and ‘Let the Music (Take Control)’ respectively.

The band, formed of Peter Hooton (vocals), Keith Mullin (lead guitar), Carl Hunter (bass), Steve Grimes (rhythm guitar), and Roy Boulter (drums) with Alex Goatly (backing vocals), boarded the ‘Groovy Train’, their 1990 chart topping single, with compulsive funky rhythmics although the sound wasn’t loud enough to hear both guitars. They then moved onto the bassy ‘Mind’; a nostalgia song about heroin that has post-punk guitar chimes of A Certain Ratio’s ‘Won’t Stop Loving You’.

The Farm released their fourth studio album last year, playing two tracks from it including the LCD Soundsystem x Herbie Hancock sounding title track ‘Let the Music (Take Control)’ and ‘Moment in Time’; a credit to them for keeping fresh material rolling out. Being long-time collaborators and friends of Mick Jones with whom they formed the Justice Tonight Collective, a charity band for Hillsborough, who they also performed alongside in 2012, the band paid tribute to the Clash with the reggae groove of ‘Bankrobber’.

Title single, ‘Love See No Colour’, from the band’s 1992 album of the same name had an infusion of Joy Division guitar alongside Hooton’s soulful vocals. They ended their set on their 1990 number 4 chart hit ‘All Together Now’ also from ‘Spartacus’; a much needed song about peace and unity, with the audience chanting along. It’s been far too long since these guys did a headline show of their own so watch this space for more.

10/04/26: The Farm @ G Live, Guildford.

Photos (shot at the Roundhouse) © Peter Mcdonnell Photography.

THE DAMNED @ OVO WEMBLEY ARENA, LONDON

For their 50th anniversary spectacular, The Damned headlined at Wembley Arena for the first time in their history, supported by a triple lineup of the Courettes, Peter Hook & the Light and the Loveless. The band, formed of founding members Dave Vanian (vocals) and Captain Sensible (guitar, backing vocals) alongside Paul Gray (bass) and Monty Oxymoron (keyboards) reformed in 2022 with their original drummer Rat Scabies for a 45th year+ reunion with the late Brian James, their original guitarist, to whom they dedicated this show, also following the release of a tribute covers album in January in his memory.

Opening comedically in dramatic fashion on an animated visual announcing “Ladies and gentlemen…the Damned, the Damned, the Damned!’ and old black-and-white horror film footage, the band piled into ‘Street of Dreams’ from their 1985 ‘Phantasmagoria’ album in what formed the gothic part of their set, although Vanian’s vocals were somewhat lost amongst the loud instrumentals, the song ending in Scabies’ clattering drums. Their 1980’s ‘The Black Album’ came next with ‘History of the World (Part 1)’, with a guitar solo and booming bridge, and ‘Dr. Jekyll and Mr. Hyde’, which featured tingling guitar and walking bass in its more melodious construct. They moved onto the jazzy noise of ‘Stranger on the Town’ from their popular 1982 ‘Strawberries’ album, however, it was clear Vanian was reserved on pushing his vocals to the full range of this powerful song. ‘Eloise’ also saw similar issues but rang out with thunderous drums.

Amongst what was largely a nostalgia show, the Damned refreshingly began their psychedelic set on new song ‘Wake the Dead’ from their last studio album, ‘Darkedelic’, with a choir-like vocal solo from Oxymoron, with the rest of this segment containing staples such as ‘I Just Can’t Be Happy Today’, ‘Life Goes On’ (an excellent Sensible and Oxymoron harmony) and both parts of the 1979 ‘Machine Gun Etiquette’ album’s ‘Smash It Up’, all performed to standard perfection, the latter seeing Vanian wailing out at the start of the song, making it arguably more punk than psychedelic.

After a hilarious and very British intermission featuring visuals of adverts from the ’70s conjuring up nostalgic memories, the band returned to the stage for the final set of their classic punk songs, including from their debut thrice self-entitled debut album, with ‘Love Song / Second Time Around’, ‘Fan Club’ and ending on their second single ‘Neat Neat Neat’, with an interlude swimming in a pedal-effect guitar solo (throughout Sensible excelled in vocals and guitar playing).

The Damned returned for a final encore quite predictably (as a lot of the set had been) with nine minutes of ‘The Black Album’ goth rock anthem ‘Curtain Call’, opening on ghostly knife-on-glass slide effects via beer can. Vanian was again slightly out of tune as he had been at times throughout the set, the song finishing on a keyboard duet by Monty and Sensible with the latter churning out ethereal sounds. Scabies then delivered an awesome drum solo that descended into their 1977 debut single, ‘New Rose’, to close their near 2-hour show, with Vanian solo singing Grace Field cover ‘Wish Me Luck As You Wave Me Goodbye’ as the band departed. Sensible apologised to the audience for having to perform in “a concrete shithole”, but it was understandable that they wanted to, if anything merely to send a huge “fuck you” to the establishment that had dismissed them over the last half a century. A final concrete act of defiant punk rock.

11/04/26: The Damned @ OVO Wembley Arena, London.

NITZER EBB @ JAZZ CAFE, LONDON

Their second performance in London since the tragic passing of frontman vocalist and founding member Douglas McCarthy, industrial electroneers Nitzer Ebb performed in their home country (originating from Essex) with remaining original members Bon Harris on vocals and David Gooday (backing vocals, sequencer, percussion) alongside ‘Bit Hit’ drummer Jason Payne.

Opening on an ominous yet cinematic intro piece of keys and cymbal flutters, the group launched into their 1989 ‘Belief’ second album with single ‘Hearts & Minds’, Harris creeping about in between the flashes of chorus and then whispering amongst the piping woody beats of its other single, ‘Control, I’m Here’. Harris was ever full of expression in the tender abyss of McCarthy’s gaping absence, pacing up and down the narrow stage to the electro-creep and growl of ‘Blood Mooney’, a song that in its very sonic imprint fills the missing void of McCarthy’s gruff vocals.

‘Lightning Man’, one of the band’s best songs and the single from their 1990 third album ‘Showtime’, saw clarinet twists as Harris floated about the stage, narrating the Velvet Underoundesque allegorical lyrics with fervour before the power beats (and extra percussion by Gooday) in 1991 rock single ‘Godhead’, who also joined on vocals as the set list moved towards Nitzer Ebb’s 1987 debut album, ‘The Total Age’, with next single track ‘Join in the Chant’: a past reminder of the congruent duets of McCarthy and Harris and a return of Gooday on vocals, it was a moment of brave poignancy in the pompous, macho toxicity of the lyrics, at one point the pair embracing.

Nitzer Ebb closed their main set with the swinging chug of EBM staple ‘Let Your Body Learn’ and returned for an encore of ‘Violent Playground’, which as always was performed as an acoustic solo piece by Harris, closing on the pensively cinematic ‘I Give to You’, with Harris of course paying tribute to McCarthy. The group admirably continue with a kind of wounded strength and defiance to uphold their legacy.

21/03/26: Nitzer Ebb @ Jazz Cafe, London.

SQUEEZE @ KOKO (TRIXIES), LONDON

For one night only, Squeeze transformed KOKO into Trixies, the mythical club that founding band members, Chris Difford (rhythm guitar, vocals) and Glenn Tilbrook (lead guitar, vocals), concocted when they were only 19 and 16-years-old respectively. The club forms the name of and concept behind their newly released 16th studio album, ‘Trixies’, their earliest songwriting material released more than 50 years on.

With a jazz club vibe set amongst tables and chairs, the album launch night was made up of two sets, with the band playing the new release in its entirety in track order in the first half. After an electrically charged flickering sound emitted from the neon ‘Trixies’ sign up on the wall behind the stage, Trixies began the proceedings on first track ‘What More Can I Say’, its pastel shades of dreamlike guitar perfectly entwined with Tilbrook’s vocals. Then the gentle acoustic guitars and harmony of ‘You Get the Feeling’ were accompanied by a 1920s-style Betty Boop masked dancer wearing a jewelled rah-rah dress.

They moved onto one of the more standout songs on the release with ‘The Place We Call Mars’; Bowie inspired, it saw both Difford and Tilbrook singing together with a background of alien keyboards (slightly amiss in volume) and pedalled chord progression guitar from Tilbrook’s son Leon (guitar, backing vocals), the newest addition to the 9-piece lineup. The keyboards were successfully annunciated for Difford’s ‘The Dancer’, with Stephen Large’s grandeur organs telling the dark tale inspired by the Velvet Underground, whipped into a frenzy by tempestuous percussion and noise feedback.

One of the album’s best songs, ‘Why Don’t You’, carried an addictive rockabilly drive with Steve Smith (percussion, vocals) and Simon Hanson’s (drums) double percussion amongst Melvin Duffy’s pedal steel guitar sounding even more lifted than on the record; they were joined by two cabaret dancers who starred in the music video, although not enough spotlight was granted them on the ground level under the stage. Difford’s own song, ‘It’s Over’, was sung audaciously solo by him alongside Tilbrook’s fretwork irregularities and wah-wah bends; the latter could have been even more trippy as on the recorded version. The band then headed into ‘The Jaguars’, with frantic sliding combs of pedal steel. Squeeze closed this set on the two interlocking parts of final tributing tracks ‘Trixies’, with the swing of ‘Part Two’ seeing the dancers come back.

The band returned after an interval for a second set of their classics, including many of their hits and well known charms. Opening on 1980’s ‘Pulling Mussels (From the Shell)’, with its rounded acoustic percussive beats, they also played the Kinksesque ‘Up the Junction’ and the soulful ‘Tempted’ with a guitar solo, while Difford sang the baggy 1979 chart-topper ‘Cool for Cats’, featuring a psychedelic interlude. The band finished the night on their 1978 debut single, ‘Take Me I’m Yours’, with armalite beats and Tilbrook’s spiny guitar solo, breaking in the middle for band introductions and a cover excerpt of Donovan’s ‘Mellow Yellow’ sung by backing vocalist Danica Dora. The smoothest album and show of the year so far with more UK dates to come later in the year.

11/03/26: Squeeze @ KOKO (Trixies), London.