"Soul-felt pop in the old skool sense with a little fruit, spice, sugar & nuts - a tasty combination" - BBC London

Writing as a solo singer, Eliza currently works with a full live line-up including bass, drums, keyboards and guitar.

Finished tracks combine tatty tinkling on the ivories with sleek programming on the keys, resulting in a slick groove without compromising Eliza's back to basics authenticity.

There's a diva inside every one.

Influences stretch from Stevie Wonder and Minnie Ripperton to Destiny's Child, Joni Mitchell and Arctic Monkeys.

Eliza, meanwhile, describes her style as a culinary mix of soul-felt pop in the old skool sense, with a little fruit, spice, sugar and nuts. Sounds like a tasty combination to us, so why not give her a listen?

"Good People Do Bad Things - one of the best albums of 2009" - Club NME Brighton

The Perils have become one of the most talked about bands in the south, playing support to the likes of Cage The Elephant, Frank Turner, The Buzzcocks, The Cribs, Carbon Silicon, Biffy Clyro, The Doves and White Lies.

The Perils live sets have become legendary. Tearing up venues and wowing audiences wherever they go.

After a national UK tour to support their critically acclaimed debut album 'Good People do Bad Things', The Perils have gained a strong following up and down the country. The band also had a busy festival season playing the Secret Garden Party and headlined the Sunday at Brighton's White Air Festival.

Now the band are writing and recording a whole host of new songs to release on a series of EPs in early 2010 and have recently teamed up with legendary graphic designer Andie Airfix, adding themselves to his list of iconic clients (Led Zeppelin, The Rolling Stones, The Who, Paul McCartney, Guns and Roses, Metallica, Live 8 and many more).

A stunning new range of merchandise designed by Andie is being debuted early next year.

Here's some nice words written by other people about The Perils:

"Good People Do Bad Things - one of the best albums of 2009" - Club NME Brighton

"The best new band in Brighton" - BBC Radio 1

"Give it a year, they'll be bigger than us!!" - Mick Jones, The Clash/Carbon Silicon

Moody Tuesday wear their influences and their hearts on their collective sleeves, producing a raw rock and roll sound with emotive lyrics about trying to break free of the everyday drudgery, something we can all probably relate to.  If Oasis had listened to Springsteen and The Kinks rather than The Beatles, this is what they could have sounded like.

From the rallying cry to the down trodden "working class" on ‘The Lost Class’ through to the very personal ‘Come What June’, Moody Tuesday display a natural flare for song-writing and a desire to develop and hone their talents the old fashioned way, with hard work and tireless gigging.

Stripped of the sheen of big budget production, the songs still shine through because of the passion with which each one has been written, between David's lyrics and Darryl's vocals Moody Tuesday have the potential to achieve great things...... watch this space.

Back for their third Cellars show and the numbers are growing! A great live band.

Ivyrise made their debut in April 2008 when first single Tips, released on Stage Records, reached Number 7 in the UK Indie Chart. Ivyrise toured the UK in support of the single in May 2008 and supported US rockers Bon Jovi during their Lost Highway World Tour in June. Ivyrise's 2nd single on Stage Records was called Disguise and entered the UK Indie Charts at Number 2.

The single was remixed by the legendary Jason Nevins, giving another taste of what people can expect from Ivyrise's forthcoming debut album. In 2009, Ivyrise have teamed up with producers Alan Moulder (The Killers, Arctic Monkeys, Smashing Pumpkins) and Ben Mason (The Kooks, Razorlight, Soulwax) to record their debut album, which is out soon.

Over the past 20 years The Wonder Stuff have notched up 5 top 20 albums and played to hundreds of thousands of people throughout the UK.  Best known for their number 1 single with Vic Reeves, ‘Dizzy’, and the classic ‘Size of a Cow’, the band have performed many TV shows with their 17 top 20 singles and notch-up 2,000,000 sales worldwide.

Having played 7 festivals and 2 UK tours in 2006 founder-member and lead vocalist, Miles Hunt, and fiddle player Erica Nockalls have recorded the incredible new album ‘Not An Exit’, which is currently being heralded as Miles’ finest work. In April and May the duo took to the road for a 6 week tour performing acoustic versions of old and new Wonder Stuff songs, as well as selected titles from the album. Erica brings a new dimension to set, playing fiddle on classic Wonder Stuff songs as well as on songs that have never featured fiddles before.  The strings throughout the entire set show the more roots/folk side of The Wonder Stuff’s songs.  By way of introducing each song in the set, Miles recounts stories of life on the road, tales from The Wonder Stuff and life in general.  It's a double dose of Miles; the singer-songwriter and monologue-ist!

The 2 previous Cellars show’s with Miles and Erica were sell outs, so buy early. They toured the USA last year and have a new album. Quite simply Miles is a superb entertainer and this is one show not to be missed.

The Visitors are a Folk Rock/Americana band from Portsmouth, Hampshire. Since their early days as a duo they have developed their own colourful sound consisting of rich melodies and strong hooks.

Their music has been compared to Counting Crows, Whiskeytown and Wilco and from supporting such acts as Nizlopi, Ocean Colour Scene, The Commitments, Ed Harcourt, Frank Turner, Phil Campbell, Nick Harper and The Bees they have established a large and loyal fan-base which continues to grow.

The band has always thrived on experimentation and pursued collaboration with many different artists, allowing them to add a rich variety of styles to their creative mix.

Their music was also used by Sony Computer Entertainment during the launch campaign of the Playstation 3, with the band's latest recordings added to PS3 demo units and distributed in over 5,000 retailers within 101 countries worldwide throughout the PAL territories.

Now with the album "Travelling" and single "Another Day" currently out and receiving critical acclaim together with the success of the latest single video being featured as the number 1 "one to watch" on the brand new Sony music video download service Vidzone. The Visitors find themselves to be getting some great exposure and have been launched into the top 100 music videos on a site featuring over 25,000! Things are definitely moving fast, and the band are looking forward to a busy 2010 with some very exciting new opportunities, watch this space...

The Visitors full length album "Travelling" is currently out and available to buy on ITunes and from all other major download sites worldwide. Alternatively for a special edition Digipak CD please follow the link to www.iconic-culture.com direct from this page or alternatively use the Paypal link on our website at www.the-visitors.co.uk

“The visitors are a truly talented group of musicians who are capable of composing gleaming songs that remind you of the soundtrack to the best summer of your life (even in the middle of January)…definitely ones to watch for 2010!” - Jon Pike, Head of Content Sony VidZone

"Undoubtedly good writers, this is excellent". - Neil Ferris, Former Head of EMI Records

Two Fingers of Firewater was formed in 2005 by founding band members Jon Clake (acoustic/electric guitars and vocals), Tom Harding (bass) and Alex Chappelow (pedal steel/guitar/mandolin/tronbone). The original line-up changed significantly in mid-2007 with the addition of Stephen Price (keyboards) and James Sacha (drums).

"A wonderful British band" Bob Harris, BBC Radio 2

This view of TFOF is  from The Gilded Palace Of Sin: Two Fingers of Firewater are a band we've wanted to work with since hearing their debut album earlier this year. Drawing on the three great eras of country (Carter/Cash, Byrds/Band and Jeff/Jay) they push all the right buttons. Sure, they wish they'd been born in Georgia not Guildford, but we won't hold that against them. Pedal steel, mandolin, banjo, accordion all feature and they've some barn-storming tunes (plus some choice covers).

Their album has a ragged quality that I really warmed to: they've left some of the warts in, and it's all the better for it. Opening your debut album with a cover might not always be advisable, but their rout of Satan, Your Kingdom Must Come Down (Carter Family: check, Uncle Tupelo: check) is more a statement of intent. Morphing into their own instrumental, Bandit, it suggests they're aware of their influences but willing to take them somewhere original too. Of their own songs, we get Buritto's-influenced 'tears in your whiskey' tunes (I'm Not Sad) and almost prog-leaning country-rock.

Riverside Festival (June 2009) review: We could talk about Two Fingers’ dry humour, their contempo-country lope, their chiming pedal steel or their ‘60s rock touches (we heard the odd waft of Love in the climax), but all we can think about is their wah-wah mandolin.

UK Tour with Al Perkins: They've recently made hundreds of new friends across the UK on their ‘revue-style’ tour with US slide guitar legend Al Perkins, San Franciscan singer Brigitte Demeyer and Chris Donohue and Brady Blade, the bass and drums combo behind Emmylou Harris’ Spyboy project. Al Perkins described them as "remarkable young British outfit who class themselves as 'Country Rock Revisionists'. They sure do play authentic country rock, and are as fine a bunch of musicians and people as you will find.

Polly & The Billets Doux are about to set off on their second tour of England and Scotland in support of their debut album 'Fiction, Half-Truths & Downright Lies.’ After Signing to Bleak Mouse Records, they released the ‘Head of Steam’ EP, which charted at number 21 on the Radio 1 Indie Chart. Featured in ‘The Word’ Magazine’s Best New Music, they have also been championed by Bob Harris & Terry Wogan on Radio 2 as well as performing live sessions with Cerys Matthews on Radio 6, ‘Loose Ends’ on Radio 4 and BBC regional stations throughout the UK. Generating quite a stir at Glastonbury and Loopallu Festival in Scotland and everywhere in between, their reputation as a formidable force on the stage is spreading quickly.

“The new Duffy? No! Polly Perry’s way better!” - Uncut Magazine ****  

“Fine-cut and multi-faceted diamond of a debut album. It’s seductive intelligent listening.” - Venue Magazine *****

“An astounding achievement for a band with a bright future” "you can understand exactly why this group is hotly tipped to become huge." - Big Distraction 9.5 / 10

“From hot rocking thrills, to jazzy splendour to country darkness, the musical brief of Polly and the Billets Doux seems to be, if it sounds and feels good, go for it!” - The Daily Mirror

You’d be a freakin’ idiot to miss this superb 60s band, playing all the classics from the decade. All the big names are represented in their set: The Stones, Beatles, Who, Kinks, Move, Zombies, Manfred Mann, Nashville Teens, Small Faces and many more!

T.A.P’s latest evening will feature some of the area’s best female songwriters performing their own material alongside that of the women who inspire them. 

Cellars owner Steve’s favourite band! Come and find out why.

Formed in Spring of 2007, Sheffield sextet Dead Like Harry consists of an eclectic mix of friends brought together by their love of writing and performing music.
Since their early teens, song-writing brothers Matt and Sam Taylor have been most at home in the spotlight, hitting the stages of various smoky Sheffield bars, from the tender age of fourteen for charismatic front man Sam.

Joined by old school friend and vocalist Alice Faraday, talented rhythm section Robin Baker, John Redgrave and Adam Crofts, Dead Like Harry were ready to pen some fresh new tracks and put nearly a decades worth of material to good use.

The result is a sound coloured by rock, blues, country and even folk influences, but which remains at its centre an honest, from-the-heart collection of songs written and performed by a group of young friends who want nothing more than to make great music.

The growing interest in Dead Like Harry can be seen at their regular captivating UK gigs, and in their rapidly growing fan base. The act retain an innate showmanship live, whether showcasing their talent in front of 6000 (such as recently at Sheffield Hallam FM Arena) or serenading a fan’s girlfriend by moonlight for £20. This has led to further fantastic slots, such as supporting chart-toppers Scouting for Girls, being placed on the same bill as the legendary Paul Simon at the famous Cornbury festival in Oxford and becoming first runners up (picked from thousands of acts) in the Rockstar ’08 competition to play Glastonbury 2009.

Dead Like Harry have been tipped as the next big thing from the Steel City by everyone from local press to Steve Lamacq and are currently collaborating with celebrated producer Alan Smyth (Richard Hawley, Pulp, Arctic Monkeys) to make stand out records that live up to the live hype.

The band have recently been confirmed for The Cambridge Rock Festival, Riverside Festival, Cornbury Festival, Spratton Festival and Glastonbury.

This will be their 5th appearance at The Cellars and they have a growing band of devotees, won over by their superb performances. There’s major label interest in them now, so catch them at The Cellars whilst you still can.

Fresh from touring as Southside Johnny’s guitarist and following supports to Walter Trout, Bill Walton returns to The UK on his own headline tour. Not to be missed!! Visit his web-site to check out the videos.

In the history of rock 'n' roll there is a long tradition of guitarists trading in their jobs as sidemen to become virtuoso frontmen in their own right. Early on Jimi Hendrix played in Little Richards’ band and Eric Clapton worked with numerous groups like John Mayall’s Bluesbreakers, The Yardbirds, Cream and Derek and the Dominos before starting his legendary career as a solo artist.

Even Stevie Ray Vaughn had a stint as a member of David Bowie’s touring band before going solo. There seems to be something about apprenticing with another artist that brings out the best in some guitar players.

After spending years honing their craft it becomes impossible for their unique style and personality to be held back. Such is the case with Billy Walton. Since the age of 15 Walton has plied his craft in the
Asbury Park/New Jersey shore music scene - most notably as the guitarist/vocalist for Boccigalupe & the Bad Boys which features Tony Amato a veteran of the Asbury scene since the 70s (the nickname...Boccigalupe was actually given to him by Bruce Springsteen & Little Steven Van Zandt).

During his time with Boccigalupe, Walton has played countless gigs in both the United States and Europe and sat in with numerous of rock luminaries including Springsteen, Gary US Bonds and Stevie Ray’s backing band, Double Trouble.

The 30-year old Walton’s talents are no secret among everyone in the Jersey shore music scene and with the founding of the Billy Walton Band there’s little doubt his reputation will grow far beyond the Garden State. The Billy Walton Band’s sound is a combination of hard blues reminiscent of Hendrix, Clapton and Vaughn mixed with a healthy dose of Warren Hayes and Derrick Trucks.

Live, Walton has always been an explosive performer with jaw dropping talent but with the addition of bassist William Paris and drummer Marcus Croan the Billy Walton band churns out a singular brand of funky blues that has deep roots in both the jam band musical tradition as well as the Jersey shore Walton has cut his teeth on. Walton’s connection to his heroes is not just through his record collection.

Over the years he has developed a close friendship with Roger Mayer, the well-known British guitar effects guru whose devices have played such a pivotal part in rock n roll for nearly every major player since Hendrix. But regardless of his influences or where he’s from, the Billy Walton Band’s ultimate appeal lies in the unique musical gifts of its founder, Walton himself, who, like his forebears is poised to join the long and storied list of sidemen whose time has come to step out front.

Following the runaway success of TFP’s ‘Chance To Be’ night last year, they’re now presenting a One Hit Wonders night, where performers from around the area take on some of the coolest and cheesiest one hit wonders in the world ever! It’ll be a blast! 

"A breathtaking debut..." **** - Q Magazine - "Wow..." ***** - Maverick Magazine

Jon Allen has already won over key music industry tastemakers such as broadcasting giants Johnnie Walker and Bob Harris, who has described his music as "an absolute gem". After racing onto the A-list at Radio 2 with the single "In Your Light", Jon's upcoming debut album "Dead Man's Suit" is all set for critical acclaim.

Born in Winchester, but having spent most of his life in Devon, Jon knew from an early age that music was his vocation. He grew up admiring artists as wide-ranging as Tom Waits, Led Zeppelin, James Taylor and the Beatles. Allen sees himself as an artist with a truly sustainable long-term career, with no interest in selling out for a quick buck. Instead, he's already carving out a profession in honest and genuine songwriting.

Jon attended an alternative progressive school called Sands and would be the first to admit that he spent most of his time jamming on his drumkit and teaching himself guitar, rather than attending lessons. This led to him featuring in a number of school bands, playing drums. As he puts it: "As a teenager, no one ever wanted to be the front man, because it was too embarrassing". But on one occasion, as a joke, Jon got up and started messing around on the microphone, Jon realised that he was a natural show off. Soon after unveiling his singing ability in public, Allen traded in his computer, bought an electric guitar and 15-watt amp, and so his musical path began. When he was 16, Jon's parents got him a four-track recorder, and there was no looking back.

He began laying down tracks and experimenting with the interaction of different instruments, exploring the multi-track recording process. Jon Attended college completing a BTEC in performing arts, and then applied and got a place at the Liverpool Institute of Performing Arts (LIPA), founded by Sir Paul McCartney, on a songwriting course. This taught Jon how to become a more self-disciplined writer.

After graduating from LIPA, Jon moved down to London, after one of his demos received a five-star review in the magazine Making Music. Management offers in London soon followed, prompting Jon to immerse himself in the live music scene and surround himself with likeminded people.

It was through spending five years in the trenches of the intensive London gig circuit that Jon met his band mates, starting with Hammond player Rich Milner, who Allen had admired at a gig at the Bedford in south London. Jon gave Rich his number and it wasn't long before he became part of his band. Drummer Tim Bye also arrived via the recommendation of another musician at the Bedford, and after watching him jam, Jon knew he would be another great acquisition. Guitarist Pat West came from a tour that Jon had recently done with Kate Walsh. Musically, they clicked so well that it didn't take long for him to become part of Jon's team. Lastly, a key figure in creating the album is bass player Tristan Longworth, a childhood friend of Rich who produced "Dead Man's Suit", recorded in Tristan's house in Balham.

In Jon's own words, "my inspiration for creating 'Dead Man's Suit' was simply because I love making music. For me it’s escapism and connection at the same time. Love, death and sex all feature somewhere in the album."

Since moving to London, Allen has found himself sharing the stage with such internationally-esteemed artists as Emmylou Harris, Mark Knopfler, KT Tunstall and Jose Gonzalez, and playing in some of the world's top venues, such as Wembley Arena, Manchester MEN and the Zenith in Paris.

After selling more than 20,000 downloads via his website of the track "Going Home", when it featured on a Land Rover commercial, Jon is steadily building up a strong and supportive fanbase in the UK. He’s gained extensive support from Radio 2, with "In Your Light" achieving a much-coveted A-List slot. The debut album "Dead Man's Suit" reveals a timeless collection of beautifully-crafted songs and the emergence of an important new English talent.

Here's some nice words written by other people about Jon Allen:

"A breathtaking debut..." **** - Q Magazine

"Wow..." ***** - Maverick Magazine

"A little gem..." **** - OK! Magazine

"Jon Allen is a shoe-in as this year's Brit singer-songwriter model" **** - Rock N Reel

"Could be from Dylan's 'New Morning'. Like Cat Stevens, Nick Drake... exemplary" - Uncut Magazine

"Rootsy... authentic... heartfelt" - Clash Magazine

"The threesome have created an utterly peerless work; ten tracks to completely lose yourself in." - NME

Chew Lips have appeared in a number of 'ones to watch' lists for 2010 including NME, The Fly, Nylon, Grazia and Q Magazine

WHOA, the noughties are coming to a predictably bland end, aren't they? Predictable bands playing predictable songs from predictable albums going predictably nowhere.

Somewhere in summer 2009, under a barrage of average records from over-hyped pale-pop imitators, pop music lost its bite, with any number of pretenders to the throne blurring into one all-encompassing one-dimensional musical mass of beige.

Just about the time that bandwagon was grinding to a skidmarked halt, though, it just so happened CHEW LiPS were putting the finishing touches to their remarkable debut long-player; pop music with fangs, songs packed with indelible melodies and incessant, hip-swivelling rhythms. Made up of ten tracks of impeccably-executed future-pop that veers from grinding electro-pop grooves to fevered howls of beat-heavy R'n'B, 'Unicorn' is a record fit to herald a new decade.

Formed in London in late winter 2008, CHEW LiPS - Tigs (vocals), James Watkins (bass, synths) and Will Sanderson (guitar, synths) – wasted no time in garnering an arsenal of electro-epics, hitting upon a rich songwriting vein – famously, they wrote over 20 songs during the course of their first two rehearsals - from the off.

They had no choice - Tigs had booked their first show before they'd actually written anything.

"I knew James and James knew Will and we talked about being in a band for a while - it was all quite theoretical," explains Tigs, "and then James wrote a few bits and sent them to me to add to and we booked a show. Well, I say booked a show but we arranged for this guy to have a house party so we could play. It was two weeks away."

"And we ended up like this, not because we were deciding to be an electro band or use drum machines, but because we didn’t have a drummer. We didn't know what we were doing, so we just pressed GO on all these machines and wrote ten songs in our first rehearsal."

Those songs becoming the band's blueprint, the next year was spent honing and perfecting on the road and in the studio, with singles, the self-produced 'Solo' and its follow-up, 'Salt Air', both released on cool-label-du-jour Kitsune, bookended by tours with Howling Bells and The Virgins.

CHEW LiPS fast established themselves as a band with brilliantly contrary characteristics - synth-poppers with guitar and bass bulletholes all over their songs, eschewing the usual bedroom-based boffindom of electronic bands and slinging themselves around the UK's toilet tour haunts, Tigs' barbed tongue growing ever sharper with each show. In journalistic parlance, she gives good copy.

When it came to recording 'Unicorn', the trio stripped everything back to zero, determined that their debut wouldn't be restricted by how the songs sounded live or on early demos and keen to work with someone who'd be able to expand the CHEW LiPS universe and enable the formative to become fully-formed and the sketches to become sonic masterpieces.

Enter David Kosten, fresh from producing Bat For Lashes' Mercury-nominated 'Two Suns', and a man with the ability to lend their music the skyscraping, otherworldly shimmer it deserved.

"David encouraged experimentation," offers Tigs. "He very quickly allowed me to just go 'no-one's heard the demos, it doesn't matter what they sound like'," says James.

"“With him, we ended up with something we'd never have done. We treated it completely separately to what we do live, and that was part of the freedom that David gave us, not to worry about what our songs sounded like before and just go, 'this is a record and it's different...'"

"We weren't precious about anything and that's down to James," Tigs confides, "cos James wasn't scared at any point when David said 'let's try this' - he'd always tell us if it didn't sound good, so why be scared?"

Let off the leash, CHEW LiPS have gone on to create an astonishing, visceral debut that thrills from start to finish, each song different from the last but with the hallmarks of the trio stamped over everything, the tracks intrinsically connected and detached at the same time, grand and intimate at once.

Opener 'Eight' creeps into life slowly, its glacial soundscapes giving way to a robotic surge of glitches and bleeps, 'Play Together' sees shrill synths pirouetting round Tigs' deviant vocals, whilst 'Slick' is space-age soul, building to its climactic outro in a haze of cascading, kaleidoscopic harmonies as Tigs showcases her vocal allure – the CHEW LiPS frontwoman is mesmerising of voice, her prurient laments imbued with a playful menace that could break hearts and the law at the same time.

"'Play Together' sums us up as a band," says James. "It's got an amazing bassline and some really cool keyboard sounds, whilst 'Slick' could signal a change into a new direction for us - the thing I really like about it is that the music could be Beyonce or something.

It was one that me and Tigs were always excited about. It came on the most out of all the songs we recorded in the studio." "I love 'Karen'," adds Tigs. "I love that little break in it."

Indeed, anyone whose accustomed to its original live version should grip themselves for the moment it morphs from straight-arrowed art-rock into its swirling, mesmeric breakdown, whilst the likes of 'Too Much Talking' and 'Piano Song' reveal tenets of raw emotion within CHEW LiPS that underline the heart pumping within their mechanical beats'n'synths.

"I like that about our record," opines Tigs, "the suggestion that we could go in any direction afterwards and it wouldn't be completely surprising. Like 'Piano Song' - where the fuck does that come from?" As it transpires, the plaintive lullaby that closes 'Unicorn' comes from when James sat down at a piano left in David Kosten's studio that Stevie Wonder used to play. "It's not a song, there's no structure to it, it's just... nice,"smiles Tigs.

At ten tracks - "ten is the classic debut album length," according to Tigs - 'Unicorn' flows effortlessly. It's pop music alright, but with a more colourful and complex DNA than 2009's limp-wristed attempts. This is pop music 2010.

"We wanted to avoid an album of all the same stuff - there's no good our album tracks just being less good versions of our singles. Over the course of an album, that's boring." "Music recently just hasn't been very clever," adds Tigs. "It has no soul in it all. It's superficial."

To that end, you’ll notice that their two 2009 singles aren't included ("We couldn’t put out a record that has a single on it that's been out for a year. We've moved on," says Tigs) and they're not missed either; 'Unicorn' doesn't rely on past glories - it's an album for the here and now, a record, says Tigs, that's about "becoming an adult, about growing up, the notion of being one small person alone in the world."

There's no growing pains here - 'Unicorn' is the first great record of the new decade.

Here's some nice words other people have written about Chew Lips:

"The threesome have created an utterly peerless work; ten tracks to completely lose yourself in." - NME

"10 slices of styley catchy pop that joins the dots between The Noisettes and Yeah Yeah Yeahs; an accomplished first offering" - Q Magazine

"World domination pencilled in for sometime around summer" - The Fly

"All attitude, radiating confidence, striking poses and delivering high quality, driven, eccentric pop" - Artrocker

Doll and The Kicks are an unsigned Brighton-based indie/rock/pop band fronted by Liverpool-born female vocalist Doll and backed by Kicks - Oliver, Matt and Chris.

 Formed in late 2005 they began gigging as a 5 piece band around the smaller venues of Brighton and the UK building up a fanbase.

Having gained exposure on local Brighton radio stations Juice FM and BBC Southern Counties DATK were then submitted by DJ Phil Jackson from Southern Counties to take part in a BBC Radio 1 competition to play Glastonbury festival in early 2007.

Doll and the Kicks, although quite comfortable in amongst their Indie peers, play music that is commercially alluring and catchy enough to have attracted a far wider audience.

Here are some nice words other people have written about Doll and The Kicks:

"DATK are all attitude; radiating confidence, striking poses and delivering high quality, driven, eccentric pop. Singer Doll's voice is a perfectly spotless hybrid of Kate Bush and Gwen Stefani. Her energy is frantic yet focused and she works the crowd like a pro." - Artrocker

"Doll and The Kicks pull off some damn hard sugary rock that scratches like it's the biggest bitch in the playground." - The Source

"Full on feisty versatile firecracker of a band Doll and the Kicks confirmed to all and sundry that heavy can also be melodic, varied and fun. With bold time changes and glorious melodies Doll and the Kicks are never dull." - BBC Southern Counties

"Doll bounces around the stage with the look and energy of a young Blondie… with floor-filling dance tunes such as Just 16, Always Been Her and Disco Queen, the music easily matches the glamour the band projects." - Ents 24

Recent Custard/Universal signings, produced by Linda Perry & winner of Indy Award 'Rock Act of the Year 2008'

Little Fish is the work of singer songwriter Julia Sophie (electric/acoustic guitar/vocals) and Neil Greenaway (drums). Their sound is stripped back, direct and defiantly punky in spirit, but also melodic and true to the song.

The song lyrics come direct from the heart. They are often poetic, reflective and brutally honest, as seen in the lyrics of Bob Dylan and PJ Harvey.

Winner of Indy Award 'Rock Act of the Year 2008' and of a Live Maida Vale Weekend session on BBC Radio 1.
Little Fish have recently signed to Custard/Universal and have just finished recording their first album with producer Linda Perry in LA.

Here's some nice words other people have written about Little Fish:

"Everybody's new favourite band Little Fish" - Oxford Mail

"My new Patti Smith. Juju has an amazing voice" - Gaz Coombes, Supergrass

"Track Devil's Eyes fresh meat most original. Love it!" - Zane Lowe BBC Radio 1

"Twice as good as the best unsigned act you've ever heard... and then some." - BBC Radio Oxford

"When it comes to hearing good new bands for the first time, there's sit-up-and-take-notice music and there's jump-up-and-accidentally-bang-your-head-on-the-ceiling music. Little Fish are the first, immediately transposed by the second." - BBC Radio Oxford

"Little Fish are destined to rule the airwaves." - BBC Radio Oxford

"It took Juju 6.9 seconds, wearing a wife-beater suggestively perked in two places, her brilliant vocals, wicked guitar playing and hard accompanying drums to turn us all into a Sex Pistol. Little Fish is music's missionary position and why they're NOT on NME's list of New Bands to watch in 2008 is beyond me. I would definitely make space for Little Fish." - Hugh Tomasz, Tavern Times

Two mad men playing Rock 'n Roll on acoustic guitars... tempered with beautiful ballads

Acoustic guitars? No samples or loops? Sounds a bit like an anachronism for the year 2010, doesn't it?

But what is provided by Ezio Lunedei (singer/guitarist) and Mark "Booga" Fowell (guitarist), is nothing less than an anachronism, but one of the most innovative and exciting phenomenon's of the music market.

Looking at these two guys you see two totally different types of men, but when they start to play, they play with a rhythmical power and unity that's hard to produce with a full rhythm section.

Booga's spontaneous fluid touch is the perfect complement to Ezio's emotive songs, imaginatively adding to the moods they invoke but never swamping them or being flash for the sake of it.

One of the main reasons for all of their success (they once sold out The Shepherds Bush Empire by word of mouth!) is their incredible live show, which often leaves the audience with shiny eyes and in an unbelievably enthusiastic mood.

But far from this being a dreamy introverted songwriter show, you need to imagine two mad men playing Rock 'n Roll on acoustic guitars!

This powerful and exciting show is tempered with beautiful ballads, tales of longing, aching love, which have the disconcerting habit of catching you unaware with a line you could have written yourself, had you been able to put these deeply buried feelings into words.

A powerful and exciting show that is tempered with beautiful ballads, tales of longing and aching love

"Two mad men playing Rock 'n Roll on acoustic guitars", Ezio brings its frantic strumming and innovative rhythms to the Luminaire on 16 May.

The duo, Ezio Lunedei and Mark "Booga" Fowell is noted for its energetic live shows, and "guitar jousting". With a loyal following across the UK as well as Germany and in South Africa, the duo has supported the likes of Joan Armatrading, Paul Young, and Big Country, to name a few.

Ezio's music has been described as "somewhere between Van Morrison and Jeff Buckley... it plays with a rhythmical power and unity that's hard to produce with a full rhythm section. Booga's spontaneous fluid touch is the perfect complement to Ezio's emotive songs."

With four albums to its credit, and having worked with producers such as Peter Van Hooke and Rod Argent in the past, its most recent album, The Making Of Mr. Spoons, takes the band in a different direction from previous work in its quest to make "a true studio album". 

Chris T-T is not a man to keep his opinions to himself. And when he voices them, it most often results in someone being offended, outraged or otherwise aghast. His carefully crafted songs about suicide bombers, serial killers, sellotape and sex often get members of his audience riled, and though there have been a few frightening threats, he’s never yet been punched.

As The Guardian says, “The genius of Chris T-T’s songwriting is his ability to humanise even the most outlandish conceits. They seem instead like brilliant ideas that no-one else could’ve come up with.”

T-T’s gift is to tackle life’s grand themes, such as war, money, love, sex, and death, and transform them into highly personal, and highly emotional, songs. “I’m an overweight, middle class, white, comfortable, English songwriter,” he says. “I’ve never felt any of these things through personal experience. I’ve never been bombed, I’ve never had an Israeli tank driven over me. The only way one can do it is to get into the mindset of individuals.”

For a songwriter of such remarkable insight, his upbringing was unremarkably average. He listened to songs like The Floral Dance and Up Up and Away In My Beautiful Balloon on his grandmother’s record player. His parents paid for piano lessons and nagged him to practice. He went to a good school, in a good neighbourhood with other good kids.

But, as with most great songwriters, he never really fit in. While T-T was listening to and learning from American rockers like Don Henley, Bruce Springsteen and Lou Reed, he largely missed out on seminal bands like New Order, The Cure and The Smiths until the rave generation had already taken over.

T-T was so oblivious to “cool” that he wanted to be a spy until he heard his first Genesis record. “I was one of those kids that finds the first thing you love about bands is that they’re tight. Like when you first love rock guitar and it’s someone playing a virtuoso solo. I would appreciate a rock guitar solo at a much earlier age than I’d appreciate someone writing an amazing song.” That early passion for intricate guitar meanderings led him away from spy school straight to a career in music.

When T-T approached his parents with the news of his new career path, instead of gently suggesting he become a doctor or teacher, they congratulated him, and gave him money to help fund his first record label. In their minds, the piano lessons were starting to pay off and their support has never faltered. “I can take home a piece of my music that offends my mom, to the point of really upsetting her, and she will still completely support what I do,” he says.

After spending three years at Leeds University studying pop music – he has a degree in it now – the inevitable move to London followed. He spent 1999 slogging at a day job, and recorded his first album during evenings and weekends on the cobbled-together not-exactly-state-of-the-art recording equipment in his bedroom.

The result was Beatverse, released in 1999 on his own label, Wine Cellar. It sold fewer than 500 copies, but it taught him not be afraid of being opinionated and brutally honest in his songs. On the album he calls his then-boss a “fat, stupid dickhead” and fesses up to being a serial killer. No one seemed to mind.

Snowstorm Records loved the album and offered to fund the next T-T release. The result was 2000’s Panic Attack at Sainsbury’s, a mixed bag of pop anthems (You Can Be Flirty), anti-establishment sing-alongs (Dreaming of Injured Popstars) and twisted love songs (Open Books, Exeat).

Dreaming of Injured Popstars captured the anti-manufactured-pop zeitgeist and was played by Steve Lamacq and John Peel on Radio 1 as well as Xfm and others. The album was a critical success. Q Magazine said, “His surreal worldview and faux-naïve vocals define this album,” while the NME wrote, “Those who value the wit and pathos of a singular voice among the Indetikit throng should give Chris T-T their time.”

Over the next few years, T-T became intimate with every venue on the UK indie circuit, driving beat-up vans and sleeping on floors while getting paid next-to-nothing to perform to an ever-increasing base of dedicated fans.

Meanwhile, slowly and almost imperceptibly, London had been seeping into his veins.

His next album, The 253 was the first in a trilogy of bittersweet love-letters to the city. “London is an extraordinary living, breathing entity as a city. London’s got that huge identity, it’s hugely multicultural. There’s so much going on that moving to London was a huge step up in experience,” he says.

The album amassed more ecstatic reviews: “Chris T-T celebrates the beauty of small things with lively musical aplomb.” Q Magazine; “Thank God for records like The 253… It is sincerity so sharp it feels like the watery sting in your eyes as the tube rushes past.” Time Out; “His third and best album… The most convincing reason to check out this singular talent.” Mojo. The 253 also got T-T invited to perform several radio sessions including the Evening Sessions, the newly launched 6Music, Resonance FM, LBC and a pile of regional sessions.

By the time the second part of the trilogy, London Is Sinking, arrived, the world was at war. As a reaction to the madness, T-T wrote Cull, a powerful damnation of our political leaders. “The world is owned by 500 men, and everything is organised to benefit them. The rest of us scrabble around for what they throw out.” Giraffes #1 sticks closer to home with its anthemic cry to the UK’s immigrant populations to “stick your neck out, stand up taller, don’t look down now”, while the tender and touching 7 Hearts is a twisted ode to the immense power of the human heart.

By this time, the press were falling all over themselves to rave about T-T. The Sunday Times chose London Is Sinking as Album of the Year, calling it a “Fantastically intricate masterpiece… utterly indispensable” and compared him to William Blake, while The Independent called him “some hybrid of Bragg and Cocker”, the Big Issue said, “Decidedly off-kilter and all the better for it, eccentrics like Chris T-T should be heartily saluted” and the NME raved, “Capital-centric folk wonder… A record that’s funny, touching and smart enough that even people whose telephone number doesn’t start with 020 will treasure it.”

Two thirds of the way through the a trilogy of deeply personal London tales, and somewhere out of left field comes the overtly political 9 Red Songs, a red menace of post-Bliar acoustic folk protest music. Produced by Jon Clayton (Kaito, Stuffy & The Fuses, The Long Blondes) at London’s One Cat Studios, it’s packed with emotional, factual, and often-hilarious observations about the current issues any card-carrying liberal should care about. Whether his target is Tony Blair (”Can the heart fall apart when the hard work starts, or was he born without one?”), the Countryside Alliance (”I’ve never been a fan of police brutality, but when the huntsman comes a marchin’, give him one for me), or the shoddy state of leftwing political activism (”Nobody’s got any good red songs anymore and Billy Bragg’s gone fishing in his 4×4″), no one is safe from T-T’s sharply honed verbal arrows.

His new songs have already earned him an earful from angry old ladies in hunting villages, indie crowds in Essex and a few outraged liberals at the Leftfield stage during Glastonbury Festival. With two tours scheduled for this autumn – one supporting Brighton indie super-group Brakes, followed by his own headline tour in November – he would do well to practice dodging punches and hurled beer bottles if he wants to continue his never-been-hit roll.

Canterbury are an indie/pop/rock band that formed whilst at school in Hampshire, England in 2005. Members are James Pipe (guitar), Luke Prebble (vocals, keys), Ben Bishop (bass), Mike Sparks (vocals, guitar) and Scott Peters (drums).

Since college ended in Summer 2007 the band started to take things more seriously, starting with writing and recording their debut album and then moving on to touring relentlessly when and wherever they could, trying to expand a fan base prior to releasing their debut album.

"I like these lads! Reminding me of the Undertones. A spunky bunch!" - Franz Stahl (Scream & Foo Fighters)

Hardly Heroes are an Indie based pop/rock band that prides themselves on their fresh and vibrant sound.

They are made up of Luke Usher on lead vocals and bass, Sam Malone on lead guitar, Will Cahill on rhythm guitar and Kurtis Maiden on drums.

The band first formed in the summer of 2006 when they entered Power fm`s rock school competition where the prize was an opening slot for the Zutons at Southampton Guildhall. The competition was closely contested and out of 300 entrants Hardly Heroes finished a credible 2nd.

The judges were so impressed that they decided to give the band a support slot with channel 4`s own rock school winner "L’il Chris" which they pulled off with aplomb in front of 8,000 people.

In the spring of 2007 the band entered the "live and unsigned" competition and worked their way through the heats to play the final at Portsmouth Guildhall where they emerged as best band in the competition which started with over 10,000 entrants.

Hardly Heroes reputation was now cemented as a very popular up and coming band in the local area and lots of media attention followed including several newspaper articles and radio interviews.

The band has gained lots of experience in playing in front of large crowds in quality venues for a number of signed acts including the "Attack! Attack!, The Mission District, Young Knives, Jubilee, Hot Club du Paris, The Hot Melts and hard rocking teen punk band Outl4w.

Last year the band were invited to London to record their first EP with "One Night Only`s" producer and have since been invited back to record again.

Here's some nice words other people have written about Hardly Heroes:

"I like these lads! Thin sounding as it may be, you give it some thick wumf! by giving the guitars a biting edge, with a dry attack on the main vocal leaving the air to the backing ones. I like the energy in their style and live performance pictures. I like the burgeoning image - Luke, almost looking like a very young Paul Weller, and the rest reminding me a little of the Undertones. A spunky bunch!" - Franz Stahl (Scream, Wool and Foo Fighters)

"You guys are awesome." - Michael 'Mickey Shoes' Shuman (Queen of the Stone Age, Jubilee)

"Hardly Heroes are up next, one of the south coasts most popular young bands these indie-rock upstarts thrash their guitars and pound the drums but lead singer Luke Usher's vocals eschew the screaming and gurning antics that make indie-rock a dirty word, instead adopting a baritone that at times hints at an almost Jim Morrison-esque croon. Sam Malone and Will Cahill's duelling guitars adding layers of sound that veer from stadium rock to indie jangle and from punk snarls to, at one point, a reggae riff that sounds a bit like The Police. These guys are good though, assured performers and astute enough to pick up on what works and what doesn't." - Artrocker

"Strop pop palpitation... a sub 3-minute rush of Pretty Girls Make Graves style post hardcore sweetness" - NME

Kids Love Lies formed after 4 strangers were drawn together by their shared love and passion for music. After endless searching, they found the missing link in pop pixie Ellen Murphy.

They have built up a reputation for being one of the most exciting live bands of the moment; their passionate live shows bursting with energy and evident chemistry between band members as they jump about the stage.

They released their debut 7" single in 2009 on Cherryade Records, receiving great support from Radio One DJs such as Steve Lamacq, Nick Grimshaw, Zane Lowe and Huw Stevens and receiving rave reviews in the NME, with the KLL were invited to play a spot on the coveted BBC Introducing stage at Radio One's Big Weekend as well as playing the Artrocker stage at The Great Escape Festival & the Camden Crawl.

The band have also previously shared stages with the likes of The Holloways, Theoretical Girl, Fight Like Apes to name just a few.

They also recorded their first live session at BBC's Maida Vale studios for Huw Steven's show, 'In New Music We Trust' on Radio One.

The band recently released their 2nd single 'Under the Bed' in October; poignant, quirky and charming in equal measure - a whirlwind of a song full of attitude that demands your attention.

Brimming with a cacophony of relentless, frenetic guitars, an energetic bass line and crashing percussion, all topped off by Ellen Murphy’s Karen O-esque vocals; the result is an explosion of energy which builds towards the song's climax, which received airplay on Radio One, XFM.

The track was also awarded Single of the Month by acclaimed music magazine Artrocker.

The future is very exciting for Kids Love Lies with plans for their debut EP to be released in early 2010; they will be spending the next few months writing and recording new material as they constantly grow and develop as a band.

Here's some nice words other people have written about Kids Love Lies:

"This strop pop palpitation is a sub three minute rush of Pretty Girls Make Graves style post hardcore sweetness. Firecracker singer Ellen Murphy sounds pretty much like Kate Nash would if she dropped the prim and proper act and thrashed herself into a full on Kathleen Hanna hissy fit" - NME

"Entirely pleasant and sprightly new wave hoo ha with a lady vocalist who just can't sit still" - Guardian Review

"Delivering fine power pop that's packed full of clever lyrics and hooks" - Times Online

Here’s what The News said about The Skandalz last show with us:

Arriving on stage, the super-cool lads from The Skandalz donned wrap-around sunglasses, pork-pie hats and thin-lapel blazers in tribute to their two-tone heroes.Their initial appearance was deceptive, however.

The band mostly plays covers but instead of running through the same old two-tone numbers, they mix it up with renditions from Ska's revival period from the 1990s and noughties.

It was this welcome melting pot of feel-good ska tunes that had the packed Cellars crowd marching along to the beat.

The age range of the band members was reflected in the songs they chose to perform. They revelled in the punk-tinged covers of The Mighty Mighty Bosstones, Goldfinger, Reel Big Fish and Spunge as well as a few tried and tested two-tone anthems. They also played the odd song they had penned themselves, which were not out of place alongside covers of some the best ska songs from the last 20 years.

A highlight of their hour-long set came with a cover of The Specials' Nite Klub, which had the crowd singing along to the lyrics.

The band proves the case for a genre music that retains its importance, not only politically or socially but as a source of endless fun and entertainment. If The Skandalz don't get you dancing, nothing will.’

The White Coats:

In 2009, Bo Diddley’s protogé Hamilton Loomis stormed his first Cellars show. He was one of the most popular artists of the year. Now he’s back and this is a show you will not want to miss! Check out the Youtube video!

“If blues, soul, and rock can be said to form a triangle, you’ll find Hamilton Loomis right in the center of it”, says Guitar Player Magazine. An apt description, as Loomis is one of the young artists at the forefront of bringing blues into the 21st century and redefining it for a contemporary audience. He has been bridging the gap between generations of music-lovers both in the U.S. and around the world. His new release, Ain’t Just Temporary, finds Loomis masterfully blending his myriad influences, at once forging ahead into new musical territories while maintaining a strong connection to the blues legends that took him under their wings at a young age.

Born and raised in Galveston, Texas, Hamilton was first hooked on music through his parents’ extensive collection of blues, rock, and soul records. Hamilton honed his multi-instrumental chops early, learning drums, piano, guitar, bass and harmonica by his early teens, and performing as part of his family’s doo-wop group.

At age sixteen he went backstage to meet Bo Diddley, and before the night was over Hamilton was onstage playing alongside the legend. Since that initial meeting, Diddley has become a friend, mentor, and supporter. “INNOVATE, DON’T IMITATE”…Diddley’s words continue to inspire Hamilton and fuel his desire for originality. The Rock and Roll Hall of Fame member said of Loomis, “You got to put some seasonin’ in what you’re doin’, and this boy’s got the whole salt shaker!” Diddley contributes his unmistakable voice and funky tremolo guitar to “You Got To Wait,” a tune he and Hamilton co-wrote for Ain’t Just Temporary.

Other Texas blues legends such as Johnny Copeland, Gatemouth Brown, Joe “Guitar” Hughes, and Albert Collins also schooled him early on in the finer points of the music, recognizing the youngster’s talent and potential. By the time he turned eighteen, Hamilton had performed in front of thousands at the Delta Blues Festival, and he was writing, arranging, and performing his own material. He released his first CD, Hamilton, in 1994, which received a Grammy Nomination for "Best Contemporary Blues Album". A series of self-released CDs followed, including 1996’s Just Gimme One Night, 1999’s All Fired Up, which the UK’s Blues Matters said was “so strong and confident that it has your vote two bars in.” Hamilton’s 2002 release, Live-Highlights, captured what his crowd-pleasing show “is all about, and that is powerful Blues, Funk and Soul,” according to Twelve Bar Rag magazine. “There is not enough room here to point out all the good things about Live-Highlights!”

Hamilton’s first Blind Pig Records release, Kickin’ It, released in 2003, presented his innovative approach to an audience hungry for something new in roots music. Said Blueswax, “Loomis really gets it, and he is only in his twenties! Don’t just dust off those old hackneyed Blues, create your own style of funkified soulful music.” Southland Blues raved, “Kickin’ It is one of the best CDs of the year. This kid's got most all of it and then some. More than worth a listen." And the Milwaukee Journal Sentinel noted, “Loomis displays a polished vocal, guitar and songwriting knack that could win him the sort of crossover audience that Robert Cray and B.B. King enjoy.”

“I grew up not only listening to blues, but Otis Redding, Booker T., Sam & Dave, and Stevie Wonder…and that funky stuff you hear probably comes from me being a Prince fan,” says Loomis. All of these influences are on display on Ain’t Just Temporary – sparse, funky rhythms, earthy Fender Rhodes and Hammond B3 organ, powerful harmonica, and Hamilton’s soulful vocals coupled with his stellar guitar work. Hamilton teamed with legendary Houston engineer Steve Ames to realize the album’s natural, uncluttered, organic sound. Add in his tasteful addition of drum loops and other modern production touches and you get a refreshing approach that manages to avoid blues clichés while staying true to the heart of the music. Despite possessing the musical vocabulary that allowed him to handle virtually all the instruments heard on the CD, Hamilton’s focus on songwriting, taste, and musicality remains steadfast.

"Utterly compelling'' - NME... ''Indisputable genius, sublime stuff'' - The Fly... "A bewitching talent" - Uncut

Sometimes a musician comes along and seems to do everything effortlessly, gaining plaudits left right and centre whilst knocking out albums of utterly amazing music without seeming to break a sweat.

It doesn't happen often, but it did with Lupen Crook.

When he released "Accidents Occur Whilst Sleeping" in 2006 he was hailed as a hugely exciting emerging talent and since then he has assembled a motley band of helpers he calls the Murderbirds, toured time and again, each night mesmerising audiences with his blend of acoustic subtlety and a sense of the macabre that would make Nick Cave proud.

Emerging from the Medway mud, Lupen Crook possesses the single minded urge to play music his own way that is a hallmark of fellow Medway man Billy Childish, indeed even when he tries to write a more audience friendly set of songs he still stands alone.

Reviews of Iscariot The Ladder, released back at the beginning of this year, back this up. Artrocker were moved to say "Crook has managed to avoid the pitfalls of many of his fellow artists, and created a more accessible album without devaluing his music"

Mixing bewitching jazzy rhythms with pounding drums and a smattering of fat guitar riffs and layering on poetically haunting lyrics, Lupen Crook is a mesmerising presence who has to be seen to be believed, along with his Murder Birds he blew the roof off the Cellars when he was here last, no doubt he’ll do the same again!

Support comes from the artfully dishevelled musical mixed bag of The B Of The Bang, their sometimes chaotic but always exciting gigs have built a huge and devoted following locally, with the mix of experimental sounds and delicately beautiful vocals harpooning the hearts of listeners.

Kurt Cooder brings his own brand of folk, seasoned with a hint of punk tenacity, to proceedings and the bill is completed by The Tired Rabbit Band’s relaxed and sunny acoustic charms!

Copyright Matt Merritt 2009

Here's some nice words written by other people about Lupen Crook:

"Lupen Crook stands alone as one of the few artists around who seriously defies categorisation" - The Fly

"A bewitching talent" - Uncut

"Original and highly concentrated stuff" - Mojo

''To say the atmosphere of a gig rests on the proverbial knife's edge is a rare statement indeed. For Lupen Crook and his band of 'birds however, it illustrates just how captivating their agitated pop is and the stop start animation of the band can be visually seen to make its onlookers flinch with expectation'' - Artrocker

''Utterly compelling'' - NME

''Indisputable genius, sublime stuff'' - The Fly

"An air of insanity and a genuine edge-of-the-seat brilliance" - The Sun

''Indie folk heroes'' - The Sun

''The most original and unexpected sound of the week'' - The Mirror

''Their energy and performances have been amazing. Its nice to see them come into the sidewalk on tour and just blast the doors down. Bravo. Check them out!'' - Graffiti Board, Sidewalk, New York

Their new album, “Wreckless Eric & Amy Rigby” which has enjoyed rapturous critical acclaim in the USA is out now on the revitalised Stiff Record label. It has already been the subject of a four star review in Mojo.

Their live show is a wonder to behold - polished, shambolic, loud, soft, funny, moving, long, short tempered, nostalgic, modern, impressive and energetic -- sometimes all within the same song. With Amy on acoustic guitar, electric guitar and keyboards, and Eric on acoustic and electric guitars and bass, this two piece rock ‘n’ roll band perform songs from the new album, highlights from their respective back catalogues and the occasional unexpected cover version.

"…the underground royal couple's self-titled debut CD is a charming homespun marvel." San Francisco Chronicle

"...sounds like golden honey poured over a battered old tube amp." Los Angeles Times

"You should have been there. With brilliant singer-songwriters Wreckless Eric & Amy Rigby - we stood up when more than two hours of pure poppish joy with a twist ended after Whole Wide World and Take the Cash (K.A.S.H.) from rock's most talented, funniest & hard-working recently marrieds." London Free Press

"…this is exactly the kind of show I like seeing at Bumbershoot: amped-up front-porch feel with what happens to be a big handful of great songs. The couple each switched effectively from acoustic to electric to bass to keyboards, from lead to rhythm, from frontperson to accompanist." Idolator – live review of 8/30 Seattle Bumbershoot Festival show

"Two great tastes that taste great together." Entertainment Weekly

" ... the duo forged unique harmonies, Eric pushing his scratchy English snarl, Rigby exuding a wounded charm. If they flubbed the occasional note, they compensated by singing with rare passion, the kind that compels a middle-aged couple to crisscross the country playing bars and clubs." Hartford Courant

“A triumph of an album” - Mojo magazine

Caimbo now have a new name, new songs and a new direction attracting no little attention in the process...

In their early years, the band might have just consisted of rolling around as Cambridge four-piece Caimbo, but now they have a new name, new songs and a new direction.

Best mates at school, Leo, Piers, Dave and Ali fell into their roustabout, let's-take-on-the world little gang at fourteen. For seven years they've written great tunes, thrown them out, written better ones, argued like brothers and rocked each gig like it was Knebworth.

Steeped in song writing influences that include Muse, Pendulum, Calvin Harris, Bloc Party, Jamiroquai, Coldplay... the band have spent the last two years working with producers Ben Mason (The Kooks, Arctic Monkeys, Razorlight) and Simon Efemy (Pantera, The Wildhearts), honing their brand of spanking Dance Rock to perfection. And attracting no little attention in the process...

The band name might be new, but as front man Leo says, "It's not just about what we've done in the past, it’s about what we are going to do that matters..."

Glastonbury, Latitude and Summer Sundae veterans, 'Rumpus' voted No. 9 in Artrocker’s Top 20 albums 2009

The Kabeedies crashed through 2008 with killer singles 'Lovers Ought To' & 'Treasure Hunting', live radio sessions for Huw Stephens, Marc Riley & Janice Long and sent festival fans into a frenzy at both Latititude & Glastonbury.

2009 saw the Norwich 4 piece tour the UK in April in support of their 3rd single 'Little Brains' and the summer was been spent going nuts at UK festivals such as Kendal Calling, Wickerman and Summer Sundae followed by a trip to Hamburg were the crowd at Dockville wouldn't allow them to leave the stage despite 3 encores!

October 2009 and another jaunt around the UK this time in support of their single 'Petits Filous' and their eagerly anticipated debut album 'Rumpus' on the NROne imprint.

2010 will see the band release their most ambitious single to date with an accompanying video and tour of the UK/Europe in March & April to support its release.

Expect a night of singing, clapping, dancing and the odd waltz as The Kabeedies take you away to a land of fun, laughter and grins the size of houses.

Here's some nice words other people have written about The Kabeedies:

"'Rumpus' - Album of the Month" - Artrocker, November 2009

Voted No. 9 in Artrocker's Top 20 albums of 2009.

"8/10" - Clash Magazine

"7/10" - Rocksound Magazine

Advance ticket purchasers are entitled to a free 7-inch vinyl single of either "Lovers Ought To", "Treasure Hunting", "Little Brains" or "Ten Animals I Slam in a Net" which will be available to collect at the shows.

Simply bring your ticket purchase confirmation email with you to the gig to claim your free single.

Choice of track dependent upon stock availability on the night and limited to one single per advance ticket purchase.

Despite being destined to be forever known as the son of the legendary folk/blues singer-songwriter Roy Harper, Nick Harper has forged his own way ahead to have become recognised as one of Britain's finest acoustic singer/guitarists. Having played the guitar from the age of 10 (he is completely self-taught) and surrounded by the likes of Keith Moon, Jimmy Page, Robert Plant and Dave Gilmour as he grew up, it was no surprise when Nick made his recording debut on his father's Whatever Happened to Jugula? in 1985.

Nick's talent and energy entranced Roy's fans and it was inevitable that he would begin touring and recording in his own right. The 1994 EP Light at the End of the Kennel was swiftly followed by his powerful 1995 debut album Seed, prompting The Independent to describe him as "hugely talented".

A meeting with Squeeze frontman and songwriter Glenn Tilbrook in 1996 led to his offering Nick a job playing with and supporting Squeeze; he also promptly signed Nick to his own label, Quixotic Records. Following tours in the UK, USA and Japan, Nick recorded the 1998 album Smithereens with Tilbrook as producer. This album and subsequent 40 date solo tour, including dates in New York and at Glastonbury, confirmed Nick as a formidable talent in his own right. He teamed up with Tilbrook again on 2000's highly acclaimed album Harperspace.

To call him a superlative singer/songwriter could put his highly lauded guitar talent in the shade, and to call him a guitarist's guitarist might slight his distinctive, soulful voice and passionate songs. Not forgetting the wild ride that is one of his live shows - from personal introspection to biting political satire via a charmingly caustic wit that would make Groucho Marx proud. To see Nick Harper live (with a style that combines a multitude of musical influences from folk to rock, classical to flamenco) is an unforgettable experience. This is where his own material is frequently accompanied by segued offerings from Jeff Buckley, Blur, Led Zeppelin, Prodigy; a little Zappa here, a touch of Monty Python there - and even a few bars of Kylie at times - all are liable to be thrown into the mix of a two-hour set- that's when he's not walking across glass-littered bartops or never dropping so much as a single note as he re-strings his guitar, mid-song. This is all part and parcel of what an audience now comes to expect from this inveterate showman.

"There are some gigs I've done where I know something special has happened," Nick reveals. "That I have got to the heart of the song and brought it out with the same feeling as when I wrote it. Those occasions when the conscious person leaves and you are left with just the song, well, that's special."

With 4 studio albums, a double live CD and 2 EPs (including Instrumental, a stunning display of his guitar talents) under his belt, Nick's work is still as fresh and as vital as that of his first solo release in 1994. His 2006 album Treasure Island attests to his being quite rightly recognised as one of Britain's finest acoustic singer/guitarists and to his ability to craft songs that take in, absorb and spit out coruscating political scorn (as on the tracks Knuckledraggers and Sleeper Cell), social history comment (the title track, inspired by an obscure Liverpudlian philanthropist who employed men returning from the Napoleonic Wars to dig tunnels), the seven ages of man (in the infectious melody of By My Rocket Comes Fire), pride in his country (A Wiltshire Tale is an epic poem to his beloved home county), and turn them into catchy, robust tunes that grab the ear and remain in the memory long after the last track has ended. But as with his highly personal 2004 "family album" Blood Songs, he still has time to sing about the most important things in his world - family, friends, love, life.

"I never set out to write songs about something. All I can ever do is write from the heart. I try to write songs that mean something to people," he says.

During the spring and summer of 2006, Nick played a series of festivals around the country, in between working on material for his next album. These included acclaimed sets at the Moseley Folk Festival (Birmingham), JerseyLive (Channel Islands) and Beautiful Days (Devon). Between September-November 2006, he played to appreciative audiences in Ireland, England, Scotland and Wales, culminating with an appearance at the Wirral's 18th International Guitar Festival of Great Britain (where he received a standing ovation). He was also heard in a stunning session on Janice Long's Radio 2 show, prompting her to describe him as "absolutely astonishing".

Plan 9 from Harperspace was the spring tour of 2007 promoting the new DVD Love Is Music, a 'rockumentary' style film with a selection of Nick's best loved songs recorded in 5.1 sound. Also released that spring was Nick's first single for download on iTunes. Taken from the new CD Miracles For Beginners and called Blue Sky Thinking, it quickly went to no.1 in iTunes downloads. All proceeds from the single were donated to the Love Hope Strength Foundation, a charitable cancer group co-founded by Mike Peters of the Alarm.

In October 2007, Nick was part of a team of musicians - including Glenn Tilbrook, and Mike Peters - who, on 21 October 21 entered the Guinness Book of World Records by performing the highest ever gig in the world - 18,500 ft at Base Camp, Mt Everest. Over £200,000 was raised by the trek (organised by Love Hope Strength), which will go to the only charitable cancer hospital in Nepal, situated at Bhaktapur. He then went on to play as part of the Love Hope Strength all-star band to approximately 20,000 people in Kathmandu. Says Nick: "The experiences I had in Nepal will stay with me for the rest of my life. The trek for me personally was all about mum [his mother Monica succumbed to breast cancer in 2000] and paying tribute to her. The trek was hard, I was weary at the end of it, but I was glad I chose to go. I have been lucky enough to have had quite a few unforgettable moments on a stage, and standing singing Imaginary Friend at the second concert we did in Kathmandu has to be right up there. It was an incredible moment - indescribable feelings welled up in me, mostly sheer joy. The achievement, and the fulfillment of standing there in honour of my mum... it won't ever get better than that, will it?"

One of Nick's personal highlights from early 2008's Dig On Down tour of the UK was fulfilling a long-held wish to play in the Williamson Tunnels at Edge Hill, Liverpool. Inspired by the story of the obscure 18th-century philanthropist Joseph Williamson, who hired men returning from the Napoleonic wars to dig under Edge Hill, Nick subsequently utilised the theme in the title track of his 2006 album Treasure Island.

But there were greater heights to climb in 2008, both literally and figuratively. October 2008 sees Nick again working with Love Hope Strength - this time in a trek to Machu Picchu, Peru, to raise further funds for local cancer hospitals. But first he was able to fulfill a long-held dream in September 2008 when he played the Royal Albert Hall supporting the Levellers, and brought his daughter Lily on stage to sing Crosby Stills and Nash's classic Our House with him... just as his father did for him 3 decades earlier. Perhaps the third generation of Harpers will make the mark the first and second did... watch this space. 

The T.A.P theme nights were one of the great success stories of 2009. Bringing together the best local talent to pay tribute to some of the greats of modern music, previous nights have included tributes to Nirvana, Jeff Buckley, Bob Dylan and Crowded House. Now they’re back with a tribute to one of Country music’s greatest heroes, the legendary Johnny Cash.

“James is one of the best voices, and best kept secrets, in British R’n’B and Soul. Check him out.” – Van Morrison

"Imperious, warm and Sam Cooke-soulful, the title track of London R&B veteran Hunter's new LP for Rounder announces the arrival of one of the voices of 2006. After 20 years paying his dues, at long last people are indeed gonna talk". - Mojo

People Gonna Talk featured 14 original tracks written and arranged by Hunter, who partnered with Producer Liam Watson to create a wonderfully rich, classic soul sound. The album was recorded at Watson’s Toe Rag Studios in East London, (also home to Elephant by The White Stripes), where vintage analogue equipment has captured the warmth of Hunter’s authentic and heartfelt sensibilities. Without headphones, without separating musicians, without any digital enhancements or computers, the entire band, (including Hunter on vocals and guitar), played together live in the same room. “There’s a lot of ‘fake perfection’ in music that’s being recorded nowadays that comes from the hours and hours spent constructing performances in the studio,” says Watson. “This is a very real performance that reflects the real James Hunter with his band. I think audiences will appreciate that quality in his music when they listen to the record.”

There’s no denying that Hunter’s musical style harkens back to the days of classic 50’s and early 60’s R&B. What’s remarkable is that the same timeless quality inherent to the R&B innovators, including Sam Cooke, Bobby Bland and Ray Charles, can exist in music that is being written, performed and recorded today. Hunter’s voice is smooth, brilliantly controlled and unapologetic. Through his infectious vocal and guitar performances, clever songwriting and tight horn arrangements, Hunter proves to be a man of impeccable taste who has learned from his influences rather than simply imitating them. He even incorporates a smooth ska beat on the title track, People Gonna Talk, which gives the song a classic, warm rhythmic feel.

But don’t tell Hunter that the album’s a throwback to any era gone by. “I feel this music is as relevant for people today as it would’ve been 40 years ago,” he explains. “It has a groove that makes people feel good—it makes girls want to dance. What’s retro or old-sounding about that?” So call it what you want. Retro. Old School. New. Hip. Hunter delivers his impassioned vocals with such authority and freedom that his observations on romance take on an aura of timeless authenticity.

It was this timeless appeal that caught the attention of Kimberly Guise and Jonathan Otto in New York who were introduced to Hunter by Steven Erdman. Over ten years ago, Erdman discovered Hunter who was busking on a street corner in Camden Town, London. Still a good friend and champion of Hunter’s music, in March 2003 Erdman brought the 5-piece band over from London to play at a private party. Shocked that Hunter had not been snatched up by a major record label, GO Records, (that’s Guise-Otto Records), was quickly formed with the sole purpose of recording Hunter’s original material. On his debut with GO Records, Hunter was granted the freedom needed to achieve his artistic vision for his own material. The arrangement appears to have paid off, as even Hunter is rumored to be quite gleeful about how the album turned out.

In assembling his team, Hunter first turned to Liam Watson to produce, engineer and mix the album. Watson, who shares an appreciation for the R&B sounds of the 50’s and 60’s, opened Toe Rag in 1992 in response to the wave of digital recording studios popping up around London. The studio was custom built to capture the lush sounds that many argue can only be captured using vintage analogue equipment. With many releases to his credit, Watson’s notoriety skyrocketed with the smash hit success of The White Stripes 2003 Grammy winning, platinum certified album, Elephant.

In working with Hunter, Watson felt it was important to record the album live. “When I say live, that includes the lead singing,” explains Watson. “Everything is basically recorded at the same time in the same room. It’s a way of recording that isn’t so common nowadays, but a long time ago, that was the norm. So we’ve kind of recorded in an old fashioned way, because for the type of music that James does, it’s the most sympathetic way of making a record.” To capture Hunter’s vocal performances, Watson used what he regards as one of the best four or five microphones ever made, an AKG microphone called the C12. “James has a wonderful tone and the C12 really suits him. I don’t use that mike for just anyone,” says Watson. “He’s also a very good guitar player and can pull off some really weird stuff while he’s singing. I’ve always enjoyed watching him do both at the same time.”

Hunter relied on his top-notch band mates for all of the recording sessions, including longtime cohorts Damian Hand on tenor, Lee Badau on baritone, Jason Wilson on double bass and Jonathan Lee on drums/percussion. He also brought aboard a few musical guests, including Carywn Ellis on Hammond organ, Tom Morgan on piano and Gavin Whitlock on baritone. Hunter charged Hand with writing the string arrangements on two tracks, (People Gonna Talk and ‘Til Your Fool Comes Home) which were performed by Gill Morley on Violin, Ellen Blair on Viola and Vicky Matthews on Cello.

In keeping with the all-British creative line-up, famed Beatles photographer and Glaswegian, Harry Benson was sought out by GO Records to snap Hunter’s mug shot for the album artwork. Only after hearing a few early mix tracks from Toe Rag, did Benson agree to put his irreverent and gritty photographic eye to work on Hunter. The two hit it off immediately, trading stories about life in London and the various personalities Benson had photographed from musicians such as Willie Nelson, B. B. King and Sammy Davis Jr. to every United States President since Eisenhower, including presidential hopeful, John Kerry. Hunter performed a few tunes for Benson and wife, Gigi, at their apartment in New York before heading out to the streets to do the shoot.

Hunter is certainly no stranger to the studio. In 1996 Ace Records released Hunter’s solo debut, Believe What I Say, featuring guest appearances by Van Morrison and the late Doris Troy. In 2001 Boz Boorer, Morrissey’s lead guitarist and Musical Director, stepped in to produce Hunter’s sophomore solo album, Kick it Around, on the German label Ruf Records.

Hunter initially hooked up with Van Morrison back in the early 90’s after Morrison, tipped off by an enthusiastic Hunter fan at a newsstand in London, went to hear Hunter perform at a gig in Wales. Hunter subsequently toured extensively with Morrison, singing alongside such luminaries as John Lee Hooker, Junior Wells, Jimmy Witherspoon and Georgie Fame. He is featured on Morrison’s live album A Night in San Francisco and the studio recording Days Like This. Hunter continues to appear as a musical guest at Morrison shows, most recently in March 2004 at a concert in York, England where the two performed a duet of Things I Used To Do by Guitar Slim.

Born in Colchester, England, Hunter was drawn to the sounds of R&B at an early age, perhaps for lack of options. “When I was nine, my parents moved into this caravan in Thorrington, outside Colchester. It was this poxy little caravan, old and knackered, with me and my brother stuck in one half of it and Mum and Dad sleeping in the living room. We had a radio and there wasn’t much interesting on that, and my grandmother gave us an old gramophone and a heap of 78s – all 50’s stuff. I just acquired the taste for stuff around that age – we had Jackie Wilson’s Reet Petite and lots of other Rock ’n Roll in its earliest form. It was a great treat for us to be allowed to listen every now and then, because there wasn’t a lot of room in that place. It was in the middle of an onion field.”

"... like tea and crumpets before work, roast dinner at your mum's and listening to your iPod on the bus"

Leigh Mary Stokes is a 19 year old singer songwriter who writes infectious, emotive indie pop.

Listening to Leigh is like tea and crumpets before work, roast dinner at your mum's and listening to your iPod on the bus. It is everything that is right in your world, for you, at that particular time. 

Leigh released her debut EP was digitally distributed by Believe Digital, the leading European digital distributor and is available from over 100 online stores including, but not exclusively; I-Tunes, Amazon, E-Music, Napster, all Mobile phone networks and Last FM.

Leigh is backed by some of Portsmouth's most respected musicians and has played with such artists as The Kabeedies, Frank Hamilton, The Winterkids, Flamboyant Bella, Eliza Doolittle and Sam Isaac.

Leigh is building a good strong fan base nationally and has played many of the south coast's main touring venues and festivals including; Bestival, Wight Air 2007, Southsea Fest and Bangers & Mash at Camden's Proud Galleries and Club Fandango in London.

We did this last year and it was so much fun we’re doing it again!

A superb afternoon’s entertainment from the Bog-Rolling Stones, ably supported by The Targets, who sold out the Cellars in their own right twice in 2009. Also on the bill are the rather excellent Tiddly Kinks – you might just recognise the lead singer!

To make the day complete, come rain or shine Steve will be in the garden cooking up a storm on the barbeque and one item is included free in the ticket price.

“Mick Slacker & Co's tongue in cheek tribute act just gets better and better. The Bog Rolling Stones have earned a reputation as one of the most authentic sounding tribute acts around. Their tongue in cheek humour, wigs, stripy trousers and boundless energy make them an act not to be missed.”

Buy early, this will sell out real fast!

The Small Fakers will rip through all the classics, album tracks and b-sides from ’Whatcha Gonna Do About It’ to ’Wham Bam Thank You Mam!’ Featuring Matt Bond on vocals and guitar, described by ’Room For Ravers’ website as ’truly a reborn Marriott’.

"Four geezers who transcend the genre of tribute band by delivering both the sound and the sartorial panache of the capital’s very own Fab Four. Ever found yourself wanting to go and see The Small Faces? Like it was The Marquee in 65? This band is probably the closest that you're going to get. The pedigree of the praise they have received is second to none."

‘Really great, absolutely spot on’ – Kenney Jones

'For those of you that never saw the Small Faces live, this is as close as you're gonna get' - Stan Lane, Ronnie's brother

Liverpool, England, 1979 is where it all began. Gary Daly and Eddie Lundon started to work together at the age of 18. Only two years later they came out with their debut single 'African and White'

By this time, China Crisis was beginning to start a stir and Virgin Records were quick to pick them up. The band then re-released 'African and White' and it broke into the UK charts. Their album, 'Difficult Shapes and Passive Rhythms' came soon to follow reaching number 21 in the charts, and if that was not enough, their first single came from the album 'Christian' hit number 12.

China Crisis began to really take off. They started to concentrate on the creation of their second album 'Working With Fire And Steel'. Once again, their songs broke the charts, especially 'Wishful Thinking' which made a definite impact at number 9. 'Wishful Thinking' became just the tight song to open up the gate for what arguably could be their best album.

For the album, Walter Becker the founding member of Steely Dan stepped in to produce. 'Flaunt and Imperfection' was released in the spring of 1985 and in no time rose the charts to number 9. Not only did the album go through the roof, many hit singles were spawned from it including two of which made it in the top 20: 'Black Many Ray' number 14, and 'King In A Catholic Style' number 19. A video was put out in the fall of 1985 called 'Showbiz Absurd'. This video highlighted many of their greatest hits like 'Christian', 'Working With Fire And Steel', 'Wishful Thinking', 'Black Man Ray' and many others.
For the next album, Brian McNeill came in on the keyboards, as well as two new producers, Clive Langer and Alan Winstanley. 'What Price Paradise' was released in November of 1986. 'Arizona Sky' and 'Best Kept Secret' were two singles that came out which hit the charts at number 47 and number 36.

After 'What Price Paradise' the band took a little break from all the action. They did not resurface onto the scene until three years later in 1989 when they put out another album called 'Diary Of A Hollow Horse'. Walter Bccker came back for this album, and recorded most of the songs. Mike Thorne also came in for a couple as well. China Crisis then went on tour with the support act 'The Highlanders' right after their release of 'Diary Of A Hollow Horse' and their two singles from the album 'Saint Saviour Square' and 'Red Letter Day'.

With almost ten years under their belt now, China Crisis put out a compilation album of all their greatest hits covering everything that they had done from the beginning. Two years later, the band split away from Virgin and then eventually went their separate ways. However in 1994 Eddie Lundon and Gary Daly wanted to give it another go. The rest of the members did not join the effort and compensation was made with the addition of Terry Adams and Mark Phythian. The new album 'Warped By Success' was released by a small record company called Stardumb Records. One highlight, was the former members, did come back and help on some of the songs on the album.

The band changed labels to Telegraph Records and put out a live album recorded at the Neptune Theatre in Liverpool called 'Acoustically Yours'. The album covered the history and the hits of China Crisis. They re-released 'Black Man Ray' but as a live version.

So where is China Crisis now? What have they been up to? Well they have been doing gigs around the UK and they are also writing new material.

This is a rare chance to see them up close and personal.

Green-ish Day are Europe's ultimate tribute to the U.S . Punk legends Green Day. This Cellars’ debut will feature their new set!

All the usual Green Day classics are there - but they now include new material from the follow-up album to 'American Idiot' – ‘21st Century Breakdown’ - which has already produced two U.K. top 40 hit singles - 'Know Your Enemy' and '21 Guns'...

Be prepared for fun, frolics and pure punk rock energy - all night!!!

Larry Garner is without doubt one of the top modern day Blues artists touring the world today, his songs are stories of his past and everybody’s present.

Larry was born in Baton Rouge, Louisiana where he picked up on the Swamp Blues music popular in that area, inspired by artists such as Silas Hogan and Clarence Edwards.

His songs are delivered with a sense of irony, his lyrics are both meaningful and amusing in equal measure. Added to this Larry has a wonderfully expressive voice, is a fine guitarist and a great performer.
Larry has won many top awards including the WC Handy Award and is one of the most adored performers on the Concert / Festival scene all over the World.

When Larry first came to England he toured with the Norman Beaker Band and at last they are reunited.

The Norman Beaker Band have been at the forefront of the UK blues scene for over 3 decades working with a Who’s Who of Blues stars including, BB King, Buddy Guy, Alexis Korner, Jack Bruce, Van Morrison, Chuck Berry and many more.

Their Twenty-First Year - 4,000 Concerts

"THEY'RE FABULOUS! ONE OF BRITAIN'S VERY BEST LIVE BANDS" - Bob Harris, Radio 2

"THE HAMSTERS ARE A GREAT BLUES BAND" - Johnny Walker, Radio 2

Instead of the usual boring biog, we decided to list 30 interesting facts about everyone’s favourite Rockin’ Roadents!

The track 'Taxi Driver' from their album 'Open All Hours' was included in Classic Rock magazine's '100 Blues Anthems' in their August 2006 edition.

They were mentioned on BBC1's 'Bargain Hunt' programme...  they thought it was weird too....

Their second session for Paul Jones' Radio 2 Blues show was broadcast in September 2003.

They released a new 1-hour studio album in April 2004, titled 'Open All Hours'.

They released a 2-hour concert film on DVD in 2004, titled 'To Infirmity, and Beyond!'.

They performed a series of open-air shows in the summer of 2004 as special Guests to Status Quo.

They currently receive an average exceeding 1,000 visitors a day to their website.

They’ve been voted the UK’s best blues-rock band by the readers of Blueprint magazine.

They contributed a track for inclusion in the BBC Radio 2 series "Bright Lights, Big City". It documented the story of British Rhythm and Blues from the fifties to the modern day. It was presented by former Rolling Stone Bill Wyman, and was broadcast in the Autumn of 2001.

They conducted an interview for the Sunday Express, and were also the week's featured concert in The Times 'Play' section, December 2002.

A member of Natalie Imbruglia's band was spotted wearing one of their t-shirts on an appearance on Graham Norton's show on Channel 4.

They performed at 2003, 2004, 2005 & 206's London Guitar Show at the Wembley entertainment complex, attended by over 15,000 guitar players, aspiring and professional alike.

The Hamsters have been voted one of the UK's best unsigned bands by Kerrang magazine. (We already have a record deal, but it's a nice compliment, innit?) Even BBC's Top Gear magazine recognises the band as the UK's hardest working, and featured them in an article on in-car entertainment, the Hamsters being the ideal people to ask as they're always travelling somewhere.

Although primarily performing their own brand of material, they are widely regarded as leading interpreters of the music of Jimi Hendrix and more recently ZZ Top.

Originally forming for their own amusement (and taking their name from the Sex Pistols, who once used it as a pseudonym to outwit hostile councils), the Hamsters enjoy the irony of being an aggressive band with a cuddly name. Although serious about what they do, they don't take themselves too seriously.

Members have performed with artists such as Eric Clapton, Alison Moyet, Doctor Feelgood, Walter Trout and the late, great gentleman of British Blues, Alexis Korner.

World Champion Formula 1 driver Damon Hill is a fan, and was spotted wearing a Hamsters tee shirt at the Hungarian Grand Prix!

Slim has been voted one of the top 100 guitarists of all time in a radio poll on LBC. 

Their version of Hendrix's "Voodoo Chile" has been used in an edition of BBC TV's Top Gear.

Slim is featured in a book called "17 Watts? The First 20 Years Of British Rock Guitar", talking about his early musical experiences alongside Eric Clapton, Gary Moore, George Harrison and David Gilmour.

The band's album "The Jimi Hendrix Memorial Concerts" was rated Album Of The Month in Germany's leading musicians' magazine, "Guitar and Bass".

Having visited the USA in '91, they've worked a lot in mainland Europe, and in November '92 performed at three sell-out Jimi Hendrix festivals in Holland, including the most celebrated gig in Europe - the Paradiso, Amsterdam.

Their version of Bob Dylan's 'All Along the Watchtower' is included on an album of Dylan cover versions, featuring such artists as Bryan Ferry, Joe Cocker, The Byrds and many others, released throughout Europe by Polygram in '93

Slim was interviewed for the Jimi Hendrix and Jim Morrison editions of 'Mojo Working', a Channel 4 (UK) TV series broadcast through summer '92, documenting the most influential figures in popular music.

Slim also writes for guitar magazines when he has time, and was featured talking about his equipment(!) in the September '94 edition of Guitar Techniques magazine. He has also been included in the "Guitarist Magazine Book of Guitar Players", published in '94. Guitar Techniques asked Slim to contribute a recorded lesson on how to play the Blues each month, for inclusion on the CD which accompanies every issue.

The band have been interviewed and filmed live by MTV Europe and German national TV, as well as being featured in session and interview on Radio One for Bob Harris and Johnny Walker, Radio Two for Paul Jones, for GLR in London, B.F.B.S in mainland Europe and Dutch national radio.

Early in '95, the band released Route 666 which entered the 'NME' chart at number 7. 'The Observer' newspaper has even pinched the idea from the CD booklet for the cover of a colour supplement! Photographs for the album were taken by the celebrated snapper, Gered Mankowitz, who is especially known for his seminal photographs of Hendrix and the Stones, among many other Rock icons.

The Hamsters are: Slim - Guitar, Singer / Rev. Otis - Drums, Sings a bit / Zsa Zsa - Bass, Sings a bit

Recordings:

Electric Hamsterland Hendrix/Studio '90 CD
Burnin' Vermin Live '91 Video
Hamster Jam Live '91 CD
The Hamsters Studio '93 CD
Route 666 Studio '95 CD
The Jimi Hendrix Memorial Concerts Live '96 2 CD
Band of Gerbils Live '96 Video
Verminator! (The Z.Z. Top Tour) Live '97 Video
Pet Sounds - 10 Years Of Rodent Rock Compilation '98 2 CD
Rodents Rock The Reich! Live German TV '98 Video
Condensed Hamsters Live Compilation '00 CD
They Live By Night Live '02 CD
Open All Hours Studio '04 CD
To Infirmity, And Beyond! Live '04 Video

Nice things people have said about them:

•Slim is one of my children - Albert Collins, blues legend
•We love The Hamsters here on the show, they're one of our favourite bands. You must see them, there's so much energy from their live performances - Bob Harris, Radio 2
•Keep on playing the Experience! -- Noel Redding, Jimi Hendrix Experience
•The best little band in the country! -- Peter Green's (Fleetwood Mac) Splinter Group
•We make a great double bill --John Mayall , blues legend
•The Hamsters really kick ass, Slim is one of your greatest guitar players -Walter Trout
•If there was a Grammy for being kings of the road, The Hamsters would walk it - The Times
•Nobody does the music of Jimi Hendrix and ZZ Top better (apart from ZZ Top) - The Times
•They've proved themselves to be one of the best live blues acts in the UK - The Times
•A guitar virtuoso performance you'll rarely see matched anywhere, and the tightest rhythm section in the business -- Blueprint
•Outstanding -- The Guardian
•Top drawer, rough-edged R'n'B -- Time Out
•These guys are awesome! -- Ents24.com
•Blistering Blues-Rock -- Manchester Evening News

"Dancey & direct; very impressive stuff" - Artrocker... "Right now we're loving Busy Hands" - NME

Since they began playing live last year, Leicester's math rock/pop quintet Minnaars have already notched up shows all over the UK and in Europe.

Produced by Forward Russia's Tom Woodhead, their brand of incessantly catchy, dark-disco-electro-rock fuses pop orientated intricate poly-rhythms with floor shuddering dance beats and has garnered them attention from every aspect of the music industry.

The band is signed to Rimeout Records (Japan) and Hip Hip Hip (France).

With pending releases in Japan and Europe, numerous UK Festival appearances last year (inc. Reading & Leeds and Summer Sundae), a European tour and praise being heaped upon them by Radio 1, Xfm, NME and even Gavin and Stacey star Mat Horne, it seems they really are the genuine ones to watch in the next twelve months.

Here's some nice words other people have written about Minnaars:

"...Dancey and direct; very impressive stuff" - Artrocker

"...The Hottest property to come out of Leicester since Kasabian" - Radio 1

"...Right now we're loving Busy Hands" - NME

"...What track would I play right now? - "Busy Hands" by Minnaars - XFM

"...Last year was all about White Lies. My tip for this year is Minnaars" - Mat Horne

"...What sets Minnaars apart is that they have the tunes and the bravery. Comparisons with Foals, due to a fixation with the bottom 12 frets, I suspect, are wide of the mark. The overly-focused sound of the Oxford indie-math band's debut Antidotes pales in contrast this. This EP focuses on innovative music which makes you dance, revere and ponder in equal measures..."- A Box of Words 

"...I'm exhausted just listening..." - Jo Whiley, Radio 1

"As the local lads done good, Minnaars manage to create a flurry of excitement that for thirty minutes on Saturday afternoon turns Victoria Park into one sun-drenched dancefloor" - DIS - Summer Sundae 2009