LOUD WOMEN eZine Issue #11 | Dream Wife | Kill Bitches to Dress Foxes | Desperate Journalist 
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3 gigs in March!

February will be the first month in the history of LOUD WOMEN that we won't be holding a gig! Never fear, we'll be spending it planning three epic shows coming up in March:

8 March - The Baby Seals, Charmpit & The Menstrual Cramps at The Fiddler's Elbow, Camden. An International Women's Day fundraiser for Women's Aid, in sistership with Who Runs the World.

17 March - Fightmilk, Charla Fantasma, The Top of the Pops Minor UK Indie Celebrity All-Star Feminist Female-Fronted Backing Band & Spencer at the Hope & Anchor, Islington.
18 March - The LOUD WOMEN compilation album launch at the Sound Lounge, Tooting. All dayer! Featuring:
Deux Furieuses
Gladiators Are You Ready?
Janine Booth
Little Fists
Madame So
Nervous Twitch
The Ethical Debating Society
The Potentials

LOUD WOMEN eZine issue #11

LOUD WOMEN is a DIY collective that champions women in music. This eZine will bring you the latest scoop on women-led music, events, ideas and action that we love and you want to hear about. And if that floats your boat, get involved and contribute to the next one!

My Labia's Lopsided, But I Don't Mind
The Baby Seals: My Labia's Lopsided, But I Don't Mind
The LOUD WOMEN: Volume One compilation album is available to pre-order NOW! Just £10 - all profits go to Women's Aid - and you'll receive the CD with accompanying zine ahead of the official release date of 18 March. 21 of the UK's finest loud women - much excite! See
Pre-order the album now!
Nova Twins: Wave


Excited to announce that this year's LOUD WOMEN Fest (2 Sept) will be held at DIY Space for London! Team LW met with Team DSFL last night and hatched some cunning plans for making the Fest a superb all-day two-stage event. 

A panel of happy ears are meeting this Sunday to listen to all of the band and musician submissions we've received (SOOO many, OMG), and we'll start making line-up announcements from next week.

Actually can not wait. This is going to be amazing!


A little Christmas treat for those of you who didn't make it to our 18 November gig - noone should miss out on seeing SLAGS! Here's their song about, yep, Janine off Eastenders. (And there's another SLAGS video over on the LOUD WOMEN YouTube channel too.)
Slags – 'Oh Janine' – LOUD WOMEN at the Hope & Anchor, 18 Nov 2016

interview: Dream Wife
by Kate Crudgington, published on GigSlutz - original version here!

Dream Wife: Alice, Bella & Rakel (photo by Francesca Allen)

Hello Dream Wife! You’re about to play to a sold out crowd as part of DIY’s ‘Hello 2017’ tour at The Old Blue Last. How are you feeling about tonight’s gig?

Rakel: We’re really excited to play and it’s a beautiful venue, but size-wise it’s a bit stressful. We’re going to be playing to such a cramped crowd, we’re a little concerned about where to go if we need to get on and off stage.

Bella: Yeah, I’m excited to play and I know it’s going to be great, but that’s the one thing that’s stressing us out really.

Rakel: I’m excited to see a band called Venture Lows though. They’re supporting us and our friend’s son is in the band. All of the band’s playing tonight are great actually, so I think that stage will already be sweated out by the time we get there.

Bella: We’re excited to go on the DIY tour as well. We’ve been mostly recording and then, oh wait, we had Christmas off…

Rakel: I think Christmas was the first break we’ve actually had since…last Christmas? (laughs)

Bella: Everyone was like “awh, it must be so nice to have this time where you can just relax?” and we were like “yeah, this is my only time to relax until next Christmas…” (laughs)

Rakel: It’s a really beautiful thing though! It just feels like you’re living your life the way that you really want to live it, as hippy as that sounds. I haven’t been doing stuff professionally that I’ve not enjoyed.

Alice: Yeah, everything’s just really exciting right now, so ‘being busy’ doesn’t really feel like ‘being busy’ really.

You filmed a music video for your track ‘FUU’ at The Moth Club last year which features your fans going mad to the song. What inspired the track, and what’s it like watching your fans when you’re on stage playing it?

A: Oh God, there was that one middle-aged guy who was just stood directly below Rakel once, staring at her, miming all the words to the song…

B: He just took the song completely out of context.

A: But normally people freak out and it’s super fun and that’s what the song’s for.

R: Originally the song started out as our take on the theme tune from The Fresh Prince of Bel Air. That was the starting point. It all started with Will Smith.

All good things do…

R: The song is actually about cutting your hair, and nobody really knows that. Everyone thinks its a really grotesque song but it’s actually about haircuts. When someone has the power to fuck up your look, it’s a very scary thought (laughs). Now we have a drummer, the crowds go more even more crazy when they hear it.

A: Yeah, it’s like a stadium beat and everyone just goes mad. It’s really cool.

I’m looking forward to hearing it tonight. You’re going to be supporting Sleigh Bells on their UK tour and The Kills on their 15th anniversary tour this year. What are you looking forward to most about these shows?

A: Both of those bands are our genuinely some of our favourites. We’re so excited to play with these legends.

B: So it’s kind of ridiculous that we get to go on tour with them.

R: We weren’t really sure if we’d get the Sleigh Bells gigs because when Alice met the lead singer…

A: I bit Alexis on the cheek! (laughs)

R: We’re with the same label (Lucky Number) so Alice was lucky enough to meet them and she bit Alexis’ cheek really hard, and left a mark apparently, so we weren’t really sure if we’d get to tour with them.

A: I think she was okay with it, she commented on the picture saying I could bite her cheek any time (laughs).

You certainly know how to leave a mark!

Rakel – Before the end of 2016 you performed at the Bands4Refugees charity gig at Kamio with Wolf Alice, Slaves, Swim Deep, Bloody Knees, and Ollie from Years & Years. You covered Dolly Parton’s ‘Jolene’. Why did you choose to cover this song?

Rakel: I love Dolly Parton. She is my favourite lyricist. I really like her way with words.

That was a fun night. I was such a newbie, it was so fun playing the show because it was interesting being with a bunch of bands who had toured before already and being like – “Hi! I’m the new kid!” – but they were all so lovely and kind.

Everyone worked really hard on their songs too. We had so many practices and everyone took it very seriously. It was a really sweet end to the year. And I loved Ollie. He was just the best. It was my dream to sing the Dolly song as well, and I didn’t fuck it up (laughs).

You all modelled for Vivienne Westwood’s unisex fashion project that celebrates the androgynous toga. What was it like collaborating with Vivienne and other creatives on this project? 

R: It was freezing. We went on to Black Heath and became blue…

A: We were surrounded by crows and we didn’t realise that the bodies of people who had died in the plague had been buried on Black Heath, so the crows were like “death is here” and we were standing there in these unisex togas just like (starts laughing) it felt like a dream…

R: They’re really wonderful, the Vivienne Westwood crowd. It was really great collaborating with them.

A: They wanted us to play around and add our own style too, so in that sense we were able to wear the togas as we wanted and there were so many different ways to do that. It was such a surreal experience.

R: They’ve been very kind to us. We went to London Fashion Week and we went to some parties and it was like a scene out of Zoolander. It was great, and it was good to kind of realise that it’s all a show, it’s like being in a circus. It was cool.

You all studied fine art & visual art at University, and Dream Wife was initially an art project that blossomed in to a band. Aside from the Westwood project and your music, do you still find time to create other forms of art?

A: We collaborate with a lot of other creatives in London and elsewhere. 

  • "it’s not just about the recordings or an album, it’s bigger than that. We’re thinking about the artwork, what the videos will look like, and what the vision is aesthetically."

For the show we filmed at Halloween at the Moth Club, Bella built the whole set in her bedroom out of cardboard. We are still really hands-on in other ways, but the music has taken up more of our time. We just wanted to put on a show where you feel like you’re immersed in a world, and people can feel like a part of that.  

Finally, any bands/albums you can recommend listening to?

B: The Garden Centre

A: Definitely Nova Twins.

R: I love Solange’s new album. That changed my life. She has a way of speaking to people that I’ve not heard before.

A: There’s so much new music it’s hard to choose.

R: There are a lot of good bands in London. I mean, we’re based in Brighton, but we were never really part of a band scene, we were just studying Art at Uni and had friends there. It’s fun to come to London and not realise you’re part of a scene. It’s nice going to a bar and realising most people in there are musicians.

A: Yeah, we were kind of in the art bubble a bit. Even when we’re back in Brighton it’s cool to realise who else is making music and that this scene does exist and you are part of it.

Follow Dream Wife on Facebook for more updates.

The full interview can be found on the LOUD WOMEN blog here

Dream Wife - FUU
Dream Wife: FUU

blog: Why I'm no longer a punk rock "cool girl"

By Kristy Diaz (originally published on Track 7 and reblogged on with permission, thank you!)

I’m at a punk show in the city I live in and I’m talking to one of the bands. They’re friends of mine, and we’re chatting about the interview we did a few months ago. The promoter comes over, who is also in one of the bands playing the show. I don’t know him but I recognise him.

He comes over and asks me who I am, accusingly.

“Are you from Leicester?”

“How do you know these guys?”

I’m flustered and confused and fall ungracefully over my words. Yes, I’m from Leicester, these guys are my friends.

He goes on to motion to someone behind me and tells me not to worry, he’s not looking at my tits and having been thrown by the earlier interrogation, I tell him with regained confidence that I know, they’re not on my head, which is where he was looking.

Over the past 15 years of going to shows I’ve had fights, I’ve been groped, I’ve got scars earned in mosh pits, and I’ve fallen face down on wooden floors.

And yet, this is the most intimidated I’ve ever been at a show. A reminder that, as a woman in punk, you constantly need to defend yourself against challenges of space, ownership, and identity to justify that you’re cool enough to be standing where you are.


The ‘cool girl’ is a concept coined in a book I’ve never read (Gillian Flynn’s ‘Gone Girl’) but became familiar with through feminist and pop culture writing. It describes a particular trope of woman that seems to exist to satisfy the desires of men – she shares their interests, is attractive but low-maintenance, is basically ‘one of the guys’.

  • “Men always say that as the defining compliment, don’t they? She’s a Cool Girl. Cool Girls never get angry; they only smile in a chagrined, loving manner and let their men do whatever they want. Go ahead, shit on me, I don’t mind, I’m the Cool Girl. Men actually think this girl exists. Maybe they’re fooled because so many women are willing to pretend to be this girl.”

I was the punk rock version of the ‘cool girl’ trope for years.

The punk rock cool girl likes real music. Good music. Proper music. She’s into the latest hot hardcore band playing to 15 people right now. She knows every word to The Shape of Punk To Come. She doesn’t listen to pop music, or dance music, or stuff that Other Girls like. Her favourite Braid record is the Correct One. She only sings along to Panic! At The Disco ironically. She can hang out with your musician mates and hold her own in a conversation, but she won’t point out the ways in which even punk rock, this glorious utopia we inhabit, has the capacity to oppress.

And, much like the original concept, she’s not real.

She loves music. That is real, to the point that it defines her. But she’s learned the performative nature of punk fandom, the language we use to talk about which bands we’re allowed to like, and which ones we aren’t. She knows that liking the ‘wrong’ bands will make her less credible. She exists within a set of boundaries, and edits herself accordingly.


Being a woman involved in punk in any capacity is an exercise in navigating a constant, shifting set of hypocrisies. Often, it’s the microaggressions that ring loudest.

The fear of being labelled a ‘fangirl’, or a ‘poser’, or a ‘scene kid’ runs deep; heavily gendered insults thrown in the MySpace era I grew up in. This didn’t stop me from levelling them at other women. The women I wasn’t like.

Internalised sexism manifested in ugly ways, from disguising my own femininity and sneering at women who wore heels to shows. The entitlement of identity and wanting ownership over music, dismissing others as scenesters who weren’t serious about music. Mirroring the behaviours of men.

Consider the ways in which women are treated, however, and this becomes a logical but destructive defence mechanism. Armour against the onslaught of expectations. Expectations that you’ll have the right networks, know the bands, the promoters, the labels, but can’t hang out with your friends at a show without your status being questioned.

Expectations that you’ll wear the right band t-shirts. Project onto other women instead of pointing out the irony of articles calling out hardcore bands for being meatheads whilst declaring that the definitive sign of their succumbing to the mainstream is a conventionally attractive woman wearing their t-shirt at a gym.

However, at one point in time I’d have said exactly the same thing. I’d have thought she was a poser who got into hardcore whilst it was trendy. I had listened so much bullshit that I believed it.

It isn’t just hardcore. The narrative surrounding ‘real emo’, whilst often well-meaning and with legitimate arguments about the media persistently conflating ‘emo’ with ‘guitar music that is sad’, has perpetuated an exclusivity that has been hard to shake off. It took me an embarrassing amount of time to reconcile my love of the genre across its ‘waves’, as though knowing your history meant you couldn’t enjoy your present.

Your music knowledge is going to constantly come into question, though, so make sure you’ve read up. The very coolest of cool girls are being ‘taught’ about music. Invisible, malleable girlfriends who need to be educated about the right bands.

These unsolicited recommendations exist everywhere, from online discussions to entire songs. For example, in Moose Blood’s ‘Bukowski’, the language used is one-way, the subject completely passive.

  • “I’ll introduce you to Clarity
    Teach you the words to The Sound of Settling
    Make you watch High Fidelity”

There are plenty of lyrics like this, and from some of my all-time favourite bands. I had to go back to Brand New’s ‘Your Favourite Weapon’ and Glassjaw’s ‘Everything You Ever Wanted To Know About Silence’ and really reflect on some of those lyrics.

It is a difficult position to take when the music you love contributes to something you don’t. But, for me, being able to examine it critically played the biggest role in stepping out of the ‘cool girl’ trope.

It allowed me to realise that other women are not the problem. Like me, they are also having their credibility questioned, being sidelined as the voiceless subjects of songs, and being indirectly told that the music they are so deeply passionate about is selected based on who they are sleeping with, or want to sleep with. That they are always one badly curated mixtape away from knowing anything about music.


As a DJ at a successful club night I found myself up against countless men every week telling me that I wasn’t good at my job. Whilst playing to a packed dance floor, they would ask “Why are you playing this? No-one likes it.”

Play my request.

Give me your number.

This song is shit.

It didn’t matter if I was playing Q And Not U or Girls Aloud. They would never be appeased. It wasn’t Shellac, or the Stone Roses, and I was still a woman. I couldn’t gain the level of respect I so desperately wanted. I had to stop trying.

Being the ‘cool girl’ is not a solution. It is a parasitic distraction, and it takes away from everything else about you. Reduces you to a record collection. Highly unrecommended. Zero stars.

It’s okay to be uncool. Forget the notion of cool, and forget the notion of cool as defined by anyone else other than yourself. One of the most liberating things I’ve unlearned is looking for the approval of men, and since abandoning those constraints I enjoy music more. I can allow myself to not like things I feel I ‘should’ like. I embrace all of my wide-ranging tastes. I listen to infinitely more music made by women than I did ten years ago. I’m learning to stop comparing myself to other women, and viewing them as competition.

Let that shit go. Never deny yourself the music you enjoy. Sing and scream along with every breath. Collaborate with women and other marginalised groups in punk, rally around each other, protect and support each other and invest energy in creating. Never apologise for an inch of space you occupy and answer to no-one. Fuck it up at DIY shows and dance to pop music recklessly, wearing heels and glitter and jeans and cut up t-shirts. Be taught nothing. You know everything.

GUTTFULL: Arsehole
Our first LOUD WOMEN gig of the year was a sell-out! Huge thanks to the awesome Jess McPhee of Parallel Magazine for curating a stonking line-up. And for taking these gorgeous photos of Polynya, Brosephine and Peach Club. Enjoy!
Tough Tits - Anxious
Tough Tits: Anxious

record review
by eloise bulmer

Resolution by Desperate Journalist

Ringing in the new year with a brand new song from their upcoming album, Desperate Journalist’s ‘Resolution’ is full of chiming guitars and lyrics sung with conviction. The track kicks of the new year with a melancholy note, with a sweeping and mournful sound that wraps up what 2016 was to many people.

Vocalist Jo Bevan explains the story behind the track:

“The song was written in a hotel room after a New Year’s Eve party when I was feeling particularly peculiar, unable to drink and on a lot of codeine. NYE is obviously an unusually heightened time to feel completely out of the loop with a group and when that happens to me, like everything else I can’t really cope with, I romanticise it into filmic fragments.

The countdown to midnight was dramatized massively by the band we were watching (as is standard), and I couldn’t escape fixating on teenage thoughts like: how many cliched repetitive conversations/Fun Times you have with people on Significant Days of the Year, how emotionally awkward the midnight kiss was for so many of us, the people making big pointless romantic gestures, and the general warm frenzy of everyone else from the weird cold bubble of where I was. So broadly speaking, the song is about being detached and overstimulated.”

The track is released on the build up to their second album ‘Grow Up’ which will be released on the 24th of March, and is sure to get an airing at their headline show at Scala on the 6th of April.

record review  
by richard archer

Paint it on the Wall by Dungarees & Dragons

Cambridge indie-rock favourites The Centimes dispersed a couple of years ago and went in surprising directions.  The great rhythm section of Jasmine Robinson and Amy Devine have formed an equally-loved punk rock group called The Baby Sealswith Amy’s sister Kerry on guitar and lead vocals. The remaining Centime –  12-string whizz Adam ‘Woody’ Woodsford – moved to Copenhagen and has formed Dungarees & Dragons with Tina Bang-Olesen (formerly of London indie legends the Sock Puppets) on lead vocals.

‘Paint it on the Wall’ is the first fruits of the pairing. A groovy and international vibe is maintained  throughout this 12 song set – we are treated to bouts of duetting girl/boy vocals that fall on the right side of sweet, whirling Hammond organs, skipping drums and Woody’s trademark 12-string guitar which is a delight to have back in the ear canals where it belongs.

The opening rush of ‘Hi Pierrot’ will zing the heartstrings of even the most hardened cynic, conjuring as it does a joyful melancholy akin to looking at photographs of fondly remembered times.  Elsewhere, ‘Calling Tomorrow’ drifts into the stratosphere with an  effervescent ascending guitar break at the songs tail-end. Even ‘Horoscope’ with its lyric of ‘clouds are raining down from the sky’ is delivered as if sunshine is not too far away.

To provide balance, the duo bare their fangs on the angry ‘Privatisation’ (sample lyric – “they don’t pay their taxes, they don’t live where you live/ Every time you buy a train ticket you give them ten quid”), and kick out a moody Julie Driscoll and Brian Auger-styled jam on the yearning ‘I’ll Be Seeing You’.  But for the most part this is a gloriously up-tempo affair, calling to mind some of the best work by The Cardigans, the Pastels and even Stereolab in bits. An intriguing record.

[jump back to the top]

The Menstrual Cramps - Frack Off
The Menstrual Cramps: Frack Off

kris smith' record watch 

New Tracks

Graceland – Fleetwood (Dec 2016)
GUTTFULL – Arsehole (Jan 2017)


Peach Club – White Girl / Mission Impossible (Dec 2016)
Tough Tits – Anxious/No Know (Jan 2017)
Peaness – Same Place/Seafoam Islands (Jan 2017) 
Suggested Friends – Chicken/I Called Her Out in the Worst Way (Jan 2017)


Slowcoaches – Nothing Gives LP Dec 2016
Priests – Nothing Feels Natural Jan 2017
Sacred Paws – Strike a Light LP Jan 2017

Later releases

Yur Mum – Live EP Feb 2017

Desperate Journalist – Grow Up LP Mar 2017

Feature – Banishing Ritual LP Apr 2017


interview: Kill Bitches to Dress Foxes

by tim forster
Kill Bitches to Dress Foxes (KBTDF): L-R Turko Vein, Itxi Eskorputa and Ale. Tim interviewed Ale via email. Photo by Pawel Dziurawiec

Could you give us an overview of KBTDF? Had you been in other bands before? 
I met Itxi six years ago when I came to London. We always talked about doing an all girl band but we didn't know how to play music at all! Three years ago I started to learn bass and tried to push Itxi and some other friends to do this but it wasn't happening ‘cause we couldn't find a guitar player until a year ago Itxi met with Turko at a gig and she said she'd love to join us. A week after we had our first practice and it was the best time in a very long time for the three of us. Turko plays in two other  bands: Meinhof and Erege. Itxi used to sing years ago in a band from the Basque Country called Y tu que coño miras! and for me this is my first time.

Why did you start? Was it all about making music or did you feel you had things to say?

We started this as a therapy, just to let out all the anger, frustration and disappointment in our lives. As Itxi always says "I need to express myself through punk!". We also wanted to see each other more often and to do something different rather than get wasted, so now we still get wasted but we also make music in the meantime, or at least we try!

What sources do you draw on in lyric writing? 

Mostly own experiences, from our point of view on things in general (politics, sex...) to funny stories that happen to us partying or going to work. There has been a few times that on a break at the practice I would tell them something that happened on a night out and Turko V made a lyric out of it straight away! Obviously those songs won't make any sense for anybody else but us but who cares!! At the beginning it was mainly Turko V doing music and lyrics, now Itxi and myself are writing stuff as well

Who inspires you?

Emma GoldmanKathleen HannaWendy O. Williams (Plasmatics)

What bands have you been enjoying lately?

Municipal Waste, Cancer BatsSleepHigh on FireAccused

What are your plans for 2017?
First we are going to learn to play better and then we'll see!


KBTDF's  Facebook page is 

Tim Forster's full interview can be found here
Some great tips from Katie Patterson for anyone thinking about taking drum lessons.

lorna draws ... a 2017 calendar

For anyone who did not get one of the limited edition 2017 Gigs & Pencils calendar, do not despair! You can now download the pages for free to print out and enjoy! Head over to

For more info on each band:
JANUARY: Otoboke Beaver –
FEBRUARY: Maid Of Ace –

MARCH: Brix & The Extricated –
APRIL: Hagar The Womb –
MAY: Skinny Girl Diet –
JUNE: Menace Beach –
JULY: Laura J Martin –
AUGUST: Mountain Of Fire & Miracles –
SEPTEMBER: Sauna Youth –

OCTOBER: Hell-o-Tiki –
NOVEMBER: Ela Orleans –
DECEMBER: The Parrots –

To hear tracks from all of these bands, plus some other gigs&pencils favourites please listen to this radio show:

Lorna Tiefholz plays in Rabies Babies and Mountain of Fire and Miracles.

file under self-harm

a poem by Janine Booth
She's marked her again and the scars will preserve it
She's causing her pain 'cause she thinks she deserves it
She isn't a file on a case worker's shelf
She isn't self-harming, she's harming herself
Hyphen, inversion may make it sound neater
Straight like the burns from the bars on the heater
She's the subject, the object, the hurter, the hurt
The rejecter, the reject, the victim, the perp
She's harming herself but she doesn't self-harm
She isn't arm-cutting, she's cutting her arm
She isn't flesh-burning, she's burning her flesh
She's fresh from a session of self-aimed aggression
She's not a statistic in post-trauma health
She isn't self-harming, she's harming herself

1 Feb: Queer Goes Nothing

A new night of intimate acoustic sets from the best queer live acts around! First night features:

Daniel Versus the World
Baby Arms
+ special secret guest
+ open mic spot

Free entry/whip round. 8pm, at Her Upstairs, Kentish Town

Yur Mum - Summer of Hate (Live)
Yur Mum: Summer of Hate

Kluster Rooms Recording Studios

Only 5% of music producers and engineers are women. To help counter this we are running free workshops for woman aged 18 - 25. Participants learn basic studio flow and act as assistants on sessions to gain practical, hands on experience.

The workshops are provided by Chris & Hattie who run Kluster Rooms, an independent recording studio in Limehouse, East London.  We've worked with and provide rehearsal space for bands such as Teenage Caveman, Shopping, Trash Kit, Joey Fourr and we occasionally put on shows!


LOUD WOMEN gigs diary

8 March @ Fiddler's Elbow, Camden
The Baby Seals | Charmpit | The Menstrual Cramps 

17 March @ Hope & Anchor, N1
Fightmilk | Charla Fantasma | TOTP | Spencer

18 March @ Sound Lounge, Tooting
Argonaut | Bugeye | Deux Furieuses | Dolls | Fightmilk | Gladiators Are You Ready? | GUTTFULL | Janine Booth | Little Fists | Madame So | Nervous Twitch | The Ethical Debating Society | The Potentials

21 April @ Hope & Anchor, N1
26 May @ Hope & Anchor, N1

2 Sept @ DIY Space for London
The return of LOUD WOMEN Fest. For info

Mountain Of Fire And Miracles (soundtrack/experimental synth/guitar/drums minimal f/m vocals) is playing on 10th Feb at a new venue - the Beehive in Bromley by Bow. Also playing is Juha (3 women and a man who play interesting synth led political songs). It's free in and there will be a projected visuals for both bands. 8pm-10.30pm

That's all folks!

If you've got this far, and liked what you've seen, you're gonna want to keep in touch ...
  1. Come to our gigs
  2. Start a band and come and play at our gigs
  3. Join our Facebook group
  4. Follow us on Twitter
  5. Drop us a line on to contribute to the next issue ...
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