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Video of the Moment #2332: San Cisco

By on Monday, 3rd April 2017 at 6:00 pm

Australian sunny popsters San Cisco are back with a new promo. The title ‘Hey, Did I Do You Wrong?’ is in line with the band’s easy, breezy attitude. The accompanying video is less about the lyrical matter as it is in clueing you into what a sun-dappled, yet busy day in the life of the band is like (or rather, what it’s like to go on tour with them). The song was released last Friday as a single on Island City Records. This is all in anticipation of their fourth album ‘The Water’, which is going on presale this Friday; they’re mum on the LP’s actual date of release. Watch the video for ‘Hey, Did I Do You Wrong?’ below. For more of TGTF’s coverage on San Cisco, use this link.



Video of the Moment #2199: San Cisco

By on Wednesday, 12th October 2016 at 6:00 pm

I guess the days of bands purposely obscuring the meaning of their songs are gone. This summer, we had Los Angeles ladies Warpaint returning with ‘New Song’, which was – surprise! – a brand new single. On the other side of the globe, Australian’s San Cisco, too, decided to be lazy, revealing this week a song called ‘B Side’, which will be the b-side to an upcoming single not quite released to the general public yet. Darn. The band decided to keep things in the family for this one, taking travel footage of band member Jordi’s little sister Peppa and her boyfriend Matt on their travels in Japan. As might be expected for two kids visiting a foreign country, there is an excessive amount of silliness, but the DIY video pairs remarkably well with the surprisingly lo-fi approach the Fremantle indie popsters have taken with the song. Guess we wait for the a-side, though I’m going to facepalm if we find out it’s called ‘A Side’. Please, San Cisco, please, just no. For more of TGTF’s coverage on San Cisco over the years, go here.



San Cisco / September 2015 English Tour

By on Thursday, 11th June 2015 at 9:00 am

Australian indie pop quartet San Cisco will return to the UK this September for a brief run of live dates around the release of their next single ‘Magic’.  ‘Magic’ appears on San Cisco’s second album ‘Gracetown’, which was released on the 6th of April.  You can watch the new video for ‘Magic’ just below the tour date listing.

Tickets for the following shows go on sale this Friday, the 12th of June, at 10 AM.  On that same day, San Cisco will begin a North American tour before returning to Australia for scheduled live dates in July.

Previous TGTF coverage of San Cisco can be found here.

Tuesday 15th September 2015 – London Village Underground
Wednesday 16th September 2015 – Manchester Sound Control Basement
Thursday 17th September 2015 – Bristol Thekla



SXSW 2015: Paradigm Agency showcase at the Parish and Ben Sherman / UKTI showcase at Latitude 30 (Thursday night part 2) – 19th March 2015

By on Tuesday, 31st March 2015 at 4:00 pm

My Thursday evening review was getting too long, so I broke it up into two parts. To read part 1 of my Thursday evening, go here.

Then it was on to underground DJ / musician haven on Red River, Plush. It is the electronic music fan’s dream: an unpretentious room where you can be as close and practically personal near the guy (or gal) on the decks in the back if you want, but it’s small enough that the thudding beats and the smooth grooves ooze into every nook and cranny of the place, there’s no bad spot in the house. You couldn’t have asked for a better place for my first time to see Rival Consoles (Ryan L. West) perform. Dressed appropriately in a Moog t-shirt, West was ready to knock some socks off and blow some minds.

I would be hard pressed to adequately describe West’s set. Through bleeps, blips, thuds and buzzes (bleeps, blips and/or thuds stretched), Rival Consoles an immersive experience and one you have to be there to experience, and it changes every night because West wants it to be a dynamic experience and not one that is limited by what you hear on his records. I also want to point out that his music, at least what I witnessed at his two shows in Austin at Plush and at the British Music Embassy the next night, weren’t solely about building crescendos and big drops.

Rival Consoles at Plush, SXSW 2015

Certainly there were those moments. But the overall feeling I got was like being before a master craftsman making his art for us, fresh. This isn’t in your face electronica ala deadmau5 or Tiesto, nor is it electronica that is so smooth, you can pretty much guess what is coming next, or just be lulled into a sense of tedium. That’s what I liked about seeing Rival Consoles the most: I was excited about the unpredictable. (Listen to my great conversation with Ryan in Austin here.)

So it was with great disappointment I had to leave early to make my way to the Parish ahead of Pennsylvania lo-fi rockers The Districts‘ set at the Paradigm Agency showcase. I wasn’t taking any chances, knowing this place was going to be completely rammed later for them and the Vaccines who followed. Perth, Australia’s San Cisco, already a household name here in America, had no trouble assembling a packed room, with plenty of punters either going wild for the young indie pop band’s music or at least bopping their heads approvingly from side to side. ‘Fred Astaire’, whose video was nominated for a 2013 ARIA (the Aussie equivalent to a BRIT award), ended their set on a schmaltzy note.

Most American bands I know of dress exactly like this – t-shirts, denim jeans, trainers – regardless of the style of their music, but in the case of the Districts, they’re the kind of band where the dress actually makes sense, because with the growly, fuzzy rock they make, you expect they must have just rolled out of a parent’s garage earlier in the day. While ‘Suburban Smell’ is a stripped back, not completely fond ode to the cookie cutter town from where they grew up, it still bears the scuzz of their sound that’s as unkempt as frontman Rob Grote’s hair. This is the appeal of their album released last month on Fat Possum Records, ‘A Flourish and a Spoil’: unpretentious, rough around the edges rock ‘n’ roll.

The Districts at SXSW 2015

The irreverence of ‘Peaches’ “in the Vatican / and oh I don’t want to hear about the bird on the hill” with its droney guitars, the oozy, woozy rhythm of ‘Young Blood’ the “need for a little romance”; the desperation of Grote’s yelps in ‘Chlorine’, with its punishing drums and oddly comforting, homey guitar bridge: it was all better than I ever could have expected. They came to DC a week later but I dared not see them again, since I’ll have this snapshot in my mind of seeing them in Austin, down the front at the Parish, as they bashed away at their kit with reckless abandon. I’ll always remember this night.

From that high, I suppose there was nowhere to go but down. Already excited about having seen the Districts, I was keen to get an equally awesome dose of the Vaccines. The Districts finished roughly at 11:40 PM, which should have given the Vaccines an ample 20 minutes to set up their gear, which included what seemed like overly lengthy guitar and drum kit soundchecks. As I waited, real estate down the front became more precious, as I felt the air being squeezed out of my lungs. For a small girl as myself, it’s not a comfortable situation to be wedged in between two larger, taller people, even if they are girls.

I gave the Vaccines another 11 minutes to sort themselves out before I was over them, extricating myself from the Parish crowd before sprinting down 6th and rounding the corner back to Latitude 30. If I wasn’t going to get my fill of ‘Handsome’ tonight, I was going to get the next best thing, seeing one of my guitar gods Carl Barat with his band The Jackals, who I assumed I’d miss entirely in Austin and this year, as it had been announced the previous week that their American tour had been cancelled. That was probably one of the best split-second decisions I made all week.

I got down the front of Latitude 30 right in the midst of the band playing a song whose words floated down my tongue with ease (“monkey asked the mouse before / if she could love anybody more than he…”); it wasn’t until I came to the next morning talking to Carrie, who had seen them Wednesday afternoon at the Floodfest showcase at Cedar Street Courtyard, that I realised it was the Libertines’ classic ‘Death on the Stairs’. It was such a long time ago…yet it’s still so great.

Carl Barat and the Jackals at British Music Embassy, Ben Sherman UKTI showcase at SXSW 2015

Though I must have arrived after they played most recent single ‘A Storm is Coming’, Carl and co. treated us to several songs from their debut album on Cooking Vinyl, ‘Let It Reign’, such as ‘War of the Roses’, the jaunty ‘Glory Days’ (to which the whole crowd seemed to be snarling the words back at Barat) and more melancholy LP closer ‘Let It Rain’. Ben Sherman and UKTI, you did good booking this band and the next.

So then it was left to the next band to end my night on a high note. Although I’ve caught them live in Newcastle (May 2013), DC (March 2014), and the night previous in Austin, this would be the first time for me to see Public Service Broadcasting at the British Music Embassy and in their wide screen, multimedia splendour. For anyone who hasn’t been to SXSW before, I really must explain that seeing a band at Latitude 30 is a treat: the sound system is usually (99%) on point and the lighting is usually fantastic too(read: you can see everyone on stage!), which means you have pretty much the optimal environment to see your favourite British band.

Public Service Broadcasting at British Music Embassy, Ben Sherman UKTI showcase at SXSW 2015

And you can’t get anymore British than Public Service Broadcasting, can you? After witnessing cuts from the new ‘The Race for Space’ album the night before, tonight I could take a couple of snaps, then just get into their music for the fun of it. With its doom and gloom sounds of air raid sirens and Churchill samples, ‘London Can Take It’ shouldn’t be such a joyous occasion, should it? It probably sounds strange coming from a Yank, but I think given the emotional context, understanding that Britain is still standing how many decades after the Blitz, we (meaning the human race, not just Britons) can look back on those times with respect and admiration because we’re still here generations later.

It’s not that PSB is necessarily glorifying war; they’re giving praise where praise is due, to the people who came before who allow us to be who we are today or, in the case of ‘Everest’ for one, showed us that we as humans could go beyond what we had thought were our mortal limitations. In that regard, ‘The Race for Space’ is similar. This is music for the thinking person. And if we can funk out to ‘Gagarin’ while celebrating the first man in space too, why not? Oh SXSW 2015, you were wonderful. Absolutely wonderful.


TGTF Guide to SXSW 2015: Australian artists showcasing at this year’s SXSW (H – T)

By on Thursday, 5th March 2015 at 11:00 am

Please note: all information we bring you about SXSW 2015 is to the best of our knowledge when it posts and bands scheduled to appear may be subject to change. To learn when your favourite band is playing in Austin, we recommend you first consult the official SXSW schedule, then stop by the band’s Facebook and official Web site for details of any non-official SXSW appearances.

Sounds Australia brings a veritable cornucopia by genre of acts to many major music festivals around the world during the year, including TGTF May UK festival favourites The Great Escape and Liverpool Sound City. Their Australian contingent always has a massive presence at SXSW, and this year is no exception. In addition to the annual, all-day Aussie BBQ advertised as the biggest Australian band showcase outside of Oz, it’s sure to be a good time with 25 of the hottest Australian acts performing at Brush Square Park on the Friday of this year’s festival. With much assistance from our Aussie friend NickiGirlStar, today we’ll be introducing the second half of our list of many of the bands coming from down under. (The first half can be found through here.) Whether you’re lucky enough to head out to Austin in 2 weeks or not, we hope you’re find a new act (or three) to fall in love with.

Hamish Anderson (Melbourne)
There are loads of singer/songwriters showcasing at SXSW, so how do you choose who to see? With his bluesy sensibility, Hamish Anderson appeals to your primal senses, the kind of person who prefers JD McPherson, the less pop side of the Black Keys, and back to basics Jack White. (Mary Chang)

Jack Ladder and The Dreamlanders (Blue Mountains)
In Australia there is a famous band called You Am I with an equally famous lead singer of the name Tim Rogers, so it is no wonder that the lead singer for Jack Ladder and The Dreamlanders (who shares the name of Tim Rogers) goes by Jack Ladder professionally. The other unusual coincidence for Jack Ladder is that his smooth sublime baritone vocals can at times sound as if you are listening to Nick Cave, which is not a bad thing in my books (take a listen to the Jack Ladder and The Dreamlanders award-winning album ‘Hurtsville’).
The good news for American enthusiasts of Jack Ladder and The Dreamlanders is that their second album ‘Playmates’ (also featuring Sharon Van Etten on ‘Come On Back This Way’) is available in America this month. It came out in Australia in late 2014 and received good reviews. Jack Ladder’s distinctive vocals have been laid over the trademark synthesised disco beats of Dreamlander Donny Benet, a slight departure from the music that featured on “Hurtsville”.

Each of The Dreamlanders – Kirin J. Callinan (who released his own album ‘Embracism’ in 2013 on Terrible / XL), Laurence Pike (also of PVT) and Donny Benet – has his own career. You will get to see Kirin at SXSW doing his solo thing. As a whole, Jack Ladder and The Dreamlanders make some wonderful music and are well worth experiencing. I am sure you will be pulled in by the dreamy vocals and be swaying along to ‘Come on Back This Way’ and ‘Her Hands.

Kirin J. Callinan (Sydney)
Kirin is one of those mesmerising or alienating artists. I have always thought his music would suit a David Lynch film and funnily enough, he will be one of the performers at a David Lynch film music retrospective at the Sydney Opera House in March 2015. He is championed by Brooklyn record label Terrible Records, formed in 2009 by Chris Taylor (Grizzly Bear) and Ethan Silverman. He supported Grizzly Bear when they out in Australia 2012 and he teamed up with the label to present “Terrible Love” at Sugar Mountain Festival in January 2015.

I always delight in Kirin’s raw avant-garde style of electronic rock performance. He has a lovely deep smooth rich voice and a cheeky smile and gleam in his eye for all. He loves to shock and be unpredictable. Go see Kirin for a little excitement and an out of the ordinary set as he is always a showman. He will be a busy boy at this year’s SXSW as he is a Dreamlander and will also be performing with Jack Ladder and the other Dreamlander boys.

Lenka (Sydney)
The great thing about SXSW is the sheer fame spectrum of acts who will appear in Austin, from up-and-comers to established megastars. Lenka’s music has shown up on countless international advertising campaigns and in major motion pictures, but the proof is in the pudding: several of her songs like ‘The Show’ and ‘Everything at Once’ have seen the Aussie singer reach the top of the charts all over the world. Her fourth album ‘The Bright Side’ is expected this summer, and have a listen to poppy and incredibly sunny ‘Blue Skies’ (perfect for Austin!) from the new effort below. (Mary Chang)

The Love Junkies (Perth)
Lo-fi is a way of life in America and the UK these days, but I’m not entirely sure the genre is so insidious across Oz. Yet. The Love Junkies are yet another band who refuse to take themselves too seriously, and their slacker sound and ‘tude could easily fit in with the Californian sand and surf. (Mary Chang)

Mansionair (Sydney)
I can’t help but notice that the list of Aussie acts taking to the stage at SXSW is mostly made up of conventional rock bands. Jack Froggatt, Lachlan Bostock, and Alex Nicholls are all multi-instrumentalists, which should clue you in on their band’s eclectic sound instrumentally. They’re a little ambient, a little indie and a little synthpop, while nowhere near anything from conventional electronic, and imagine Hayden Thorpe and his Kendal falsetto laid on top of that. Does that take your fancy?

They’re a remarkably new band: from my Googling, it appears they just started as a trio in January 2014, and they only have two official singles and an EP to their name, having signed last autumn to CHVRCHES’ own Goodbye Records. The numbers don’t lie: they already have over 10,000 followers on Facebook, so they must be doing something right. Maybe when they covered SXSW 2014 success story Future Islands during a triple j radio session in January, they were channeling them in the hope they could do as well in Austin. Personally, I prefer their single ‘Hold Me Down’, which you can watch them perform live below. (Mary Chang)

Oxford and Co. (Sydney)
Back in the day, Justin Timberlake was called a triple threat – he knew how to act, sing and dance. Samuel Stephenson and Cameron Potts could have taken the easy route and gone for the bog standard folky singer/songwriter sound. But that would have been way too simple. Have a listen to ‘Sinner Baby’ from their self-titled EP released last summer, with its soulful vocal deliveries with an absolutely wonky rhythm. It shouldn’t work, yet it does. But just in case you’re more of a singer/songwriter purist, the rest of ‘Oxford and Co.’ is haunting in its beauty and true to the guitar-toting songwriters of history. (Mary Chang)

Remi (Melbourne)
Hip hop artist Remi Kolawole may only be 23 years old, but he’s already won Best Independent Release for his critically acclaimed album ‘RAW X INFINITY’ at the Rolling Stone Australia Awards. The LP sees its American release in April, so SXSW gives him and collaborators Sensible J and Dutch the perfect timing for his American live debut in Austin.

Having sold out Australian headline tours and a support slot with Damon Albarn in Oz last year, even duetting onstage on the Gorillaz track ‘Clint Eastwood’ with Albarn. With America being the land of hip hop, Remi’s success stateside is a no brainer. (Mary Chang)

SAFIA (Canberra)
Electronic producer trio SAFIA are probably more famous in the States at the moment for starting a beef with Ariana Grande’s people over similar looking music videos. Which is an utter shame because they’ve got their own chill sound and have already garnered accolades from Aussie radio station triple j, becoming their city’s winner and representive at annual music festival Grooving the Moo.

San Cisco (Fremantle, Perth); read past TGTF coverage on San Cisco here
San Cisco are a band who pretty much don’t need an introduction on either a UK or a US music Web site. Chances are you’ve heard of them, having already played an array of UK music festivals, notably Reading 2013, where our John caught and was impressed by their early day set on the third day of festivities. Sunny indie pop your thing? Here you go. (Mary Chang)

Steve Smyth (Newtown, Sydney)
Steve is one of those acts that everyone will be talking about. He has a trademark bushy beard, a heart of gold, is the freest of free spirits, and has an extreme amount of energy and enthusiasm. Steve can brighten any stage with his powerful haunting heartfelt vocals accompanied by his dynamic guitaring. I liken Steve’s charisma and presence on stage to that of Australia’s rock god Nick Cave. Although he is half the age of Mr Cave, Steve has experienced life to the full garnering praise from his performances on stages all over the world. In Australia, he has supported The Killers, Snow Patrol, Lanie Lane, and Angus and Julia Stone, as well as touring all over this land in his own right.

Steve is generous to his audience and mixes up his performances sometimes singing old bluegrass covers like ‘Sylvie’ to raucous foot-stomping ballads like “’Barbituate Cowboy and His Dark Horses’ and moving onto sweet heart-wrenching ballads such as ‘Written or Spoken’ from his second album ‘Exits’ released in September 2014.

You will be amazed and left in awe by Steve Smyth, as he is a consummate performer that gives all he has to each show whether it to be a whole stadium or just a small gathering. I believe you will be swept up in the magic of Steve Smyth just as much as I am.

Twerps (Melbourne)
First time I heard the jangly pop rock of Twerps, I fell in love with them. I think it was at a Laneway festival in Melbourne and from there I sought out their 2011 debut self-titled album that featured the classics ‘Dreamin’, ‘Through the Day’ and ‘Who Are You’. I was pretty late in coming to the Twerps party, as they are located in Melbourne and don’t play in Sydney that often. They formed in 2008 and have been really busy ever since in Australia and America (touring, SXSW, CMJ) and along the way have built up much respect from the punters and critics alike. They found a champion in BBC 6musics’s Marc Riley, who spread their 2012 single ‘Work It Out’ by playing it on his evening programme.

Their music touches my soul, it builds on the Australian sound and music psyche that was carved out in years gone by bands such as The Sunnyboys and The Go Betweens. At times, the beauty of the debut album brings tears to my eyes. In November 2014, I heard some of the new tracks from the 2015 album ‘Range Anxiety’ released in January, and am confident it’ll be another ripper LP. Check them out to discover what the revered Australian pop rock sound is like.

Massive thanks to NickiGirlStar for her local insight and assisting with this two-part feature.


Reading 2013: Day 3 Roundup

By on Wednesday, 11th September 2013 at 2:00 pm

With the 5-day hangover building to its climatic crescendo on the Sunday of Reading 2013, I emerged bleary eyed and in no-way bushy tailed from my fungus-ridden excuse for a tent that I called home for the festival. My head was pounding, and the inevitability that I would be off for a stroll to the seemingly-bottomless troughs full of human shit hit me right about the face – the all too familiar scent hitting my nose and immediately frying all of the hairs that laced the inside of my nasal cavity.

With my daily pulled pork baguette (delightfully middle–classed festival truck) bought, as I entered the arena I set about a new music adventure, stumbling into the Festival Republic Tent to watch Aussie indie-pop darlings San Cisco. In direct contrast to yesterday’s new music samplings in the form of Nightworks, San Cisco were tight as a live act and had some real dynamism about their live show, plus Awkward is a tune to boot. Jordi Davieson proved to be an affable frontman, but in drummer and co-vocalist Scarlett Stevens they have a real personality behind the kit. These guys are undoubtedly ones to watch. (8/10)

The Lock-Up Stage is a haven for ear-splitting riffs and circle pits that whir with immense ferocity. So a no-frills, no bullshit rock and roll band like The Virginmarys were always going to feel at home in the tight surroundings of the tent. No light shows, no bullshit, just rock ‘n’ roll was what was contained in this 40-ish minute set. The closer ‘Dead Man’s Shoes’ went down stormingly to the crowd who had slowly milled into the tent after hearing the brutal wave of sound emanating from the tent, whilst ‘Just A Ride’ was simply ferocious, head-banging gluttony. (8.5/10)

From a rock show, to a punk rock show, with Massachusetts-based noise-mongers California X in the Festival Republic Tent. On record the band sounded tight and in time with each other, unshockingly. However, in a live setting the set seemed a touch disjointed. Perhaps nerves got the better of the band, all clad in black? The wall of noise that fell upon the slowly dissipating crowd didn’t impress anyone, and while they appropriately turned it up to 11, it seemed it just wasn’t California X’s day. An opportunity missed entirely, for the fledgling punks. (5/10)

Easily one of the highlights of the weekend was this next band, Arcane Roots. Andrew Groves’ cheekiest of cheeky smiles when the drop came during ‘Energy is Never Lost, Just Redirected’ showed just how much the band were enjoying the ensuing mass of circle pits in front of them. Adam Burton’s bass cut through the sprawled crowd like thunder cracks and Daryl Atkins’ drumming was sublime. There was no mid-set lull in their performance, instead a constant roar of frets being shredded amongst an adoring roar from the crowd. To say these guys were destined to play a bigger stage and follow in the footsteps of their contemporaries, of the headliners of the day, would just be stating the bloody obvious… But I will. Main Stage openers next year. (9.5/10)

With a mad dash across the arena, I made it to the Radio 1/NME Tent, where Glastonbury conquerors Haim were setting about their next conquest: a group of around 20,000 hungover 20-somethings. What was the reaction of these gurning revellers to the band’s set? Tittering at Este Haim’s frankly ridiculous face when the bassist concentrated on playing her instrument.

People came expecting the hits that Haim had to offer and were satisfied with early play-outs of ‘Don’t Save Me’ and ‘Falling’, which meant most of the audience could filter out in the direction of Fall Out Boy. But not this reviewer; I stuck it out to the end so I could catch the frankly gorgeous Alana Haim going full rock star and thrashing about on stage. Not exactly the most ladylike of exits from Haim, but definitely befitting the festival they were playing at. However, when what sticks best in your mind about the set is one of the band’s grimaces, it was never going to have been a classic. (7/10)

I joined the pilgrimage to the Main Stage to join in on the worship of the erstwhile stars they have now become, the stars being Fall Out Boy of course. After an electric set in 2009 that had teenage girls crossing their legs in excitement and this one teenage boy screaming every lyric back, it was nostalgia that ruled this day. The hits were rolled out like a red carpet, but it wasn’t Pete Wentz strolling up to the opening of Fall Out Boy 2.0. It was their true frontman Patrick Stump, who after the hiatus has come back re-energised, more svelte and more the frontman he is meant to be, the kind of frontman that the band deserves. Single ‘My Songs Know What You Did In The Dark (Light Em Up)’ was obviously created for the live arena, as the entire crowd became unified in a kind of hip-hop rock mash-up of arm bopping. However, while Stump looked rejuvenated, it seemed like Wentz wasn’t exactly revelling in the lack of limelight, as he wore a face like a slapped arse for the entire set, until he was released for the crescendo, ‘Saturday’. (7/10)

With a mission to avoid the psychosis-inducing catastrophe of noise that is Trent Reznor’s Nine Inch Nails complete, the headliners Biffy Clyro were gearing up to bring the weekend to a close. The worry with a band that have climbed the echelons of the festival billing, by paying their dues and performing a total of eight times across different stages, is that their sound may not be the BIG sound of a headliner. They may not have the mass appeal of an Eminem, or the tunes and fanaticism of fans of, say, a Green Day.

Within I’d say 30 seconds all worries were dispelled, as Simon Neil announced himself as the headliner to end all headliners. The understated intro of ‘Different People’ with Neil in front of a plain backdrop had all of the hairs standing up on my neck, and as the riff kicked in and the cloth dropped to reveal the album artwork for ‘Opposites’, it was obvious that Biffy weren’t here to make up numbers. They were here to conquer.

‘That Golden Rule’ proved why moshing is fucking ace, a rare playing of ‘Folding Stars’ brought grown men to tears (I had something in my eye, alright?), ‘57’ was a nod to the past in spectacular fashion and ‘Mountains’ was the sing-along that other sing-alongs aspire to.

It used to be the argument that you were either a post-‘Puzzle’ or pre-‘Puzzle’ fan, a pretender/jonny come lately or a seasoned Biffy veteran. But at Reading 2013, Biffy Clyro cemented themselves as festival headlining staples. A headline slot at Wembley Stadium surely waits in the future. Mon the Biff. (10/10)


About Us

There Goes The Fear is where we tell you about the latest music, gigs, and tours we love and think you should too.

We love music that has its heart on its sleeve, tells a story, swims around our head all day or makes us dance like no-one's watching.

TGTF was edited by Mary Chang, based in Washington, DC.

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