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The Orielles / February and April 2018 UK Tour

By on Monday, 18th December 2017 at 9:00 am

The Orielles from Halifax will be touring in the new year in support of their debut album. Tickets to the shows listed below are on sale now. The tour will end in their biggest headline show to date in Manchester at Gorilla. Between the end of the first leg and the start of the second, they’ll also be playing a series of gigs on the Continent; a bunch of those dates are listed on their official Facebook page. ‘Silver Dollar Moment’ will be released on the 16th of February 2018 on Heavenly Recordings. It will no doubt feature ‘Let Your Dogtooth Grow’, their latest release to have a promo video, which you can watch under the tour date listing. To read through TGTF’s past coverage of The Orielles, go here.

Friday 16th February 2018 – Nottingham Rough Trade (in-store performance)
Saturday 17th February 2018 – Sheffield Yellow Arch
Sunday 18th February 2018 – Birmingham Hare and Hounds
Monday 19th February 2018 – Bristol Rough Trade (in-store performance)
Tuesday 20th February 2018 – Cardiff Clwb Ifor Bach
Wednesday 21st February 2018 – London Rough Trade East (in-store performance)
Thursday 22nd February 2018 – Glasgow Mono
Thursday 12th April 2018 – London Garage
Friday 13th April 2018 – Leeds Brudenell Social Club
Saturday 14th April 2018 – Manchester Gorilla


Video of the Moment #2397: The Orielles

By on Monday, 10th July 2017 at 6:00 pm

Halifax surfy trio The Orielles have a new video out for their latest single. As it turns out, its title ‘I Only Bought It For the Bottle’ has little pretence. According to a chat singer/bassist Esme Dee Hand-Halford had with The 405, “The track is loosely based upon Nicolas Winding Refn film The Neon Demon as it talks about the idea of how beauty has become a currency and that we no longer desire substance, yet seek things based on appearance and face value.” The Orielles are cinema buffs, clearly, and they’re making me feel pretty unworldly. Watch the tour video for ‘I Only Bought It For the Bottle’ below. The single is available now from Heavenly Recordings. To read more of our coverage here at TGTF on The Orielles, head this way.


Video of the Moment #2341: The Orielles

By on Friday, 14th April 2017 at 6:00 pm

TGTF go quite a ways back with Halifax trio The Orielles. (To be precise, our former writer Martin saw them perform at Liverpool Sound City 2013.) They’ve gone from strength to strength since, and it’s a testament to their talent that their psych-ey, surf-y sound perked up the ears of Heavenly Recordings, with which they’re now signed.

Their extended promo for ‘Sugar Tastes Like Salt’ – over 8 minutes long – bears a passing resemblance to that of Glass Animals’ ‘Pork Soda’ from last month. Things aren’t exactly what they seem, and strange adverts on the telly starring the band run in the background. Right, you should just watch it yourself below. I’ve saved this for a Friday because…well, it’s been a long week, and you’ll see. To read all of our past coverage of The Orielles here on TGTF, including on their show at Manchester Deaf Institute in 2014 and their appearance at the Music is Great Britain UK showcase at CMW 2016, go here.


This Must Be the Place 2016 Roundup (Part 1)

By on Monday, 6th June 2016 at 2:00 pm

Words by Adam McCourt

The first and hopefully not the last This Must Be The Place festival took place this bank holiday Monday in Leeds city centre. It was held primarily in two of the city’s most well known music venues Belgrave Music Hall and recently established Headrow House, with a few additional gigs at the Live Art Bistro, a short 10-minute walk towards the bottom of the Headrow. The brand new festival set it sights on “bringing together music, film, art, food and drink” and compacted it all into one grand all-dayer.

As I made my way towards Headrow House to catch the opening act of the day, Oh Peas, I noticed there wasn’t as much of the hustle and bustle that naturally comes with an all-day festival held in the heart of a city, especially one notable for its high percentage of students. However by the third or fourth act of the day, it became clear that TMBTP had a particular scene in mind when organising and promoting the festival. With headliners The Wytches just above Dilly Dally and Joanna Gruesome on the lineup, it was clear that TMBTP was created for fans with a love of new wave, indie rock, psych and surf rock, and garage and noise rock. A specific market indeed, but one that proved more than successful after experiencing the crowds it attracted throughout the day.

Easing us into the day was a scene I can only imagine being influenced by the Ryan Gosling film The Place Beyond The Pines. In a mildly lit room, on a stage decorated with a banner of makeshift leaves with strings of fake ivy hanging from the rafters was a solo female artist with just her voice and guitar. Oh Peas, a soft singer/songwriter whose songs touched upon personal, very sensitive and gloomy subject matter. So sensitive to the point where I felt I was imposing on her problems just by listening. Although she stood idle onstage as she was serving up her issues on a plate, Oh Peas successfully managed to mask them in rather light-hearted overtones and bullish melodies, creating an interesting mix of emotions among her small collection of observers.

Cutting her set slightly short, I ducked out to Belgrave Music Hall in order to catch the first band there, Leeds’ own Chest Pains. It is worth noting at this point the venture between the two main venues was a mere minute walk. And considering the non-overlapping stage times, it was virtually impossible to miss much more than half a song at a time. They sauntered onstage at 2:00 PM with a deceptively casual demeanour that was shattered as they struck the first chord of their opening song. They appeared looking like the ’70s skateboard team Z-Boys at different points in their career. Guitarist/vocalist Sam Robinson and drummer Harry Rogers both sported the bleached blonde hair, sand-washed jeans and Vans look, which seeped into their music with added elements of psych rock and garage.

The mass wall of fuzzy chords and disjointed melodies left room for James Tkaczyk-Harrison to create his own melodies on bass, which acted more as hooks than bass lines. As a unit, they were solid and steady from start to finish. Their songs incorporated elements of poppy surf rock, old American Johnny Cash-style folk, and original ‘50s rock ‘n’ roll, yet completely covered in the sculpted style of Chest Pains. Perfectly executed with an equally as energetic performance these guys well and truly set the festival off into a sprint.

Making another round trip of both venues, witnessing equally quirky yet a little cringey performances from Two White Cranes and Dirty Girl, the day was well underway. Each time I returned to the venues, the crowds grew more and more, reaching its highest as of yet for Dirty Girl at Leeds’ legendary Belgrave Music Hall. I next settled in Headrow House for one of the most honest performances of the day. Showered in an oversized poncho, Lail Arad openly told us she had stepped off the train a specific “17 minutes before reaching the venue”. But by no means did this stop her from transporting her audience, through her stories, to a time she evidently wished she had experienced: Greenwich Village, New York City in the ‘60s. As she invited her audience to take “at least one and a half steps forward”, she was inviting us into her world.

Her crowd interaction was very engaging, allowing us at one point to choose a cover between Vampire Weekend and Paul Simon and after finally deciding jokingly stating, “you can fight amongst yourselves later”. Her performance filled with conviction, well crafted in every way, even down to seamlessly covering up mistakes by making them an element of her show. Arad set herself apart by baring her innocent, playful nature while producing equally as lovely songs. Overall, she was an absolute delight to share a half an hour with.

The Orielles’ performance was another example of the excessive level of talent in the UK surf-psych scene. Although they played off the quirky, unsure yet cool characteristic their songs and stage presence were crafted well enough that proved they were serious about what they do. In particular, Henry Wade gave an extremely energetic performance, constantly hunched over, head banging and smashing the chords on his guitar. Their music covers a vast array of styles in their music. ‘Sliders’ and ‘Joey Says We Got It’ portrayed the poppy, relatable side of garage rock, whereas their final song ‘Sugar Tastes Like Salt’ showcased the more obnoxious, slightly sinister side, the song dragging out in a hypnotic fashion.

Stay tuned for the rest of Adam’s review of the first-ever This Must Be The Place festival in Leeds, which will follow in the coming days.


CMW 2016: Music is Great Britain UK Trade and Investment showcase Saturday night – 7th May 2016

By on Thursday, 26th May 2016 at 2:00 pm

You know that phrase, “loud enough to wake the dead”? Saturday night at Canadian Music Week 2016 may not have been all that loud, but it was definitely the most crowded night out in town, with plenty of locals out and about to lend a party atmosphere. It sure was very cold and windy, making me wonder whilst wearing my hat and gloves if the dearly departed residents of St. James’ church cemetery near my accommodation for the week were rattling around in their graves.

When it comes to the elements, I consider myself reasonably hearty stock if dressed appropriately, having faced wind and driving rain in my face on many occasions in the UK. However, following along in a theme that has repeated in most everywhere in North America this spring, it was just too damn cold Saturday night. In stark contrast, I saw The Spook School play an early set at the Garrison that afternoon when it was sunny and bright, and I had wished we could have bottled that poppy sunniness and used an atomizer over the entire chilly week of CMW 2016.

The Spook School CMW 2016 Garrison Saturday

My plans for the last night of CMW 2016 would take place solely and in one of the nicer clubs in all of Toronto. Velvet Underground on Queen Street would be seeing out the festival in style, thanks to a ‘Music is Great Britain’-branded showcase put on by UK Trade and Investment. The first two bands on the bill are friends of TGTF; the other two, well, you’ll have to read on.

As a rule, TGTF does not condone skipping school for the sake of music. However, we’re going to give The Orielles a wide berth, as they arrived in Toronto as close as humanly possible to play their first show during CMW while catching as much school as they could before they left. I understand they had finals to return to after; I hope the adrenaline off their first North American music festival saw the band through them.

The Orielles CMW 2016 Velvet Underground Saturday UK Trade and Investment

While they played, excited whispers abounded all around me. “They’re how old?” “And they can play *that* well?” “When did you discover them?” “Liverpool Sound City?” “No, 2013?” “Seriously???” “How old are they again???” Opening the UKTI showcase might well have been ample cause for anxiety, but the young yet experienced in gigs trio from Halifax came out with tune after tune. The Orielles’ first North American appearance was a triumph in every sense of the word, impressing industry and punters alike with their energetic garage and surf-tinged performance.

The People The Poet CMW 2016 Velvet Underground Saturday UK Trade and Investment

The People The Poet, now SXSW veterans after showcasing back to back in 2015 and 2016, were up next. From the surfy, psych vibe created by the Orielles, the Welsh band brought things back squarely to good ol’ rock ‘n’ roll. The vocals of frontman Leon Stanford – growly, emphatic and Joe Cocker-esque – are a force to be reckoned with on their own. But accompanied by the band’s driving instrumentation with the anthemic glow of any Springsteen number worth its salt, the complete package of The People The Poet provide a formidable punch. Check out recent single ‘Club 27’ below.

Very early on in my CMW 2016 schedule preparation, I’d pencilled in The Undivided for my last night in Toronto. I’d gone through the profiles of all the UK bands headed out to the festival, and I had been most impressed with the oomph of ‘Invincible’. I fully felt the emotions of this band, displayed on their sleeve for all to see. It was a feeling I’d experienced 2 years ago at Liverpool Sound City when faced with Geordies Boy Jumps Ship for the first time. (They’ve just released their debut album this month, and I couldn’t have been prouder of and happier for them.) When you listen to the power of their music and lyrics together, you just know this means an awful lot to every member of the band. Even more weirdly coincidental, both of these bands’ names suggest an inclusionary, “all for one, one for all” mentality that is comforting in this crazy world we live in.

The Undivided CMW 2016 Velvet Underground Saturday UK Trade and Investment

The Welsh band released their latest EP ‘Satellites’ on the 6th of May when we were all out in Toronto, so I hadn’t had a chance to listen to it. It’s on Spotify now, and it’s good stuff. This is loud, fast-paced rock with plenty of heart, and you should do yourself the favour of checking them out now. You know, before they hit it big and I say in a smug tone “I told you so” to your face.

I have gotten onboard with Slaves and have been known to sing along – loudly – to ‘Where’s Your Car Debbie’. However, I have to admit that I still haven’t quite figured out the appeal of Fat White Family. Is it the camp posturing of Lias Saoudi that gets people hot and bothered? Is it the spitting? Is it the sleaze of ‘Touch the Leather’? Or is it just the anarchic feel of their brand of punk? Of all the bands at the UKTI showcase, they brought in the biggest crowd of the night. Is that a commentary on the music lovers of Toronto? Let’s hope not.

Fat White Family at CMW 2016 Velvet Underground Saturday UK Trade and Investment

I left Velvet Underground with the same feeling I had closing out what will probably be my final Sound City in 2014. What was I missing about this hugely hyped band? A few weeks out now from my first CMW, I have come to the acceptance yet again that as they say, there’s no accounting for taste. TGTF will continue to do what we’ve always done: champion the little guy and the music that moves us. And we appreciate you all – bands and fans alike – being along with us for the ride.


The Orielles / February, March and April 2016 English Tour

By on Monday, 1st February 2016 at 9:00 am

Halifax garage pop trio The Orielles have announced a list of live dates in anticipation of their upcoming single ‘Jobin’, which is due for release on the 25th of March via Art is Hard Records.  You can listen to a live-in-studio version of ‘Jobin’ just below the tour date listing, courtesy of Cardiff Student Media.

Tickets for the following live shows are available now.  TGTF’s past coverage of The Orielles can be found right back this way.

Thursday 11th February 2016 – Sheffield Bungalows and Bears (free show)
Saturday 13th February 2016 – Leeds Nation of Shopkeepers (DJ set)
Saturday 5th March 2016 – Birmingham Actress and Bishop
Saturday 12th March 2016 – Nottingham Maze
Friday 25th March – Manchester Soup Kitchen
Saturday 26th March 2016 – London Tooting Tram and Social
Saturday 2nd April 2016 – Reading Oakford Social Club
Sunday 3rd April 2016 – Bristol Louisiana


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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