August is here, and with it has come festival season. For those of us who without sufficient funds for four days of live music and the wanton destruction of brain cells, there is some consolation in the form of the number of bands fitting in small tours and one off gigs around their festival commitments. Last Wednesday, a pre-Rebellion warm up saw East End Riot, Bishop’s Green, Reagan Youth and the Street Dogs tear up the Underworld in Camden. I caught up with frontman Mike McColgan, bassist Johnny Rioux and drummer Pete Sosa while they washed down the jetlag with caffeine to discuss festivals, side projects, country music and booze.

MG: Hi guys. So this is the first day of the tour, how does it feel for it to be with one of the forefathers of East Coast punk Reagan Youth?

JR: We were super excited, we didn’t actually realise it until we got off the plane. It was a crazy surprise – whenever that happens with our group, we kind of think ‘man, we should be on their show’, know what I mean?

MM: I remember in ’82, it was controversial having a band called Reagan Youth…ya know, it was a pretty conservative time in America. I was never a fan of Ronald Reagan, not at all. For those guys to take on that name and write songs about how disaffected they were, pissed off they were, it was a pretty bold move. For them to start back up and right back at it, it shows that they really mean it –for a band to be around that long, it’s pretty inspiring.

MG: I didn’t even know they were still touring, so I was hyped to see them on the bill! You’re both also playing Rebellion next weekend, where I saw you guys play a killer set last year – how many times have you played there? Are you hyped to be going back?

JR: It’s our third or fourth?

MM: I believe it’s our third time. The good thing about Rebellion is that I think they always have their finger on the pulse – with regards to what purists, or lifelong punks, or new punk kids like. They do a good job with the bands on the bill and its always exciting to play if the crowd’s great, the people are great, and the line-up is too. The bands you get to see, as a fan of the music…its always great to come and play Blackpool.

JR: You get to see people who are our age too…people find babysitters. (Laughter)

MG: This tour takes in quite a bit of the festival circuit, are there any other particular European festivals that stand out for you?

JR: Well Rebellion is the main one, without Rebellion I don’t even know if we’d be on tour right now. The other one we’re excited about doing is Endless Summer in Germany, there’s a lot of friends’ bands on that.

MM: It’ll be cool to see Agnostic Front, the Casuals, you know Lars’ band, and we’re looking forward to seeing Stomper 98 as well.

MG: The Crooked Drunken Sons EP was a return to the fray after a break - did it feel good to get back on it? Is the EP a precursor to a new full length?

JR: We’re currently sitting on a bunch of songs. We need to get into another writing session before we jump back into the studio, but we’re all keenly aware that before we can do any extended touring we need a new record. That’ll be the next move for sure before we plan out another in depth tour.

MM: Songs like ‘Crooked Drunken Sons’, or ‘Rustbelt Nation’ from the Rustbelt Nation EP, are songs that deserve to be re-approached. They say a lot, I think they’re capable of going to a higher level and being done better. I think all of us agree with that – there’s nothing wrong with what we did, but it could be better.

JR: It felt awesome to do that because we did it in my garage, we’d never recorded like that at all and it was fun to do something kind of lo fi with a DIY ethic too. But like Mike said, a bunch of those songs will probably make it on to the full length and I’m excited to hear how much more they jump out.

MM: A song like ‘Eighteen for Life’ is screaming out to be on a full length record, and it could be better. That’s the thing, when you’re in a band and you put something down, after its completed, you always hear additional things that you didn’t hear when you were doing it…but then you’re on timelines, things of that nature. So in a way it’s good that we released them as EP’s and we can listen to ourselves critically and say ‘we could do this or that better’.

MG: Almost like a test run?

MM: Yea, and the good thing about this band is, we can work fast in a DIY fashion, or we can work over an extended period of time. We’ve recorded under a number of different circumstances since starting the group, so it behoves us to have that type of versatility; to move quickly or to lie back, give something time to breathe and think it out. We worked with Ted Hutt – Ted Hutt was the kind of guy that would be searching for ideas right up until the last moment, to the very, very end. That was a new approach compared to other people I had worked with, who would say ‘right, this is how things are gunna be’, while with him it was always trying to push it. I think that’s rubbed off on all of us, which is good.

MG: The FM359 side project and Johnny Rioux’s solo album both bought an Americana element to the fore. Who in particular influences you with regards to Americana roots/folk/country music? (This is followed by general approval of the question, with a sense of relish at the chance to talk music that is clearly close to their hearts)

JR: There’s a lot of good, rootsy modern stuff, like Lucero and Ryan Adams and Wilko. Steve Earle is more of a classic example, Townes Van Zandt. Chuck Ragan back on the newer side, there’s just so many good ones. For the Cowboi thing, that goes back to the late 80s and early 90s, I found rockabilly music to be really uplifting – I was so immersed in the punk rock scene and it was a pretty depressive and negative thing for the most part. Then somebody gave me a Stray Cats record and I was like ‘wow, this makes me happy!’ ‘It’s talking about girls!’ And this and that. I always had a soft spot in my heart for rockabilly, Eddie Cochrane, Gene Vincent, Johnny Cash, stuff like that. Pete, what’ve you got?

PS: I’m more of a classic – Hank Williams Sr., Patsy Kline and Loretta Lynn type stuff, Grand Ol’ Opry and Nashville stuff.

J: He’s the true Texan we got here.

MM: Speaking of Pete, when we’re talking FM359 and Street Dogs, he gives us our versatility to work with any type of song…he isn’t a one trick pony. With FM359, things were approached very differently from any Street Dogs recording process. Street Dogs for the most part is spitfire, then anthem, then there might be a couple of folk songs thrown in there. With FM359 the parameters were wider and nothing was excluded, everything was bought to the table. As soon as songs were worked up, they were tracked. They weren’t poured over in a pre-production way. When we record a song with the Street Dogs, we hammer it and hammer it, but with FM359 being so spontaneous and so fast…

JR: You know the first time we actually played together in a room to play those songs was the first time we played a show. We never jammed or practiced or anything.

MM: Street Dogs is so disciplined, so set out, it’s almost like boot camp in a way. With FM, I don’t even know if it was a conscious thing but we just wanted to do something different – we sat back, collected ourselves and fucking breathed, wrote songs then tracked them. We weren’t even mapping shit out, it was way different than anything I’ve ever done – we were sitting back fucking drinking coffee, guys were smoking cigars, then just banging tunes out and something special came of it. Hugh Morrison was a major, major contributor to the process – he wrote what I consider to be the best songs on it and he made what would have been a fair/good record…

JR: He bought in a lot of the Celtic influences on there.

MG: Will Cowboi or Truth, Love and Liberty have follow up records, or are they likely to be one offs?

MM: I wouldn’t rule it out. I mean we don’t have any immediate plans on the horizon, but that’s something that could be re-approached in the future. Street Dogs is a bit more organised, the mothership so to speak, and FM is sorta like…I mean if someone said one day ‘I’ve got a bunch of songs, let’s just sit down and knock these out’, I would probably do it, but right now we’re kind of focusing on other areas.

JR: With the Cowboi record I don’t know, I was thinking about it; I want to do originals in the same vein, but then I also would be keen to do some other punk rock songs, I enjoy doing that too. I’ve always done that, taking a punk or a hardcore song and doing something different with it.

MG: Speaking of which, how much of an influence has growing up somewhere with the OG hardcore credentials of Boston had on your music?

JR: Honestly, throughout the late 80s and early 90s there were so many great bands in Boston, but around the mid-90s it started to feel really stale; bands were sounding the same all the way through. Then the Dropkick Murphys hit, and when that happened…Jeff Erna, the drummer, was doing these 8 note things, and Rick Barton on the guitar was playing downstrokes ’77 style. Before it was all that classic sort of Oi! thing, then the Dropkicks came along and Mike didn’t sing ‘thought thought thought’, growling it, but he was singing it; singing a line into a line and bringing a totally different style in to Boston. Beforehand it was the same across the board and when the Dropkicks came in it was like the sun shone, and bands started popping up doing things differently.

MM: In fairness to the Bruisers, when the Dropkicks came around at that time the Bruisers were making headway. They’d slugged it out for a considerably longer time than we had and you could see they were making headway when we played with them. You could see it in the emotional impact they had on the hardest of the hard dudes when they would play anthems and stuff which was pretty powerful. It was influential on DKM. The 90s was a special time – I thought about this the other day when I was in a coffee shop, I heard some stuff come on the radio…it was just a whirlwind time. There was so much going on and so many bands, the energy was just fucking insane. There were so many shows…we got swept up, DKM was in the right place at the right time. In all fairness the Pogues were the first band to really take punk rock and take classic Irish music and create a hybrid.

JR: The biggest thing I’m proud of in my involvement in the Boston punk rock scene is that our thing is a lot different from, say, what I’ve seen in Europe. You would have bands that were ska bands, or punk bands, or hardcore bands, or just crazy bands, and everybody supported each other. You’d have a bill with say, the Kings of Nuthin or Bim Skala Bim, just these different bands doing different things and everyone was supporting each other. I don’t see that in many other places, where it’s like ‘I’m a hardcore kid, I’m gunna sit over here with the hardcore kids – you weird punk kids go sit over there’. But we had the Cambridge Quarter, different bars where everyone would bro down and hang out, set up shows…

MM: Or at the Rat – you would see punks, hardcore kids, everyday Joes, crusties, whatever, all in the same building. I never remember there being any static about it either - I always thought there would be but there was no static. I remember going to shows at Local 186, or going to Access, and it seemed like in those places things would get secular, or divided – but the Rat was kind of the epicentre of the scene at the time, and it was special. There was always a feeling in the air that four or five bands were gunna rise out of it and everybody else was just gunna fall off…that was just my thought process watching it all go down, and pretty much the four or five I thought were gunna pull out did pull out, make a mark and keep doing things. It was a special time.

MG: Your records have a thematic balance between good time drinking songs and serious social commentary. With regards to the former, what’s everyone’s’ tipple of choice?

JR: I’ve always been an Irish whiskey guy, that’s definitely my drink of choice – Bushmills or Jameson’s.

MM: Back when I wasn’t on the wagon, I liked Heineken a lot, I liked Guinness a lot. What we used to do was drink six Heinekens, then turn around and have a Guinness. It seemed like having a buzz on made the Guinness go down smoother. If you started out having Guinness and knock back three, you fucking can’t drink anymore because you feel weighed down. But if you turn around, have six Heinekens, or Budweisers, or Moulsons – Moulsons was pretty popular – and everyone seemed to do that, knock back five or six beers then have a Guinness, because you didn’t feel the weight of it when you had a good buzz on. Plus Guinness has a great fucking taste…except when it comes back up, when it projectiles out of you.

MG: With the latter, what issues do you find most influencing your songwriting at the moment? Has your focus changed over the years?

JR: For me, I’ve got a bit of a writer’s block…I went through some terrible shit with divorce and rehab, all kinds of shit in the last year, so I’d write all kinds of nasty, negative shit. Now I’m out on the other side of all that crap, I’m like ‘what the fuck do I write about?’ So I’m having a bit of a writer’s block with that, but I’m sure it’ll come to me at some point.

MM: I’m back in Boston, I’ve moved back and I’ll mention at least five or six times a day how much I love it there and how it feels like coming home in every part of my being. I don’t want to go overboard being all ‘Boston Boston, raa raa raa’, I just want to write human condition songs and not make it too quaint but just capture that somehow and make it into a good song…take real life experiences that I’m going through and make it universal. One of the biggest things that continues to move me and I’m compelled to write about is income inequality in America, it’s completely fucking hideous and grotesque and obscene and its at unprecedented levels. Then the political process is completely bought and sold, it’s transparent even to those who have pretty much checked out of politics and what’s going on in America. It’s sad, like Citizens United, that Supreme Court case about a lot of corporations giving unlimited resources to politicians – it’s fucking absolutely pathetic. With the Street Dogs, I’ve had people say ‘you need to reign it in a bit, stay out of politics and don’t write about that stuff, you guys are pigeonholing yourselves a bit, shutting yourself off to a wider audience’. Well fuck that - FUCK that – what am I gunna do, reign in how I truly feel to write some bullshit song? About tra la la, life’s good, don’t worry be happy? No, fuck that. Would Joe Strummer do that? No! Would Johnny Cash do that? No!

MG: Too right! So as a final, lighter question, have you got any good or insane tour story that has stood out over the years?

MM: Ooh! So we’re in Finland on the bus, we’ve never been before, it’s cold as fuck and we’re all kind of mystified looking out. Paul Rucker, who drummed with us on Fading American Dream and State of Grace had disappeared. Turns out he was on top of this double decker bus – you know in Teen Wolf, when he was on top of the van? Rucker’s completely shitfaced out of his mind, doing his best impression.

JR: He was smoking a bowl up there too.

MM: Yea, smoking a bowl, doing that. There was a load of high, electrical stuff…if he’d hit one of those wires, he’d have been done, crispy. Then the cops, when they pulled us over I thought for sure Rucker’s getting strung up, but we told them we were in a band and they just wanted to go to the show.

JR: They came to the show and checked us out too!

MM: It was either Norway or Finland, I’m pretty sure it was Finland though. Those are the only type of cops that would be that cool, most people would be like ‘get the fuck down, you’re locked up for the night.’

MG: That is a good one! Thanks very much guys.

Sweden's Last Lynx have been quietly turning the dial up to 11. After an auspicious start — their first track 'Killing Switch' found its way to #1 on the Hype Machine just days after release — the band cemented their early promise with the EPs Alaska (2011) and Ocean Reels (2013). Their most recent single, 'Curtains', was released a couple of weeks ago and has already raced past 150,000 listens on Soundcloud, and August will see them take to the stage in London Town on two consecutive days: they play Hoxton Bar & Kitchen on August 1st and at Kopparberg's Urban Forest event on August 2nd. Musos' Guide caught up with Camilla Dahlstedt, the band's keyboard and percussion playing co-lead singer, to find out a little bit more about the band. 

MG: I suppose, considering this is your debut on Musos' Guide, I've got to start with the most predictable question. Can you introduce the various band members to our readers, and tell us a little bit more about your roles in the band? 

We're a five piece; Robin Eveborn, Kim Lindqvist, Marcus Lindblom, Fredric Lindblom and me (Camilla).
Robin is the producer, one of the lead singers, plays keyboard, synthesizers, etc. 
Kim plays bass guitar, Marcus electric guitar, Fredric plays the drums and also writes a lot of the lyrics. 
I am the other lead singer, play keyboard and percussion.

MG: The band only formed relatively recently [in 2011]. Can you tell us a little bit about how you guys got together? 

We're all from the same suburb right outside of Stockholm and some of us played together in bands before; Fredric and Marcus played music together since they were youngsters - I've played in bands with them as well and Robin and Kim have played music together before. Last Lynx started with Robin, Marcus and Fredric wanting to write together, so they played around in the studio making hip hop beats and then they wanted me to try some vocal stuff, I think it started with only the word "alaskaaa..", we just continued to try more stuff and eventually I sang on several of the tracks as a featured artist. We released that ourselves as the Alaska EP which was received very well in the blogosphere and live requests started to land in our inbox so we were psyched and just thought - well then, let's start a band! And since Kim and Robin have known each other for a long time and played music together before, he was a natural choice as a bass player. 

MG: You’re signed to SoFo Records, and the fact that Universal has its own Swedish division says a lot about what an awesome music industry is flourishing in your country. Is there anything in particular that makes Sweden such a great place to be a musician — do you think you’re more free creatively, for instance, because you’re away a little bit from the more glossy, processed music industries of the USA and UK?

The thing is, I haven't really practiced music on a daily basis anywhere else than Sweden, I've visited but it's not the same thing as living it. So it's hard to answer when you haven't really seen it from the outside. But the fact that I haven't thought about it maybe answers your question, we're very free creatively. But I/we can't speak for everyone. There are probably Swedish musicians stuck in shitty deals which limits them creatively and forces them to release stuff they're not proud of. But the music industry isn't big in Sweden but it's also a small country so most people involved in it know - or know of each other - so I don't think there is much room to be an asshole. And I believe the best songs come from musicians who haven't been limited by a certain frame or musical ideal.

MG: Your sound is really cool – and very distinctive. Where other bands at the moment make you think of bands from the past (like the whole scuzzy '90s thing), I think your sound is really fresh. Did you guys have a very specific idea of how you wanted the band to sound, and are there any particular bands / artists that have influenced or inspired you?

Thanks! A part of it is that we come from different music backgrounds. I sang mostly jazz and soul, Robin and Kim have played/written everything from metal to electronic music and Fredric and Marcus have played indie rock/-pop music. But from the beginning Robin, Marcus and Fredric wanted to keep it as a studio project with featuring artists. Initially they wanted to make hip hop, or at least hip hop beats but it melted down to pop with a feeling of hip hop. The real key to our sound is that Robin is our producer, so our demos often have a "Last Lynx"-sound from the first draft. 

MG: What’s your writing process like? I read in an interview elsewhere that ‘Lacuna’ started with a bass line and came together really quickly - is there a particular song-writing method that you guys share?

There is no specific method but often Robin or Marcus comes up with an idea in the studio that someone else picks up on. Sometimes we jam at the rehearsal place and then take it to the studio or the other way around. Then we take it back and forth until we're satisfied. 

MG: You recently announced gigs in London at the start of August — what have your experiences on the road been like so far, and do you have any plans for a longer UK tour?

We love playing live and our gigs in UK so far have been awesome, so yeah we would love to come for a longer tour, but nothing is set in stone yet.

MG: Can you tell us a little bit more about your upcoming EP Rifts? Is it shaping up to be very much the big brother, sound-wise, of Alaska and Ocean Reels, and can you give us any hints about the release date? 

I think all of our EP's have the same sound atmosphere, that's the basis for all of our songs, much thanks to Robin who produces. The biggest difference between Alaska and the later two is that some of the songs were written in the rehearsal space, while Alaska was entirely written in the studio. The Rifts EP is our third release and I think we've grown closer as a band and become better songwriters, which I hope shows. We don't have an exact release date yet, but it'll be late summer/early autumn. 

MG: Finally, what does the rest of the year have in store for you? Will you be hitting the studio again as the nights get longer, or are you out on the road?

We're gonna play live as much as possible and work on new stuff any time we get the chance to!

The Bevvy Sisters burst onto the music scene to a burst of acclaim: their debut album St. James Sessions caused listeners and critics alike to prick up their ears, and was welcomed with a sold-out launch show at Glasgow's Celtic Connections in 2010. This March saw the release of their latest album, Plan B, and the coming months will see the band play live dates at the Kelburn Garden Party (6th July) and a couple of high-profile dates at Edinburgh's beloved Festival venue, The Spiegeltent, on he 8th and 24th August. We caught up with co-founder of the band, Heather Macleod, to catch up on all things Bevvy.

MG: For readers unfamiliar with the band, and for those keen to find out more, can you tell us a bit about the history of The Bevvy Sisters and how the band came into existence?

HM: After starting out as backing vocal singers in my own band in 2006, we then stepped out front at the helm of The Loveboat Big Band. A craving for space and a wider range of material led us to first step out as The Bevvy Sisters in 2009, accompanied by only drums and guitar. Since then we have seen changes in the line-up, from the original trio of voices with Kaela Rowan and Lindsey Black, passing through a time with Roberta Pia, and then settled with the current line up going live at the beginning of last year. David Donnelly (Demus) and I shared a flat which is when we began to make music together, although I'd admired his playing and his work as a producer for years beforehand. Likewise Gina Rae, who I am a long time fan of. We worked together as bvs in Kaela Rowan's band. Cera Implala arrived in a timely fashion in 2012 and struck us as 'very Bevvy' just as Roberta was moving off to London.

MG: Your first album was released to lots of acclaim. How did it feel to attract such attention with your debut — did you worry about it being a hard act to follow or was it something that drove the band forwards?

HM: We didn't worry at the time, we just did our best to keep up! It does change the dynamic in a band when a deeper commitment suddenly must be made, and maybe the changes in the line-up that followed were partly due to that. What was clear, however, was how much people loved the format in which we were working – basically using the age-old female vocal trio framework but working with material that reaches far wider than the associated stereotype. In our time we've included '50s adverts, folk, jazz and Ivor Cutler in our sets!

MG: The vocal interplay between the different members of the band is gorgeous and gives the songs a really distinctive timbre. What are the particular strengths that each band member brings to your tonal palette? (and I include David in this question too, of course!).

HM: Thanks! Yes, there are 4 very individual tones at play. What I love is the way that each voice occupies it's own space and you can enjoy any voice individually at any time whilst listening. However, as you say, it's the strength of the combination of the voices that is special. Multiple voices singing on one breath is a tremendously exciting thing both to do and to listen to. As you get to know each other's tendencies of phrasing and tone it's a joy to lean into each other to enhance that further. It's a basic human reaction to be drawn to the sound of voices in harmony. Although we enjoy using a wide dynamic range, we're all capable of being quite strong, big singers. I put that down to the fact that we hail from more of a blues/jazz background. We certainly don't fall into the category of 'sugar sweet'.

MG: Your live shows are lauded both for their musicality and the warm relationship you share with audiences. Is there anything in particular that makes live performance so special for you?  And, looking forward to summer dates like Kelburn Garden Party and The Speigeltent, is there anything you’re particularly looking forward to in terms of planning your live sets and the opportunity to interact with audiences?

HM: Live is really where it's at. It's there that you can have an experience together with a group of people in one room, feel the air move and tell your story. We're not too earnest and although we don't take ourselves too seriously on a personal level, we do take the the responsibility of that experience seriously. In essence we aim for an all round uplifting experience, to deliver musically but to have a good laugh too. We all have a lot of experience and so we're relaxed. 

The Speigeltent is one of our favourite venues and we have performed in it at various festivals over the years. We're delighted at it's return to the Edinburgh Fringe this year. It feels like home, and when the room feels relaxed and you gain an audience's trust, a good time will be had.

MG: The Americana that infuses your work is absolutely gorgeous. Did Cera’s arrival in the band heighten that particular influence in your work — and are there any artists in that genre (or others) that you’re particularly inspired by?

HM: We were already working with a good few songs in that style by the time Cera arrived in Edinburgh in 2012, and as there is such a strong relationship between Americana and Scottish song that was part of the attraction to work with Cera and hence why we thought she would work with us. The banjo and her vast experience shine through beautifully and seal the deal on that particular sound for sure. In that particular genre, Tim O'Brien and his sister Molly have been an inspiration. Other influences are so many! Nina Simone, Boswell Sisters, Tom Waits, Patsy Cline, Rosetta Tharpe, Betty Carter, Stevie Wonder ... and on ….. and on....and on!

MG: Your most recent album, Plan B, was released in March this year. Can you tell me a bit more about the creation of the record? 

HM: Both our albums have been approached in the same way, i.e. fundamentally live. Record at the point the arrangements and songs have settled, get into a good studio (in this case Mobile with a home) with a great engineer (Mattie Foulds) and some fantastic microphones, and run the song up to 4 times round, and you should have it. It's a challenging way of recording as you all have to be exactly on it all together, however if you manage to capture the moment when you are, it's incomparable to recording by over-dubs. The essence of what we do is our relationship with each other, and it's only really by singing together you can really get that on record.

MG: I’d really like to hear more about your early music days in Aberdeen. I found that when I was an undergrad, the city was a really encouraging place in terms of welcoming new bands and giving them lots of opportunities to get up on stage — did the city and / or your time at the Art School play a part in inspiring you as a musician?

HM: Absolutely. Over the time I was there a whole blues jam culture kind of exploded. It started off in the Drift Inn, by the docks, which was packed every Saturday afternoon, and over the course of a couple of years occupied many venues in the city. We would do the 'circuit' of Blues Jams over the week, and Monday night was the only night without one. I spent more time out at those than I did painting - and limping with tambourine bruises was a common ailment!

MG: I’d also love to hear more about your role in setting up Bongo Club, as it’s such an Edinburgh institution and awesome space. In the six years that I've been back in Edinburgh it’s gone from strength to strength (especially in terms of hosting brilliantly eclectic nights and after moving into the Cowgate) — what inspired its inception, and what do you think its legacy has been on the city?

HM: Eclectic was always the leading thing with the Bongo Club and I'm delighted that trademark has continued through it's time. The original home in New St is a much lamented time for many in Edinburgh, and the many friends that made it their home over festival times. It was a real chapter in Edinburgh's 'scene'.The key to that time though, I reckon, was the fact that it was all under one roof. Artists' studios, cafe, bar, gallery, and venue. People got talking and made it their meeting place and second home, and where people talk, ideas happen. At the time (and in the time since!) there was a great need for a mid-sized venue to work through, and Out of the Blue, made it policy to support new work, to make the space accessible and to include live performance as far as possible. The fact that it still survives, whilst other venues have shut all around the city, is a legacy in itself! 

MG: Getting back from that wee diversion, what does the rest of the year have in store for you? 

HM: More of the same, and more of the same... We've had a great response to our new album Plan B and we hope it will result in us being able to continue what we are doing. We have some nice live recordings from our album launches and lots of ideas for new material, so as ever, there's lots to do! As for the band, we all busy away at various all sorts: The Loveboat Big Band includes Demus and I, and the Bevvys often appear as guests. As well as our own dates in the Speigeltent this Fringe, The Loveboat Big Band will do three dates there on the 7^th,15^th and the 25^th.

If you'd like to keep up to date with The Bevvy Sisters, you can check out the band on Facebook and Twitter. To find out more about their upcoming live dates and music downloads, head on over to the band's website. 

One of the many acts to join the archive of successful bands and artists that have played Live at Leeds are first timers Disraeli Gears. The Leeds/London based foursome juggle studying, summer internships and creating their distinctive alt rock sound. The band are made up of Teia Fregona (Lead vocals and guitar), Tom Kitson (guitar), Samuel Delves (Bass) and Alex Moorse (Drums). File next to bands such as Radiohead and St. Vincent; their soft rock guitars are rippled by a moody aura and have a slightly gothic undertone.

Disraeli Gears have previously played at venues from all ends of the Leeds music scene. Drummer Alex, speaking of the city venues at which they've played, says: “I feel like we have done most of the ones we wanted to do now which is really good, most of the ones we were able to do before we left Uni, we all graduated this year.” Newly added to the Live at Leeds bill, Belgrave Music Hall has already got a good name for itself and has seen an ample amount of musical talent through the doors. On this sunny early afternoon, the readily awaiting music lovers head down the industrial staircase to join the large crowd waiting for Disiraeli Gears which sound more glorious in and amongst the heat. Bass player Sam admits that he's been looking forward to this particular live date, when he says that “This is the last venue I really wanted to play at Leeds where we haven’t performed before, so it is quite cool now were not living in Leeds together so it’s nice to do it.”

Entering the stage at Belgrave Music Hall, the band's nervous smiles look over to the packed out crowd as the audience applaud them into playing. Disraeli Gears play through songs such as ‘Mother I’ and ‘Skeleton;, which are tracks taken from their previous EP. Sam candidly reveals that this is the largest crowd the band has faced so far, saying that “It is the biggest we have played to I think, it didn’t faze me to much but you notice more easily how audiences react to the music when there’s lots of them to look at. I find it strange”.  The spacious gig space at Belgrave is filled with bodies itching to move to the twang of the guitars, while some stand and stare at the performance before them. This is a common sight for the band, Sam admits to me, saying that “No one really knows how to dance to our music, they kind of just stand there it’s a bit disconcerting sometimes like especially when there’s a big crowd of people not doing anything, but you hope they are listening at least”.

On stage, Disraeli Gears grapple with their instruments and, immersed in their sound, they fall into the hip shaking groves they produce. Lead singer Teia Fregona leads the way. Alex is quick to applaud her stage presence: “She goes for it; maybe we should release a video on how to dance to our music”. The band's half hour set feeds through the airwaves plucking at their soulful, sounding hooks and rubbing grit into their textured guitar break downs. Reflecting on the band's distinctive sound, Sam identifies their diverse influences: “We [sound like] alt Rock I guess, these guys [Moorse] are quite jazz influenced, we all listen to different types of music. I have got an internship in London, I was working before in Leeds doing like the underground music scene here, listening to a lot of drum and bass and stuff and now I’m working with the Philharmonic Orchestra. It's quite a difference, but I wouldn’t say either of them really influence our sound.”

Balancing work life with band life Disraeli Gears strong work ethic pays off as the crowd finally go with the music and sway and stomp to ‘Skeleton’. Soon after, the band leave the stage and join the crowd to see the many other acts performing at this year’s Live at Leeds. Spanning over 24 venues across the city, Leeds is ablaze with the fresh talent the industry has to offer. Alex confesses that his musical involvement in the event is far from over, admitting “I actually have a gig tonight with my other group [Collective 92] so I will not be able to enjoy all the really good music, which is a shame. We saw Snarky Puppy yesterday - they'e sort of like a jazz pop fusion band - they are really good and they played at The Wardrobe.” For Sam, however, the festival is almost at an end: “I’m going to see a back seat of a train for 3 hours. I would have liked to catch Albert Hammond JR if I was sticking around as I am a massive Strokes fan. Basically when I was a teenager all I listen to was The Strokes. I was in this Strokes cover band, I think a Strokes song was our name as well; it was so bad, we all had really bad hair. We played one of our friend's parties, it was like a 13^th Birthday party, everyone loved it.”

The band pack away their instruments, feeling the aftermath of adrenalin that performing live brings with it. Disraeli Gears casually filter from the stage, checking their phones and returning to normality. Gentle gossip is muttered amongst the crowd as they blush in admiration for their favourite members of the band. Alex slyly tells me that someone has a secret admirer on Twitter, and Sam is quick to respond to his bandmate's suggestions, saying “I feel admired, I don’t know what I was doing in particular that enticed her so much. But I think I will let her down gently because my girlfriend's across the table!”

The popularity that the band enjoys can be seen in the huge following they have as they play from gig to gig. Disraeli Gears are not yet allowed to take a break as summer festival season is looming. No doubt, Piped Piper-like, they'll pick up many fans as they move from city to city. Of the band's plans for the summer, Sam tells me: “We have been invited to play one in the Lake District, it is called Fell Foot Sound and it is quite a low key festival. It will be quite a nice break for us, [we will] go probably for the whole weekend and make a bit of a holiday out of it”. There will be some down-time on the cards, as well though, with Alex adding that “We are all going to be in London as of July so we are all going to really get our heads down to writing I think and we will see what gigs come our way. We haven’t spent as much time as we probably should have in the last year to actually focus on the band, so hopefully once we have all kind of got over Uni that will be our main focus.”

To listen to tracks by Disraeli Gears, head on over to their Bandcamp page. To keep up to date with upcoming live dates, check the band out on Facebook.