MUSIC PREMIERES
Eight Heaton Parks and 10 Wembley Stadiums – those are the shows rumoured for Oasis’ mega reunion tour next year. The combined capacity is more than the population of some countries, and yet it still doesn’t seem enough to meet the demand. Catfish And The Bottlemen, meanwhile – who co-headline Reading 2024 tonight ahead of the Liam Gallagher show said to break the news we thought we’d never hear – have more modest yet still wildly ambitious shows on their horizon.
When the Welsh indie stars recently announced plans for their first stadium gigs at Cardiff Principality and the Spurs ground, many took online to express doubt that they had the following and momentum to pull it off and fill ’em up. The last time Catfish topped the bill here was on a run of 2021 shows many believed to be their last. Twitter and tabloids spoke of their demise as the Welsh rock machine seemed to power down before a few years of silence. With no new music and no rise in profile, is a stadium run really the wisest move?
Well, as Jim Morrison said in Wayne’s World 2, “If you book it, they will come”. Do you believe in manifesting the big stuff? Catfish sure bloody do. Their opening song carries that spirit: “One of our longshots paid off”.
The band didn’t split the other year, but now frontman Van McCann and bassist Benji Blakeway are the only remaining full-time members after others fell away due to “entirely dysfunctional” relationships. What we’re left with here is a lean, mean, rock machine. Indie disco staple ‘Kathleen’ feels like it might lift the rammed front sections of Reading off the ground before sound issues force a halt. Even then, McCann, in his element, tries to gee up the crowd in full house party mode before a brief interlude. He bursts back on straight into the line “You’re simpaticooooo”, as if nothing had happened. Nothing is gonna get in their way tonight.
Inflatable crocodiles are dispersed for ‘Soundcheck’ as McCann flails and wails like Cobain, before ‘Pacifier’ gets the masses up on one another’s shoulders for the first of many times this evening. Here, as on ‘Taste’, there’s a snarling indie sensibility met with chest-beating arena bravado – as if The Cribs shed their punk edge, beefed up on riffs and adopted the The Killers‘s knack to rattle the eyeballs of the fans at the back. It’s indie sleaze turned up to 11.
They see where they’re headed. There’s a cheeky, brief nod to their stadium-dwelling countrymen Stereophonics with a snippet of ‘The Bartender And The Thief’, while the spotlight and theatrics of ‘2all’ show they’ve got the moves for the big spaces. The widescreen psych wig-out and breakdown of ‘Outside’ even has a smack of Pink Floyd to it. They’re playing with a damn sight more compulsion than last time, and they certainly know what an enormodome band should look, sound and feel like. The crowd before us lap it up. Will they multiply to fill those spaces? Maybe the long shot will pay off.
‘Longshot’
‘Kathleen’
‘Soundcheck’
‘Pacifier’
‘Twice’
‘Fallout’ (with snippet of Stereophonics’ ‘Bartender and the Thief’)
‘2all’
‘Homesick’
‘Rango’
‘Outside’
‘Fluctuate’
‘7’
‘Cocoon’
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MUSIC PREMIERES
Four years on from the ‘Actual Life’ series lifting him into the mainstream spotlight, Fred Again.. continues to feel unavoidable. The London producer and DJ born Fred Gibson has moved at a relentless pace, bouncing between sold out stadium dates in New York and surprise appearances at Sheffield’s 1,000 capacity Forge, while also making history as the first electronic artist to top the bill at Reading and Leeds in 2024.
Where the ‘Actual Life’ releases and his fourth album, 2024’s ‘Ten Days’, leaned into warmth and joy pulled from ordinary moments, Gibson has also sharpened his instinct for high impact club weapons rooted in garage, dubstep and jungle. That side of his output lives on ‘USB’, an “infinite album” first imagined in 2022 as a home for tracks that exist outside any fixed universe, including defining moments like ‘Rumble’ and ‘Jungle’.
‘USB002’, the second vinyl only chapter of the ‘USB’ project, brings together 16 recent tracks, many of which surfaced gradually on streaming services over a ten week stretch. The music was shaped live, in step with ten unannounced DJ appearances across the world from Dublin to Mexico City. Even with a Glastonbury style registration system in place, The Times reported that 100,000 people tried to secure tickets for the opening night in Glasgow.
Appropriately, ‘USB002’ feels alive and constantly in motion, helped along by contributions from close collaborators such as Floating Points and Sammy Virji. The rigid, techno driven pressure of ‘Ambery’ echoes elements of Floating Points’ 2019 album ‘Crush’, while Gibson’s take on ‘The Floor’ builds like the slow climb of a rollercoaster before dropping back to earth without warning.
The guest list stretches beyond the usual dance circles, with two Australian guitar bands popping up in unexpected ways. ‘You’re A Star’ reworks Amyl and The Sniffers’ ‘Big Dreams’ into a breakbeat driven rush, while ‘Hardstyle 2’ pulls the experimental post punk edge of Shady Nasty into an Underworld adjacent space alongside Kettama. Gibson’s real trick is his ability to connect with anyone. These tracks are not reinterpretations but full takeovers.
The visual world wrapped around the ‘USB002’ rollout reinforces the instinct behind the music. Phones were prohibited at shows staged in vast warehouse spaces under sweeping light rigs, while Gibson’s team shared striking black and white footage and created artwork for each single on site. Bottling that sense of urgency, the project is rooted in the thrill of the present moment, something Gibson seems able to summon simply by turning up.
If the ‘Actual Life’ series and ‘Ten Days’ captured passing snapshots of experience, ‘USB’ is defined by constant movement, a space where boundaries are removed entirely. Sitting somewhere between an album and a playlist, ‘USB002’ underlines why Fred Again.. feels so dominant right now, and suggests that his current run may only be the beginning of something much bigger.
