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Quiet Houses, originally from Edinburgh, back in their city, at Christmas time, with friends and family in attendance, perfect ingredients for an amazing gig night. Hannah and Jamie came to deliver the presents home and they served up a treat for all in attendance. Cabaret Voltaire is an amazing almost claustrophobic venue, down in the cellars, arched stone ceilings, very dark and atmospheric but has to be the best way to see an upcoming band showcase their talents.
Hannah Elliott and Jamie Stewart are Quiet Houses, known each other for years and after writing songs together they decided to share their indie-pop music to the world in 2021. Now with a couple of EP’s released and a third on the way (3rd January 2025, save the date!) with an album on the horizon for next year. This was the second of a couple of special headline year ending gigs, the first in London, where they are now based and tonights event.
After a superb opening performance by Zoe Graham (see my previous review of Zoe!) Quiet Houses jumped on to stage, alongside drummer George Purnell and keyboard player Amy Jaggs , special mention to Amy as she only met band for first time a few days before the first gig but did an amazing job! The opening song, Ocean Avenue, was quickly followed by the latest single New Obsession which went down a storm.
After a hello from the guys we had 2 songs from the upcoming EP release, Carried Away and Facts & Figures, the latter about “growing up” in your 20’s both enthusiastically received. Next up was a crowd favourite and the bands biggest song to date Cold Water Swimming, a dreamy almost folky song which highlights Hannah’s ethereal vocals. After the applause has subsided we get my personal favourite song, See for Miles, a roller coaster ride of emotions, perfectly delivered. Another new notable song in the set is “I’m not yours” played for only the second time live and yes Hannah you did seem to remember all the lyrics this time!
The penultimate song is the duo’s most raucous, What My Heart Is For, a guitar driven catchy number with much rocking out around the stage. We finish up with yet another crowd fave, Hot & Clumsy, which has everyone singing and bopping along to. And before we know it, that’s all folks. A fantastic gig and a band destined for bigger audiences and bigger stages but those lucky enough to be in attendance won’t be forgetting this night anytime soon. If you only follow one new band next year , do yourself a huge favour and make it Quiet Houses, you will be glad you did!
LIVE REVIEWS
The closing hours of Reading 2026 have finally arrived. Florence + The Machine brought the rain during ‘Dog Days Are Over’ at The Grid, opening the heavens and leaving the festival site completely soaked. The weary fans who have stayed behind are wet, exhausted and clearly feeling the effects of the weekend. What they need now is one final enormous celebration to make the wait worthwhile.
The Gallery tent comes alive as the speakers blast ‘Favourite’ by Friday’s headliners and fellow countrymen Fontaines D.C., receiving the kind of reaction usually reserved for ‘Mr Brightside’ at a drunken wedding reception. Moments later, Kneecap display their familiar statement accusing Israel of carrying out genocide against the people of Palestine and Lebanon, with support from the UK government. It captures the Belfast rap trio perfectly, combining serious political messages with an unapologetic party atmosphere.
“We use our platform to talk about what we believe is right,” Mo Chara explains during the performance, before recognising those who “aren’t so fucking lucky” and whose voices have been suppressed. He soon encourages the audience to roar “fuck Netanyahu” and “free free Palestine”. Later, he starts a powerful chant of “Aaaaaa-ndy Buuurn-ham’s a waaaaaaan-ker” to the melody of ‘Seven Nation Army’, targeting our new Prime Minister over his claim that “a united Ireland is off the table”. Laughing, he asks: “The BBC won’t broadcast that, or will they?” As it turned out, they did not.
Away from the headlines and the controversy, there is no denying the connection Kneecap have built with their audience. Politics may shape the conversation, but the crowd also came to enjoy themselves, ready for a rave after the rally. The performance begins carefully with the heavy rumble of ‘Smugglers & Scholars’, before exploding during the Grian Chatten collaboration ‘Better Way To Live’ and the threatening energy of ‘Sick In The Head’. “Are ya ready for a mad one?” Mo Chara shouts. The response is already obvious.
The atmosphere becomes increasingly chaotic as the hip hop rhythm of ‘Cold At The Top’ and the hypnotic trance sounds of ‘An Ra’ send the entire tent into motion. The trio jokingly thank the UK for everything it has given Ireland, listing UKIP, fish and chips, a mental health crisis, Jimmy Saville, HP Sauce and Bloody Sunday. However, the show reaches another level once the second half begins. The explosive ‘Sayonara’ brings the ‘beef’ to ‘IBEEFA’, while ‘Get Your Brits Out’ and ‘Guilty Conscience’ give the crowd every reason to obey Móglaí Bap’s demand to “oooopen up the piiiiiit”.
Anyone watching closely may have questioned why the cameras continued to focus on Móglaí Bap and Mo Chara. The pair eventually reveal that they have spent recent weeks performing alongside a “provisional” DJ Próvai. Wearing the familiar tricolour balaclava, the temporary replacement handles his role as the crowd agitator with confidence while their bandmate enjoys some paternity leave. “Some things are more important than music, and that’s family,” they explain. How sweet. Móglaí Bap quickly destroys the tender moment by adding: “As you might know, the Brits took all our potatoes from Ireland; they took all our cocaine,” before declaring, “but we still have all our caaandy.” The group then charge directly into one of the biggest tracks ever written about extremely powerful ketamine.
‘Liar’s Tale’ sparks another huge reaction with its response to Keir Starmer, “genocide armer”, while the group warn that “you’re not getting away with doing nothing”. It is a politically charged message hidden inside an irresistible anthem from musicians who have experienced the “belly of the beast” through the legal system. Their latest album, ‘Fenian’, has helped Kneecap fully embrace the celebration that has always been part of their identity. Their live production now feels capable of filling arenas, blending the intimacy of a late night lock in with the rhythmic force and visual scale of The Chemical Brothers, the reckless electronic punk spirit of The Prodigy, and the fearless political honesty of Public Enemy. The spectacular visuals complete the experience.
Kneecap fans at Reading 2026. Credit: Andy Ford for NME
Kneecap fans at Reading 2026. Credit: Andy Ford for NME
Closing with the powerful combination of ‘Fenian’, ‘H.O.O.D.’ and the enormous ‘The Recap’, Kneecap bring our final celebration at Reading to a thrilling conclusion while also finishing their last festival appearance of the summer. “It’s been a pleasure to spend it with you mad c**ts,” Mo Chara says before leaving the stage. The feeling is mutual.
Return to NME here for the newest reports, reviews, photographs, conversations and further coverage from Reading & Leeds 2026.
