An anthemic call to arms, this title track from North Coast four piece 'Little Arcadia's latest EP is proof that the weight of expectation on a band isn't necessarily always a bad thing.

A slow building, hook heavy affair, 'Anywhere Else' see's all the potential this young group have steadily polished since their early days bloom into one hell of a chorus, made all the better with some poetic love/lost lyricism to boot. The pile driving, foot to the floor indie riffs this band are so clearly capable of are not rushed out here, instead choosing their time and place to arise from the song. Indeed, throughout this entire Ep the band show their attention to detail, getting the very most out of every melody.

There's a delicacy too to frontman Eunan Brown's vocal; it's visceral, full of emotion like the crashing guitars which surround it. Much like Owen Strathern of Oh Volcano (formerly General Fiasco), Brown sounds on the edge of collapse, nearly screaming into some of the songs later verses, and it sounds great. There's a North Coast charm to this record too, the soaring riffs of lead guitarist Dillon Templeton echoing ASIWYFA at times.

Whilst this track (yet to be released as a single, though there's still time!), treads the fine line between alt-rock and indie, it does so with utter respect to both genres. Whether you want to look cool with some music blasting in your car, or loose yourself in a mosh-pit, 'Anywhere Else' covers all the bases.

It's with heavy hearts that today the Northern Irish music scene must face a future without two of it's strongest alternative rock outfits. Sadly both More Than Conquerors and Serotonin have decided to move on, leaving behind a collection of great EP's, singles and countless memories.

It was Serotonin, of course, who famously brought back the spirit of punk last April, defying an unfortunate situation by gigging outside on the balcony of The Granary, a local sandwich shop. They ended up playing an acoustic set to a crowd which just kept getting bigger, as passers by and those within the bar flooded onto the street to join the band and their dedicated fans. This was just one of many punk styled moments in the proud history of the band. Whether screaming along to headbanger 'Paint', or getting people moving to 'Cold Coffee's sweet hooks, Serotonin were a band who gave everything.

More Than Conquerors too played host to many a memorable night, their short set at The Mandela Hall earlier this year for the NI Music awards proving one of their best ever. Thankfully, they have announced one final show at the Mandela Hall, on October 2nd. If that wasn't enough, support on the night comes from the excellent David C Clements. Get your tickets here.

Together these bands have helped inspire the local scene and Encore NI would like to express our total gratitude for the music, which will continue to influence long after these bands have moved on to new projects.

Onwards and upwards...

(photo by Ciara Mc Mullan) Name: Bomb City 7 Genre: Hip-Hop Punk Disco For Fans Of: Public Enemy, Beastie Boys, Run DMC Location: Belfast

Bomb City 7 were a group quite unlike any other we've produced before, or since. Armed with a huge sound, an incredible stage presence (when they were actually on the stage that is, and not diving off it) and an ever present two fingered salute to society, this was a special band capturing a special time.

Active mainly between 2010 and 2013, Bomb City 7 were a part of the 'Little Solidarity Movement' and the after effects of that unique time for Northern Irish indie music. They were a part of a scene buzzing each night, as Belfast played host to some legendary moments. Their name is draped upon that famous old poster in the Oh Yeah Centre alongside More Than Conquerors, And So I Watch You From Afar, Cashier No.9, Mojo Fury and the like, as their unique blend of hip-hop, rap and guitar riffs regularly whipped audiences into a frenzy.


At the heart of Bomb City 7 lay their dynamic duo. A frontmanship unlike any other, Brendan Seamus' free flowing wit combined with 'Kev Bones' melodic guitar tones made for some great renegade pop music. Now well established in their own rights, anyone new to the Northern Irish music scene may not know that Brendan 'Brendy' Seamus is now the solo rapper Bee Mick See, whilst Kev went on to focus on fronting hard rockers 'Empty Lungs' ~ not a world away from Bomb City 7, but an intriguing breakdown of the influences that made them great.

At the time Bomb City 7 were very much alone in their style and verve. Few would attempt to rap in a Belfast accent and even fewer were prepared to sing about the nations short comings in such straightforward terms. Thankfully, the spirit of the band has remained and as time has progressed we've seen more and more bands taking to the stage inspired by City 7's attitude. Acts like 'Bunny and the Banned Its' (once banned by nearly every venue in Belfast), Green Monkey and even Robocobra Quartet have all openly drawn on hip-hop, rap and the American underground to craft their music, which, like it or not, was basically pioneered by Bomb City 7 in Belfast.

Also quick to help the next generation, the band's final ever gig saw them give a nod to the fast emerging Wonder Villains, selling out Queens Speakeasy in the process.

Going out on the metaphorical (so we assume...) high they deserved, Bomb City 7's debut EP 'Songs From Bomb City 7' still holds up today as a collection of timeless party anthems; and perhaps that's the best way to remember them. No matter how much time passes, this band will never stop giving it stacks.

Genre: Alternative 
For Fans Of: Glasvegas, Foals, Biffy Clyro
Location: Coleraine

On The Bayonettes last major release, the huge sounding 'Post-Kiss' EP, they displayed the kind of happy-sad dynamics that made stars of their North coast contemporaries And So I Watch You From Afar. Capturing this alongside frontman Danny McClellend's bittersweet poetry, The Bayonettes proved that they were a band of real depth, that their anthemic chorus' weren't just for show and that this was a band with a vision. On new single '2 Miles For Me Is 1000 For You', they take this vision trip a step further, resulting in a rock song two parts Foals, and three parts Biffy Clyro.

It's whirring feedback and menacing guitar parts echo A Plastic Rose at their most fierce (think 'Oceans', 'The Stuttering' etc). Though that's not to say The Bayonette's haven't grafted their own sound. Far from it in fact, and one of their most recognisable features is McClellend's vocals, distinctive, raw; and as he laments in the songs final breath's 'tell me that there's something more than this' you begin to wonder what else there may be. The possibilities are exciting. The Bayonettes are improving and this is their best work to date.

Is it wrong to review a show you've put on yourself? Quite possibly, but after the success of our collaboration with the Oh Yeah Centre for Gay Pride we felt it'd be unfair not to...

Opening proceedings came Jealous of the Birds, a remarkable songwriter who's came out of nowhere to entrance venues across Belfast with every show. Throughout her performance she sounds relaxed and confident, breezing her way down a set of depth and warmth. 'Capricorn' favorite 'Bipolar' sounds magnificent here, the bittersweet lyricism painting a darker portrait than her bohemian style may first suggest. Even the 'Happy, happy...happiness...' refrain sounds ever so troubled, as if escaping to a safer place. Her new songs too already sound wonderful. Delicate touches and that distinctive voice keep the room near silent, a silence only broken by very loud, justified applause. The highlight of the set, however, came in 'Heart Shaped Box', a bold cover by anyone's standards, but particularly for an acoustic artist. Twisting the track ever so slightly, Nirvana's classic sounds reinvigorated here.


Raw and uncompromising, the raw punk power of Shannon O'Neill (also known as Sister Ghost) proved a thrilling addition to the night's entertainment. Better still, Sister Ghost's arrival to the stage marked the entrance of several girls on roller skates, temporarily transforming the venue into an 80's styled punk rock roller disco. Single 'Spineless Whisper' sounds menacing, Sister Ghost's palpable energy really transferring to the crowd, though it's the climactic crescendo of debut release 'Scent'  which really hits home here. O'Neill thinks nothing of jumping into the crowd, ringing out the songs massive breakdown surrounded by roller skaters. It's a truly great sight, and an even greater noise.

Hot Cops are a band in the ascendancy, writing furiously and at an astonishing pace. Tonight they open with yet another new song, haunting, foreboding and sonically growing ever more complex. Bass harmonics & quiet, hushed vocals combine to create their most menacing song to date. "Who's gonna stop me when you're gone?"

It's dark, drawing you in from the off. There's no great announcement, as ever, very little in the way of hello's. Hot Cops simply wait, draw you in and then crash seamlessly into "Passive Passive", a song which already feels like a classic and yet hasn't been released yet. All night this continues, another new track "Auto" let's the light in briefly, a happier refrain, though no less angular. The bands first big anthem 'Kenzies Farmhouse' also makes a rare appearance. It sounds huge, raw, Hot Cops sound ready. They look ready too, as the band casually chat to their audience, their witticisms fully appreciated here. There's a relaxed atmosphere from the band as they continue to work their way through the set. The bass riff from "Fallout", the sole live survivor from #1 Babes is raucous here and anyone who wasn't ready to move to Hot Cops magnificent noise certainly is now. "I remember shot gun shells at the party..." calls Eccles, as he grabs the mic, briefly leaving his guitar to rest in mid air. 

To end, they choose "Dumbo", the slow building climax this performance deserved. It rises and rises until it can't anymore and as Hot Cops crash their way to the finish line the most frustrating aspect of all is not having the room filled with like minded fans to thrash and sing alongside. No matter, as for now I'm happy to dance to Hot Cops alone. Maybe I should enjoy it, as I won't be alone for long.

Finally comes Tour Alaska, the long awaited solo debut of Gerry Norman. Known for his roaring battle cry with alt-rock's loudest band A Plastic Rose, for many the solo route was a path they never saw coming for the front man. For those who know him well, however, the softer side of Gerry Norman has always been there, just choosing it's moments carefully, like the Northern Irish sunshine. 'Indian Sheets', 'Garavouge' and older songs like the beautiful 'Silence You' are just some examples of Norman's huge range and power chords taking a back seat to the tip-toe delicacies of Tour Alaska. Tonight we hear a setlist comprised almost entirely of new songs, only the 90's tinged ode to Edinburgh 'Apple Disguise'  surviving from the archives. An optimistic strummer, 'Apple...'s stomp along chorus and uplifting lyricism ('I hope it's not the alcohol that made you kiss me') blends perfectly into Tour Alaska's new arsenal of songs, but not before the troubadour's troubles are laid on the line first. Songs like 'Calm In The Air'  and 'Crushed By An Angel' are sincere and heartfelt, staying far away from the formulaic sad song approach with inventive chord changes and captivating melodies.

Yes, there's pain on show, but with Tour Alaska it feels real and this is no more prevalent than during 'Old Grass Tennis Courts', another nod to his time in Scotland; and while the story of discovering an oasis quite literally in the shape of abandoned tennis courts is warm and joyous, lines like 'I quite like my family name and I enjoy the shame, I bring to it' keep you guessing, it's '9 Crimes' styled ambiguity gently drifting through. To finish, Norman brings out the big guns. 'Love Love Love', a song about, well, love, get's the Sligo native momentarily riled up. Having relaxed entirely throughout his set, here he sings passionately about the state of the nation. It's not in melt down, that's not what he's saying, but could it be better? Absolutely. It's a feeling that resonates with the vibes of the entire night, and as Tour Alaska sings of 'racist and discrimination cases' you can see members of the audience raising their arms, feeling the moment. The song ends with the audience as Norman's choir, singing the 'love, love, love!' chorus back to him. It must feel strange not having his band around him, but on his own Tour Alaska looks remarkably at home.

This may well be a night remembered for a long time yet. 

Taylor Johnson

This was a performance excluding their new double a-side release 'decay' and 'six'; arguably two of Northern Ireland's best indie records ever. Though perhaps we shouldn't be surprised. This is a band in the ascendancy, writing furiously and at an astonishing pace. Tonight they open with yet another new song, haunting, foreboding and sonically growing ever more complex. Bass harmonics & quiet, hushed vocals combine to create their most menacing song to date. 

"Who's gonna stop me when you're gone?"

It's dark, catching you from the off. There's no great announcement, as ever, very little in the way of hello's. Hot Cops simply wait, draw you in and then crash seamlessly into "Passive Passive", a song which already feels like a classic and yet hasn't been released yet. All night this continues, another new track 'Auto' let's the light in briefly, a happier refrain, though no less angular. The bands first big anthem 'Kenzies Farmhouse' also makes a rare appearance. It sounds huge, raw, Hot Cops sound ready. They look ready too, as the band casually chat to their audience, their witticisms fully appreciated here. There's a relaxed atmosphere from the band as they continue to work their way through the set. The bass riff from "Fallout", the sole live survivor from #1 Babes is raucous here, and anyone who wasn't already absorbed by the three piece's noise certainly is now.

 "I remember shot gun shells at the party..." calls Eccles, as he grabs the mic, briefly leaving his guitar to rest in mid air.  To end, they choose "Dumbo", the slow building climax this performance deserved. It rises and rises until it can't anymore and as Hot Cops crash their way to the finish line the most frustrating aspect of all is not having the room filled with like minded fans to thrash and sing alongside. No matter, as for now I'm happy to dance alone. Maybe I should enjoy it, as I won't be alone for long.

Full Review Coming Soon...

Taylor Johnson