Sneaky Pete's

Fly Open Air are hosting the official after party at Sneaky Pete’s with the special guests announced on the night!

Four-piece Edinburgh band Monsters On Movie Posters are back gigging in support of new EP ‘Tourists’ after a six month break. With new additions to the lineup and a more aggresive Indie Rock sound, they recently supported bands such as ‘The Youth and Young’ and ‘Twin Wild’.

Drawing comparisons with Bon Iver and Tom Odell, Gus Harrower is a singer/songwriter who paints himself through his music and lyrics.

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Rather than sounding like a contemporary update of Gang Of Four, Liars and James White, listening to DUDS for the first time seems like finding the original source. Freewheeling, krauty, vaguely menacing and funkily uptight, they are a tension-wire-tight, succinct 5 piece that is centred around sharp bursts of rhythmical energy.
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East Londoner Facta has steadily been carving his own niche in the UK’s ever changing underground scene. He keeps his foot steadily in his dubstep roots alongside other treads through garage, grime, UK funky, hip-hop and experimental electronic. This approach results in captivating sounds that are sturdy, rough-edged and system ready; tough kicks and snares with tucked grooves and slinky hi-hats moving everything together so slick you’ll be left bewildered how he produces these amazing sounds leaving you wondering which direction he’ll go in next.

Born in Memphis, Tennessee, Micah P. Hinson is an old fashioned trouble man who fell pray to drugs and loose women, winding up homeless, destitute and incarcerated by the time most of his peers were filling in college applications. Music was his saviour, and since his 2003 debut, he’s pieced together a life for himself in his sleepy hometown, even proposing to his now wife live onstage in London.

Currently riding a fertile creative patch (he’s finished a new album, completed a set of Spanish EPs and released a Spanish-language novel), Micah brings The Holy Strangers to Sneaks for a special intimate show on September 20th.

Support comes from L.A Salami with a solo acoustic set.

Two masterpiece albums, a heartbreaking and astounding life story, and help from American Music Club and Cowboy Junkies… read on…

John Murry was adopted at birth into the family of William Faulkner. Some have speculated that the Faulkner blood might also run in his veins, but that should be left for a Southern Gothic novel yet to be written (or perhaps re-written). Raised in Tupelo, Mississippi, in the shadow of Elvis, his undiagnosed autism led to troubles at an early age which led to prescribed medication, which led to unprescribed medication which led to being institutionalised for addiction and mental health issues at a too young age. Eventually, discarded onto the streets of Memphis, he found music, which became the one constant positive force in his life. Memphis led to San Francisco and San Francisco led to heroin, and heroin led to a near fatal overdose on the corner of 16th and Mission, so harrowingly memorialized in his song Little Colored Balloons.

Music again came to his rescue and led him to Tim Mooney (American Music Club) and the group of musicians that helped create his 2012 masterpiece “The Graceless Age”. The album was hailed by MOJO magazine and received a 5 out of 5 rating, UNCUT called it a “masterpiece”, both magazines included it in their Top 10 albums of the year; American Songwriter put it in their Top 5 of the year and The Guardian included it in their best of the year as well. The accolades rolled in and John toured the world. He entranced and devastated audiences with his raw, unfiltered live performances, and it looked like his trajectory was set, that music had won and would have the final word. And then Tim Mooney, John’s mentor, his beacon, his bedrock, died suddenly and unexpectedly… and John’s world fell back in to chaos.

Over the next few years, John would lose the footing that he had struggled so hard to establish. He would lose his wife, his daughter, temporarily his freedom and ultimately his country.

Somewhere along this journey, John crossed paths with Michael Timmins of Cowboy Junkies. John had opened for the band at a show in Glasgow and Michael watched side-stage transfixed by John’s performance. Over the next few years the two of them kept in touch, they talked about the music business, politics, books, but most of all they talked about music. And they talked about making an album together. Michael wanted to capture the rawness of John’s songs, capture the vibe that he experienced that night in Glasgow and was even more convinced of this approach when John came through Toronto opening for Chuck Prophet and did a solo set at The Horseshoe Tavern, which was as disarming and emotional as the set of music that he had experienced in Glasgow a couple of years earlier. “On The Graceless Age you can hear John’s affinity to artists such as Mark Linkous and Mark Lanegan, but seeing him on stage, with just his guitar and his songs reminded me of Townes (Van Zandt), that raw-boned, exquisite beauty, so real that it borders on the uncomfortable, you feel you should look away, but it’s just too compelling to do so. The pain, the intensity, the honesty just draws you deeper”.

Eventually John completed his descent and landed in Kilkenny, Ireland where he found some solid ground as part of a welcoming arts community. Michael then convinced him to travel to his Toronto studio where Michael put a band together consisting of brother Peter Timmins (Cowboy Junkies) on drums and Josh Finlayson (Skydiggers, Gord Downie, Lee Harvey Osmond) on bass. John brought along Cait O’Riordan (The Pogues, Elvis Costello) whom he had met in Ireland and who wanted to be a part of John’s journey. The five of them put aside five days to record all bedtracks and overdubs, with the brief that they would let the songs dictate where the journey took them, spontanaity was the order of the week. Michael Timmins describes the sessions, “I felt that it was important that John got out of his own way and that we set up a situation where he would just play and sing and the rest of us would just react, no second guessing, just react and capture the moment. It was a very inspired and inspiring week of playing and recording. Very intense. And I think we captured the raw essence of John’s writing and playing”.

A Short History Of Decay is an intensely personal document of an artist’s fall from grace. It contains all the tragic elements of that unwritten Southern Gothic novel: the revelations of a man coming to terms with the personal shortcomings, the flaws and the perverse twists of fate that led him to the end of one journey and the beginning of another.

Few modern electronic artists have inspired a musical landscape shift like Thomas Jack has. The Australian DJ and producer pioneered the phenomenon known as “tropical house,” a label which aptly captures the sub-genre’s summery, laid-back essence. Culling inspiration from styles as varied as deep house, acoustic rock, and jam bands, he utilizes live instruments including saxophones, flutes, pianos, and guitars, resulting in a sound that’s man-made yet organic, danceable yet prime for chilling. Turn on any Top 40 radio station today and you’ll hear its influence in chart-topping works from Felix Jaehn’s “Cheerleader” remix to Justin Bieber’s “What Do You Mean?”.
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In the short time the band have been performing, Estrons have achieved an immense amount off their own back, recently playing two fiery live shows at Brighton’s Bleach and Green Door Store for The Great Escape Festival. In 2016 alone, the band played dates at major festivals including Latitude and SXSW, racked up hundreds of thousands of Spotify streams and received incredible support at radio with ‘I’m Not Your Girl’, with repeated plays from the likes of Huw Stephens, Phil Taggart and Annie Mac at BBC Radio 1, as well reaching the playlists of Beats 1 and Radio X. Estrons were recently tipped by The Guardian as one of the best new independent artists in their ‘Future 50’ feature.
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Wasabi Disco is delighted to give a Scottish Debut to antipodean master of the industrial beat Kris Baha.

Baha runs his Power Station night and label out of Melbourne and has caught the attention of many recently with a series of remixes edits and his own tracks out on the likes of Bahnsteig 23, Public Possession, Multi Culti and his own Power Station and Power Cuts labels.
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