BEGIN:VCALENDAR VERSION:2.0 PRODID:-//360exp//Events//ES METHOD:PUBLISH BEGIN:VTIMEZONE TZID:Europe/London TZURL:http://tzurl.org/zoneinfo-outlook/Europe/London X-LIC-LOCATION:Europe/London BEGIN:DAYLIGHT TZOFFSETFROM:+0000 TZOFFSETTO:+0100 TZNAME:BST DTSTART:19700329T010000 RRULE:FREQ=YEARLY;BYMONTH=3;BYDAY=-1SU END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0100 TZOFFSETTO:+0000 TZNAME:GMT DTSTART:19701025T020000 RRULE:FREQ=YEARLY;BYMONTH=10;BYDAY=-1SU END:STANDARD END:VTIMEZONE TIMEZONE-ID:Europe/London X-WR-TIMEZONE:Europe/London BEGIN:VEVENT UID:ac3ec350-60a2-40a5-afde-11cf24fa8236@360exp.net SEQUENCE:0 DTSTAMP:20260815T081419 DTSTART;TZID=Europe/London:20261017T180000 DTEND;TZID=Europe/London:20261017T180000 SUMMARY:Gurriers LOCATION:Leeds Project House DESCRIPTION:+ Tramhaus - When Dublin’s Gurriers released 2024 debut albu m Come And See\, they underlined their status as a visceral\, unignorable new voice in the thriving Irish punk scene. Having formed during the pande mic\, in the years since\, the original members - vocalist Dan Hoff\, guit arists Ben O'Neill and Mark MacCormack and drummer Pierce Callaghan - had carved out a steadily escalating reputation for bone-rattling\, mosh-ready live shows. Come And See pushed their lyrical chops and curious\, sociall y-exploratory outlook to the fore too\, platforming songs about digital an gst and IRL terror in the modern world.In the months following its release \, the milestones kept coming for the band: a slot on Later with Jools Hol land\; main stage performances in the Woodsies and Leftfield tents at Glas tonbury\; an arena support back in their hometown with Turnstile and with Kneecap at Wembley. With bassist Charlie McCarthy now fully settled into t he throng\, bringing a fresh burst of enthusiasm having joined the band at the beginning of 2024 - sometime after their debut had been recorded and before it was released that September\, they found the new music they were starting to pen was innately reflective of this vast step up in their ant e.“You write songs for the environment that you’ll hear them in\, so w hen we were playing small\, 250 capacity rooms then [we wrote] a sweaty pu nk record\,” Callaghan reflects of their debut. “But now\, playing big ger festival stages and supporting in arenas\, it changes how you approach songwriting. You’re thinking about what sort of environment these songs are gonna be heard in\, and how they’ll exist in that space.”Gurriers ’ superb second album might be called Nobody’s Coming To Save You\, th en\, but it could easily be subtitled ‘harder\, better\, faster\, strong er’. Recorded at Donegal’s Attica Studios and Holy Mountain Studios in London with producers Mark Bowen of Idles and Loren Humphrey (Geese\, Cam eron Winter)\, alongside engineer Chris Fullard (Idles\, Sunn O))) and wor ld-renowned mixer John Congleton (St. Vincent\, Modest Mouse\, Swans)\, th e crack team that readily assembled for LP2 speaks volumes of its quality from the off. This is Gurriers taking all the musical chemistry and smart\ , interrogational worldview that made them great in the first place\, and souping it up to the next level.“I just felt like it needed to be bigger . I was watching loads of interviews with Butch Vig and different grunge b ands\, and [they would talk about having] layers and layers of guitars\; a bout things being huge and really 3D and just slapping you in the face\, ” says O’Neill. “These songs are bombastic and larger than life a lo t of the time\, so the production needed to match with that as well.”The y were\, clearly\, in safe hands. “I mean\, who’s going to understand the music we make more than someone in Idles\, the band we’re probably e quated with the most?” laughs Callaghan. “Between Bowen and Loren\, th eir understanding of the scalability in terms of how to be bigger without getting away from the essence of it being abrasive and loud was incredible . From the rattling tension of the title track’s opening moments that th en give way to a cacophonous\, cathartic climax\, Nobody’s Coming To Sav e You takes this spirit of the sweaty basement venue and turns it stadium- sized. It’s not just loud\, but dynamic. ‘Shades’ takes shards of in dustrial\, angular guitar and sends them into a gnarly hardcore chorus\, w hile ‘Drones’ is a true pressure-cranking slow build with a drop desti ned to decimate every mosh pit they travel through. On ‘Pins’\, they e xplore a looser\, more melodic swagger that comes on like a grunge/ trip-h op hybrid\, whereas ‘Party Lines’ is pure insatiable dance-punk hedoni sm. If the band’s MO was to find a way to make the record “slap you in the face”\, then consider yourself smacked.At the start of the writing process\, Hoff recalls finding a quote from activist Dan Savage\, spoken d uring the AIDS crisis. “He said: ‘We bury our friends in the morning\, we protest in the afternoon\, and we dance all night’\,” recalls the frontman. “Going into the album\, that felt like the feeling that the so ngs should have.” The spirit of protest and resistance rings throughout\ , but crucially\, on album two\, Hoff has also learnt how to turn those fe elings back on himself too. “This album does sound more personal to me\, but everything about it is political because what you wear\, how you act\ , who you hang out with\, everything is in reaction to the system\,” he explains.Hoff is a collector of phrases and ideas. He describes himself as “a sponge - and the other lads are the same\; we’re always looking fo r inspiration”. Dig into the lyrics of Nobody’s Coming To Save You and you’ll find quotes and lines taken from sources as disparate as Samuel Beckett’s Waiting For Godot (‘Nothing Happens Twice’)\, Slovenian ph ilosopher Slavoj Žižek (‘Party Lines’) and Kurt Vonnegut (‘Nobody ’s Coming To Save You’). The latter track\, amusingly\, started life i n response to a particularly irksome review that criticised the band for “saying so many political things but having no answers”. “We’re a band\, we’re not a political party!” laughs Hoff. “So I used a Vonne gut quote\, and one from [American writer and activist] Rebecca Solnit - ‘Hope is an axe you can break down doors with’ - because I don't have the answers\, but these two people might?”Within the record\, there are some of the most overtly outward-looking tracks that Gurriers have laid to tape so far. ‘Party Lines’ was written as Hoff watched the war in Sud an escalate in horror. “There was so much killing that they could see th e blood from satellite pictures and that really fucked me up a bit\,” he says. “It’s about the hypocrisy of governments that will help certain countries whilst arming other countries that will kill people in the same place\, which I think is insane.” Yet there are also more personal mome nts than ever\, exploring topics from his friends’ frustrations with the working day drudge (‘Waiting For Fisher’) to his own dislocation\, th ousands of miles away from his partner and loved ones on a tour bus (‘I Wish I Was’). ‘Crybaby’’s warped\, woozy look at the temptress of booze ends the album\, says Hoff\, with “a whimper” - a curious term\, but one that fits with Gurriers’ sharp\, sensitive take on punk. “It ’s a question mark. You're like\, ‘Damn\, that's the way they ended it ?’ It's like watching the finale of The Sopranos and it cuts to black\, ” laughs O’Neill.The ending might be amorphous\, but the journey to th at place is as strong and confident as they come. With Nobody’s Coming T o Save You\, Gurriers have sent their ambitions sky-high and come out swin ging.\n\nBoletos: https://wegottickets.com/event/704106 URL;VALUE=URI:https://360exp.net/events/ac3ec350-60a2-40a5-afde-11cf24fa82 36 END:VEVENT END:VCALENDAR