Monday, April 3

Moved from Double Door



$20 Advance // Doors: 7PM / Show: 8PM // 18+

Sleaford Mods started out sometime during 2006 whilst Jason Williamson was living in Nottingham. Born out of part frustration and part accident, it quickly found its feet as an aggressive verbal onslaught on all that is contrived and connected to the day-to-day hammer of low paid employment and the domestic situations arising from that trap. After a year of working ideas out in both the sudio and in live performances, Williamsom moved south and took the cause to London for a couple of years and trod the boards there, before returning to Nottingham in 2009.

Soon after that return he met Andrew Fearn and the Sleaford Mods became a duo. Fearn’s first work was on the production of the fifth Sleaford’s CDr album. He would soon join Williamson in stalking the stage as well as the studio. Andrew’s involvement meant that Jason was now able to stop creating the samples and loops that littered the earlier recordings and he was able to concentrate on the lyrics, whilst Andrew set about creating numerous tunes for Jason to vent his spleen over.

After an invite from abstract-punk label Harbinger Sound to play a three day festival curated by Nottingham’s Rammel Club, a working relationship was struck up with the label. A relationship which a year later resulted in the release of the “Austerity Dogs” album. This release would be followed by numerous shows around the UK and Europe, including festival appearances. As word-of-mouth praise for the record slowly spread out and onto the record-buying public’s radar, the album soon sold out of its intial run of just 300 copies. It has since gone on to be repressed numerous times over the last two years. Rave reviews started to appear in magazines as diverse as The Wire and Uncut, along with interviews being published both in print and online, both here and overseas. The album ended up topping many writers polls for the best record of 2013.

Throughout 2014 the band toured endlessly spreading their words of discontent throughout many different countries and as a result constantly extending the reach of their fanbase. The reactions the band were getting overseas meant that people back home started taking the group more seriously and then, on the back of the follow-up “Divide And Exit” album, that interest upped a few more notches. Helped along by a reputation as a great live band backed up with a solid set of material, and by this stage including an assortment of singles and retrospective releases too, the Sleafords word was spreading even more. Winning praise from every sphere of the music business and as much from listeners as well as critics. Also the polarising nature of the band meant that more people were tilting an ear towards them.

This year’s “Key Markets” album sees Fearn and Williamson tweak their regular formula into other directions whilst still following their no compromise ethos. With numerous rave reviews for the new record tucked firmly under their belts, another extensive touring schedule loomimg on the horizon and the BBC allowing the band to creep into people’s living rooms thanks to their Glastonbury coverage, it seems 2015 will be the year that Sleaford Mods makes the transition from a word-of-mouth buzz from those clued-up enough, to being able to boldly walk down the high street and onto everybody’s radar.