The mighty mighty Minety Music Festival announced The Bluetones as their Sunday headliner at their Eames Laurie Main Stage, and The Dub Pistols on the Saturday…..
It’s not unspoken, weLOVE Minety Music Festival here at Devizine and don’t care who knows! It never fails to attract with some superb renowned names, and then throws in a plethora of local acts either established or upcoming, and in doing so creates a marvellous atmosphere where local music is supported via the followings of international headliners.
Formed in London in 1996 by Barry Ashworth, the Dub Pistols are a renowned British collective fusing dub, reggae, ska, hip-hop, and electronic music, and the party rockers will be headlining the Saturday.
“We’re super excited and have wanted to bring The Dub Pistols to Minety for around three years,” chief organiser Rich Swatton tells us, “and this time, the stars have finally aligned. If you know, you know, and if you don’t know… speak to someone who knows. You’re going to love this!”
The Bluetones first came to prominence in 1995, when their debut release ‘Are You Blue Or Are You Blind?’ broke into the top 40. The single proved to be the launching pad for a run that saw 14 hit singles and 6 albums follow on from it. They headline Sunday.
The Bluetones, formed in Hounslow, are made up of brothers Mark & Scott Morriss, alongside Adam Devlin and Eds Chesters, enjoyed considerable UK and Ireland successes, extending out across into Europe and Japan, before taking a hiatus in 2011 that lasted for 4 years. Since then they have re-established themselves as one of the UK’s most consistently entertaining live acts, regularly touring their extensive catalogue to their army of devoted fans.
2024 saw the release of the first new Bluetones material in 14 years; a renaissance that saw the four original band members take in the summer festivals, before a full UK tour in the autumn/winter of 2024.
The release of ‘London Weekend Television’ in 2025 saw them reaffirm themselves as indie-pop royalty, and 2026 sees the band celebrate the 30th anniversary of Platinum selling album ‘Expecting To Fly’, famed for hit singles, such as ‘Bluetonic’, ‘Slight Return’ and Cut Some Rug’.
“We can’t wait to welcome them to Minety Music Festival, for the very first time,” Rich said, “you’re in for a real treat!”
Minety is near Malmesbury, Wiltshire, and is happening from 2nd-5th July 2026. Tickets only available from: www.minetyfestival.co.uk/buy-tickets
In a way it’s more intriguing when a cover band sends an original song than one already producing originals. For if original bands can sometimes be critical of the desire of pub venues to value cover bands over them, yeah, your average cover band is heeding the call for their bread and butter, but are often equally passionate about music, and turn to recording some of their own wares. And when they do it’s natural to pay homage to the particular style they play in, as guaranteed, that’s their calling and influence…..
Certainly true of Marlborough-based Static Moves, who released a debut single today, full of the retrospective energy they’re celebrated for at live shows. They turned a cold February night at the Three Crowns in Devizes into a volcano, as they regularly warm crowds at a plethora of local venues with a repertoire of welcomed new wave to Britpop covers.
The concern is that the raw energy doesn’t transfer to the recording, but you have no worries here; it’s the dog’s bollocks. Crawl Back, as they’ve called it, belts out an accomplished potential anthem of precisely what they’re loved for on the circuit. A matured and modern indie-rock spliced “Turning Japanese” by the Vapors, with a carefree attitude of the Merton Parkas. It’s got the new wave mod-punk crossover of the early eighties splashed across it like two-tone trousers and Fred Perry T-shirts never went out of fashion. And it didn’t, because you can hear its influence crying out for attention in contemporary indie-rock bands, ergo, the appeal of Crawl Back reaches beyond nostalgic middle-aged to youths today.
With a theme of the tail between your legs sympathy vote, forgiveness is key when you still fancy the wrongdoer, forget the three minute hero, this weighs in at four and a half, and it waits for no man to catch up with it. In a way the length of this whopper is more indicative of modern punk bands, but you cannot help but imagine you’re at a musky gig in 1981, it costs two quid to get in, you’ve only got one and half a packet of fruit Polos to trade with the glue-sniffers hanging outside drinking tins of Tennents!
Static Moves promises more of their, indeed, moreish raw energy captured, and if there’s more in the pipeline, an EP would be welcomed, an album worth would be knockout, because they could, and should, slip this into their covers set and no one would be any the wiser it wasn’t an album track from Modern English or a nineties influenced crew like The Coral or Supergrass; it’s on that level of excellence too, and that’s why they’re all over our local circuit like Dr Martens were in 1981.
Hold on tight, the new single from I See Orange, Mental Rot embodies everything I love about this Swindon grunge trio, and takes no prisoners…..
If there are few bands on the local circuit to have turned my head and caused me to wallow in self-pity that I sorely missed out on the grunge zenith, I See Orange is the kingpin to this personal change of tide; proof you’re never too old!
With sublime professionalism abound, they’re creating riotous rock anthems; my untrained ear evaluates what I deem to be the conventions of grunge, and this tune in particular, while sits into the subgenre only subtly, relishes more in orthodox, good old punk rock, with perhaps a slice of metal, to be savoured, and not overly-pigeonholed.
In the words of Chuck Berry, who, face it, knew what he was talking about when it comes to rock n roll, ‘you can’t lose it, any old way you choose it.’ I’m getting more Joan Jett than Nirvana with this one, a timeless sound you cannot ignore, to that of what the Smalltown Tigers are more recently putting down.
Upon hearing the title was to be Mental Rot I wrongly assumed this new one would drift in the layers of melancholy and emotionally rise and fall, in that grunge formula many their past tracks follow, but this rocks out from beginning to end and sustains an explosive feel good energy aging punkers like me simply cannot whinge about! If, as the lyrics suggest, it’s “gnawing up and getting to the claw,” hey, I like it like that!
They’re one of six finalists to play The Finsbury in London tonight for a place in The Musos Awards Soccer-Six finals at the Electric Ballroom in March; we wish them the very best of luck. Play like this new single, and I reckon you’ve got it in the pocket I See Orange.
Being our reporter Flo was unfortunately unable to attend the Devizes Youth Action Group’s second sell-out gig on Friday, I sought to catch up with stars of that show, Steatopygous, who were supporting at The Pump on Saturday too…
Three birds, one stone. The Pump’s overdue another praising plug from us, being such the absolutely fantastic venue we’re smitten about. A chance to finally hear Steatopygous for myself, a band Flo’s been raving about, is a second reason to be here tonight. Third is to tick Swindon’s I See Orange off my must-see list; jobs done within an exuberant night, ears still ringing this morning!
You realise the Spanish understandably keep all the best oranges for themselves and send us the tasteless non-perishable ones, right? Try oranges there and they’re the tastiest ever. Well, this is one of those which evidently slipped through the net. Their name pops up as if set in my algorithms, I See Orange at the Vic, at Minety, and so on; now I’ve seen I See Orange, effectively I saw Orange, past tense, but I would see I See Orange again, if this makes any sense?!
Nestled between two Swindon drummer and bassist grunge lads, a strikingly attractive Latino girl confidently thrashes out stylised and euphoric originals in a manner sublimely nodding at punk’s heyday, fused with a thousand post-punk influences. It’s loud, proud, it’s imagining The Sugarcubes played Nirvana style, the Smalltown Tigers aimed a smidgen more metal, but it certainly doesn’t hang around for you to pigeonhole it!
Three minute heroes is their punk traditional ethos, with doll symbolism, a bubble machine and a penchant for bending backwards whilst maintaining remarkable handling of her lead guitar. It was showy, tight and, dammit, I never knew grunge could be so sassy and alluring! I See Orange are ones to watch, lively, original, producing some electric shock recordings and their debut show at The Pump fitted like a glove; I was suitably wowed by their presence and dynamic sound.
Such is it that while most celebrated venues seek the big names past or present, The Pump strives to showcase the next big names, especially when promoted by Sheer. Though my attendances past tend to be established local greats, the smooth folk of The Lost Trades, of Will Lawton, or chap hop Professor Elemental, it was tonight I witnessed the legendary Pump, literally pumping out it’s full potential with the names the youth there will boast to future grandchildren they saw them in their prime. That’s the spirit of this once folk club now small axe, and it stamps Trowbridge on the live music map of the UK with unrivalled gusto.
We’ve passed a short lived era of doubt, when Wadworth flagship the Lamb, which contains The Pump, changed hands. Pleased to hear of a fairytale ending where the new owners welcome its addition and also hosts conventional music nights of its own, largely open mics; phew!
Indeed there’s an air of greater potential at the venue, despite already punching above its weight. Any musician should consider a gig there as a benchmark to their achievement. I know Devizes-own Steatopygous have been building to this point, working hard, and now, since Sheer promoter Kieran asked me for their contact details, and staged them under the Future Sound of Trowbridge banner, here they are again, thrown off any potentially patronisingly and perhaps amateurish connotations of “youth” or “teen band,” they’re here with their own pride and right, and largest fanbase tonight.
Steatopygous are a trio to repel stereotypically passé half-centenarians, who’d likely label them “witches,” being Fishy Rishi and his gang has receded us to medieval, yet it’s precisely these redeeming qualities I salute them for; I’m weird like that, historically! It’s punk in quintessence, and if you’re not offending someone you’re not doing it properly.
Riot grrrl is not only musical subgenre though, more counterculture tenet, an expression of feminist anarchy exposed equally via poetry, political standing and DIY zine culture as well as music, and it was through illustrating those punk-paste zines of the nineties I became aware of the movement and bands like Bikini Kill, encompassing it. Ode to my days of blim-holed Letraset, Pritt-Stick, and stapling your finger to photocopied pages for a return of 10p!
It deals with the anger and frustration of inequality. While considered socially acceptable for male musicians of past eras to express enraged emotions, the suppression of women to do likewise is riot grrrl’s angle, and Steatopygous embody this superbly. Such as it is, after they’ve screamed the house down, all is vented, so a chat with them was hospitable, intelligent, and involved subjects like completing their exams and future hopes.
On stage though, they’re a force, hammering out originals with thoughtful prose and screeching emotion, you cannot prevent them embedding their prose into your soul if you wanted them there, or not! On subjects keyed to the movement, yet contemporary, they shine. A cry to Israeli occupation of Gaza, for example, but their personal favourite shaming laddish behaviour, a quick blast called Little Boy.
If Nothing Rhymes With Orange set a high bar for current Devizes bands, Steatopygous will nuzzle underneath it and come up trumps via their own methods. I hope they don’t change this energy to be commercially viable, as it was a unique fuzzbox frenzied experience to savour and the young audience lapped it up.
Between these two divine outbursts saw perhaps a more archetype nod to punk roots. Hayden Lloyd as a Midlands trio provided a wonderfully delivered moment of sanity for elders present, blessed in the mod blues reminiscent of Paul Weller at his edgiest, and polishing his set with an astute cover of Hendrix’s Foxy Lady; deffo not riot grrrl! His was heaped in retrospection, of The Who and the progressive advances which got us to this stage, and it was done exceptionally well.
Another triple header night of excellent original music from the pride of Trowbridge, worthy of the short journey. The Pump is where it’s at, The Pump showcases what others wouldn’t dare to, and such is the other’s downfall. I saw Orange, that would’ve been enough to warrant an awesome night’s entertainment, Haydon and Steatopygous were bonus balls we’ll see headlining in future I don’t doubt for a second, both their performances last night surely sealed such a deal.
When Flo reported on the first Devizes Youth gig, she thought to interview Steatopygous, you can read it here, whereas I popped out for a damn tasty chicken burger from the stall down the street; it’s my reward for telling local live music aficionados The Pump is your pilgrimage!
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It could be bigger than Diggers! See what I did there? Okay, you youngsters might need Google, but while you’re researching Chippenham’s hedonistic past,…
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Land ahoy me hearties! Devizes Corn Exchange was boarded last night by Cornish punk pirates Jolly Roger, for a frivolous and swashbuckling opening to Devizes Arts Festival; the face that launched a thousand ships was witness to it….
That’s me, if it wasn’t obvious, landlubbers, the face! For although it’s Devizine assemble, to bring you coverage of the forthcoming fortnight of music, comedy, talks and walks, for this splice of the mainbrace you lucky lot have got the toothless editor to shiver yer timbers. And blow me down, those buccaneers battened down the hatches and gave us a cheerful chantey carousel, at least, I liked it!
Under the ethos of what being a pirate in the 21st century means, Jolly Roger is precisely as claimed on the tin, and in that, the balance between the punk element and shanties of yore will always be a debatable matter. I’d imagine a few elders in the audience favoured them leaning on folk, and a ragged old sailor spinning yarns under gentler rhythms. Yet while themes included pirate subjects and phrases, including Davy Jones’ locker, et al, and they practise audience participation diligently, Jolly Roger are contemporary, and punkish shenanigans offsets the balance. That’s the method I’d savour, and in this it was never cliché.
It was loud and sprightly unpretentious punkish tomfoolery with a pirate theme, yet, at times there was concentrated and thought-provoking narratives in their original material too. Euphoric tunes such as the most poignant Silent Mountain temporarily broke the frenzy, whereas characters like a bloke who props up the bar, conveyed this is a three sheets to the wind partying band to be taken tongue-in-cheek, but, dressed as pirates kinda gave that game away!
It’s not experimenting, rather pounding classic ground akin to Ferocious Dog, joyfully and professionally. For if Adam Ant broke the bitter reality hook of punk by incorporating fun subjects like pirates, native Americans or anything else he read about in Look-In, and folk blended a regional sound we affectionately dub scrumpy and western, here’s a dandy, and fun-filled fusion worthy of your attention. Think the Pouges-lite with a pasty and tricorne, for while there were a few expletives, it was hospitable enough to cater for open minded children of the festival.
Yet, it was a show perhaps best suited for a rowdy corner pub in a Cornish back lane, where the scent of salt air melds with that of wet dog hair carpet; such is our Arts Festival’s penchant for presenting us diversity, noteworthy when scanning the forthcoming programme. There’s something for everyone, it just needs everyone to take heed of this notion and throw away any preconceptions you may have about this wonderful occasion in Devizes. For instance, tonight Lady Nade arrives, an international act hailing from Bristol, who if you haven’t heard before, take it from me, her songwriting skills and soulful expression sublimely blesses Americana in something wholly unique and unmissable. So, tickets are on the door, don’t miss it!
As forJolly Roger, well it was a superb performance and a grand opening for Devizes Arts Festival. Onlookers gazed at this fiery swashbuckling gang as their infectious jigs ordered them to break rank and jiggle. The band tour extensively across the UK festival circuit, do look out for them, with a telescope in the crow’s nest if necessary! These pirates of Penzance were a fire in the hole, excellently entertaining, me hearties!
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One of many young indie bands which impressed me at Bradford Roots Festival, and proof there’s more than the name suggests at The Wiltshire Music Centre’s winter convention of local music, Bristol-based LilyPetals released their debut EP this week….
Firing on all cylinders, there’s five three minute heroes and one slightly longer tune on this impressive introduction to an equally-gendered and equally promising four-piece. Contemporary themes imploded by two fierce opening tracks, Currently Unavailable and, particularly, We Want More, arch a punk flavour of punk’s heyday; and I like that a lot! There’s wailing guitars, echoing chorus lines, and emotion pouring out.
If we’re talking emotion though, the tempo lessens for the third tune, That’s What You Said to Me, proving LilyPetals is no one trick pony. It’s a rolling ballad, with a euphoric element akin to a rock classic. If this tune will raise your eyebrow, note, Playwright reverbs with passion and fire, there’s almost shards of glam rock meeting gothic in there too. But LilyPetals have mastered the hook, leading to a bridge via a finger click, is clever and beguiling stuff.
The four minute tune is the penultimate one, and it just drives from the intro. Break Your Mind is perhaps a magnum opus to date for this band, though I highly suspect from the concentrated and tight compositions of all these tunes, we’re going to be moving onto even better stuff from them in the near future. In principle then, this is encouraging, and it feels like punk is saved for a new generation in their indie passion. This is to Bowling For Soup what Reef is to The Rolling Stones, but the potential for improvement is gapping in their hands; the canvas here is ripped and ready to rock!
It finishes with Spaceman, mate, check this out, the hook is a sinker, it has all the elements of a classic, and, as we’ve seen with bands like The Radio Makers, punk rock can evoke modern generations, and punk can live on through them. LilyPetals, arguably ironic namesake, yet the fervour is at a blossoming point, and this is a great and lengthy EP, verging on an album, and album worthy of your perusal.
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