Chance meeting

09/01/2025

NEIL LUCK + SUPPORT 20/02/2025

https://www.tickettailor.com/events/chancemeeting/1527194?

Neil is a composer and performer whose work often explores the pathos and interaction between live human performance and multimedia.

24/10/2024

PHAME + JO MONTGOMERIE + KUPI
17/12/2024

https://buytickets.at/chancemeeting/1440832

Chance Meeting return in 2024 for a night of noise and experimentalism in Withington's Fuel Cafe.

PHAME is a Birmingham/Los Angeles noise/wave/punk duo/collective. "cracks in the system/ challenging the grounds of musical discipline and imperial violence through sonic and choreographic experimentalism"

JO MONTGOMERIE, returning to Chance Meeting after playing for us back in 2022, is a Manchester-based sound artist, working with post-industrial ambience, decaying samples and drones.

KUPI is an experimental electronic/noise producer based in Manchester.

Any profits are used to fund future events. Nobody will be turned away from lack of funds.

Chance Meeting return in 2024 for a night of noise and experimentalism in Withington's Fuel Cafe. PHAME is a Birmingham/Los Ang...

01/12/2023

PROPERTY UNKNOWN 23/11

Thanks to everyone for coming down! Some clips of the incredible sets from POKK!, Sw1n-HUNTER, en creux and Dhangsha.

Keep your eyes out for future gigs 👀

15/11/2022

ARTIST PROFILE - WARM CURRENCY

Tickets for Warm Currency with Francis Plagne here: https://ra.co/events/1605514

Warm Currency is a duo made up of Sydney-based friends, artists and musicians MP Hopkins and Mary MacDougall. Their debut release, Returns, was released earlier this year on the Horn of Plenty label.

https://www.horn-of-plenty.org/shop/vinyl/warm-currency-returns-10/?v=79cba1185463

Recorded in Mary MacDougall's home between 2020 and 2021, Returns is a collection of songs and sound works that suggests more than it declares - when elliptical, fragmentary lyrics do appear, it can sound as if they are as much accompanying the close-mic'ed guitar and ambient room noise as the other way round. Elsewhere, spoken word combines with field recordings and miniscule instrumental gestures for brief sound installations. Like peering through a keyhole, Returns evokes an intimacy in keeping with its origins, while nonetheless keeping the listener at an arm's length.

'[MP Hopkins'] work investigates word and sound relationships, and is characterised by odd atmospheres and language murmurings that drift, clamour, muffle, and sit.'

https://subbed.in/ibishouse/666/uprightinthefield

MP Hopkins is a musician, writer and installation artist working on Gadigal and Wangal land in Sydney, Australia. As well as his frequent performances in various locations around Sydney, he has performed internationally in the UK, Belgium and Singapore. He has collaborated with Renato Grieco, Alexandra Spence, and Laura Altman, and his radiophonic works have been commissioned by a range of organisations across Australia and Europe.

Mary MacDougall is an artist and musician, also based on Gadigal land in Sydney (the first picture is one of her ceramic works). She has exhibited in Sydney, Melbourne and San Francisco.

http://marymacdougall.org/mmwork #/misc-ceramics/

Before their work under the Warm Currency name, the two also collaborated on Satellites, an audiovisual work made up of drawings my MacDougall animated to a soundtrack by Hopkins.

https://areadingroom.com/viewing-rooms/satellites/

10/11/2022

ARTIST PROFILE - FRANCIS PLAGNE

Tickets available here for Francis Plagne with Warm Currency: https://ra.co/events/1605514

Francis Plagne is a musician based in Melbourne, Australia, whose music ranges from songwriting to improvisation and music concrète. Francis will be joining us on the 20th November for an intimate performance of voice and guitar in Fuel Cafe, Withington.

https://francisplagne.bandcamp.com/

Much of Francis' music takes the listener into a personal, domestic world, made up of acoustic guitar, antique keyboard sounds, and field recordings, often immersed in warm tape hiss and other analog artifacts. At its most direct, some tracks evoke a kind of pastoral surrealism, although the restlessness of the music means that it does not stay there for long.

'If some artists conjure the sounds of nature to evoke a specific atmosphere, or for purposes of a sonic documentary, Plagne does the opposite. Each sound here, whether it be a conventional instrument, a synthesized sound or a manipulated field recording, serves the whole more than its own identity. The artist’s hand is omnipresent, and the resulting feeling is one of artificial and odd coincidences.'

https://www.slugmag.com/music/national-music-reviews/francis-plagne-moss-trumpet/

Contrasting 2016's Funeral Mutes with 2022's The Refrain, we can see the range of Francis' practice in his recorded music. The former opens with an unruly take on folky singer-songwriting, though through the extended track times these songs go on to evolve into more textural explorations. By The Refrain, however, we are in uncharted territory: a soup of acoustic and electroacoustic sounds stretched out over two 20-minute tracks. While still evoking a snapshot of domesticity, this time around it feels as if the shutter has been left open, with the sound sources exposed again and again, blurring together into something both recognisable and enigmatic.

https://disclaimer.org.au/contents/a-guitarist-with-a-museum-in-his-head-francis-plagne