theoldhairdressers

Now in it’s thirteenth year, the Second Sunday Sipping Sounds Series is surely one of the longest running amplified ‘ukulele residencies in the greater Strathclyde vicinity. Come gather ’round the hearth of the Old Hairdo for an enveloping early evening of the “innovative, heavily amplified, individualistic, boldly teetering on the brink of oddity” sounds you crave as you bask in the gentle flickering glow of some obscure visual fodder.

Now in it’s thirteenth year, the Second Sunday Sipping Sounds Series is surely one of the longest running amplified ‘ukulele residencies in the greater Strathclyde vicinity. Come gather ’round the hearth of the Old Hairdo for an enveloping early evening of the “innovative, heavily amplified, individualistic, boldly teetering on the brink of oddity” sounds you crave as you bask in the gentle flickering glow of some obscure visual fodder.

Now in it’s thirteenth year, the Second Sunday Sipping Sounds Series is surely one of the longest running amplified ‘ukulele residencies in the greater Strathclyde vicinity. Come gather ’round the hearth of the Old Hairdo for an enveloping early evening of the “innovative, heavily amplified, individualistic, boldly teetering on the brink of oddity” sounds you crave as you bask in the gentle flickering glow of some obscure visual fodder.

Now in it’s thirteenth year, the Second Sunday Sipping Sounds Series is surely one of the longest running amplified ‘ukulele residencies in the greater Strathclyde vicinity. Come gather ’round the hearth of the Old Hairdo for an enveloping early evening of the “innovative, heavily amplified, individualistic, boldly teetering on the brink of oddity” sounds you crave as you bask in the gentle flickering glow of some obscure visual fodder.

We’re absolutely buzzing to announce a rare performance from National Park with Glas-Goes Pop faves Jetstream Pony!

National Park’s music has been described as having some similarities to The Velvet Underground, Galaxie 500 and Yo La Tengo “without sounding like anything else” (Byron Coley, The Wire). On their last release, they describe themselves as occupying the space between the visceral and the whistleable.

Formed in 1997, National Park gigs have been sparse since the early 2000s, with just occasional releases and one-off gigs. With John playing in the Pastels through the 2010s, Simon with Trembling Bells, Youth of America and now, Dragged Up, they’ve started finding time for a rare National Park show now and again. After a couple of shows with Gerard Love last year, this will be one of the few chances to see them this year.

Support comes from the supergroup combo, Jetstream Pony, heading north for their third show under the GGP banner. Featuring members of The Wedding Present and Aberdeen, their blend of shoegaze simmer and C86 sparkle is perfect for those who love their indie pop with grit, heart and a touch of swoon!

RESTRICTED CODE

The Codes will be launching their debut album, ‘Chasing Shadows,’ released November 1st on the Last Night From Glasgow label.

Restricted Code enjoyed fantastic critical success and something of a ‘cult’ following in the early 1980s. Signed to Bob Last’s Pop:aural label alongside label-mates The Fire Engines, Boots for Dancing, and The Flowers, Sounds music paper claimed they delivered the ‘best gig of 1981.’ They also received rave reviews and features in magazines including NME, The Face, and Melody Maker.

The band split up late in 1981, perhaps due to the pressures of not achieving breakthrough success despite such critical acclaim, but reformed with all original members. After releasing new music digitally in 2020 and 2023, the band is back with a brand new album to be released in November 2025.

Visit restrictedcode.com to hear music from the band, including John Peel sessions and previously released music. At The Old Hairdresser’s, they will play the entirety of Chasing Shadows, plus highlights from their back catalogue.

BIG LANES

Big Lanes is a Scottish post-punk/psych rock band from Edinburgh. They formed during the pandemic in 2021 and are influenced by bands like Yo La Tengo, Galaxie 500, and The Jesus and Mary Chain.

https://restrictedcode.com/

https://www.youtube.com/restrictedcode

https://restrictedcode.bandcamp.com/

https://www.facebook.com/therestrictedcode/

Join us on August 21st at The Old Hairdressers for a night of powerful music and solidarity, as we raise funds for the UNICEF Gaza Appeal. Featuring an electrifying lineup of local and emerging talent, this event brings together community and creativity in support of children and families affected by the ongoing humanitarian crisis in Gaza.

Performances by:
👁️ Sacramoot
⚠️ Full Monties
✨Andsofia
👽 Foilsick
🐛 Attack Of The Stick Insects

All proceeds go directly to UNICEF’s emergency relief efforts in Gaza, providing essential aid such as food, clean water and medical care to children living through unimaginable hardship.

Come out, support a vital cause, and experience a night of unforgettable live music.

With Time is Glass, Six Organs of Admittance is captured once again in the intricate tangle of  the fretboards, soaring in open skies above. Like  lens flare cutting through the speakers; spider webs cracking the windshield that holds back  all the onrushing reality. Blowing the dust away,  cutting a new path for cognition. As is always  endeavored….

After 20 years of living on the road in different  places, Six Organs of Admittance had returned  home to Humboldt County — a far country, to  some, but still part of the world through which  creatures of all kinds are moving through and contributing to. And some of them are human. Alone  together—forming connection and exchange out  of thought and expression—no different from the  people on the other side of the Redwood Curtain. It was there, where Six Organs had long  ago emerged, in the name of everything cycling,  of circles that spiral concentrically and remain  unbroken, the new music was conceived.

In moments, it was as if the future had some how wrapped around 360 degrees; elsewhere,  the systems and patterns inside the writing and  recording only became evident later—like a recognition that cumulus and nimbus clouds which  passed through the sky the day before contained  familiar shapes. Informing the songs accordingly  as he went, Ben picked up on modes both musical and lyrical, threading backward through the  time of Six Organs of Admittance. Almost marinating in it as a way of life. Working on the music  and the vocals, then spending some time with  them while stepping away from them. Walking the  dog and coming back to them. Time is Glass is  made of that kind of time. Alone time.

Recorded in the visceral environs of home,  Time is Glass is sharply focused, even as misty  impressionist mountains float through the back ground. Sweet and spiny, “The Mission” sings its  purpose, before turning abruptly to the orchestral rumble of “Hephaestus”: rural industrial psychedelia, ecosystem goth, synths arcing to lift a  helplessly earthbound community into the firmament above. Winding almost imperceptibly back  into song with “Slip Away”, the time of the record  becomes clear, moves fluidly, relaxed but aware,  from event to event. People and things coming  around again. The intuit, passing through worm holes and time, sounding deep then dissolving  into the universal. The acoustic sounds ringing,  layered suddenly, then clear again. Explosions  of a new kind of distortion. Ecstatic melodies.  Communing. The space of a day. The space of  a season. Time is Glass, and Six Organs of  Admittance is here and will be here, again.

Born in Cambridge and raised in the Fens, Richard Youngs began making music at the start of the seventies. His early work centred on the family piano. When this was sold in the late seventies, however, the classical guitar and cassette recorder became his instruments of choice, along with anything at hand that made a sound. From then on he has played any number of roles with bands such as Astral Social Club, Concrete Hedge, No Deserts, Jandek and Future Pilot A.K.A. Recent collaborative work with Andrew Paine, Heatsick, Kawabata Makoto and John Clyde-Evans also show him as a highly social musician.

His catalogue of releases wanders into all kinds of zones over a vast array of albums on various labels including his No Fans imprint: they include accapella, guitars, pipes or electronics and come out of solitude and in partnership with atmospheres that range from fragmental folk to all-out fuzz.

“THE iconic figure of the modern UK underground … Richard Youngs evolves in the shadows where most won’t look, but those who do will forever be dazzled and amazed” – The Quietus