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Doors 8pm / Show 8:30pm
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Wales born, Brighton-based instrumentalist Gwenifer Raymond is a celebrated champion of the finger-picked guitar. She has drawn international acclaim for her repurposing of Mississippi blues and John Fahey’s intricate Americana to embody her roots in rural South Wales and her interests in folk horror and the avant garde, inventing a new form dubbed Welsh Primitive. The Guardian has described her as a “profound talent” whilst The Observer has praised her “awe-inspiring technique and intense musicality”, and Uncut Magazine has championed her “fast-developing talents as a composer of eerie menace.”

Last Night I Heard the Dog Star Bark is a hybrid of the ancient and the futuristic, where the arcane etchings of occult folk horror fuse with the unfathomable equations of the cosmos. A big bang, yes, but also an atom cleaved. On her latest album, this celebrated new champion of the finger-picked guitar looks upwards, outwards, somewhere beyond. Now the landscape is mapped – its knotted woodlands, its aurora-crowned mountains, its tangled undergrowth – Gwenifer Raymond hears the stars call.

Tashi Dorji is a Bhutanese-born, Asheville-based experimental guitarist whose fiercely intuitive improvisations have carved out a unique space in the contemporary avant-garde. His expansive discography includes deeply felt solo works like Stateless (2020) and we will be wherever the fires are lit (2024), and his forthcoming electric album low clouds hang, this land is on fire (2026) on Drag City. Dorji is one half of Manas, the dynamic duo with drummer Thom Nguyen, and a founding member of the free jazz trio KUZU, alongside saxophonist Dave Rempis and drummer Tyler Damon. His collaborators span a wide spectrum: from Mette Rasmussen, Susie Ibarra, Efrim Manuel Menuck, Alex Zhang Hungtai, John Dieterich, Audrey Chen and Joe McPhee to more recent partnerships with Tony Buck, Terrie Ex, Andy Moor, bassist John Edwards, and drummer Steve Noble. Across his solo and group projects, Dorji’s playing, rooted in alternate tunings, prepared guitar, and spontaneous gesture, articulates an aesthetic of resistance, deep listening, and collective transformation.