Throwing Muses, Manchester Academy 2. 24th May 2025

I’ve had some tough choices to make this year already, but perhaps none as tough as tonight. Who on earth thought it’d be a good idea to schedule both Throwing Muses and Pixies in the same city on the same night? The two bands, although slightly different in sound and certainly in mood, are both from the same stable of the 90s US alt scene. Having seen Pixies more, I’ve opted for Throwing Muses, but I’m sure that gig across town will be great and I’m gutted to miss it. I can’t remember the last time I saw Throwing Muses though. In fact it’s been such a long time, I think it might’ve been the 90s! I’ve seen Kristin Hersh solo a couple of times since, but to say I’m excited for this tonight, really is understating it. This will be no nostalgia fest though. The set will largely be drawn from this year’s Moonlight Concessions album and that’s where we start. With ‘Theremini’, it’s a beautifully warm and haunting soft start, the guitar, bass and drums joined by a cello and that voice. No one sounds like Hersh. She has a gentle mellow lullaby with a unique twang, but don’t be fooled by her angelic delivery, she can also pack a punch. Like on ‘Sunray Venus’ that has some bite, as the tempo lifts and the riffs take centre stage. It’s a head bobber. Turns out you can shread a cello too. Who knew! ‘Dark Blue’ then kicks up again with chugging riffs and soaring melodies. Honestly I wasn’t expecting them to be this great. I think I simply hadn’t dared, but they really do sound wonderful. Things slow a touch with ‘Bea’, well until its chorus kicks in. They’ve clearly decided to make sure we get a bit of everything, with I think every album given at least one song and this helps build some real energy in the set. ‘Bywater’ flows into ‘Slippershell’. What a song! Those chugging riffs are back and that bass line is pure grunge, it’s fucking magnificent. There should be a lot more movement in the room, but let’s just say it’s an older less inclined crowd. Admittedly ‘Colder’ does lose me a little, but only because the bar has been so high. ‘Static’ too feels like a deep cut, but that might be more me and my knowledge of the band. It definitely punches harder though and Hersh lets the rasp in her voice loose. There’s not much fuss or chatter. Songs finish, there’s cheers, smiles and thank yous, so when Hersh switches to an acoustic for ‘Him Dancing’, it feels like a bit of a shift. Aside that opening song, we’ve not been back to the new record yet, but it’s the return to Moonlight Concessions with ‘Drugstore Drastic’ that gets me bouncing again. Honestly if you’re a fan and haven’t listened to it yet, rectify that as soon as you can. We’ll start to dip in and out of it more from here on in the set and for me, that’s a good thing. ‘Lazy Eye’ shows Hersh’s vocal range is still there as she soars. The lights focused on her as the smoke swirls around the stage. The new record is a solid collection, but the opening track ‘Summer of Love’ is a stand out. It sets off the record perfectly and works as a marvellous anchor in the set tonight, despite the young couple behind me talking throughout. Not to get too political, but with the government wanting to reduce immigration numbers, I suggest we deport people who talk at gigs. One fucks off to the bar for ‘Kay Catherine’. This is just as well as its solemn lament wouldn’t really withstand extra backing vocals. Every time we get a new one, like ‘Libretto’, the chap in front of me goes nuts. This is the kind of audience member I like and I hope the band can see how much fun he’s having. There’s been quite a few songs from the Purgatory/Paradise record too and ‘Opiates’, one of my favourites from it is a real treat. “This one is old and hard” Kristin says as they tear into ‘Soap and Water’ with its metronomic rhythm that rattles along at probably the fasted pace we’ve hit so far and the lighting guy responds. We get some introductions next, the guy with the cello is Joel, Dave is still on drums and Hersh’s son Doony on bass. ‘South Coast’ then follows as the heat in the room notably increases. It might be coming of that excitable chap in front, he’s loving every second and clearly loves the new stuff. ‘Albatross’ is fast and loud to start before it soars aptly as the cello goes toe to toe with the bass and drums. ‘Limbo’ then brings back the grunge bass, the alt riffs and the effortless cool. That’s them to a tee, this is easy, they set a mood, lock in and just flow. With just the right amount of chaos, freedom… and a touch of cowbell. ‘Counting Backwards’ is a catchy indie pop foot tapper. It’s telling to see how well the new stuff mixes with the old. Glorious stuff, it all is. ‘Bo Diddley Bridge’ brings in the scratchy guitars, a slightly darker mood and a gap that opens to allow me to push forward away from the talkers. Perfect timing really as ‘Sally’s Beauty’ is a soft come down, full of cymbal rushes, angelic vocals and that cello once more, which really has stolen the show. The new record’s title track takes us into the break. This could be a brave move, but their confidence in it is rewarded. It’s low key epic, which sounds like something someone much younger than me would say but it seems to fit what I’m hearing. There’s not been anything from University, my gateway album, but I have to wait as they return with ‘Shark’, that explodes out the gates, on second go after catching Hersh out. They then close, I guess predictably with the closest thing they have to a hit. ‘Bright Yellow Gun’ was an MTV staple and brings the phones out. It’s raw, a little stripped back and sounds phenomenal. I don’t think I could’ve hoped for a better set and I hope I don’t have to wait as long to see them again. I had a choice to make tonight, I think I made the right call.