Interview - PROOF
Where are you from and how did you meet?
Three of us met in Liverpool a few years ago while we were working on various musical projects and in studios. We all had different things going on but always kept the idea of working together on the backburner if we ever had time. We already had a large body of songs we’d worked on with some great people so, as COVID came and went and we all arrived at similar stages in life, it made sense to focus on what we’d built up over the years. Pete came onboard last summer when we recorded as a group for the first time and then PROOF was born.
What were you all doing musically before the band?
We’ve all been writing, recording and performing constantly since we were in our teens and have already achieved a lot between the four of us. There’s a long history of releasing music and touring across all members, whether that be professionally or independently. In Liverpool three of us crossed paths and got together regularly without doing much publicly, but always with the intent that we’d devote more time to it when we got the chance. This coalesced into being given some studio time by the amazingly generous Robbie Whiteley at Whitewood Recording Studios in Liverpool, and this set the foundations for the project. Inspired by this we’ve since built our own studio but always like working with other people wherever, whenever really.
Who are PROOF’s influences?
We try and embody the spirit of the bands we love rather than taking song and sound ideas directly. Bands that create whole universes to discover over long periods of time are ones we’re naturally drawn to, bands that are prolific and song orientated. Not a ‘song’ as in it’s got four chords and you can strum it on an acoustic guitar like a busker (although there’s thousands of songs that work well like that), but music that has a hook, message and creates an enduring legacy. In a way we’re aiming at those bands that seemed to create an endless world of ideas with each release: Echo & The Bunnymen, The Cure, Radiohead, The Coral, The Verve, The Walkmen. That’s why we’re keen to showcase what we’re doing in different lights to emphasise the strength of the songwriting. We want to be one of those bands where people argue over which track should have been the A-side or find something they wouldn't have otherwise heard through producers or artists that have done remixes of our songs. In terms of bands recording and performing at the moment, some of our current favourites are Sleaford Mods, Nomosapien and Big Special. Michael Clarke who works with Big Special in a production capacity sent us some really encouraging vibes early on which was a massive inspiration as we really love their stuff. The guy who does our sleeves Kristian Jones has a great band called MeNowThereThen that have just finished their debut album we’re really looking forward to.
What sets you apart from other bands?
What we have been really fortunate with from the start is the breadth of people involved in collaborating on the project. As well as recording a large part of the first EP in our own studio, we’ve worked with Robbie Whiteley (Clinic, Stealing Sheep) and Tim Cunningham (The Zutons, Jamie Webster) in Liverpool. Mark Gittins (God Damn, Judas Priest) came on board towards the end to assist with the Dolby Atmos mixing, and these are all people that have established careers with some amazing bands. Given the variety of the songwriting and production on the EP, remixing was something we felt could broaden the appeal and we were blown away when we got the offers from incredible artists such as Nomosapien, Ben Holton (epic45, My Autumn Empire) and MeNowThereThen (Wayside & Woodland Recordings). Visually we can’t underestimate or be thankful enough for the work of Kristian Jones. Kristian is a very well-established visual artist, and his unique visual style really chimes with what we are saying musically and lyrically. It is very pertinent and distinctive. I can’t recommend going out and seeing/hearing as much as you can from any of these people as soon as possible.
What does the band name mean?
Like all good band names, it can mean everything or it could mean nothing. Given the absolute deluge of content out there now, choosing original band names that haven’t been used before in some context gets harder every year. As we were burrowed away for a while putting the body of songs and EP together, our family and mates would naturally be asking for proof as to what was actually going on, particularly given some of the seemingly tall tales that were being written around the inception. So the EP represented that, proof we have been working hard and not just sat off talking nonsense, although there has been a fair bit of that as well to be fair! A lot of people ask if we’re named after the I Am Kloot track ‘Proof’. We’re not as we hadn’t heard it at the time, but John Bramwell is an amazing songwriter and some of the themes of that track definitely chime.
What’s your dream venue to play?
Given we’re only just building an audience we haven’t got any ambitions to play live yet until we can justify it. It is something that would be great to do eventually, but the project is very much centred around writing, recording and spending time together as friends. None of the songs we’ve recorded have ever been rehearsed by the band. Once they’re written we just hit record and end a few hours later at wherever they are at. There’s no masterplan other than to do the songwriting justice, producing and performing them to the best of our ability. Once people become more familiar with them, then we’ll think about how best to put that across live. We all work with other bands that perform live, so it’s just a case of PROOF coming into focus on that at some point. The big favourites would be places like Glastonbury, the legendary venues in Liverpool or Wolverhampton Civic/Wulfrun Hall given our backgrounds. To be honest though, if we were to put the focus on playing live, we’d give that everything and be as happy playing to 5, 50 or 5000 people. If the van’s getting packed, it’d be a waste not to get out there! If we commit to an idea, we tend to go all in.
Do you have a message for your audience?
Given our core audience at the moment is our nearest and dearest, it’s simply a massive thank you! All our families and friends have made huge sacrifices of time and energy through the hottest summer sun and coldest winter snow to allow us to make this happen, and without that we’d be nowhere. Also, the encouragement of yourself and other music lovers on radio and blogs has really helped to get the music out there and is hugely appreciated. A big thing that can’t be underestimated has been the support of BBC Introducing and getting Track of the Week for ‘Pause To Exit’. That was as amazing as it was surprising.
Also a big thank you to those picking up on the music for the first time since the release of the EP. It’s getting listened to all across the world, and the feedback has been amazing. Hopefully we can give people something they want and need through what we do, as well as open doors for them to discover new music, art or ideas.
What are your plans for the next 12 months?
The main idea is to write and record music working towards another EP and hopefully an album. We’ve got a huge amount of songs demoed and artwork/visual ideas ready, so we need to tap into the vast support network of creative people we have to try and bring it all to life in as interesting a way as possible. We’ve already started recording music for the project at Rockfield Studios in Wales where a lot of our favourite music was recorded, so we’ll keep developing the body of work we have on the go and release something when it feels natural. As well as lead tracks, it’s always good to back this up with interesting avenues like B-sides, remixes and videos.
Pictures Of Themselves EP by PROOF is released on Village Industry LTD on Friday 17th April 2026 on streaming and physical formats via the following link li.sten.to/picturesofthemselvesep
PROOF are Tom Hammersley, Jim Reyolds, Pete Forbes & Jim Sharrock.
Follow the band and their collaborators on Instagram:
@proofbandofficial @nomosapien @birdsinthebrickwork @menowtherethen @kristianjones_
Kneecap - Fenian
No pressure then.
So ubiquitous have Kneecap been over the past twelve months that the average person could be forgiven for forgetting they are, first and foremost, musicians.
In fact, despite their increasing notoriety the trio have remained prolific through controversy, court cases and their characteristically outspoken stance.
One would expect them to have changed through their ordeals. Indeed, where once there was volume, on this new album Fenian there is calmness. The sort of serenity that comes with both being more mature and vindicated.
After moody opener ‘Éire go Deo’ (Ireland Forever), a largely spoken-word atmospheric piece, all squelchy acid house and hypnotic female vocals, the album begins proper with ‘Smugglers & Scholars’, a sinister electro bop that builds in layers.
As expected, Mo Chara wastes no time addressing recent events: ‘I never learn my lesson, always be government’s obsession.’
Chalk - Live at The Fleece, Bristol - 22nd April 2026
Although it’s only a few weeks old, Chalk’s debut album Crystalpunk deserved a better response.
The culmination of five years’ work by the duo of Ross Cullen and Benedict Goddard, it’s a glorious melting pot of every electro-outfit of note over the last three decades, all sloshed together to create something urgent, muscular and entirely their own.
So it’s no surprise that they can successfully translate it to the live stage (with exceptionable help from drummer Fion McAleavey), but even then it fails to prepare for the abrasive, electro-punk storm that follows.
With elements of Nine Inch Nails, The Prodigy, Aphex Twin and Underworld, it’s a cacophony of electronic punk.
The trio make a muted entrance before opening with the marauding ‘Tongue’. Built on Depeche Mode-esque synths, it swaggers malevolently despite going through a sequence of changes.
https://www.live4ever.uk.com/chalk-live-at-bristol-fleece-review/
Foo Fighters - Your Favourite Toy
The last Foo Fighters’ effort, 2023’s So Here We Are, while heartfelt possibly arrived before Dave Grohl had fully processed the losses of Taylor Hawkins and his mother.
Now we truly see the aftermath, but given what has occurred in Grohl’s private life since, it’s more like a loud, conflicted reckoning.
Of course, twelve albums in, there are few sonic surprises: Your Favourite Toy bristles with muscular riffs, quiet-loud dynamics and choruses tailor-made for stadia.
That familiarity could be a liability, but Foo Fighters’ longevity, fuelled by the affable presence of Grohl, has long insulated them from criticisms levelled at less charismatic peers.
But the emotional framing has shifted; The Nicest Man in Rock™ is no more, recent controversies casting a shadow that inevitably informs the listening experience.
https://www.live4ever.uk.com/foo-fighters-favorite-toy-review/
WU LYF - A Wave That Will Never Break
In the early 2010s, WU LYF were the band to watch.
The Mancunians earned lavish praise for their live performances, and respect and attention for their mystique.
They refused all record label approaches and self-released their debut album Go Tell Fire To The Mountain in 2011, and steadfastly refused to play the game: no interviews, photoshoots that didn’t show their faces, all while building up a cult following.
Then, they just stopped.
Lead singer Ellery Roberts posted a message at the end of 2012 stating, ‘I am gone. This isn’t the end. This is the beginning’, and WU LYF’s Facebook page disappeared. Then…nothing.
Fifteen years later they are back, but it’s more reckoning than resurrection.
https://www.live4ever.uk.com/wu-lyf-a-wave-never-break-review/
Happy Mondays - Live at The Beacon, Bristol - 3rd April 2026
Who better to celebrate a long weekend with than the 24-Hour Party People?
After a buoyant opening set from The Farm, who bring all the late-80’s/early 90’s energy required, Happy Mondays drift onstage (characteristically late, not that anyone cares), ready to bring said party.
Fittingly, what follows is a celebration of their legacy and the chaos that always seems to surround it.
Gaz Whelan, Mark Day and Dan Broad enter the stage first, followed by Firouzeh Berry, who has recently stepped in for Rowetta, and the band kick into ‘Kinky Afro’.
Berry immediately stamps her authority, singing with confidence and flair. Taking on such an iconic role could feel daunting, but Berry rises to the role effortlessly, bringing both cordial respect to what went before and her own energy.
It’s a swaggering start, but the room erupts as Shaun Ryder and Bez enter the fray, and everything is as it should be.
Bez is already in constant motion, a blur of maracas and limbs, while Ryder delivers his unmistakable vocals with trademark offhand brilliance.
https://www.live4ever.uk.com/happy-mondays-lbeacon-bristol-review/
Black Doldrums - Live at The Louisiana, Bristol - 2nd April
Given their name and sound, it’s hard not to draw the conclusion that Black Doldrums aspire to be in the shadows rather than the spotlight, and the moody, darkened room of The Louisiana fits them perfectly.
Steeped as they are in the lingering echoes of post-punk’s past, the presence of their influences is unavoidable, yet their music is never derivative.
Befitting the music, frontman/guitarist Kevin Goddard, drummer Sophie Landers and new(ish) bassist Daniel Armstrong let their songs do the talking.
Tracks aren’t announced onstage but simply build slowly, unfolding through layers generally culminating in widescreen noise.
Goddard’s guitar glints and fades, marked by sudden surges of intensity before receding again into vast, echoing atmospheres. It’s intensely absorbing.
https://www.live4ever.uk.com/black-doldrums-bristol-gig-review/
Gorillaz - Live at Utilita Arena, Cardiff - 27th March
Never believe it when someone tells you that you can’t have it both ways.
Just look at Damon Albarn; in a couple of months, Gorillaz will perform at Tottenham Hotspur Stadium, meaning Albarn officially fronts two stadium bands, his ‘other band’ having already played two nights at Wembley Stadium in 2023.
One suspects the ultra-competitive Albarn is fully (and justifiably smugly) aware of that.
For now though he must make do with arenas. The most striking thing about tonight’s crowd is how mixed it is.
With over a quarter-century’s worth of material, those in their twenties and thirties are expected, and the nineties’ faithful remain as loyal as ever, but there are also countless teenagers.
Admittedly, Gorillaz are ostensibly a cartoon band (indeed, the loudest cheers are reserved for when images of 2-D, Murdoc, Russel and Noodle appear on the screens), but given that Albarn and Jamie Hewlett dropped the façade years ago, it still comes as a surprise.
https://www.live4ever.uk.com/gorillaz-utilita-arena-cardiff-review/
The Clockworks - The Entertainment
Having plied their trade for several years before the release of their debut album in 2023, The Clockworks’ second album The Entertainment marks a shift for the Irish four-piece.
Gone is the scrappy, observational indie of their debut and in its place is a brooding, inward-facing exploration of modern life’s quiet disintegration.
Where Exit Strategy felt like four lads making a noise in a room (their words), the follow-up widens the lens, shifting emphasis from immediacy to atmosphere and consideration.
The Entertainment opens with ‘How To Exist’, a breathless rush of handclaps and snappy piano that teeters on the verge of collapse.
James McGregor’s scattered, almost indecipherable vocals are like a stream of consciousness, culminating in the blunt admission: ‘I’m looking for something to believe in’, a mission statement for the album as a whole.
https://www.live4ever.uk.com/the-clockworks-the-entertainment-review/
Sleaford Mods - Live at The Beacon, Bristol - 5th March 2026
The contrast between tonight’s headliners and their support is stark.
Although confined to a small section of the stage, Heartworms’ fusion of gothic rock, electroclash and grand operatics is fully present across her half-hour set.
The spindly ‘Extraordinary Wings’ is eerie, the juddering ‘Warplane’ ratchets up the tension and closer ‘Jacked’ explodes.
Josephine Orme and her musicians make an impressive noise for a three-piece, and wherever she goes next will be worth watching.
There’s no preamble or walk-on music when Sleaford Mods appear; Jason Williamson and Andrew Fearn simply shuffle onstage.
The latter presses play on his laptop while the singer offers a trademark squawk to throw the loyal crowd a bone, and we’re straight into a skipping rendition of ‘The Unwrap’, Williamson’s musings on the dopamine hit of home deliveries as a distraction from the chaos of the outside world.
https://www.live4ever.uk.com/sleaford-mods-bristol-beacon-review/
The Sophs - Goldstar
Rated by independent powerhouse Rough Trade Records as one of their most exciting signings in years, LA’s The Sophs debut album justifies the hyperbole. Across this sharp, shape-shifting collection of tracks, upbeat melodies collide with sneering, passive-aggressive lyrics and flashes of vulnerability.
Often like Muse without the bombast, the guitars are huge but not over-utilised, infrequently giving way to delta blues, gothic poems or pure pop. An album which reveals more with each listen, Goldstar has all the ingredients needed to propel the six-piece outfit into the mainstream, whether they like it or not. Thrillingly weird and wonderful.
Gorillaz - Top 10 Deep Cuts
With over a quarter of a century and nine albums under their belt, Gorillaz have built an expansive and ever-evolving catalogue. Yet, if there is one thing we know about (spoiler) Damon Albarn, it is that we have barely scratched the surface of his songwriting archive. Music seems to flow effortlessly from him, rarely a year passing without the release of at least one new project under one of his many creative identities.
With such a prolific history, keeping up can be a challenge, especially when remixes enter the mix. To celebrate their ninth album, The Mountain, CLASH has delved into the band’s extensive archive to spotlight ten of their finest deep cuts.
https://www.clashmusic.com/features/gorillaz-top-10-deep-cuts/
Big Special - Live at Electric Bristol, 24th February 2026
The state of bands in 2026.
The Big Special-curated bill for their tour is impressive. On the back of their well-received second album and some standalone singles, the duo are gathering momentum.
Both support acts, GANS and Good Health Good Wealth, released debut albums last year but haven’t done much touring in support, presumably for reasons of expense.
As such, this tour feels less like a traditional gig and more like a state of the nation address for bands in 2026.
Seven musicians across three bands (one pulling a double shift), made up of two ‘drummers’, two ‘guitarists’ (three if you count Big Special’s Joe Hicklin when he straps one on for a couple of songs), two singers, one saxophonist and barely any bass guitar to speak of.
Of course, they are all doing much more than play just one instrument; they whiz back and forth in their own space on stage, turning dials or pressing keys.
https://www.live4ever.uk.com/big-special-electric-bristol-review/
Mogwai - Live at the Beacon, Bristol, 22nd February 2026
Given the noise maelstrom that’s about to occur, there is something quietly disarming about the way Mogwai take to the stage.
No grand entrance, no attempt to rouse the crowd, just a few waves before the brooding, spectral keyboard of ‘God Gets You Back’ pulses into life and the audience falls into a near-instant hush.
‘Hi Chaos’, also taken from recent album The Bad Fire, follows with a slow, deliberate climb, the pressure building throughout.
Stoic as ever, Stuart Braithwaite, Barry Burns, Dominic Aitchison and Martin Bulloch are almost imperceptible as their dynamics swell, locked together in a steady volcanic ascent that eventually tips into distortion.
The set is a healthy balance of new and old material to keep everyone happy. ‘Drive The Nail’, from As the Love Continues (2021), is epically windswept and serrated, its guitar lines scraping against a dense rhythmic undertow.
In contrast, the piano-led ‘Friend Of The Night’, from 2006’s Mr Beast, offers a reminder of the band’s melodic instincts but siphoned through their unique blend of shoegaze and prog.
https://www.live4ever.uk.com/mogwai-bristol-beacon-gig-review/
Gorillaz - The Mountain
As we know by now, 25 years in, Gorillaz albums are usually defined by a theme, be that a dystopian concept, pop immediacy or the unmistakable melancholy of Damon Albarn.
The Mountain attempts to hold all three at once in what is their most ambitious effort yet; their ninth studio record is expansive yet intimate, cartoonish yet devotional: vast in both scope and sentiment.
At its heart lies the death of parents for both Damon Albarn and Jamie Hewlett. In the former’s case, Keith Albarn’s love of Hindu art and Ravi Shankar shaped the album’s spiritual direction following the Blur man scattering his ashes in Varanasi.
The result is a meditation on mortality and samsara (the cycle of life, death and rebirth) with Anoushka Shankar (daughter of the legendary Ravi) and her sitar acting as both musical guide and symbolic bridge.
At surface level, the Gorillaz narrative finds Murdoc et al retreating from fame to mystical highlands, but the real journey spanned London, Devon, New Delhi, New York and beyond.
https://www.live4ever.uk.com/gorillaz-the-mountain-album-review/
Westside Cowboy - Live at The Exchange, Bristol - 6th February
The most recent winners of Glastonbury’s Emerging Talent content, Manchester’s Westside Cowboy claim to offer a new genre of music (Britanicana, if you will), albeit with tongue firmly placed in cheek.
Tonight, drummer Paddy Murphy’s cry of ‘Westside Cowboyyyyy’ (as per their social media) signals the start of an hour of expertly crafted blend of American roots music and British indie rock that they are proud to convey.
Taking to the stage to Jackie Wilson’s ‘Your Love Keeps Lifting Me Higher And Higher’, the song choice sets an upbeat tone. Rather than aiming for grandeur, it generates a singalong which helps to frame the set as a communal experience.
Westside Cowboy open with a cover of Santo & Johnny’s ‘Midnight Cowboy’, reworked with a jerkier, more angular edge that strips away most of the track’s sentimentality.
A tension builder, it succeeds in setting the tone before they quickly pivot to their own material.
https://www.live4ever.uk.com/westside-cowboy-bristol-gig-review/
Mandy, Indiana - URGH
English/French quartet Mandy, Indiana’s second album URGH was informed by a period of both physical and emotional strain.
While the band were working on the record drummer Alex Macdougall underwent surgery for a hernia and later had half of his thyroid removed.
Meanwhile, vocalist Valentine Caulfield was dealing with a condition that caused significant vision loss in one eye.
The experiences unfolded alongside long, demanding recording sessions, and understandably inform the album’s focus.
Rather than softening their approach, Mandy, Indiana have emerged with a more deliberate and refined sound.
https://www.live4ever.uk.com/mandy-indiana-urgh-album-review/
Suede - Live at the Beacon, Bristol - 2nd February 2026
After a run of limited shows promoting their latest album Antidepressants in the autumn, Suede are currently on a full UK tour showcasing the second in their ‘black and white’ trilogy alongside selected tracks from across their career.
Suede walk on to a pulsing version of ‘Disintegrate’ from their new album, a synthetic throb that primes the room before a single member appears. The crowd falls instinctively into time, clapping along as if summoned. When they take the stage and launch into the track proper it’s with the confidence of a group long past needing to prove anything.
Brett Anderson drops the microphone after the first line, the first of several occasions he does so (Live4ever counted three). However, it’s no omen.
Anderson sings much of the early set from stage left, prowling and gesturing, already restless. Perhaps because it’s a Monday night the first attempted singalong falls flat, despite the lyrics helpfully glowing on the screen.
https://www.live4ever.uk.com/suede-bristol-beacon-gig-review/
Justin Hawkins Rides Again - Live at Cheltenham Town Hall - 29th January 2026
For those unaware, Justin Hawkins, lead singer and guitarist of The Darkness, has a side hustle as a YouTuber.
While it might be tempting to scoff at a former Reading Festival headliner being ‘reduced’ to such a platform, Hawkins’ videos are packed with genuine industry insight, artist interviews and thoughtful, in-depth analysis of songs across all genres. Put simply, it’s catnip for musos.
So, while The Darkness prepare for a busy year (a Southern Hemisphere tour followed by supporting Iron Maiden at Knebworth, and not to mention a winter arena run back home) Hawkins has repurposed his channel into a one-man stage show, touring theatres across the UK.
Whatever people may have said about The Darkness (and in the early 2000s, plenty was said), few can deny their musicianship, honesty or humour.
https://www.live4ever.uk.com/justin-hawkins-cheltenham-town-hall/
Cast - Yeah Yeah Yeah
Galvanised by last year’s Oasis support shows in much the same way Richard Ashcroft was before them, Cast return with their eighth album, their fourth in the second act in their career.
That said, the Liverpudlians hardly needed re-energising after a perfect hat-trick of the warm reception to 2024’s Love Is The Call, the Oasis shows, and an autumn tour commemorating 30 years of their debut, yet their new offering still crackles with fresh momentum, flecked with a new swagger. Recorded in Spain with the legendary Youth, it captures a band both riding positive momentum and drawing confidently on experience.
Perhaps it was the knowledge that some of these songs would be tested in stadiums, but the opening stretch is unapologetically big, bold, and built for scale. Opener ‘Poison Vine’, debuted live at Heaton Park last summer alongside the legendary P.P. Arnold, is full of intent, its glam-rock sheen elevated by her presence, adding gravitas and class as always. The anthemic ‘Don’t Look Away’ follows, with John Power reaching impressively high notes as Liam ‘Skin’ Tyson’s sky-kissing guitar lines soar, capped by an outro with self-referential ‘Yeah yeah yeah’s.