Review & Photography by Manny Manson for MPM
On the evening of April 3rd, 2026, Nottingham’s Bodega literally pulsed with anticipation, a sold-out crowd stood buzzing in the tight, intimate space as even more fans gathered to witness a trio of standout acts.
The air was thick with the scent of excitement and the low hum of chatter, a collective energy that promised something extraordinary. From the moment the doors opened, you could feel the night stretching out ahead, a journey through surf-inspired riffs, theatrical modern rock, and commanding vocals that would carry the audience from bare feet on the stage edge to sweat-soaked, triumphant applause. Every corner of the room was packed, fans eager for the first chord to hit, ready to be swept along in a night defined by artistic flair, fierce musicianship, and the kind of raw, unfiltered connection that only a venue like the Bodega can provide. And to-night Merseyside’s beaming Dan Byrne, the voice of a generation has brought his first headline tour, and with it, songs from the imminent release of his debut album “This Is Where The Show Begins”, to be released on May 22nd. Tonight, In support we have the amazing Kit Trigg Trio and Derby’s very own Muddibrooke.
The lights dropped low inside the Bodega, as the first of these supports gets the night under way. The Bodega is already impressively full as the crowd lean forward in anticipation, the air buzzing with the sort of energy that promises something unforgettable.
Barefoot, Kit Trigg pads around the stage, a nod to Hendrix on his tee shirt, his Vans and socks left at the edge, he has that surfer-dude grin already spreading across his face. His “oil slicked” sunburst Epiphone Les Paul simply named “Katherine The Great”, gleams under the dim amber lights, his pedalboard adorned with glinting seashells, bleakly reflecting the stage lights, as if the ocean itself had come along for the night. Behind him, Max Rhead poised at the drums and backing vocals, and next to him, Morgan Lindley’s who’s eager bass was already thrum-ready, the trio exuded a chemistry that only comes from playing together. Kit’s merch adorned with his own artwork, screaming sharks clutching flying V guitars, hot rods, and surfing motifs in riotous, candy-coloured Roth-inspired tones, was a perfect reflection of the wild, playful, and chaotic beauty about to unfold.
From the moment Max tapped out the opening rhythm, the crowd was hooked. Kit joined in with “I Gotta Red Strat,” his fingers dancing over the fretboard with fluidity that seemed impossible, weaving between staccato bursts and elongated, soaring notes from those new Sunbear ’57 pafs fitted to “Katherine”. Morgan’s bass rounded every riff with warmth and precision, creating a sound that was simultaneously raw and polished, while Kit’s voice cut through it all, part airy falsetto, part gritty bite. The Bodega responded instantly, bouncing and clapping, their energy instantly feeding the band in an unbroken loop of excitement. By the time the first song closed, the audience was utterly captivated, their cheers an echo of the sweat, skill, and sheer joy radiating from the stage.
Without pause, Kit launched into “Free and Easy,” the guitar lines now wild and unrestrained, shredding with playful ferocity. Max’s drumming was a blur, grounding Kit’s explorations while giving him room to leap and spin, his surf-dude energy infectious. Morgan’s bassline slithered underneath the chaos, adding both rhythm and melody, pulling the audience along as if he were carrying them over waves. Kit’s soloing was not just technical; it was storytelling, each bend and slide a visual as well as aural flourish. The song’s lyrics, celebrating freedom, youthful abandon, and the call of the wild, felt lived-in and authentic, the audience responding with whoops and shouts, entirely caught in the moment.
The set shifted into “Making It,” and Kit’s playful, charming personality shone as he introduced the band. Max and Morgan were more than accompanists; they were collaborators in every sense, their smiles and nods reflecting years of musical shorthand. The song itself was an anthem of perseverance, a declaration that hard work, joy, and a little chaos could coexist beautifully. Future crowds will sing along, their voices will sound like waves crashing against rocks, in the mean-time Kit punctuated every chorus with improvised riffs that danced atop the steady foundation laid by Max and Morgan.
Then came the night’s most poignant moment: “Snake in the Grass.” Dedicated to Kit’s late friend Will Glover, Kit called for three repeated screams so Will could hear them in heaven, the Bodega responded with roaring enthusiasm, and Kit’s own wide-eyed amazement mirrored the intensity of the moment. His cheeky comment about being a “greedy bastard” drew laughter, but the collective catharsis was undeniable. the song started with a creeping riff, a slow climb that made every ear in the room perk with anticipation. The music, the crowd, and the emotion coalesced into a shared moment of beauty and remembrance, a tangible connection between life, memory, and sound.
“Grow With the Flow” crashed in like a wave, its rhythm kicking like a mule, Kit’s Les Paul screaming with joy and fury. Every element, the crashing drums, the bouncing bass, Kit’s vocal lines twisting between grit and melody, created a kinetic energy that enveloped the room. The audience moved with the band, not separate from them, participating in a living, breathing performance. Then, with tender contrast, Kit slowed into “Light at the End of the Tunnel,” dedicating the song to his newborn niece, Sonny, who arrived into the world safe and sound just days earlier. The melody, fragile and radiant, floated over Max’s subtle drumming and the now shirtless Morgan’s enveloping bass, and the audience leaned in, hushed and reverent. This was a private moment shared with hundreds, a glimpse into Kit’s heart beyond the shredding, the chaos, the surfer persona.
Finally, “Going for Glory” brought the set to a triumphant close. Kit, Max, and Morgan poured everything into the music, the song a culmination of the night’s energy, skill, and emotion. The Bodega roared, singing along, clapping, and stomping, the intensity of the crowd a perfect reflection of the band’s energy. Kit’s grin, wide and unrestrained, mirrored the audience’s exhilaration. As the final note rang out, the connection lingered, an unbroken bond of music, memories, and the electric pulse of a night that would not soon be forgotten.
As Kit Trigg’s final notes faded into the Bodega rafters, they immediately set about dismantling their set, they moved with practiced precision, clearing pedals and stands to make way for the next wave. Muddibrooke emerged, the room buzzing with anticipation as “Brooke” stepped forward with her guitar slung low, Morgan Pettigrew poised at the drums, his face-pulling already primed to punctuate every beat, and Anna Melidone’s bass humming a steady, enveloping pulse. Their presence was magnetic, each movement commanding attention, their chemistry honed from countless nights on stages across the UK and beyond.
The audience leaned in as Brooke strummed the first chords of “Cellar,” the air thick with expectation. From the opening riff, it was clear that this was a band at the top of their game, Morgan’s dynamic drumming shaping the energy, Anna’s bass weaving around Brooke’s vocals like a river carrying both melody and pulse, while Brooke herself glided between raw grit and soaring clarity. A slight change to the set as the reshuffled “ADHD?” scheduled for later on in the set, now landed with even more force, the crowd shouting along in recognition, their energy feeding back into the band. The intricate riffs and rapid-fire drumming made the floor vibrate beneath the crowd, Anna’s bass providing a solid yet melodic backbone. Brooke’s vocal delivery was fierce yet nuanced, shifting seamlessly from snarling intensity to melodic hooks that the audience roared back in unison. Each note felt both calculated and spontaneous, the result of a band that has been road-tested and studio-sharpened, now translating perfectly in a live environment. Every member shone in these moments, the collective confidence of a trio that knew its power and how to wield it.
“Money” followed, a punchy, confident burst that immediately got the floor bouncing. Brooke’s voice cut through with effortless command, each word dripping with attitude and precision, a skill she’s honed while performing with numerous acts before establishing Muddibrooke as a force of their own. Anna’s bass drove the rhythm forward, her fingers dancing along the frets with a deftness that anchored the song even as Morgan’s drum fills spiralled into playful chaos. The synergy between the three was palpable; they moved as one organism, their shared glances and subtle cues giving the impression of improvisation even within the tight structure of the song.
“Float” arrived with a more contemplative feel, a song that let the band breathe without losing momentum. Brooke’s voice softened, layered with subtle backing vocals that Anna and Morgan provided, creating a texture that enveloped the audience. The song’s emotional range was striking—rising crescendos met with quiet, almost meditative moments, showcasing the band’s versatility and hinting at the depth of the new album, currently being produced by Luke Morley of Thunder fame. The Bodega was entranced, caught between the soaring guitar melodies and the undercurrent of rhythm from Morgan’s inventive drumming and Anna’s resonant basslines.
The pace shifted again with “Fool Heart”, a number introduced by Brooke, as being a duet on the new album. She added as a tease that she wasn’t going to say who the other voice was on the album, but the glee in her voice was evident as she told us she was so excited about it; and then “Devil,” each song once again showcasing Muddibrooke’s power and range. Brooke’s guitar work alternated between fiery, precise riffs and melodic flourishes, while Morgan’s drumming alternated between commanding beats and delicate fills, a masterclass in timing and energy. Anna’s bass underpinned every moment, her lines forming both the backbone and the subtle heartbeat of the band. When Brooke interacted with the crowd, leaning over the front row and letting her voice soar above the roar, the connection was electric. Muddibrooke was not just playing music; they were orchestrating an experience, pulling the audience into their world with every note.
“Fake It” and “Turn to Dust” hammered home the band’s intensity, the former a tight, punchy anthem and the latter a swirling, heavier track where the interplay between Brooke’s guitar and Anna’s bass took centre stage. Morgan’s drumming was both precise and unpredictable, throwing in bursts of creativity that kept the set feeling alive and unrestrained. As the set drew toward its climax with “Inside,” “One Life,” and “You Don’t Own Me,” the crowd’s devotion was clear. The songs’ emotional resonance was amplified by the intimacy of the Bodega, the absence of barriers letting every fan feel connected to the performance. Brooke’s vocals soared over the rich sonic tapestry created by Morgan and Anna, each song unfolding with dynamic tension and release. The finale, “Get Away,” left the room buzzing, the band’s chemistry, technical skill, and sheer presence sealing a night that felt both monumental and personal.
Muddibrooke left the stage to thunderous applause, the audience already anticipating the next act, and for anyone who had doubts about the power of tight, passionate musicianship, Brooke, Morgan, and Anna had just obliterated them.
By the time the final echoes of Muddibrooke faded, there was a tangible charge in the Bodega, a collective anticipation that seemed to ripple through every fan packed shoulder to shoulder at the front. With no pit barrier, attendees pressed forward, literally at Dan Byrne’s feet, as the lights dimmed and a hush fell over the room. The stage cleared, the amps humming with expectation, and Dan emerged, the energy was palpable. He was flanked by Glen Quinn (Tigertailz) on guitar and backing vocals, Colin Parkinson (Inglorious) on bass, and Max Rhead (Kira Mac), familiar from earlier with Kit Trigg, on drums and harmonies. Dan’s presence was commanding yet warm; fans who had followed his career from his early days in previous bands felt immediately at home. This was a sold-out night, part of a tour that would see him take his debut acoustic album across the UK at the end of May, and Nottingham had turned out in force to welcome him to the Bodega.
Drawing from his debut album, along with some old favourites that have appeared as either singles or part of an E.P. he eagerly opens the set opened with “Saviour,” the lead track to the eponymous debut album; the room erupting as Dan’s voice cuts through the haze of anticipation. His vocals are rich and precise, carrying the weight of years fronting various projects while still retaining a raw edge that reminds everyone why his reputation has grown steadily over time. Glen’s black Ibanez Iceman guitar danced around Dan’s phrasing, delicate and yet muscular, while Colin’s bass anchored every note with a resonant power that drew the audience deeper into the song. Max’s drums punctuated with taste and precision, his harmonies adding depth to the performance. Between verses, Dan paused to give heartfelt thanks, acknowledging the surge of fans pressing forward, their energy meeting his own in a heady exchange that made every note feel alive. The song’s narrative unfolded like a story told directly to each listener, the highs soaring and the intimate moments landing like a personal confession.
“Like Animals” followed, a track where the band’s dynamic interplay truly shone. Colin’s bass was not merely rhythmic but narrative, his lines bending and pulsing to accentuate the tension in Dan’s vocal lines. Glen’s guitar weaved intricate motifs that responded to Dan’s phrasing, creating a conversation between instruments. The crowd’s roar was met with a humble nod from Dan, who paused to express how incredible it felt to see Nottingham so fully turned out. Max drove the rhythm with a controlled intensity, his beats both propelling and grounding the song, while his harmonies layered seamlessly over Dan’s leading vocals. The song’s chorus ignited a sing-along, the fans’ voices merging with Dan’s in a moment that felt both spontaneous and inevitable, the intimacy of the venue amplifying every note and gesture.
With “She’s the Devil,” Dan introduced this new track with a wry smile, sharing a brief anecdote about its origins and how it came from his earliest songwriting days. The song itself balanced lyrical vulnerability with a muscular rhythmic core. Colin’s basslines twisting through the melody, Glen’s guitar accents punctuating Dan’s storytelling, and Max’s precise percussion elevating each beat. Dan’s voice was a masterclass in phrasing, moving effortlessly from raw urgency to controlled nuance, drawing the audience along with every pause, every whispered word. Between lines, he thanked the crowd again, acknowledging the sold-out nature of the tour and the overwhelming support he’d felt on the road, as Nottingham had truly embraced him. The fans responded with chants and applause, their energy feeding back into the performance and pushing the song to an electrifying peak.
“Praise Me” came next having been swapped with “Hate Me” on the set list, it shifted the room into a darker, more contemplative space. Dan’s vocals were commanding, conveying both menace and vulnerability, a duality informed by his prior bands’ heavier and melodic work. Glen Quinn’s guitar provided eerie, shimmering textures, accenting each phrase and complementing Dan’s intense storytelling. Colin Parkinson’s bass gave the song depth and weight, threading subtle fills between the verses, while Max’s drumming punctuated dramatic moments, enhancing the tension. The audience was captivated, responding to both quiet moments and explosive choruses, hanging on Dan’s every syllable. Between verses, his gratitude and humour shone, acknowledging the sold-out crowd that had gathered in force for Nottingham. The song’s finale, a crescendo of voice, guitar, and percussion, left the Bodega vibrating with energy, perfectly demonstrating Dan’s ability to command attention and craft moments of tension and release, intimate yet epic in scale. The latter “Hate Me” now arrived with a renewed surge, Dan’s vocal delivery cutting sharp against Glen’s urgent riffs and Colin’s thunderous bass underpinning the tension.
Max’s drums added both drive and flourish, the complex fills emphasizing moments of dramatic shift. Dan’s stage presence was commanding but approachable, he paused between verses to thank the crowd, smile at faces in the front row, and even gesture to a few fans mid-song. This connection, coupled with the band’s tight synergy, transformed the song into a shared experience, a statement of vulnerability and strength wrapped in one dynamic performance. When “Easier” arrived, performed with Dan on acoustic guitar, the room shifted. The intensity was more subtle, but no less compelling. His fingers traced the chords with delicate precision, Colin’s bass a gentle undercurrent, Glen adding understated harmonics, and Max’s subtle percussion creating space rather than filling it. The audience leaned in collectively, silent at the start, before slowly rising in recognition, their voices swelling with each chorus. Between songs, Dan’s humble thanks punctuated the quiet, his joy palpable as he acknowledged how incredible it felt to play in a room so alive with support.
“Pulling Me Under” followed, a masterclass in live dynamics. Colin’s bass lines were formidable, filling the space with resonance that shaped the songs’ momentum, while Glen’s guitar intertwined with Dan’s voice to form melodies that soared over Max’s precise drumming. Dan’s interaction with the audience was seamless, weaving personal anecdotes, gratitude, and encouragement into the fabric of each song. Every riff, every beat, every word felt both intimate and monumental, the sold-out Bodega amplifying the connection between band and audience.
“Sober,” “Sentimental,” and “ Cherry & Leather” pushed back into richer dynamics, Dan’s vocals soaring over the band’s intertwined instruments. The connection with the audience deepened; chants and claps punctuated key lines, and Dan responded with smiles, nods, and playful gestures, the sold-out Bodega pulsating with shared energy. Glen encouraged crowd participation, though the fans needed little prompting; they were already engaged, singing along, clapping in unison, and feeding energy back into the performance. The Audioslave cover” Show Me How To Live” was dropped due to the curfew and time restraints put on the band.
The encore opened with “Hard to Breathe,” a moment of shared release and intensity. The band’s cohesion was undeniable, Colin’s bass anchoring every shift, Glen’s guitar weaving dramatic arcs, Max’s percussion driving the narrative forward, and Dan’s voice both commanding and intimate. Fans pressed forward at the edge of the stage, hugging and cheering, their closeness reflecting the absence of a barrier, creating a connection rarely seen. The night could only close with “Death of Me,” the performance a cathartic culmination of energy, skill, and heartfelt artistry. After the final note, Dan moved among the audience, helping tidy the stage, posing for hugs and pictures, his smile reflecting disbelief and joy at how incredible the night had been. The Bodega had witnessed a sold-out, unforgettable night, Dan Byrne cementing himself as a singular voice poised for an expansive acoustic tour, with Nottingham proudly present at the start of this remarkable journey.
As the lights finally rose on Nottingham’s Bodega, the echoes of a night packed with artistry and raw energy lingered in the air like smoke from a hot rod’s exhaust. From the moment Kit Trigg kicked things off, barefoot and laid-back in true surfer-dude fashion, the room had been swept up in a tide of sound and colour. His pinstriped Epiphone Les Paul sliced through the air, Max Rhead’s precise drumming grounding every riff, and Morgan Lindley’s bass creating a pulsing heartbeat beneath the waves of energy. The audience had been drawn in immediately, swept into Kit’s world of hot rods, sharks wielding flying V guitars, and seashell-adorned pedals, a nightmarish, joyous, inspired carnival of rock and surf. By the final scream of “Going for Glory,” fans were buzzing, minds blown, their hands still clapping in time with the lingering echoes of Kit’s charm, technical flair, and artistic personality, new fans had been claimed.
Muddibrooke took the stage next, and the energy evolved, shifting from playful chaos to commanding rock authority. Brooke’s vocals cut through the dense crowd, her guitar dancing with both aggression and melody. Anna Melidone’s bass added texture and grit, while Morgan Pettigrew’s drums punctuated each moment with theatrical precision and devilish face-pulling that had those that could see them grinning away. Each track from their set, including the timely “ADHD” and the impending new album tracks produced by Luke Morley, carried a narrative of the band’s evolution, of shared experience and musical ambition. The audience leaned into every shift, responding to the interplay, the dynamics, and the charisma of a band firing on all cylinders. Muddibrooke’s set transformed the Bodega into a living organism, breathing, pushing, and swelling with sound, the sold-out crowd matching the intensity of every note and lyric.
And then Dan Byrne stepped up to close the night, a human tidal wave of voice and presence. With Glen Quinn’s intricate guitar work, Colin Parkinson’s formidable bass, and Max Rhead again behind the kit, Dan’s set was both intimate and epic. From the surge at the stage edge at the very start to the final, triumphant chords of “Death of Me,” every moment was punctuated by gratitude, laughter, and shared celebration. Fans clung to the stage edge, singing, shouting, and embracing the intensity of a sold-out night that had carried them from surf-rock euphoria to intimate, soul-baring connection. Dan’s previous bands and the journey to his acoustic tour to celebrate the Debut album, were woven seamlessly into the performance, adding context, history, and weight to each song, and each interaction.
By the end, the Bodega had been transformed. A night that began with wild, artistic flair and barefoot riffs had grown into a full-spectrum showcase of contemporary British talent: Kit Trigg’s visionary surf-rock world, Muddibrooke’s authoritative and theatrical modern rock, and Dan Byrne’s commanding voice and heartfelt performance. Fans left buzzing, exhilarated, and intimately connected to every artist, every chord, every lyric, a night stitched together by passion, energy, and a shared love of music that promised these three acts would continue to leave a mark on anyone lucky enough to witness them live. From first scream to final hug at the stage, Nottingham had been part of something unforgettable. If I could add to that, Dan if you read this can you cover “Scattering Crows” next time out…. If You Know, You Know.
