Photo Credit: Bethan Lees
There is something unmistakably exciting that surrounds a band just as their rise begins to feel inevitable, and Westside Cowboy’s stop at Nottingham’s Bodega carried exactly that atmosphere. The compact venue was filled early, every corner packed with fans who seemed fully aware they were watching a group quickly outgrowing rooms of this size. Conversations buzzed with anticipation, and in the quiet moments between songs later in the night, audible “wows” from the crowd said everything about the mood inside the venue.
Stepping in at the last minute as support were Nottingham five-piece Pict, replacing Holly Head after illness forced them to pull out. Clearly aware of the opportunity in front of them, the self-described “post-folk” group delivered a set filled with passion and intensity that sets them apart. Songs often began in tightly wound harmonies before erupting into fiery breakdowns, the rhythm section driving the shifts with confidence. By the time the lead singer entered the crowd during the final song, Pict had fully won over the audience, making what they described as their biggest show to date feel like a triumph.
Westside Cowboy’s recent momentum has been difficult to ignore. Formed in Manchester by Reuben Haycocks, James “Jimmy” Bradbury, Aoife Anson O’Connell and Paddy Murphy, the four-piece have spent the past year building a formidable live reputation while releasing two EPs, This Better Be Something Great and the recent So Much Country ’Til We Get There. Their self-coined “Britainicana” sound, blending folk, alt-rock and country influences, has already earned them major support slots with Blondshell and Black Country, New Road, as well as a Woodsies Stage appearance at Glastonbury after winning the Emerging Talent competition. A sold-out UK and Ireland run suggests the word is firmly out.
Opening with their debut single ‘I’ve Never Met Anyone I Thought I Could Really Love (Until I Met You)‘, the band immediately ignited the room. As Murphy shouted the now familiar “Westsideee Cowboyyyy,” pockets of the crowd responded in unison, turning the introduction into a celebratory chant. The chaotic energy continued with ‘Alright Alright Alright’, Bradbury taking lead vocals as distorted guitars and pounding drums pushed the tempo higher, the audience struggling to keep pace in the best possible way.
‘Can’t See‘ put the vocal chemistry between Haycocks and Anson O’Connell front and centre, their voices trading lines as the repeated “can’t see but you try” rang around the room. Later, ‘Shells‘ shifted the mood, starting gently before gradually building into a powerful finish that showed how naturally the band move between those quieter moments and full intensity.
‘Slowly, I’m Sure‘ honed a tender delivery allowing the audience to settle before ‘Don’t Throw Rocks‘, the first single from their second EP, raised the energy once again. Several unreleased songs also appeared throughout the set, some already familiar to devoted fans who shouted titles before the band could introduce them.
The closing stretch was mesmerising. ‘The Wahs‘ built momentum, while ‘Strange Taxidermy‘ held the room in near silence. The set ended with ‘In The Morning‘, all four members gathered around a single microphone with Paddy keeping rhythm on a single drum. The stripped back arrangement made every note feel intimate, the audience joining in for a singalong that transformed the small venue into something much bigger.
As the last notes faded, it was clear that Westside Cowboy are no longer simply promising newcomers. They are already becoming one of the most compelling young live bands in the country.
Taped Magazine 