The Windmill in Brixton has churned out more obscure and subversive acts than one can shake a stick at. Black Country, New Road, black midi (R.I.P Matt Keasniewski), and Fat White Family trace their origins to this mini mecca of the DIY scene. While Dry Cleaning did not form straight out of the Windmill, their Brixton roots are well known. The band’s rise from part-time university lecturers to re-inventers of juxtaposing prose with taut, contracting post-punk music has been nothing but praiseworthy. Their show in Nottingham's Metronome would be unmissable...
Having experienced Dry Cleaning's mesmerising stage presence back in 2022, this, I hoped, was to reaffirm the thrills of that performance of three years ago. Tonight’s show, another Rough Trade out-store performance, is to promote the band’s third album Secret Love. Its release, on the Friday before this gig, was met with the same notable acclaim as their previous full-length albums were, and despite the band going in a slightly different direction, it demonstrates their ability to adapt and embrace new influences with electronic instruments making more of a prominent appearance this time around.
The lead narrator (I refuse to call her "vocalist"), Florence Shaw, speaks with the gauche mumblings of a shy schoolkid there in the corner of the classroom who keeps a diary of vivid, ultra-expressive thoughts that, until recently, hadn’t been exposed before. Previous comparisons of Shaw have varied from Annette Peacock fronting The Fall to Laurie Anderson ditching Big Science for fronting The Stooges. While it's an easy cliche to compare any tight-sounding post-punk band with an unconventional frontman or woman to The Fall or PIL, it holds weight because it's true in one guise or another.
After being pushed and shoved by what I can describe as “Geese-fed” sycophants with their beige tote bags trying to get to the front, the band kicked into gear with Strong Feelings from Stumpwork. The opening number, with its deep bassline and groove, is a great mood setter for the evening. The swampy riffs of Tom Dowse with the edgy sonic echo effects from his array of pedals drive this song, making it a perfect opener. Dowse’s guitar playing has made Dry Cleaning just as distinctive as Shaw’s experimental prose; it is a whirlpool that drifts and twirls like a kaleidoscope of sound.
In Shaw’s prose there is a classic nod to the avant-garde techniques of Modernism. The second verse starts: “Ten blades dearth and wealth Flower brick painted in blue” it sounds like something read from Gertrude Stein’s Tender Buttons: a re-imagining of Modernism.
Following on from this is Gary Ashby and Jam After School, the latter of which was the first track which got me hooked on the band way back in 2019 with its “less bulls**t masculine mountain conquering crap”. Both of these are short tracks, but pack a punch with the repetitive groove. Repetition is something that Dry Cleaning use to full effect; not just for the sake of it.
Dowse shows his appreciation for Nottingham by giving a shout out to Everyday People and its “F*****g good ramen” someone heckles back with “it’s much better than Zaap!” Some of the other members defend Zaap and its culinary offerings.
Cruise Ship Designer and Evil Evil Idiot are the first from the new album in the set and both provide the experimental insight into how Dry Cleaning have branched into new territory, while keeping the authenticity of a tight band that don’t seek to do a drastic change to distance themselves from the crowd.
What is becoming more noticeable throughout are Shaw’s facial expressions as she comes into direct contact with the stage lighting. The stage lights act as a catalyst for her unusual expressions as if she is undergoing hypnotherapy within a state of Kafkaesque metamorphosis. She rolls her eyes to the back of her head as a result of this transformation. Hit My Head All Day, the first single release ahead of the new album, is another favourite and is the prime example of Shaw’s move from “pure” prose performer into more of a Sprechescan performer, with flexible vocals intertwining throughout. Her gaucheness is replaced by a more whimsical one that feels more entertaining as a result.
The set concludes with Joy and is a fine way to end a set that is quite heavy for those coming to them afresh. An honourable mention goes to the rhythm section of drummer Nick Buxton and bassist Lewis Maynard who both truly demonstrate their versatility and compatibility with one another. The tight chemistry within their musicianship is to be admired; with Florence Shaw narrating while gently cavorting through this number, it gives a gentle closure to a performance that has otherwise amplified them to a new level that will surely make their ascendance move even faster.
Dry Cleaning performed at Metronome on 15th January 2026.
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