Whether it be through the omnipresent influence of social media outlets, or the evolving position of Britain’s grassroots venue ecosystem – rising the ranks of the musical world is becoming increasingly arduous. Thus, for an artist to burst into the popular consciousness, they must exhibit a uniqueness that unashamedly distinguishes them – Bristol’s latest talent, Ziggy2000, holds all of these necessary qualities, and more. Earning acclaim over the past few years through releases such as Needles (2024) and Obvious (2021), Ziggy’s recent Wonderful Winter Show at The Mount Without perfectly marked the end to many’s concert calendars for 2024.
Entering The Crypt of what was once Saint Michael’s church, there was an immediate sense of festive warmth as the dimly lit, low–roofed venue was supported by fairy lights and recycled juice cartons that had been fashioned into micro–houses with tea lights placed inside. As the crowd built, and the time drew in on seven–o’clock, it was time for the first of the evening’s three artists: Harmer Jays. Having started his career as the lead singer of South West band, Tell the Hoi, the 28–year–old has found a new direction for his music – one that encapsulates an arrangement of intricate melodies with powerful vocal capabilites. Although playing a succinct, stripped–back show, Harmer engaged the audience through a mixture of his own releases, upcoming releases, and a mesmerising cover of Radiohead’s Exit Music (For a Film). Following his compact, thirty-minute set, was Dogsbody – another of Bristol’s up–and–coming group’s. Vocally captivating the crowd through Winehouse– and Sandoval–esque mannerisms, Dogsbody’s acoustic quartet elegantly championed the emotions that Ziggy2000 had desired to evoke throughout the evening.
As the support sets drew to a close, the faithful attendees huddled around the stage readying themselves for the evening’s main event. It was not too long before the crowd’s wishes were answered, as shortly after nine–o’clock Ziggy made her way on stage. Before starting her set, the headliner announced that the show would be separated into two segments (1) an acoustic set, (2) a set featuring four members of the Ziggy–band, playing songs from every part of her catalogue alongside one or two covers. Now sat, guitar in–hand, Bristol’s latest star began to play a stripped–back version of Stupid, a standout track from her most recent EP, Needles. Persistently displaying her ethereal vocal capabilities, Ziggy carefully weaved through her opening set, reimagining songs that have seen her recent rise in the musical world. A highlight, undoubtedly, was These Days – a wonderful homage to BBC Radio 6. Released in September this year, Ziggy floated between spoken word and her usual melancholic vocals – sending the audience into a collective trance as the melancholic track continued to play out. Thus far, the acoustic set had found a magical equilibrium comparable to the emotions of Bjork and the relaxed guitar soundscapes of Kimya Dawson – while also benefiting from Ziggy’s own style. That said, as the first set came to a close it was time for a cover: Wicked Game. Originally released on Chris Isaak’s Heart Shaped World (1989) album, Ziggy and her bandmates utilised the minimalist, acoustic setup that had been used up to now to magically rework the track through their unique harmonisations and slowed guitar playing. As the iconic tune came to its final chords, so did the show’s first half.
Inviting the remaining members of the Ziggy–band onstage one–by–one, Ziggy opened the second half with one of her recent releases Blue (2024), before returning to tracks from the Obvious EP – notably It’s Not Fair. Similarly to the closing song of her track of her opening set, Ziggy chose to perform another cover – this time, choosing to honour one of pop’s most recent stars, Chapell Roan. Now accompanied by backing vocalists Ella and Stephanie, the band delivered a stunning rendition of Casual, taken from Roan’s The Rise and Fall of a Midwest Princess, harmonising throughout and giving a new perspective on an already wonderful song. With three songs left in what had already been an unforgettable show, Ziggy return to her Needles EP to play the atmospheric October. Evoking an introspective feel amongst the crowd, the emotively nostalgic tune – alongside Bump Into You – neatly set the stage for the evening’s grand finale, Stitches. Proclaimed by Ziggy as her personal favourite track to perform live, Stitches perfectly encapsulated the entire evening with one final display of tantalizing harmonies, Ziggy’s uniquely whimsy guitar undertones, and the ethereal violin playing that had remained an integral section throughout. As Stitches entered its final notes, one could not help but feel overcome with a strange emotional duality: a longing for the show to continue, but knowledge that everyone in Bristol’s The Mount Without had just witnessed something that was truly remarkable.
From start to finish, Ziggy – and her band’s – perpetually mesmerising displays of live music ensnared the audience’s attention, instilling a constant feeling of warmth and calmness. Ziggy2000 undoubtedly is one of music’s future stars.
Role - I am a passionate writer with an interest for reviewing concerts and music.
Available For - Gig reviews and artist interviews.
Qualification - Currently I am studying BSc in Politics and International Relations at the University of Bath.
First Concert - The first concert I ever attended was Coldplay at the Royal Albert Hall (2014). It was to promote the release of their ‘Ghost Stories’ album. I will never forget the call my dad gave me to say he had managed to get two tickets for the both of us. The whole experience was just pure joy. The relative intimacy (for Coldplay) of the Royal Albert Hall, will always make that night one of the best (if not the best) concerts I have ever attended.
Dream Concert - In all honesty this is too difficult to answer with just one concert. If I were to select a few artists that I would love to see, it would have to be: Hope Sandoval, feeble little horse, Greg Foat, Kurt Vile, Lucy Dacus (specifically playing ‘No Burden’ in its entirety), Jadu Heart and The Moldy Peaches.
There is also the difficulty of dream gigs that are not able to be done. These would be: Mahalia Jackson, Etta James, Ann Peebles, Karen Dalton, Leon Russell, Mojave 3, The Smiths, and George Harrison (“All Things Must Pass” just from start to finish).
