Ahead of their headline show for Manchester Jazz Festival 2025, BBC Radio 6 Music’s Deb Grant caught up with hypnotic jazz trio, Mammal Hands.
Deb Grant: I know you guys have played here before several times. Can you tell me about your past experiences with Band on the Wall?
Nick Smart: I think the last time we were here was a long time ago, probably like 2018 or something like that. But yeah, I really like it here. Yeah, looking forward to playing. I think the last few shows we’ve done have been more like classical halls and things like that, so it’s going to be a bit rowdier and a bit more, I don’t know, I think we’ll have some fun tonight.
Rob Turner: I’ve known Band on the Wall since I was very young, probably a teenager. It’s changed a lot in those times, but I saw some incredible musicians coming through this venue. I’ve played here a few times over the years, but not since they’ve done this great renovation on the stage. So, it’s really good to be here with you guys.
DG: Can we talk about what a Mammal Hands live show is like? Because you say it’s going to get rowdy and the music is kind of meditative and sort of looping and hypnotic – Is everyone sort of in a trance by the end of the show or what’s the general effect when you guys play live?
Jordan Smart: I think that’s the kind of reputation we’ve got from our records and I’d say the most commonly said thing to us after the show when we meet people at merch is that it’s very different from what they’re expecting because everything comes to life and we leave a lot of space in the set to improvise together and to have conversations musically and explore the ideas and what we’re feeling at the time. I think with the new music we’ve been writing and some of the spaces we’re leaving at the set at the moment it’s gone generally to a place that’s a lot heavier than we’ve ever gone before and that feels like the natural direction for us at the moment.
I think the trance definitely comes into it. We’ve always wanted that in the music and I think in our own experiences of important gigs in our lives, getting into a state of mind and coming away from the gig in a state of mind that enhances your creativity and you take it home and you want to share it and work on your own craft or whatever it is you like doing in your spare time, that’s really important to us, to try and create an atmosphere where that creativity is shared in the room.
DG: That’s something I particularly love about live jazz. I know jazz is like a broad church, but there always seems to be that feedback from the audience and this sort of loop of creativity that goes around. Obviously it’s Manchester Jazz Festival, do you think there’s something special in particular about playing in Manchester? Are Manchester crowds particularly receptive?
JS: As Nick said, historically, we’ve played here for two or three years in a row, I think, and they were really fun shows. And then we had COVID, which kind of put a damper on everything. And when we came back, the only show I think we’ve done since then is Stoller Hall, which was nice, but a very different vibe and kind of a bit harder work to get a vibe going because it’s seated, it’s a classical venue. So I think our experience of Manchester crowds up to this point has been that it’s been a lot of fun. They’ve been really up for it. And they’ve followed the heavy bits and then the pin drop moments as well. And that’s a lovely thing to feel in a connection with the crowd. So yeah, hopefully we get that again. I might leave this to Rob because Rob is born and raised here.
RT: I couldn’t possibly comment.
DG: Finally, before I let you go, have you got any pre-show rituals that you like to do before a gig like this?
RT: I listen to a metronome for about 90 seconds just before we go on. You tend to play flute sometimes, I’ve noticed.
JS: Yeah, I do. Sometimes I practice other instruments and do breathing exercises and try and meditate a bit. I think the main thing we’re all trying to do before we go on stage is get into an open and calm state of mind so you’re able to let the music flow rather than have to consciously work at it. I think that makes the difference between a show where you’re constantly worrying and a show that just flows naturally. And we all want to be in that space. I think especially like all the shows we’ve done this year, I felt we’ve all been in that space together and it lets the music speak and kind of happen to you almost in a way that’s, I think it just makes it better for everybody in the room.