LIVE FROM THE PIT: Mannequin Pussy and Shortstraw

Pure feminine rage descended onto Manchester Academy 2 with the arrival of Philly firestarters Mannequin Pussy. After the release of the spectacular 2024 album ‘I Got Heaven’, they made a casual trip last summer to play to both the audiences at Glastonbury and Outbreak, proving that they’ve made peace with both the mainstream crowds, whilst also shining brightly within the heavy music scene. Now their dazzling blend of indie rock and riot grrrl punk is back, and the band are becoming increasingly more angry at the infuriating state of the world, making their welcome return to the UK audience, making the statement that if we burn, you burn with us.

However, making a quick detour to Coventry, political punk rapper Shortstraw sauntered across the stage. Energetic, loud and paying homage to Doc Cotton, this one-person army backed by their drummer, cycled through their hits with ease, getting the crowd riled up with their infectious charisma. With only three singles out on streaming services currently, we were treated to unreleased hits that carried themselves loudly on the big stage. As a new artist, there is a lot of exciting potential from this rising star, and the future is incredibly bright. Expect great things. 

Often, when tasked to review, overall emotions about a set are best left to the end to provide some punch and give an overall verdict about whatever act you had just watched. In this case, from the moment the band came on stage, there was no doubt about it- Mannequin Pussy are phenomenal. 

Warming up the stage with some of their softer singles, ‘Sometimes’ and ‘Nothing Like’, the crowd was overwhelmed with an ethereal aura. Pastel lighting accompanied the effortless ease of the set, as vocalist Missy Dabice’s voice flowed delightfully to the soft edges of the rhythm, provided by bassist Colins ‘Bear’ Regisford, guitarist Maxine Steen and Lucy Ritter, who was covering for Kaleen Reading. As a collective unit, Mannequin Pussy were incredibly tight, commanding the crowd who were swaying in unison to the slow beat.  

After the band played ‘Softly’ and ‘Control’, they went off of schedule as the amp they used to play ‘Dunk II’ was not functioning, opting to play it later in the set (with the crowd heckling “Whatever happened to Drunk I?”) Vocallist Missy would later explain that incidents like these were known as ‘set goblins’, disrupting the peace of the stage. 

As a band that gives time to strike up a connection with the audience, chatting to the audience about finding solace in the art you create, the stigma surrounding their name and getting all the men to shout “Pussy” as loudly as possible). The connection that Missy fronts with the crowd is electric- there is something timeless and alluring about her presence that is so confident and welcoming at the same time. Soundtracking it all are gorgeous retro beats that seamlessly flow between tracks. 

In the soft-to-abrasive transition that takes place during ‘I Got Heaven’, the band becomes confrontational, with a frenzy starting in the middle of the pit. Pushing the limits of hardcore with ‘Of Her’, the show’s emotional direction flips, night and day, to the carefree beginning of the set. ‘Perfect’ and ‘Clams’ follow in the same aggressive suit, and before long, the band would encourage the audience to scream as loudly as possible, before moving into ‘Ok? Ok! Ok? Ok!’

Colins takes the floor to take the lead on Pigs is Pigs, a rambunctious commentary on the state of the police in America, especially towards marginalised communities. Fronting vocals for this song, he puts everything into his anguished screams. Circling back around to the infamous ‘Dunk II’, Missy warns the crowd that they have two songs left and finishes on ‘Emotional High’ and ‘Romantic’. 

Mannequin Pussy are not a band, but instead a collection of the most pure and complicated emotions, that champion freedom of expression in the most concentrated form possible. On their records, their discography bleeds with care for the music they create, but in a live context, it heals and is hopeful for the future. As a moment in time, their Manchester show is controlled, damaging and incredibly full of love. A joy to watch and the best band we’ve seen this year.

Words: Amber Brooks

Photos: Marco Cornelli