Saturday 17 March 2018, 7.30pm

God Is My Co-Pilot + Jenny Moore's Mystic Business

No Longer Available

Very excited to welcome cult New York band God Is My Co-Pilot to OTO for their first London show in years! 

Variously described over their history as: Raincoats meets Black Flag; Crass vs the B52s; Kleenex and Naked City’s love child; Gang of Four but a kindergarten class; and one they’re especially pleased with: a band that would fit on Ron Johnson, Kill Rock Stars and FMP: all of their favorite labels!

In early 2000s, the band dispersed to the round earth’s imagined corners (Sweden, Scotland, Massachusetts, Switzerland, Brooklyn, etc) and reconvened only to tour Francophonia (France/Belgium/Suisse) occasionally, and who can blame them. However last year, on the instigation of drummer Kevin Shea, they started playing again in NY. One thing led to another, and here they are in the UK, March 2018. Doing songs old and new.

God Is my Co-Pilot is : Normandy Sherwood, vocals & wee synthesizer - Craig Flanagin, guitar and sort of singing - Jer Reid, Guitar - Jason Blackkat, bass - Fredrik Haake, the drums


Jenny Moore is a composer / drummer / singer / artist and her Mystic Business is an ensemble using drums, tuned percussion and voices. From deep unison chants to psycho-sexual choral pieces to sardonic xylophone pop, Jenny Moore's Mystic Business is a post punk blast through self-made mythology and joyful cynicism.

Hailing from the prairies of Canada, Moore grew up with a strange brew of american hardcore and gospel music before moving to London to study art. For the last 10 years, she's straddled the DIY art and music scenes in London, making live performances in fields, warehouse, and art museums alike, and playing in bands like the dance-punk band Charismatic Megafauna and the pop punk trio Bas Jan (whose debut album just released on Lost Map Records).

“Jenny Moore’s band of 12 performers, dungaree-clad and wrapped in silver cardboard, provided the most immediate thrills with euphoric Meredith Monk-style chants about social unease and feminist sci-fi porn, plus clapping games about premature ejaculation.” – Ben Beaumont-Thomas for the Guardian