START-TRACK AT SHOW: Mannequin Flowers + The Mooches + Sweet Unrest @ The Camden Eye – August 15, 2025

Surprisingly, the upstairs function room at The Camden Eye is chilly. It’s a welcome change from the sweltering surroundings of London’s sweaty, smelly, smoggy streets down below. 

The beautiful brick-walled room is decorated with fabric prints, fairy lights and event posters. The exposed brickwork is complemented by a stylish, but still suitably gritty, wood and metal (disused) corner bar that could potentially be constructed of reclaimed materials. 

Camden Town has long been an epicentre of alternative/rock n’ roll culture in London, and tonight is no exception. This is our place and these are our people. We’re here for the latest instalment of The Sweet Spot, Sweet Unrest’s fortnightly night of curated performers that’s simply made up of “bands they like”. 

The wonderful Mannequin Flowers are on first tonight. They’ve released a string of fantastically crafted dreampop singles over the course of the last year, and as they start their set with unreleased song Six Words, they sound absolutely MASSIVE. 

Their sound is expansive and varied. Part new wave, part post-punk with shoegazey overtones, Isadora Ferreira and co, in their customary monochrome band uniform, start as they mean to go on. The first song is a rip-roaring blend of the aforementioned subgenres with Johnny Marr-esque guitar from the band’s excellent lead guitarist, Luca Siegel. 

Debut single Heartbeat kicks in next, and it’s decidedly 90s feeling. It’s the song that introduced us to the band, and we fell in love the second we heard it. It recalls bands like The Sundays, The Cocteau Twins and The Cardigans but with a dreamy alternative edge. It translates very well live with the band complimented, as they are throughout, by additional backing elements provided by a laptop, operated by Luca. 

Drunken Carousel follows and keeps the retro vibe going. On this song, Isadora is backed up on vocals by Luca, and the venue trembles with the roar of the guitar, despite Isy putting hers down for this number. The sound is thunderous but also saccharine sweet. The song ebbs and flows, glides and soars. It sounds like it should’ve soundtracked an emotional climax in a ’90s coming-of-age movie. 

Up next is Driving To Hell. Huw Buckley’s solo drums in the intro sound even bigger than they have done up until this point; you feel as though the brick walls could come tumbling down. When the rest of the instruments kick in, the balance is restored. As Isadora croons into the microphone, she is every bit the frontwoman, captivating and compelling. The rest of the band does their jobs perfectly, and the blend of elements is just right. The bass player, Luci, has been consistent and dependable from note one. Perfectly measured and gratefully understated, serving the songs like a loyal soldier.

The next tune is called Kiss Of A Wave – and we’re told that it’s a new one. It begins with a punky energy that feels quite unlike the band we know, but it quickly returns to the post-punk realm, and we’re back in familiar territory. The melody lilts, floats and glides as the vocal harmonies work wonderfully, and when the other instruments drop out and the lead guitar takes centre stage, the song comes into its own. It builds again, steadily, to a crescendo, and when it does, it feels absolutely anthemic. Isadora is in a world of her own and looks like she might engulf the microphone, such is her trance-like focus and commitment to the song. 

The next track – Collision Course – starts with a short but raucous drum solo. We’re told it’s about being in love with your best friend. The drums stop suddenly, and Isy’s chorusy guitar paints a vivid, reverby picture that shimmers and shines. The rest of the band kicks in, and the song grows organically, extremely quickly. By the time the chorus comes around – which doesn’t take long – it feels immense. Post-chorus, the gargantuan size is maintained, and as the room starts to fill up, it feels serendipitous that as the band’s set reaches its apex, so too does the crowd. The song has an abrupt stop-start section towards the end that feels instantly gratifying, and by the time it concludes – with Luca’s solo lead guitar glistening – we are on cloud nine. 

Most recent single Validation closes the set, and it’s a fucking epic, to speak plainly. The guitars work together in perfect harmony, and the rhythm section is as solid as it’s been for the duration of the set. Consistent, classy and perfectly balanced. Validation is over 6 minutes in length, but it doesn’t feel nearly long enough tonight. It’s their last song, and to say they go out on a high note would be underselling it somewhat. Do whatever you can to see this band live going forward.

The Mooches are a SEVEN-piece band, and in this space, they’re a bit of a squeeze. They tell us they “haven’t done this in a while”, but you wouldn’t know. Opener Up The Wall is a punky indie anthem. There are large touches of mod-culture here – Weller-esque observational lyricism, polo shirts and Fred Perry are all present and correct, but they’re dragged into the 21st century. Keyboardist Nigel’s jaunty piano adds a nice additional dimension, and the band feels like EXACTLY the kind of band that should be playing in an upstairs room in a Camden pub. 

Friday Night follows (rather fittingly) and, instrumentally at least, is an Oasis-esque Britpop stomper. We’re reminded of Paul Heaton, vocally and lyric-wise, we’re in reflective punk territory – with social commentary and sentiment reminiscent of The Undertones’ best moments (in fact, the melody also has a touch of Teenage Kicks about it). The guitars are biting and gritty, and work excellently together. “I live for Friday night”, declares lead singer Bobby, and we can’t help but think of bands like Arctic Monkeys, Hard-Fi and Blur who came before them, and their tales of high streets, low lives and good times. 

Bob To The Left is up next, and Jake’s bassline is the standout. Somewhere between post-punk and ska, the rhythm section is on top form here. Bobby plays a rhythmic reggae-lite counter melody on his beautiful Epiphone Riviera, and we’re reminded a little bit of Jamie T. It strikes us during this song how much fun the band appear to be having, and as it finishes, Bobby proclaims, “This is fun, innit?!” – what are the odds? 

The next tune is entitled Quit Playing Games and after a dreamy, almost new romantic-sounding intro, it morphs into a La’s-esque indie pop tune. Bobby is complemented wonderfully by backing singers Hayley & Sadie. This song is the hardest so far to pigeonhole. Part dub, part jangle pop, it’s meditative and measured and is a bit of a breath of fresh air. 

Rudeboy is up next and starts with a drumbeat from Pugsy that is reminiscent of Franz Ferdinand’s Matinée. The other instruments kick in, and very quickly it turns into a ska-infused number that The Specials would’ve been proud of. It’s comfortingly familiar to the point of feeling like a piece of old, well-worn, well-loved furniture. “Rudeboy, fresh out of jail” goes the chorus, and the skanking ensues. A good time is had by all. 

Next up is Skinhead, which follows a bit of banter. Our attention is immediately grabbed by their lead guitarist, Jakob, who, on this song, plays slide and is the standout performer, creating tones and textures that we haven’t encountered in the set thus far. The change of pace is welcome, and it adds a nice bit of variety to the band’s repertoire. The tune is part ska (in the verses) and almost shoegazey (in the chorus). It gets the crowd jumping – undoubtedly the most animated they’ve been all night, and deservedly so. 

Shake It is the last song, and it’s a rock n’ roll belter that continues the mass movement. Like The Fratellis at their most unforgettably anthemic, it’s catchier than a cold. There are also elements of Jim Jones All Stars and their mutant punk boogie woogie here as well as the material that would’ve influenced _their_ sound. It’s a perfect set closer and leaves the audience wanting more.

Luckily for the audience, they decided to play an additional encore song. Ride On is part indie ballad/part country lament, due in large part to the return of the slide guitar. The chorus is a lighters-in-the-air moment (quite literally) and reminds us of The Libertines at their most tender with an added 90s lean and rootsy undertone. 

The set is an unmitigated success, the crowd are engrossed and enthralled and is ready for the main event, which follows soon after.

After the tiniest of breaks, headliners Sweet Unrest take the stage. Frontman Jack River is instantly captivating and magnetic in his smoky eye make-up, pearl necklace, black camisole, leather skirt, holey fishnets and battered Reebok classics, coming across a bit like a cockney Frank-N-Furter.

The band are playing a new set including a brand new cover that – we were told – is going to make us wet ourselves. Exciting times.

The energy from the outset is through the roof as Jack channels Jagger, Idol and Tyler all at once on the first song How Are You Feeling? The band are clearly well rehearsed and sounds tighter than a Nuns you-know-what. They rip through the first song with all the vigour and vim of peak Pistols, River gripping the bottomless mic stand like a reincarnated Freddie Mercury. As the song progresses, the tempo increases, and Jack regularly goes walkabout, getting up close and personal with members of the instantaneously captivated audience. The room seems barely large enough to house his charisma, let alone the amount of rock n roll in consideration here.

By the second song, he is embodying Iggy Pop – both vocally and in his mannerisms. The godfather of punk would surely be proud. It’s an unbelievable noise that sees guitarist Tom Waller mount the bass amp without ever missing a beat. Again, this room inarguably is simply not large enough for their “aura”.

The next song up is their new tune, Part Time Lover (or P.L.T.). It has an almost ska-esque rhythm in the verses and goes full punk rock in the chorus. “You’re my part-time luvvvvaaaa”, Jack sings as he – at some point – acquires a tambourine and backs up Dani Jam’s drums by knocking it about like it owes him money. This song melds seamlessly into their extremely funky version of Wild Cherry’s Play That Funky Music – presumably the aforementioned accident-inducing cover version. Whilst our undergarments remain relatively dry, this version is undeniably enjoyable. It’s very faithful to the original (and played perfectly, it must be said) and is a crowd pleaser if ever there was one.

Up next is a new song they’ve “never played before in the world”. It begins and feels ethereal, hazy and instantly anthemic, like a song from the sophomore Killers record Sam’s Town. It’s slightly plagued by some horrible feedback, but it’s nothing this band can’t cope with. By the mid-way point, it’s evolved into a 90s-esque alt-rock vibe, and after it, we’ve ventured into the post-Libs era indie rock arena – but not for long. That chorus comes back, and it’s extremely catchy (especially considering the fact that we can’t make out the words). The band sounds gigantic and, for a third time thus far, it’s obvious that these four walls can barely contain them.

The next song is about feeling “a bit mental”. It starts with a Pixies-esque bass riff before being joined by a wall of feedback. Jack speaks/sings the opening bars, and very quickly we realise it’s a hard rocking cover of Bonkers by Dizzee Rascal & Armand Van Helden. It’s so heavy it’s almost a metal interpretation. It’s imposing, inventive and, frankly, incredible. The incendiary instrumental parts are bona fide headbangers in the hands of these boys. This is something that everyone should experience; it should be added to the curriculum and prescribed by the NHS.

Up next is the polar opposite kind of song. Sometimes is a tender, almost-Faces-esque classic rock ballad. At least it is before turning into a punk rock banger more closely related to The Jam and The Only Ones. This vibe is continued on the next song, which they tell us they plan to rerecord soon. As well as a gritty modern indie sound – not unlike The Cribs – this song has got a ferocious energy that has an alt-rock, almost grungey feeling to it, which we haven’t yet met in their set. As the song concludes, Jack is on the floor, and it feels like the end of something special. 

But there’s more to come. Back on his feet, he declares that his voice “is fucked”. Nevertheless, they launch into a song called Rob Me Blind which feels like an instant indie-sleaze revival classic. It has a touch of Happy Hour Again about it as well, harking back to days gone by. Marlo’s guitar reminds us of Boz Boorer’s contributions to Morrissey’s post-Quarry renaissance-period records, and the endearingly ragged sound of The Cribs also crops up again. 

The next song begins with a booming drum beat, and during the intro, we’re told “this song is not about a lady… It’s about many!” Riverside is a high-octane punk rock ripper that only knows one speed. Imagine the Ramones if they were from London, and you’re somewhere in the right ballpark. 

The next tune starts with an epic-sounding solo lead guitar part that is unlike the rest of the sounds in their set so far. Melodically, it sounds a bit like Rape Me by Nirvana, with Leon Theo’s bass guitar doing some heavy lifting – tying the whole thing together excellently, but with each member of the band contributing massively to the overall package. Also, it must be said that it’s very, very loud. The song ends, and again, Jack can be found on the floor. It must be tiring being so iconic. 

The next song begins from down on the ground. It starts gently – the guitars are clean and the melody sweet – but in due course it metamorphoses into a grungey beast of a tune. Post-chorus, the intensity recedes, and it feels more like an early Arctic Monkeys song (Favourite Worst Nightmare-Humbug era). When we revisit the chorus, it’s just as big and filthy as before, and it climaxes in another wall of feedback. 

The penultimate song – Falling For You – follows, and we’re told it’s a love song and that Jack loves everyone in the room, and it feels like the sentiment is reciprocated. The song starts and is somewhat of a wolf in sheep’s clothing. It begins and feels like their most tender and heartfelt moment so far. But – you guessed it – by the time the chorus kicks in, the instruments are covered in fuzz and the song snarls and sneers and drags you down to where it resides. Sentimentally, it’s a classic love song about “falling for you”, but the music it’s paired with is far from run-of-the-mill. The audience descends into one headbanging mega-being, and as the song concludes, a discordant harmonica is introduced (punk rock Bob Dylan, anyone?), the climax feels monumental. 

The last song is “about getting sober and realising that music was all you ever fucking needed, baby”. It has an undeniable upbeat rhythm and, at first at least, feels a bit like Stay With Me by The Faces. If ever there was an advert for sobriety and the unmitigated joy and freedom that can come from it, it’s Jack River. He again seems to turn momentarily into Jim Osterberg – as he leaps into the air, his limbs appear to be self-governing. As the band collectively collapses into the drum kit at the close of the song, the chaos that has been prevalent throughout the evening feels like it could be everlasting. As climaxes go, this is a most appropriate one. 

You can help but feel like this band just needs to keep going in the direction they’re currently headed. They know what they’re doing, and they do it very well.

Tonight feels like the sort of gig that had to happen in Camden. Following on from bands like The Damned, Generation X, The Libertines, and Art Brut, tonight seems like rock n roll history in the making – another significant addition to the cultural lineage that lines these streets. You get the impression that these fortnightly residency gigs will, in future, be regarded as the stuff of legend and of London rock n roll folklore. But for now, they’re Camden Town’s best-kept secret. We suspect not for long.

Photos: Jessica Vieira

Written by Kinda Grizzly