Honky Tonk Mosh Pits: The Slow Country in Interview
Image credit: @theslowcountryband on Instagram
Folk newcomers The Slow Country are proving that a joyful performance is an impressive one; having fun onstage is contagious and gleefully memorable. After their ‘honky-tonk mosh pits’ in the Leadmill Tent at Tramlines festival, Editor-in-Chief Dan, and Music Editor Francesca caught up with the London-Manchester based 7-piece about slowness, inspiration, and their intent to create a ‘confusing vibe’.
Despite the fast-folk jubilance of the first of their 2026 releases ‘Firing Line’, the name of ‘The Slow Country’, explained by Miren, ‘denotes a slow life, a slow place […] the music gives you the impression of […] a nostalgic place’. This ‘slow place’, however, is more imagined than real, with the band members based across two cities, seven members, and a range of instruments including the violin and the accordion. This mash-up of geography, sonic influences and individuals ‘is obviously a lot logistically’, picks up Miren, ‘but I think that because we have to plan things logistically a lot more, we do cut that time aside for ourselves to practice and work together’. As for the writing process, ‘I really love working on writing when Joe or Charlie or Johnny, brings the song to it’. As the band’s violinist, Miren adds that ‘I could double bounce off that, kind of thing’.
Working as more of a collaborative blends into their slower living ethos, the focus required to bring together different influences from different places. Joe explains that their musical taste ‘does differ because [of] 7 different people, 7 different mad musical stories’. A common link is The Waterboys: ‘we do a cover of ‘Fisherman’s Blues’ as often as we can’. Thinking back to the encouraged spinning and stomping of the crowd earlier that felt connected to the band onstage, this cover is an apt live choice.
Looking to more modern influences, Miren adds ‘I think, at least for the writing of the violin that I’m doing at the moment, a big influence is Beth Gibbon’s recent work: her album from 2024, which I was actually playing on the way over here. The strings instrumentation from that is so beautiful. All of the polyphony and counterpoint, it’s so gorgeous, and interesting’. The avant-garde of Gibbons is of interest too, ‘kind of more screechy ways of music, extended techniques […] and I think that her tone of singing and vocal writing also echoes something genius’. This blend of influences across times, places, and people, is perhaps what makes the sonic landscape of The Slow Country such an exciting young band to be following in 2026.
Their attitude, attempting to work up out of the grassroots, is refreshingly excited. They don’t hide the post-gig adrenaline, or their enjoyment of performing. They are keen to be able to make it into a career, but clearly have a love for music in the moment. Joe enthuses that he is ‘delighted about’ ‘the departure from bands who look like they don’t give a shit’. ‘We loathe bands who try and be too cool for school’. Egged on by his agreeing bandmates, Joe adds ‘it’s the funnest job in the world and there’s so much energy to what we do. I think that’s a current theme, regardless of what our musical style is. People actually just reflecting that it’s a really fun thing and that everyone in the crowd should be having fun too, rather than just forcing stoicism’.
With a few moments of the interview left, there’s time to shout-out some small venues. Joe name-drops The George Tavern, London: ‘it was the first place we played in London before we moved from Manchester. It’s so welcoming […] just the willingness to have bands from across the country and have them play there in London, which is such an exciting thing. […] we still play it now, we’re doing a gig there on Wednesday […] it’s a really friendly place. It’s got a really nice community around it’. Miren adds a mention for Gulliver’s in Manchester too: ‘I’ve seen so many good bands there as ones that we supported’. Charlie adds ‘Fuel Cafe bar in Manchester’, Joe adding that ‘the monitors are as small as your coffee cup. They’re tiny, the sound sucks, but it’s the best vibe’.
On their invention of ‘honky-tonk mosh pits’, Joe explains that ‘we like to create a very confusing vibe. A vibe that no one’s really encountered before. People are awkward and then they realise they’re just goofy and fun. As every show is.’
With a recently recorded EP on the way and plenty more gigs to keep an eye out for, The Slow Country had one more thought to leave us with: ‘Go to more gigs. Support independent venues. Stick around for the supports. Go to things that you don’t know at festivals. Try people out.’