SPILL LIVE REVIEW: HEAVENLY w/ COOTIE CATCHER & SWANSEA SOUND @ THE GREAT HALL, TORONTO

HEAVENLY w/ COOTIE CATCHER & SWANSEA SOUND

@ THE GREAT HALL, TORONTO

APRIL 21, 2026

After a 30-year absence, the UK indie/twee pop band Heavenly are back on the road, supporting their new album Highway to Heavenly, which dropped in February. Currently on an extensive spring tour of the UK, Canada, and the United States, as well as mainland Europe, Heavenly blessed their fans with an appearance at The Great Hall in Toronto.

With two opening acts and a headliner on the bill, fans got true value for their ticket dollar. First onstage was Swansea Sound, a band which shares three of its members with Heavenly – Amelia Fletcher (vocals, guitar), Rob Pursey (bass) and Ian Button (drums) – along with guitarist Bob Collins, and co-lead vocalist Hue Williams. They played a spirited nine-song set of affecting, humorous, and joyful indie and punk-inspired songs. Highlights include “Toxic Energy” and “Twentieth Century.” We need more bands like Swansea Sound!

After a quick setup change, the Toronto indie pop band Cootie Catcher took the stage. This young band’s presence was significant, as they represent in many ways, the future of indie pop/twee pop. With a classic combo of guitar (Nolan Jakupovski), bass (Sophia Chavez), drums (Joseph Shemoun), and keyboards/DJ (Anita Fowl) played an energetic set of original songs. They were extremely tight, and the set was varied, with Fowl, Jakupovski, and Chavez sharing lead vocal duties. Foul’s DJ work added colour and chaos, and drummer Shemoun played with power and precision, the perfect engine for this band. Pay attention: Cootie Catcher is a band to watch.

PURCHASE HIGHWAY TO HEAVENLY VIA BANDCAMP

The audience was well-primed by the time Heavenly took the stage. Looking relaxed and confident, Amelia Fletcher (vocals and guitar), Cathy Rogers (keyboards and vocals), Peter Momtchiloff (guitar), Rob Pursey (bass), and Ian Button (drums) gave the audience what they came for, with plenty of songs from their original era, as well as some new classics from their latest album.

This show (and this tour) is a true triumph, when one considers that Heavenly has not toured since 1996. Speaking before the show, Amelia Fletcher related that the tour has been amazing, and that audiences have been “lovely and massively enthusiastic. Loads of excited young people too, which is brilliant… There’s been lots of singing along too. I think my favourite part of each show is when the audience joins on ‘Atta Girl’ to shout ‘Fuck You No Way!’ along with me.”

She continues, “I think the most joyous moments were actually in the first couple of gigs we did in London after reuniting. People flew in from around the world and the whole thing was just incredibly emotional. Mostly because of all the love in the room. But also, because it was the first time we’d played live since my brother Mathew (original Heavenly drummer) died… We’ve been doing (the tour) in small stretches to make it more manageable. But we’re more than halfway through now and it’s been a good adventure. Loads of new things and old friends to see. And we also just really enjoy hanging out together!”

The mutual love and respect onstage were apparent throughout the set. Kicking things off with “Scene Stealing” and “Excuse Me” from their latest album, they proceeded to take the crowd back and forth in time, with band classics such as “Hearts & Crosses” and “Space Manatee” interspersed with the likes of “Portland Town” and “Press Return”. Many of these songs present reality and sadness of life, set to the catchiest and most positive melodies and arrangements. Fletcher’s voice appears to have not changed in 30 years – it is still simply sweet and charming. Cathy Rogers gave amazing vocal duet support, and she showcased her versatility as a keyboardist, with an ever-changing palette of effects. For his part, guitarist Peter Momtchiloff gave some marvelous lead and rhythm turns, staying true to the sound of the original recordings, but keeping things live and exciting in the moment. Bassist Rob Pursey held the bottom down with his solid and fluid playing, and drummer Ian Button gave inspired performances, with excellent timekeeping, and tasteful flourishes.

It was interesting to hear Amelia Fletcher share some of the songs’ backstories. Heavenly’s brand of twee pop is so pleasant, that we are sometimes unaware that a tune is about the Stonewall Riots, difficulties in parenting, or non-consensual sex. Also interesting, was the blend of younger and older fans people present, singing along with every song, proving that Heavenly is more than a nostalgia trip. It is the rebirth of a movement of equity, inclusion, and direct, honest conversation. The band may have been ahead of its time the first time around, but as the world slowly opens up, Heavenly’s joyful music and progressive message are more important than ever. It’s nice to have them back.

(Photography by Stephen Lussier)

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