7/11/2024 – The Cluny – Millie Manders & The Shutup with Ramona’s Tea Party
Invited| Review by V. Brewster
Photo Credit: DJTPhotography
Walking into this gig felt like stepping into an artful carnival – but with a punk rock edge. Before I even made it to the bar, I passed a merch stand that had something for everyone: packets of artisan tea, one-of-a-kind clothing items, and even a cameo from Mr. & Mrs. Potatohead. This wasn’t your standard band setup – this was a curated experience from the second you stepped through the door.
The first thing that hit me about the space was how entirely Millie Manders and her opener, Ramona’s Tea Party, had taken it over. Posters with anti-hate messages were plastered across the bar, and the atmosphere felt instantly inclusive and communal. You couldn’t just observe this show; you had to be part of it.
The evening kicked off with “Ramona’s Tea Party” – a fittingly chaotic, explosive introduction. With their vibrant hair, matching custom-painted guitars, and boundless energy, these four Norwegians had me wondering if they’d be able to keep up the frenetic pace of their opening songs. But track after track, they powered through, blending upbeat yet brutally honest lyrics with infectious melodies. Ramona Lundberg’s vocals, paired with guitarist Chris November’s Ziggy Stardust-esque riffs, brought an incredible interplay of harmonies and electric energy. The rhythm section – bassist Julian Engebretsen and drummer Nikolai Lysnes, who’d only recently joined the band for this tour – felt so tight and in-sync, you’d think they’d been playing together for years.
Ramona Lundberg’s lyrics are centred around sometimes painful and difficult topics if not angrily honest, but with such ironically upbeat swirling melodies between Ramona and guitarist Chris November (whose sound was reminiscent of Ziggy Stardust era rock) shared deviating harmonies moving in opposing vocal scale runs – just magical!
Within just a few songs, the crowd was spellbound. By the fourth song, the drummer had us all chanting back, and by the fifth, Ramona was leading us in the lyrics. The crowd became an extension of the band itself, as if we were all in on this wild inside joke.
By the end, I was left wondering two things:
The only questions I found myself asking at the end of their set was:
- When can I see them again?
- How does Ramona function with that corset tied so tight?
After that powerhouse opener, I needed a moment to process it all. It struck me how welcoming this gig was. I expected a bit of an outsider vibe, but there was a clear message here: everyone was in on the show. From the first line of Ramona’s Tea Party’s “ADHD” to Millie Manders leading us all in a spirited Time Warp dance as the roadies packed down, this night was about shared energy, inclusion, and genuine connection.
Then it was time for Millie Manders & The Shutup. Right at the start, I received a trigger warning and an invitation to be part of the music video for “Me Too.” Millie’s introduction of the track was sensitive, giving people space to step out if they needed – something you don’t see often enough. There’s a strong sense of empathy here, and it really made the gig feel like a safe space.
Millie’s seasoned fanbase had clearly anticipated certain songs. As one track started, phones went up and, to my surprise, bubbles filled the venue. I’ve seen a lot of things at gigs, but a sudden bubble storm was a first.
Millie Manders & The Shutup tackle themes of heartache, self-reflection, and unfiltered rage, with a raw political edge. “Can I Get Off?” saw Millie call out apathy in music, something few bands dare to do so directly. Joe Quigley’s guitar oscillated between heavy metal grit and the bright punch of ska, giving each song a unique flavour without stealing the spotlight. Meanwhile, Pete Wright and George Boreham on drums and bass were rock-solid, the perfect foundation for Millie’s vocal acrobatics.
I can’t possibly write a review of a Millie Manders performance without addressing how technically skillful and genuinely talented Millie is. Her vocal riffs and slides almost reminiscent of Freddie Mercury and defiant tone akin to Skin of Skunk Anansie. Her range was staggering, pushing boundaries in real-time, and giving everyone a live experience that simply can’t be captured on the album. This performance was raw, powerful, and a testament to Millie’s immense talent.
The quite literally jaw-dropping moment for me though, was “Halloween”. “Halloween” is a vocal workout-come-emo anthem but sung with controlled vibrato – I cannot overstate how difficult that is to achieve – WHAT A RANGE this girl has! Just when I thought she’d reached a limit, she smashed it over and over again. This song took the crowd to another level. With its emo edge and haunting vibrato, it’s a vocal workout, but Millie nailed every note
Even if you know that track inside out from the album, there is absolutely no comparison to the raw power, emotion and pure talent on display in that live performance.
From start to finish, this show wasn’t just a gig – it was an event, an experience that left me buzzing with adrenaline and admiration.
Having never seen either act from that evening perform before, I expected to feel a little ajar from the energy, but I was surprised when there was a very clear no-tolerance policy of any exclusivity from the outset – and that also meant I, as a potential outsider, was part of the in-crowd with Millie and her crew that night. Together, the acts and their teams were able to foster an entirely family-feeling event from the punchy opening lines of Ramona’s Tea Party’s “ADHD”, right through to Millie Manders herself leading the audience through the Time Warp routine as the roadies packed down around her after the show.
“Wake Up, Shut Up, Work”, Millie Manders & The Shutup’s second album is available to stream and purchase online now . Do yourself a favour and give these guys a listen – you can thank me later.