From Llandudno to the Limelight

Catfish and the Bottlemen officially formed in 2007 in the small seaside town of Llandudno, North Wales. Frontman Van McCann, born in Australia but raised in the UK, linked up with original members Billy Bibby, Benji Blakeway, and Jon Barr. Bibby, who had been playing guitar since the age of ten, would go on to teach both McCann and Blakeway their instruments, effectively laying the musical foundations of the band.

The band’s name traces back to McCann’s earliest musical memory: an eccentric Australian street performer he saw in Sydney, known as Catfish the Bottleman. The nickname “Catfish” came from the performer’s distinctive, spiky beard, while his act involved playing beer bottles strung on a wire.

In an interview with Sound of Boston, McCann reflected on those early days and his disdain for cover requests, shaped by years of playing other people’s music.

“When I was 15 and we first started the band, our job Monday to Friday was to play at clubs, doing Beatles and Oasis covers. We spent seven years writing our own songs, making our own albums, and people are like, ‘Play Kanye West!’ We’re like, ‘No, man, are you crazy?’”

Determined to carve their own path, the band began promoting themselves the hard way by supporting friends’ bands, such as Northwich-based The Shallow Call, and even staging guerrilla-style gigs in car parks outside larger shows by bands like Kasabian. Their break came in March 2009, when legendary DJ Steve Lamacq played one of their early demos on BBC Radio 6 Music, giving them their first taste of national exposure.

In 2010, the band underwent their first lineup change when original drummer Jon Barr was replaced by Bob Hall. The switch came through a connection with North Wales-based producer Russ Hayes, who had been working with the band in the studio.

Over the next few years, Catfish and the Bottlemen built a reputation the old-fashioned way: relentless touring. They played to sparse crowds in obscure towns, slept in vans, and handed out homemade demos to anyone who’d take one. With no label backing, their DIY ethic became their badge of honour. Combined with McCann’s talent for writing emotionally charged, festival-ready anthems, they slowly cultivated a loyal grassroots following across the UK.

Their persistence paid off. In 2013, they signed to Communion Music and released their first three singles 'Homesick', 'Pacifier', and 'Rango'. The following year, they signed to Island Records and dropped the single Kathleen on March 17, produced by Jim Abbiss (known for his work with Arctic Monkeys, Kasabian, and Adele). The momentum built quickly: each single premiered with Zane Lowe and earned a spot on the BBC Radio 1 playlist.

The summer of 2014 saw Catfish and the Bottlemen on an upward surge. They played festivals across the UK and Europe, including Reading & Leeds, Latitude, Kendal Calling, Y Not Festival, Strawberry Fields, T in the Park, Pinkpop, Bingley Music Live, Ibiza Rocks and even made their way to the U.S. for New York’s Governors Ball. On June 19, the band announced their debut album 'The Balcony' would be released that September.

But not everything went smoothly. In July 2014, founding guitarist Billy Bibby unexpectedly stopped performing with the band. On July 25, they cancelled three festival appearances citing "unforeseen personal circumstances." A few weeks later, on August 13, they issued a statement via Facebook:

“Some of you will have noticed that we have been playing with a different guitarist over the past weekend. Unfortunately, due to some personal circumstances, Billy won’t be touring with the band for the foreseeable future.”

Bibby was soon replaced by guitarist Johnny “Bondy” Bond, marking a new chapter in the band’s journey one that would lead them from underdog status to festival headliners.

The Balcony: The Breakthrough

With a new guitarist in Johnny “Bondy” Bond and momentum building fast, Catfish and the Bottlemen entered the studio to complete what would become their debut album, The Balcony. Produced by Jim Abbiss whose credits included Arctic Monkeys’ 'Whatever People Say I Am, That’s What I’m Not' and Adele’s '19' the album was recorded with urgency and intent. The band leaned into the raw energy that had become their trademark on stage, capturing a sound that was punchy, melodic, and emotionally immediate.  It really was a pivotal record, not only for a band who had spent nearly a decade writing, and touring but also for guitar music in Britain. Catfish & the Bottlemen, propelled guitar music to a whole new audience, it was raw, visceral and really exciting. 

Released on 15 September 2014 via Island Records, The Balcony was a collection of sharp, emotionally charged tracks that felt like diary entries set to anthemic guitar rock. Lyrically, Van McCann wrote with the same intensity he brought to the stage: breakups, misunderstandings, longing, and defiance—nothing filtered or dressed up. Sonically, it drew on mid-2000s British indie but gave it a leaner, more muscular update.

The album kicked off with 'Homesick', a slow-building opener that introduced the band’s signature formula: introspective verses giving way to cathartic choruses. It set the tone for what followed. Then came Kathleen—a razor-sharp track that became the band’s calling card. Propelled by a choppy guitar riff and McCann’s infectious, staccato delivery, the song captured the volatile tension of a mismatched relationship. It was swaggering and insecure at the same time a perfect encapsulation of the band’s early identity.

Cocoon, arguably the emotional centerpiece of the album, turned feelings of romantic frustration and comfort into something explosive. “Fuck it if they talk,” became a rallying cry that would ring out in arenas and festival fields for years to come. Even over ten years later, it remains one of the finest examples of British guitar pop. Undeniably one of the best songs of the 2010s. The track’s raw energy, combined with its universal themes of love and defiance, made it a standout in the band’s catalog.

And then, Cocoon found a new audience. Featured on the soundtrack of FIFA 15, the song exposed Catfish and the Bottlemen to a whole new wave of listeners. The iconic EA Sports video game has long been a platform that propels new music into the mainstream, and with 'Cocoon' on the soundtrack, the band reached players from all corners of the globe. It was a huge moment introducing their anthemic sound to gamers, sports fans, and indie music lovers who might never have come across them otherwise. 

Other standouts included Pacifier, which dressed up heartbreak in jagged guitars and crashing percussion, and Fallout, where McCann sounded both resigned and urgent as he detailed a toxic relationship’s unraveling. There’s a recurring motif throughout the record: a young man trying to make sense of connection, often failing, but singing like his life depends on it.

Even Rango, a track inspired by McCann's ex-girlfriend's pet lizard, managed to channel real emotional weight through its quirky origin. The album closed with Tyrants, an epic closer that built into a chaotic, extended outro. It was the sound of the band at full throttle, live, loose, and unapologetic. Ending the album with a track that didn’t fade out, but instead burned out, was a deliberate statement: this was a band born on the road, and that’s where they were heading next.

Though The Balcony didn’t reinvent the wheel, it didn’t need to. What it did was resonate because it was real packed with tightly written songs about love, lust, loneliness, and late nights. McCann wrote like a mate at the pub telling you about his worst breakup, his triumphs, his frustrations, and his dreams. And the band played like they had everything to prove. These weren’t songs for critics who wanted to dissect every lyric or note; they were songs for the young: songs to sing, shout, jump, and dance to, fueled by a cheap hot dog and eight pints of warm, flat Carlsberg. This was music for a generation, raw, honest, and brimming with that restless energy that only comes when you’re young , your world feels both limitless and crushing, and you're trying to make sense of it all. In many ways, 'The Balcony' became the soundtrack to a lost, unguarded youth. A decade on, it still resonates. Like 'Definitely Maybe' or 'The Stone Roses' before it, the record finds new listeners kids who are discovering it for the first time and feeling that same rush. It’s the kind of album that doesn’t need to be “revisited” to feel timeless. It just is.

Its commercial success was immediate. Debuting at No. 10 on the UK Albums Chart and eventually earning platinum certification, The Balcony firmly established Catfish and the Bottlemen as one of the most exciting new acts in British rock. It wasn’t long before they were selling out tours across the UK and beyond, taking their cathartic energy to a broader, growing fanbase. By late 2014 and throughout 2015, the band took The Balcony on the road headlining their own shows, stealing the spotlight at festivals, and converting skeptics into believers with each performance.

Catfish & the Bottlemen come to life, when playing live. Even this early on into their career the band had reinforced themselves as one of Britain's best live bands. The band also weren't affraid to put on an energetic performance at festivals. In 2015 they played at Glastonbury and despite a whole host of issues including illness and soaking wet equipment they gave the Glastonbury faithful one of the performances of the weekend. A full tent at Reading & Leeds soon followed. Catfish were getting bigger and bigger, more and more people were starting to take notice. 

These festival shows would propel Catfish to even bigger audiences and ensure that the band didn't stick around in Academy venues for too long.

The Ride: Taking It to the Next Level

By 2016, Catfish and the Bottlemen had already established themselves as one of the UK’s most exciting rock acts. With the success of The Balcony propelling them into larger arenas and expanding their fanbase, the pressure was on for the band’s follow-up album. Expectations were high. The music press was buzzing, fans were clamoring for more, and the band themselves were feeling the weight of their newfound fame. But if there was one thing Catfish and the Bottlemen knew, it was how to harness that pressure and turn it into fuel for something bigger.

It wasn't long before the band returned to the studio to begin work on their second album. This time, they enlisted the help of producer Dave Sardy known for his work with Oasis, to take their sound to the next level. The goal wasn’t just to replicate the success of 'The Balcony' it was to push their songwriting, their sound, and their stage presence further than ever before.

The result was 'The Ride', released on 27 May 2016. With a more refined sound, the album saw Catfish and the Bottlemen expand their sonic palette while retaining the raw energy and emotional resonance that made The Balcony such a triumph. If the debut had been about the chaotic, wild energy of youth, The Ride was about growing up learning from your mistakes, confronting the weight of expectations, and facing the complexities of relationships and adulthood.

The album opens with '7', an immediate statement of intent that sets the tone for the rest of the record. With its atmospheric intro giving way to a punchy, anthemic chorus, it encapsulates everything Catfish and the Bottlemen had done so well on 'The Balcony' but with a little more polish, a little more refinement. The lyrics felt more introspective, less reckless, but still just as biting and direct. The themes of longing, frustration, and self-doubt were still present, but now they were being explored with a greater sense of clarity. The track became an instant favorite, a soaring anthem that would remain in the setlist. 

Another standout track on The Ride was 'Soundcheck', which quickly became a fan favorite. With its infectious riff and McCann’s signature swagger, Soundcheck captured the essence of the band's live energy while also delving into the complexities of living up to the pressures of fame.

But one of the most emotional tracks on the album was 'Glasgow'. The song combined heartbreak with nostalgia, recalling lost love and the fleeting nature of time. The lyrics felt like an honest letter to someone you’ll never see again, delivered with McCann’s familiar earnestness. 

As with 'The Balcony' these songs were for the every man, short snappy, witty and unpretentious, the band seemed to not want to evolve, rather content with being in their box. Why wouldn't they be, it had gotten them this far. However, the band hadn't at that time found their bona fide classic, they didn't have  ‘I Bet You Look Good On The Dancefloor’, ‘Wonderwall’ or ‘Time For Heroes’ in their arsenal, there wasn't really a song that stuck with you. That was at the time, looking back at this record in retrospect. '7', 'Soundcheck' and arguably 'Outside' have gone on to become three of the bands defining moments alongside 'Cocoon' and 'Tyrants'. 

It was lapped up by fans, it showed the bands more mature songwriting, but it kept the momentum and sound that they had generated on their previous record 'The Balcony'.

The album debuted at No. 1 on the UK Albums Chart, a testament to the band's explosive rise and the anticipation surrounding 'The Ride'. It wasn’t just a commercial victory; it was a clear signal that Catfish and the Bottlemen were here to stay. Their second album had not only lived up to the hype but surpassed it, further solidifying their place in the British rock scene. The band immediately set out on another round of tours, this time playing larger venues and making their mark on international stages. With The Ride under their belts, they were ready to tackle even bigger crowds, and the response was overwhelming.

Their European tour took them to iconic venues in cities like Paris, Amsterdam, and Berlin, where crowds were eager to hear the band’s anthems of love, regret, and youth. It was a significant moment for the band, as they saw their fanbase grow beyond the UK crowds in countries where they hadn’t yet been able to perform were now chanting along to songs like '7' and 'Soundcheck'.

The UK leg of the tour was just as impactful. The band played to packed arenas in cities like Manchester, Birmingham, and London, and each show felt like a victory lap after the album's success. They weren't just playing to fans they were playing to believers, to people who had followed them from the very start and to new converts who had been swept up in the buzz surrounding their meteoric rise. The energy in the room was electric, as 'The Ride' tracks, such as 'Soundcheck', 'Twice', and '7', instantly became crowd favorites, right alongside the classics from The Balcony.

Alongside their headlining shows, they continued to be a fixture at major festivals around the world, taking their high-energy set to some of the biggest stages, including Reading and Leeds, Glastonbury, and the Governors Ball in New York. Festivals were the perfect platform for the band to introduce their sound to wider audiences, and each performance felt like a massive leap forward in terms of exposure and growth.

One of the key moments in their journey was their performance in Wrexham on June 2nd, 2016, where they had the honor of supporting Stereophonics at the Racecourse Ground. This was a particularly significant show for Catfish and the Bottlemen, as it marked a hometown moment for McCann and the rest of the band. Playing in front of a packed crowd in their own backyard was a moment of validation for them an opportunity to prove to their local fans and to themselves that they were no longer just the scrappy indie band from North Wales. 

'The Balcony' and 'The Ride' tours blended seamlessly, with the songs from 'The Ride' bringing new energy and excitement to their live shows. Fans were treated to a setlist that spanned both albums, with 'Kathleen', 'Homesick', and 'Cocoon' still getting massive reactions, while new songs from 'The Ride' like '7', 'Soundcheck', and 'Twice' brought an elevated sense of maturity and depth to their performance. 

This was a band that had grown, that had learned how to balance the wild, unrestrained energy of their youth with the weight of experience and expectation.
With 'The Ride', Catfish and the Bottlemen cemented themselves as not just a one-album wonder, but as a band capable of evolving, staying true to their roots, and taking risks. Their sound had matured, but the essence of who they were remained intact raw, unapologetic, and built for the stage.

The Balance- More of the Same 

By the time The Balance was released on 26 April 2019, Catfish and the Bottlemen were no longer the scrappy underdogs from North Wales they were one of the UK’s biggest guitar bands. Their first two albums had gone platinum, their tours were routinely selling out, and they'd conquered festival stages across Europe and beyond. But with that success came new pressures: the challenge of artistic evolution, heightened critical scrutiny, and the weight of fan expectations.

Many had expected the band to try something new, 'The Ride had continued where 'The Balcony' had left off. 'The Balance' did the same, it picked up where 'The Ride' had left off. As the band put themselves, "Nothing's really changed. People knew what they were getting, these songs would be verse-chrous-verse, backed by a chugging indie sound, that would echo around arenas and festival stages. Catfish & the Bottlemen, were determined to stay in the box they had created for themselves rather than branching out.

The album was recorded at Grouse Lodge Studios in Ireland, a more isolated setting that allowed the band to work without distractions. Produced again by Jacknife Lee, The Balance found the band doubling down on the formula that had brought them success: sharp riffs, massive choruses, and lyrics that felt lived-in and direct. 

Opening track 'Longshot' was a clear highlight and a statement of intent. With its slow-burning intro that exploded into a soaring, arena-ready chorus, the song became an instant fan favorite and live set staple. Elsewhere, tracks like 'Fluctuate' and 'Conversation' captured the band’s core dynamic, hook-driven guitar lines, pulsing drums, and McCann’s trademark vocal urgency. 'Fluctuate' in particular stood out for its frantic energy, pairing restlessness with a tight, melodic sensibility. It sounded tailor-made for the festival stage, and quickly earned a place alongside earlier crowd-pleasers like 'Kathleen'

 The Balance was met with a more divided reception than their previous efforts. While fans embraced the album’s consistency and energy, critics were more skeptical, accusing the band of playing it safe or retreading familiar ground. But for many fans, that familiarity was a strength, not a weakness. In an era where rock bands were increasingly rare in the mainstream, Catfish and the Bottlemen stood as one of the few delivering massive, guitar-driven records for a generation hungry for that sound.

Live, the songs from The Balance found a new life. The band launched an ambitious world tour in support of the album, playing to some of the biggest crowds of their career. The Balance Tour saw them headline major venues across the UK, including a massive homecoming show at Cardiff Castle and a triumphant sold-out night at Manchester Arena. These shows were louder, slicker, and more confident than ever before, with the new songs seamlessly folded into setlists alongside fan favorites.

Catfish & the Bottlemen, had now made the jump into arenas, and festival headline shows would not be far away. They had a devoted fan base who had been with them from the start, and in 2021 they got their chance. 

However, in two moments that should have been crowing glories for the band, they were anything but. There had been speculation before the Reading & Leeds shows in 2021, that their was a potential split on the cards. This wasn't the first time a split had been rumoured, it had happened in 2017 and had been quickly squashed. 

However, rumours were rife on social media. Many believed that the band had a few summer shows left, and they would then head their separate ways. Those shows were Reading & Leeds, Swansea's Singleton Park and Warrington's Neighbourhood Weekender. 

The rumours started to gather traction following the Reading performance, something felt off. I remember watching it on TV, and the band didn't seem the same. I remember reading the NME review following the gig, and they managed to describe what fans in the field, and fans watching on TV had seen, "there is the sense of a band racing through the motions. It’s all a bit too mechanical, with not enough heart." 

"At times in the set, it’s like watching Motley Crue covering The Cribs, or at least some session musicians covering Catfish & The Bottlemen.

I can't comment on the Singleton Park gig, however, I'm going to comment on what happened at Neighbourhood Weekender, I was there. The band were set to perform on the Sunday night, the final act of a three day festival which had seen acts like Gerry Cinnamon, Circa Waves, The Wombats, Sam Fender and Inhaler perform. Catfish were supposed to be the final euphoric blast. They were anything but. 

It felt off, the band didn't seem cohesive, Van was singing behind or in front of the rest of the band. The cracks were there for people to see. Catfish's biggest strength was live performance, and these shows showed a band who were struggling. 

I remember walking out of the field in Warrington and uttering these words to my mates, "that's it they are done." 

I couldn't see how Catfish could get the magic back. Having seen them twice before, I knew just what they were capable of, Neighbourhood Weekender felt like watching a bad covers band. 

It was later revealed that lead guitarist Johnny “Bondy” Bond and drummer Bob Hall had already left the band prior to those shows. They returned only as session musicians, stepping in at the last minute to honour the bookings and avoid a high-profile cancellation. While the band never formally addressed the departures at the time, the news trickled out in the months that followed, confirming what many fans had already suspected: this was the end of a particular chapter in the band’s story.

Their sets at Neighbourhood Weekender now stand as a symbolic closing note. They marked not only the final live performances of the Balance era, but also the last time that the classic lineup with McCann, Bond, and Hall would share a stage. What should have been a victorious moment for one of Britain’s biggest live acts instead became a quiet, uneasy farewell.

Then there was radio silence...

Back to the Graft Again: The Return

Following the turbulence of 2021 and the quiet departure of Johnny Bond and Bob Hall, Catfish and the Bottlemen slipped into silence. No official announcement was made, just a sudden absence. Their social channels went dark, and Van McCann, once an ever-present frontman, all but disappeared from the public eye. For a band known for relentless touring and constant movement, the stillness was deafening.

Rumours flew. Some believed the band had split for good, others speculated that McCann was working on a solo project. The longer the silence dragged on, the more fans assumed the Catfish era had ended with a whisper rather than a roar.

But in early 2024, without warning, everything changed.

In February 2024, a cryptic teaser appeared across the band’s long-dormant social media channels: a silhouetted figure under a spotlight, accompanied by the word “Showtime.” Days later, the comeback single dropped and with it, a statement of intent. 'Showtime' was lean, loud, and unmistakably Catfish. Driven by a stomping riff and a chant-along chorus, it felt like both a reset and a return: new faces behind the instruments, but the same fire at the core.

If 'Showtime' was the spark, Reading and Leeds 2024 was the explosion. Headlining the festival for the second time in their career, Catfish and the Bottlemen returned to the twin stages with something to prove and they delivered. 

Three years before the band were rumoured to split and just a few weeks later, the line up we all knew was no more. In 2024 the band went into the shows with a point to prove, the crowd came with them. Despite how it had ended in 2021. They had been missed, this headline performance was just a precursor for what was to come next though.

Before the famous festival, the band played their biggest headline show to date, in Liverpool's Sefton Park. Over 30,000 fans turned out. It wasn’t just a gig it was a celebration, a gathering of long-time supporters and newly converted fans alike. The performance blended nostalgia and renewal, with the band debuting new members, and playing all of those songs again. The emotion was palpable, not just onstage, but in the crowd. After years of uncertainty, it felt like a full-circle moment.

But Catfish and the Bottlemen weren’t content to stop there. The band announced their first-ever stadium tour a monumental step that marked their transformation from festival favourites to full-fledged stadium headliners. Dates included massive shows at venues like Cardiff’s Principality Stadium,,  a date at the Tottenham Hotspur Stadium, as well as a huge show at Manchester's Heaton Park. 

It was a bold move for the band, announcing stadium shows. I hope I am proved wrong but it feels like it could be a little bit of a stupid move. The bands comeback, has gone relatively ok. There has been a couple of huge cancellations. Sefton Park was a big moment, and they have headlined some big festivals now, but this summer Stereophonics, and Oasis are touring in stadiums. They have both sold out, Catfish haven't 

I hope that Catfish do sell them out, and they can continue what they did at Reading & Leeds. When it's working with them, it's like capturing magic in a bottle. They genuiely are one of the best live bands in the world. 

'Showtime' was also a good comeback to, it has the Catfish dna, but felt like a slightly different step. I hope that the band release more new music. A world with a new Catfish & the Bottlemen record is a slightly better one. 

I've definitely been critical sometimes rightly, sometimes wrongly. I think my overriding thoughts and feelings with Catfish, are, what could have been? They've had success definitely, I feel as if they could have had more though, they came out at the perfect time. They rode the coattails of 'AM' by the Arctic Monkeys, a whole new generation of kids including myself found a new era of guitar music. Yes they've headlined festivals, and sold out arenas, but they've had a messy sort of break up, failed to communicate with fans and the last album was six years ago. It's a difficult one to sum up. 

Thank you for reading 

Jack