REVIEW: Cinder Path at Yellow Arch
It had been well over a year since I’d graced Yellow Arch studios, though those cobbled floors and beamed ceilings had remained fondly in my memory, and with recent 6 Music coverage, the venue hadn’t had the chance to stray far from my mind. My long-awaited reunion with Yellow Arch felt rather romantic on a bitter December night. It was nostalgic to be back, and I was desperately curious to catch Cinder Path’s set, as they made their live debut in a cherished space of Sheffield music heritage.
Maximilian Tanner opened the set, a captivating hybrid of Gary Numan and New Order. His simple suit, humming electronic beats, and Jarvis Cocker-esque dancing felt almost offensive in his singular confidence. Towards the end of the set, he expressed how surreal it was to play to a crowd, having become so accustomed to honing his craft in his solitary shed. Tanner was utterly cool and larger than life, he felt like a late 70’s ‘Top of the Pops’ highlight. Tanner left as great an impression on me as the support act. Watch out for him.
Our headliners Cinder Path are a post-punk trio, fronted by Dan Whitehouse (formerly of Fights, Rossmann Frister, and Mabel Love). Angela Holland takes the bass (of Silent Age and Via Holland) and Dave Timmons is on the drums (of Rossmann Frister and Fallen Trees). Together, the trio have monkeyvined across many a Sheffield band. They are no strangers to the local scene, and have the musicianship to show for it, with their set proving to be practiced, punky and confident.
Photo: Tom Sutherland
Opening with ‘Not my World’ the band immediately confirmed Whitehouse’s comment: “we have a big sound for a three people”, filling Yellow Arch up to those high, beamed ceilings. A debut gig without a nerve in sight, each member cruised through the set with ease and enjoyment. It was Holland in particular whose stage presence was enviously and inimitably cool, grooving through the set with rhythmic dancing, as the bass seemed to play itself. She injects Cinder Path with a rock n roll effortlessness and an air of chic.
Whitehouse has cited both Doves and Interpol as key inspirations to the band, these nods were natural to draw from the set. As tunes passed by, I heard rings of Editors and Richard Hawley in the guitar work and vocals. The single, ‘Fall Forward’, particularly harkens to Hawley with a psychedelic ring and moody croon that wouldn’t look amiss on his 2012 record Standing at the Skies Edge.
‘Slip’ and ‘Only This’ were other highlights of the set, with the sound remaining streamline throughout, and seeming to flare through the chill of the December night. People gathered to the front of the stage with a genuine inquisition at what Cinder Path have to offer. Band members names were chanted in beer fuelled support. Not many managed to keep up with Hollis’ dance moves, though some fatefully tried (myself included). Their sound is a large and open post punk with polished musicianship. Their setlist was simply begging for an album- but fear not: Cinder Path are due to release their first record in 2026, featuring eleven tracks. It’s no reach to predict that as songs are released and gigs snowball, the crowds will no longer gather in inquisition but in loyal excitement, ready to sing lyrics back up to the stage in the kind of religious karaoke only music fans appreciate.
Photo: Tom Sutherland
It's always a pleasure to catch a band on their live debut, with Cinder Path being no exception. Never again will the trio experience the anticipation and buzz of their first live reaction. The water has been tested, and the water is warm. The set was an impressive introduction by a trio of exceptional musicians, making their mark on the hallowed ground of Yellow Arch; laying out a promising path to come.
Words: Josie Reaney
Photos: Tom Sutherland
