Check Suzanne's own Cushy Production webpage for the latest gig dates.
Thursday, 20th August, 1998 at 8pm at the Twelve Bar Club, Denmark Place, London
Also playing that night is Billy Mahonie and The Clientele.
Some gig reviews:
I just found your Rhatigan page. I saw them play in London last night, it was a brilliant show as normal, although the crowd were a bit sparse (just like normal!). I don't know what I like about her music so much, generally I listen to punk, but it's totally bewitching. Cheers for the page!
Toby Conyers, June 21st, 1996
Lots of great new songs: 'Don't', 'You', 'Summer songs', 'I remember
you', 'Help me', 'No No No No No No No No (No)', 'King dong', 'Be my man', 'Stabbed' and more. An
outstanding performance ending up in jamming / sessioning. Brilliant atmosphere.
Late Developer - Pie Mag
Late Developer - review site
Late Developer - Strobe Magazine Late Developer - review site
Late Developer - Rock 'n' Reel
Late Developer - Melody Maker
Big Stick - Time Out
By: Calle/Pie Mag
Music can as you all know put you in different moods. Melodic happy punk can make you become ridiculously happy, while aggressive hardcore can make you behave like a crazy boar. You get excited by RHATIGAN. If "no-holes-barred" DaN wrote this review he would say that he became outright horny like a buffalo in heat, but I feel a bit more delicate than that. This is an expression of emotions as much as music, but don't think now that it's some hard to grasp arty farty mumbo jumbo kind of music, because it's not. The music is great! It's groovy and heavy at the same time as it's noisy and straight-forward. It's impossible to place this record in a certain niche, I would have to use different etiquettes for every song. I think they sound the best when they're a bit funky with juicy wha- wha's and bluesy bass lines.
And Suzanne's excellent vocals should be able to wake up any dead impotent man there is. I can't describe this to you, somehow I think it's too hard. DaN would like to say that it 's erotically charged lo-fi soul, and I guess that's a good description. Try it out today, for once Linda Norrman is right.
I picked this up at a review site.
What becomes a legend most? While Polly Jean tries on her party dresses and Liz practices saying "fuck", up sneaks Suzanne Rhatigan to steal our hearts and naughty bits. "Do you like me? " she breathes in the title track, and all of a sudden my trousers fit funny. Rock's new femme fatale arrives with a silk purse full of sow's ears, shredded steel strings and many, many good songs. Recorded in six days at a small studio (except 'Dick' and 'Hello', which were born and raised on a 8-track in her...sigh ...bedroom), Late Developer is smeared with sweaty fingerprints and spattered with assorted body fluids. Soulful, sly, harsh and startling, it's everything a great rock record should be. Hope the chaps at Org are ready, because this is going to be big. Very big.
By: Liz Cattermole/Strobe Magazine
The other winner is Late Developer, from Dublin-born Suzanne Rhatigan. Forget anything you may have heard in the past. Think: a bluesy Liz Phair, a more mature Alanis Morissette, a female Beck, a more streetwise Aimee Mann. There, I said it.
Unrepentant, experimental noise - frightening as a dentist's drill - snuggles around warm melodies in this debut album from Suzanne Rhatigan. Late Developer is a delight. In the opening title track an orgy breaks out with amplifiers tortured and synthesizers bludgeoned in a murderous frenzy at a telephone exchange, full of horrifying feedback. 'Only joking' is almost a calm after the storm, comparable to Talk Talk's Spirit of Eden period. This record covers every phase of hysterical emotion, from " killing a canary with a hair dryer" to "making ash trays with Bread records". Dark, twisted ,raw, sexy, provocative and as sharp as a knife ripping flesh - Suzanne Rhatigan could be the big discovery of 1996 so far.
Rock 'n' Reel - Issue 24 / Spring 1996
Rhatigan is a major discovery, her Late Developer a debut of unstoppable power, that oozes sex and rock'n'roll and growls with a primal energy and crackles with static induced feedback. Sometimes sounding angelic, sometimes like a demonic possession, vocalist, guitarist and songwriter Suzanne Rhatigan, backed by a potent two piece on drums and bass, sings and performs with an intensity that is so rare, never resting on her laurels and constantly surprising. The cabaret jazz stylings of 'Keeping us together' are torn off the bone on the straight ahead sonic attack of 'Scared' and closer 'Hello' almost shreds your speakers in its uncontrollable steamrollering blast of musical mayhem. Glorious.
By Nick Johnstone/Melody Maker - April 13, 1996
Rhatigan sound like Joni Mitchell with an enormous hair up her ass. Imagine Lisa Germano fronting Dickless or Alanis Morissette covering The Breeders' 'Pod'. Songstress Suzanne Rhatigan bombed in regal style when her spell on Imago failed to shift the necessary units. Now she's back with a rhythm section that boasts a mutual love of Pavement and Beck. Translation: her melodious love gone wrong ponderings have been given the musical equivalent of a stab in the face of Joe Pesci. 'Not your girlfriend' is an ugly break-up psychodrama, clenched teeth vocals, a bitter f***-you rant addressed to an ex-lover. Late Developer opens with the sort of cracklings and splutterings that would sound more at home in Lee Ranaldo's bathroom. It is breathless, a mass of twisted sound - like a stinking drunk bastardisation of Madonna's 'Justify my love'. Better a late developer than a half-baked Seventies-influenced singer/songwriter. Let's face it, all the world needs is another f***ing Mitchell.
An article from the TimeOut listings magazine published weekly in London:
After a while, Suzanne Rhatigan gave up apologising. 'Yes', she would sigh, 'I am the same Suzanne Rhatigan who, some years ago, had big hair and a major label contract and a humiliating press campaign and made songs that sounded like Meredith Brooks, only worse.' And then she would carry on writing songs about crap men and how to square your self-respect with your desire for a decent shag and why being a woman with any degree of personal autonomy doesn't seem to be getting any easier these days. Wondering all the while if pop really allows anyone to make a mistake.
Nowadays, Suzanne's sharp, intense little vignettes keep any incipient feisty-woman hysteria on a tight rein. Her finest recorded moment, 'Big Stick' (currently available on her own Cushy label), plays a strange trick. It gives some unnamed bloke a big kick in the privates, while simultaneously sounding both quietly vengeful and almost... turned on. It's a disturbing, spooked record, too eerie to pigeonhole.
But it's in performance that Rhatigan, the band, truly surprise. The diminutive leader seems to grow an extra six inches, her extraordinary voice (the anonymous star of many a Stock/Aitken/Waterman hit pop-pickers!) swoops and growls its way into your bones, and she'll suddenly look down at her guitar-slashing hands, only to realise that they're covered in blood.
So, no apology necessary. Go see, for on of those rare I-saw-her-before-she-was-massive moments.