Jehnny Beth brings the dark energy

Jehnny Beth | Benefits
Yes, Manchester
March 19th 2026

As this perfect bill of noise and confusion proves, music can still be challenging and confrontational. It can jar you into reality and yet still make you dance to the noise whilst unfucking your mind and finding a high-decibel reality in the surrounding chaos.

Benefits are built to challenge. 

With a musical and poetic Armageddon time, 

Benefits certainly don’t sit on the fence.

They turn their bittersweet lives in their far from the maddening crowd hometown of Middlesbrough into stark slices of poetic reality embedded in layers of electronic noise and clattering, almost hip hop beats.

Soundtracking the now, their music is all about the power of dynamics, building from a near silence into enveloping strata of noise with an added commanding poetic skree.  

Setting the controls into the art of the heart darkness, they are the sound of the frustrated fringes of the UK turned into hypnotic and compelling narratives by the intense words of aggro bard Kingsley Hall, flanked by multi-instrumentalist Robbie Major, hidden behind his tech boxes and keyboards, creating the enveloping wall of sound. 

Combining terror drones with industrial beats and loops, they take the industrial music clank and grind hinted at by the early Sleaford Mods to an nth degree and are very much on their own trajector,y building a dark dystopian soundtrack to a film that is unfortunately running in real time on the daily news. 

You can also groove to their dark energy as they switch from industrial soundscapes with slow groove Trap and loping neo hip hop beats over a tsunami of drones, and it’s strangely and compellingly effective and stuns the audience into a dark rapture. 

Jehnny Beth is also making a mighty new noise with her post Savages solo thing. Her second ‘You, Heartbreaker You’ album cranked the dark noise, creating a perfect vehicle for her emotional intensity, which she lightens with a showbiz touch live. Her music may be visceral, but there is plenty of audience interaction as she dives in and out of the crowd before splitting the fervent throng into two for a gang plank run into the heart of the crowd or shining a red light into her face on a darkened stage in a theatrical shimmer.

Fronting a band who have the heavy monster groove of prime time Rage Against the Machine cranked through the sonic extremes of sound of Nine Inch Nails, she deals in distortion as a tool and uses her voice as an instrument, bringing a dark energy to deeply personal songs of emotional empowerment. 

She has somehow found new nuance and space in the mighty noise, and her sheer visceral raw power and her disciplined set brings the power of dark forest industrial rock kicking and screaming into a new now.  It’s a thrilling and compulsive droog racket and a steroid dance floor twitch that, combined with the heavy riffola, creates a dark, heavy funk for her to lay her heart and soul on the line, and her sweatshop physicality owns the stage and the venue. 

A captivating performer, she is a propulsive mass of sinew and sweat as she owns the tiny stage like a shimmying boxer, utilising every inch of the scared space for her constant propulsion. At one point she even goes down to the floor for press ups, adding to her onstage physicality that matches the music whilst bringing an arena flex to the much loved, much smaller Yes venue.

Floating like a butterfly and stinging like a bee, b for Beth, Simply the beth…