By Darren Grayer. Photo courtesy of Simon Ward.
Heartworms may well sound like a band name, but it is essentially the solo project of singer/songwriter Jojo Orme. Hailing from Cheltenham, she has been confronted by sexist attitudes and racism on her (so far) short journey in the music industry. It only seems to have fuelled her ambitions to make a name for herself.
The name Heartworms comes from the fifth album released by American indie rockers, The Shins, a band that inspired Jojo to first pick up a guitar. I can only assume that she was then also inspired to dig further into alternative music, as the material she releases owes more to the likes of Siouxsie and the Banshees, The Cure, and Magazine.
After several eps and singles, the much-anticipated debut album, Glutton For Punishment was released last week to much critical acclaim, and a sold-out Joiners hosted the first night of the supporting tour (12/2/25).
As the lights dim and the stage fills with dry ice, there is a definite sense that we might be about to witness something a bit special.
The band’s influences become even more apparent as they take to the stage. There is a very clear Goth look, everyone is dressed in black with long coats and leather heavily on display.
Jojo Orme is somewhat dwarfed by her guitarist and bass player, both of whom sport large spikey hair styles a la Robert Smith, making them both look six foot plus.
The band break into first number, Just To Ask A Dance, with backs to the audience and a synchronized manoeuvre to turn and face them. Orme’s strong and emotion filled vocals are immediately on display.
Next up is Retributions Of An Awful Life, with its theremin led intro, an instrument that always fascinates me in its ability to create such a spookily atmospheric sound.
Constant Dedication has a motoric krautrock feel to it with almost whispered vocals that build into an aggressive shouting crescendo from Orme.
The fact that she comes across as a very shy person and even admits at not having much to say makes her ability to perform so intensely even more remarkable. Her performance is very theatrical, filled with arm waving and staring directly into the crowd. She is very clearly born to do this.
Warplane highlights Jojo Orme’s fascination with the Spitfire. I’m pretty sure she must realise she is performing in the birthplace of that iconic aircraft. “Oh, look up there, we’ll be free”. The song ends with an instrumental outro, during which the band depart from the stage to complete silence. They quickly return to play the title track and Celebrate, also from the album, before closing with the quite epic Smugglers Adventure.
Such is the intensity and emotion in Orme’s performance she ends the song in tears. She has put absolutely everything into the last hour, and I would bet it’s the same every night. It must be quite draining for her, but it’s incredibly powerful to watch.
She leaves the stage unable to say a word and is quickly ushered through the audience back to the dressing room.
With the resurgence of The Cure in releasing a new album recently, Goth may well be back in the hearts and minds of many music listeners. If so, then Heartworms may well lead the way.
Before Heartworms the excellent She’s In Parties had provided a thoroughly entertaining support set. As the name would suggest ( a well-known Bauhaus song) there was also a post punk sound to their music that also lent towards some Chameleons sounding guitar riffs in between times.
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