Musings during lockdown...A culture based post.

We all remember our first steps into a music venue, the absolute overwhelming feeling that something special was about to happen in the room you were standing in...Forget about your feet sticking to the floor, that was part and parcel of the charm (not forgetting the smell) but those are all things that hold fast in that first memory. 

My first ever gig was Ash at Portsmouth Guildhall, 16 years old and in my last year at school. I’d practically begged my mum for the money to buy the ticket and let me go, I was flanked by two of my friends and we sat in the upper stalls a few rows from the front overlooking the stage. Ash had just released their album ‘Meltdown’ and Portsmouth was their last date on this national tour. They were supported that night by a band called The Crimea, a John Peel championed indie band fronted by Davey MacManus (brother of Radio 1 DJ Annie Mac) fresh from SXSW and who I’d heard previous in John Peels ‘Festive 50’, also on that line up were American band Saves The Day, peaking in their career across the pond after the release of album ‘Say What You Are’ and trying to catch waves this side of the Atlantic. 

That night Tim Wheeler of Ash came out onto The Guildhall stage with his signature ‘Flying V’ guitar alight, distinctively remembering that I felt like it could have been a pretty dangerous stunt. That feeling of overwhelming has stuck with me, the feeling of being in a place where you are most comfortable and at peace. 

My second gig followed shortly after that at The Wedgewood Rooms, the band was Sugarcult a 4 piece from Santa Barbera in California, their back catalogue containing pop punk bangers including ‘Bouncing Off The Walls’, ‘Memory’ and ‘Stuck In America’. Something was different that night, maybe that this time I was standing surrounded by others who were also there to see and sing the words back at the band, to push to the barrier and the next day feel that pressing on my ribs during my GCSE exam or maybe it was the instant feeling of belonging. One thing that really has stuck with me about The Wedgewood Rooms was at one point during many gigs attended there turning to my best friend Sam and saying “One day I’m going to stand on that stage and people will watch me”...Years later in 2010 it happened. 

Now, I’ve been a DJ for just over a decade and I’ve achieved a plethora of things from being given the chance to DJ around the country for Propaganda to playing festivals, university freshers balls and had my chance at being a radio DJ. I’ve had the chance to play in many venues just like The Wedgewood Rooms (est.1992) around the country including The Waterfront (est.1993) in Norwich and The Fleece (est.1982) in Bristol, all of which are grassroot venues that are used by up and coming bands and artists for tours, club nights, the arts and comedy. 

 Something that is paramount in these venues and many more around the country is the effort put in by the people that run them, many of the more grassroot venues run week by week or month by month on their wet sales which to you and me is how much we drink, by buying a ticket and a drink at a venue yourself you are keeping that venue in business. Behind the scenes and behind the acts are the people that sit in the ticket office, the general managers, the bar people, the security, sound technicians, light technicians and more...All of these people are now considering their own futures after the pandemic. 

For now I look towards the future and how we can approach the live scene once we come out of lockdown, most of us will be missing that feeling of our feet sticking to the floor once a sweaty set has been played, laughing so hard our cheeks hurt or longing just to smell the armpit of the person beside us but the truth is that things will look a lot different. What I don’t think we should all do is to close ourselves off from these places and be uncomfortable in those surroundings, although there will be the issues around social distancing we need to look beyond that as lovers of music, comedy and stage. 

For weeks I’d back and forth about how we could get past the problem of social distancing, in Arkansas in the U.S they’ve trailed a social distance gig with ‘bubbles’ of people, taking the opportunity to clear of all bacteria half way through and at the end of the night with facilities being available for people to clean their hands during if they’d wanted...Of course everyone wore a facemask too but is this how we move forwards? 

In contrast to 1919 the U.S went through the Spanish Flu with ease when it concerned entertainment and arrived at the end with a full heart for it. The losses were $5million nationwide which works as an equivalent to $85.5 million based on today's interest rates and currencies, which brings another sting in its tail to the modern day, economically the live entertainment industry will unfortunately be hit hard, but it is for us to come out of this without the concern that infection rates will increase dramatically or be transmitted simply by attending local venues. 

Over 400 grassroot venues are now at imminent risk of closing, with #saveourvenues being launched at the start of the pandemic in the UK. As I’m writing this it stands at £1.1million funds raised with a stretched target of £1.5million, when you look at those numbers £1.5million pounds is a drop in the ocean compared to the daily National Lottery jackpots, yet still we have a government that will not invest in saving culture in the UK. 

The government recently proposed that venues could reopen but only by adjusting distances between stage and audience and also by individual performers on stage, those distances announced would be 6 metres and 3 metres which would force most venues to keep their doors shut as it is unworkable, something which has been echoed across political parties and CEOs alike. Live music in the UK contributes £1.1billion to the national economy and it now looks like it will lose out on £900million due to Covid19. 

That’s £1.5million to save all grassroot music venues in the country, with a maximum profit of £1.1billion.

It’s times like these that we need to learn not to dwell on things that pass but instead to look towards the future, to find strength in the thought that music, theatres and culture spaces will be allowed to re-open and we will once again be able to enjoy them. It’s time now that we support these places as much as we can and to do what we can to help them pull through these tough times.

There are many things you can do to support your local music venues, artists and areas from donating to their specific links, buying tickets for future events,  buying merchandise, streaming their music (although, buying it is probably better), taking part in any live streams and so much more. The Music Venues Trust have also launched a survey to all that attend grassroots venues which can be found *HERE*.

On The Radar : The Mysterines

88 days to print that we went into lockdown as a country and maybe about 6 or so months later from my discovery, The Mysterines have released another single into the wild and it’s a banger! Shame on me for not writing about them when I heard their debut EP ‘Take Control’ way back when, but I’m not one to be looking into the past in the current climate, more to a positive future and the release of ‘I Win Everytime’. 

A little background on The Mysterines...Female fronted, Liverpool based gritty rock band who fall somewhere between The Yeah Yeah Yeahs, Them Crooked Vultures and the lyrical stylings of Nick Cave, Karen O and observational skills akin to a certain Alex Turner. ‘Take Control’ pulled me in the first time round because I felt my ears twang to the sound of a female vocal I felt I’d heard before, was that Kate Jackson of The Long Blondes fame under a different guise...Surely not...A google later and I found it to be Lia Metcalfe, front woman and force behind The Mysterines. 

To the point and subject of the blogpost, track ‘I Win Everytime’ is 3 minutes of a whirling undulating ruckus built on hooking basslines and memorable lyrical pairings that’ll be perpetual to the mind. The moody acrimonious slurring vocal is neoteric while latched to those likened in style only, ‘I Win Everytime’ is by no means a slow burner as it bombards it’s way through verse and chorus, it is the current and it is the future. 

88 days to print that we went into lockdown and how many more weeks until we are back in our most loved music venues, one thing is for certain is that the future isn’t bleak on the British music scene with bands like The Mysterines at the helm.

Gig Review : Wedgewood Rooms Showcase Final 2018

So this is The Wedgewood Rooms Showcase 2018, and what have we done? Well, after many heats in the smaller Edge Of The Wedge seeing many acts flogging their proverbial musical wears we came to the final which involved such a plethora of musical genres and depth, it blew the whole shebang wide open. I’m going to try and piece together bit by bit the night from the first note to the last, bare with me as I regale the tale...Onwards Marengo…

For those of us that like our music a little bit more gentle, a little bit more anecdotal and full of a little more acumen the first act of the night Matt English was on hand. Having seen him fill a room so effortlessly through sound in the heat stages Matt took the stage with ease, bringing everybody to his attention from his first chord. If you’re a fan of Bon Iver, Iron & Wine, Joe Purdy, Jack Johnson and a little bit Seasick Steve then Matt English is right up your boulevard, from gentle picking to pure acapella singing and the unfortunate technical issues which resulted in a more personal and intimate rendition of his “best song” (see picture) everyone became entwined. Though always off the cuff and always humorous Matt English possess such humbleness that you don’t see these days which is so refreshing, I personally cannot wait to see him grow in the local area and further afield.  

Next up the the plate were Kayleigh Thomas & The Effectors, a young and very fresh pop-punk-esq band with hooks that come straight out of the playbook from early Paramore, Tonight Alive, Hey Monday and All Time Low. What was attuned from the off set was that although the ability to play instruments successfully was in abundance the overall stage confidence was not present, although the vocal glued every single part of the band together that little something that was missing continuously let the band down, lyrically Kayleigh Thomas is permeate and steeped in genius, if I could pick out a line I would but some were so well mastered and interweaved it is impossible. Kayleigh Thomas & The Effectors have the groundworks to build upwards and I would love to see them grow over the next year or so and come back bigger and stronger and take it to next run of The Showcase. 

I’ve mentioned in previous Wedge Showcase reviews that the pure outpouring of talent that comes through the doors of The Wedgewood Rooms on a yearly basis is totally unbridled, I am honestly totally overwhelmed by the talent we contain on this little island that we populate, and even then some is still hidden in bedrooms and practice rooms in the city still waiting to spread its wings onto the stage and in front of a crowd. I could not be more prouder that year in and year out we give this opportunity to so many people to show what they can do and give them an outlet in which to showcase their abilities, a big massive well done to everyone that took part this year from me personally. 

Up next were probably the oldest band of this years Showcase in the form of Fake Empire, a 3 piece that channeled New Order, The Chameleons, Fear Of Flying and The Editors into one beauteous bewailing. Polished and immaculate they hurled through their set at a blistering pace, by an inch of deafening bass or pounding drum beats while also connecting at every interval with the adorned ever growing crowd. Although I do feel like they should know better than to visit the well of the already known and emulate such sounds Fake Empire did what many could with their own twist and it worked at every single attempt. A band that could support any touring act and fill a local haunt at the drop of a top hat. 

My ears were totally battered by this point, with the concentration span of a small mouse my ears quickly perked up at the sounds of Lobster Pot, a quirky art-pop-rock act fronted by a female, shock and a gasp that such thing could happen but what utter brilliance. Another very young band that sound like the now exiled Portsmouth Sci-Pop act Bear Cavalry, Alphabet Backwards, Good Shoes, Larrikin Love and Bromheads Jacket all rolled into a ball and thrown around a bit. From track to track it was clear that the band were more about having fun than taking things too seriously, enjoying the moment and opportunity to play a show on probably one of the most famous stages in the UK where many before them had cut their teeth, how refreshing that was to see. For me, they were the eye opener of the evening, and will most definitely go onto bigger things. 

Last but very not least closing the night were Brother Deep, former The Wedgewood Rooms showcase veterans who seemingly had not moved a mile from their storming first entrance a year previously. Musically they sound a little like the indie bands from the noughties (think Twisted Wheel and Johnny Marr era Cribs) with a little Cults adding the psychedelia of Sleigh Bells for good measure. Ploughing through an already tried and tested set that was shortened due to time their set was faultless and tight throughout. 

Regaled I have the tale of The Wedgewood Rooms Showcase 2018, to which we learn the victors and the spoils. This years overall winner were Brother Deep, and coming in second place were Fake Empire. As always and as I have mentioned already a big thanks to everyone that entered this year and gave me the pleasure of hearing your music, a big thanks to The Wedgewood Rooms for giving those bands and solo acts the opportunity to play, a massive well done to Mike Hartley & Dudley Stagpool for their continuing efforts into The Showcase, the bar staff for keeping people well watered and security for keeping everyone safe. 

Live music is alive and well ladies and gentle folk, keep supporting your local music venues. 

Until next year...

Gig Review : Wedgewood Rooms Showcase Final 2017

Another year over, a plethora of bands passed and only one winner could be crowned, welcome to the Wedgewood rooms showcase grand final. 5 bands had battled through heats and semi final stages to take to the world famous Wedgewood stage which has seen the likes of Gorillaz, Oasis, Kasabian, Vampire Weekend and Muse to name a few, and now it was the turn of Station 47, Cyprian Sceptre, Flowvers, Demonheads and Grief Daddy.

The wonder of the showcase is the pure raw talent that it throws out every year since it’s conception, every year that I have taken part I am taken aback by just how much talent is actually in our little island town of Portsmouth and the surrounding areas, which makes platforms like the showcase so important for local live music, creating a permanent position for those who would like to strut their proverbial musical stuff in front of an audience whilst also having the opportunity to get a foot into the music industry. What is also great to see is the unbridled support for every single band that not only took part in final but overall through the whole competition.

The first of the bands to take to the stage of the evening were Station 47, a 4 piece consisting of 2 guitarists, a bassist and drummer. It had always been so clear from heats that Station 47 hold every single chess piece needed to become a well established band, from their dueling vocals to tight guitar solos adorned by jazz like bass rhythms. One special mention from me goes to a catchy little ditty of a song called ‘Red Stripe’ which has me whistling and singing away from the showcase for the first time. One thing I hope from the band is that they get a few releases under their belt as they could hold their own as support for any band passing through these parts as well as headlining their own shows.

Next up were possibly the youngest and most supported band in showcase history Flowvers (yes that is how you spell it) with an energy that was palpable from the front to the back of the room. Their support packed the first few rows of the stage including their dads who garbed band t-shirts in support of their sons. With a sound that falls somewhere in between shoegaze, indie pop and The Stone Roses from the get go it’s pretty obvious where the bands influences come from, speeding through their set at 101kmh they kept the energy at a high with the occasional time issue. What is great about Flowvers is that they have so much confidence for a band so young, with the right support system around them and hands pointing in correct directions they could go on to do great things either as a unit themselves or separately in different projects.

Talking of firsts, for the first time also this year we had “in fighting” between 2 bands which also managed to make the news and bring attention from a local MP. The rivalry between Cyprian Sceptre and Grief Daddy dragged itself from the heats all the way to the finals intensifying as it did, including the popping of balloons, stage invasions, stickers and general anarchy. Safe to say it was as entertaining to watch as it probably was to take part in also, well done to them.

Up to the half way stage of the night we were all introduced to Cyprian Sceptre, which is where also the night took a sharp right turn. I had never seen them before so I was exposed to a genre of music I had never experienced before with instruments including flutes, clarinets, a banjo, an old organ, hand drums, cow bells and an acoustic guitar to name but a few. I can only describe Cyprian Sceptre as Sea Shanty folk, if you’re trying to work out what that would sound like imagine Pirates Of The Caribbean crossed with Fishermans Friends with a little bit of Frank Turner added in for good measure. Although niche the set was enjoyable from start to finish keeping the concentration of the crowd, which I feel they could also do anywhere else they would like to play.

Demonheads followed Cyprian Sceptre in what I can only describe as a full on assault of the eardrums, another band that bought 110% to every one of their sets from heats to the final. Demonheads are 2 piece consisting of only a guitar and drums. Like every great 2 piece that I could list Demonheads bought everything and the kitchen sink with them to their performance with energy that a full band could produce and a sound to boot. Demonheads win the award for only band of the night to get half naked, living up to their rock influences which possibly included Band Of Skulls, Biffy Clyro, Queens Of The Stone Age and maybe Royal Blood. Any direction that the band takes from here is a successful route as they are a tight knit unit with a great selection of original music.

Now, I can only say that I have been left speechless by very few things in my life but the final act of the night Grief Daddy not only left me speechless but also completely blew my mind and left me without thought or feeling generally. From the first song members of the crowd were either fully into the band or they were picking their jaws up from the floor in total shock. With a backdrop highlighting lyrics partnered with images of Rupert Murdoch, babies dancing and money raining down adding in their own personal smart dressed man dancing. Grief Daddy play what I can only describe as Chromeo meets Art Brut on acid with influences of hip and trip hop, even then I don’t feel I’m getting across everything that Grief Daddy actually do. Where do they go from here? Aldi...I don’t know? Wherever they go it’ll be brilliant for whoever is going to witness it.

The votes were then counted, the judges scores totted up for around 10 minutes and compere (me) returning to the stage the winner was to be announced along with their prizes. Up for grabs were 2 slots at Icebreaker Festival next year, recording time and monetary vouchers for The Wedgewood Rooms. The runner up of the evening winning an afternoon slot at Icebreaker were young outfit Flowvers, and the winner of The Showcase 2017 were...Grief Daddy.

In closing I can say that it’s great to be a part of the showcase this year, a massive well done to everyone involved and a big well done goes to Mike Hartley for his ongoing efforts in organizing and making every heat happen. The Wedgewood Rooms staff from promotions, security to the bar staff for also supporting the nights and keeping everyone safe and hydrated, all of the judges that took part this year your knowledge is second to none and it is well appreciated and last but not least once again well done and thank you to every band that took part in The Showcase 2017, see you all in 2018!

Live Review - The Pigeon Detectives at The Wedgewood Rooms

 The Wedgewood Rooms to me is like my second home, and last night (Saturday 11^th May) it was made quite aware to me that it also holds a special kind of place in a certain indie bands heart. Since forming 2004 Yorkshires very own Pigeon Detectives have played the venue 5 times, I've attended at least 3 of those, and every time the band has got more tight, performing harder and stronger than the last.

So, 10 years and 4 albums later The Pigeon Detectives return to Portsmouth, an air of anticipation is in the air, we all knew what was coming and it was clear from the off that everyone was prepared for the inevitable. The Portsmouth date was the final furlong of 15 on the ‘We Met At Sea’ tour, and it was going off with a bang, by the seaside.

As the venue filled itself up first support act HARES took to the stage, a bubblegum- grunge phoenix rising from the burning embers of The Holloways. Looking like they’d just walked off of Camden high street, the recognisable face of Robb Skipper (vocals/guitar) was joined by Jack Flanagan (bass) and Adam Sullivan (drums).

No strangers to a Portsmouth crowd having recently played The Cellars, HARES took to their set steady with a post-grunge/baggy indie sound, complimenting each other nicely with some top form between song banter. Check their new EP ‘Coastlines’.

Next up were 4-peice MUST, also hailing from London. A band that consists of funky bass lines, a sweeter kinda shoegaze sound and a lot of toilet paper (a reference that only those in attendance of the gig will understand). Stand out tracks from the MUST set include ‘Die For You’ and ‘The Devil Lives’.

Now near full to capacity, The Wedgewood Rooms was ready for headline act The Pigeon Detectives. A crowd ranging from teenage girls to burly older men, battle lines were drawn, the lights dimmed and they took to the stage. Opening with ‘We Met At Sea’ track ‘I Won’t Come Back’, the still audience was now a sea of arms and bodies, the stage a blur of the erratic Pigeon Detectives lead singer Matt Bowman.

A quick word and bow to what Bowman describes as his ‘beloved Pompey’ the band tore into first album anthem ‘I Found Out’, moving everyone into pure delirium. Only 2 songs into a 17-song strong set The Pigeon Detectives had the capacity crowd in the palm of their hands, the backline tight from the off, but this is what we all expected. Following ‘I Found Out’ from ‘Up guards and at’em’ was ‘What Can I Say’ into second album single release ‘This Is An Emergency’ which was complimented by the accommodating all singing, all dancing crowd.

Although new album ‘We Met At Sea’ has been approached in a bad light by the musical media, played live album tracks ‘I Don’t Mind’ ‘Day And Month’ ‘Hold Your Gaze’ and opener ‘I Won’t Come Back’ slip nicely into The Pigeon Detectives live set up, with confidence around previous albums materials.

As always Bowman was on top form with crowd interaction, at one point crowd surfing over the first few rows as well as apologising to a female on the front row that I can only name as ‘Amanda’, in the unfortunate case of having his crotch in her face. Bottles and bottles of water were disposed of over himself or into the raucous crowd and the trademark jumping splits and microphone swing were continuously in action.

In a personal first before ‘Go At It Completely’ Bowman kindly asked every member of the audience to climb the shoulders of a friend, or not a friend in my case, before he could finish his sentence I was on the shoulders of another member of the audience, crowd surfing alongside members of HARES and MUST. Now a sweaty and very wet mess Bowman confirmed that the band would be going off for an encore but we must not ‘mug ourselves’ into thinking they aren’t coming back, he also confirmed that the next time the band return to the city they would take the party down to the seafront itself and into The Pyramids.

 In their return they smash into second album track ‘Everybody Wants Me’ followed by the few final crowd sways and circle pits during ‘Take Her Back’ ‘Hold Your Gaze’ and Indie banger ‘I’m Not Sorry’. As the final thank you was said, some more toilet paper was thrown and water was poured, The Wedgewood Rooms crowd ran onto empty and into the night.

The Pigeon Detectives are now to embark on a European tour on the back of their new album which you can buy in all good record stores, and in the words of the band themselves “Keep music alive, buy music”.

Images courtesy of TomLangfordPhotography.

ClubNME Portsmouth with The Sheepdogs & Kassassin Street

I started Saturday 12th May on a train from London Waterloo to Portsmouth, I’d just played Propaganda London with Russ from Bloc Party and DJ Dan. It was a spectacular night.

On my journey south I was blissfully made aware that an impromptu guerrilla gig was to take place in local Southsea shop Dresscode, where ClubNME headliners The Sheepdogs and locals Huw Olesker & The Barebackers were to play.

Fair to say anything impromptu takes a bit of work and effort, pulling numerous strings and a hell of a lot of patience the ClubNME Portsmouth team brought it together and packed out the tiny shop, all of whom attended then taking to social networks to praise and urge all to The Wedgewood Rooms for The Sheepdogs performance that very evening.

Previous ClubNME Portsmouth shows have seen Australian beach pop Bleeding Knees Club, NME lauded Cerebral Ballzy, album chart topping King Charles and indie upstarts TOWNS take to The Wedgewood rooms stage alongside a multitude of local talent to boot which has included Melodramas, Clayton Strange, The Planes and Curxes. With DJ’s poised, doors opened and we began to fill.

First act on the nights bill are indie-electro outfit Kassassin Street, with a recent EP release in motion they plough into their set headfirst. EP opener ‘Finger On The Pulse’ is a build hit, vocal harmonies ensue around a smattering of electronic vibes and some of the best guitar work I’ve seen locally for a long while. Kassassin Street bring 90’s indie to the modern day with their own edge, a set which is both pleasing to the eye and ear.

The nights headlines were Saskatoon, Saskachewans (That’s in Canada) The Sheepdogs. A band heavily praised by Kings Of Leon front man Caleb Followill, A band who are in history the only unsigned band to grace the front cover of Rolling Stone magazine and a band who in the previous few days had played at a venue called Sticky Mikes, which in fact lived up to it’s name.

Draped in late 60s vintage attire, beards a plenty and a handlebar moustache The Sheepdogs eased us all into their set. Closing you’re eyes for a second would instantly transport you from the moody red light of the stage, back into what you could mistake The Wedgewood Rooms to feel like in the 60s.

With a vocal that is clearly from the soul, front man Ewan Currie holds a guitar like a plastic toy (I’m unsure if he is a distant relative to WWF wrestler Big John Studd). Alongside Leot Hanson on guitar, Ryan Gullen on bass and Sam Corbett on drums they play The Beatles meets The Doors in the deep south with influences of Lynyrd Skynyrd, Creedance Clearwater Revival and The Jimi Hendrix Experience.

Throughout the whole set The Sheepdogs entice their audience deeper, while at intervals exchanging banter and anecdotes of back home. Tracks ‘Please Don’t Lead Me On’ and ‘Learn & Burn’ go down well though the odd shout for Lynyrd Skynyrd’s ‘Free Bird’ could be heard on occasions.
Ending their set wasn’t enough for the ClubNME audience though who chanted for more, The Sheepdogs then returned to play well known hit ‘I Don’t Know’ ending with monstrous applause.

It’s clear to see that the sounds that The Sheepdogs are making are seeping into the current musical climate, with bands like Alabama Shakes, Howler and Jack White taking it to the psychedelic euphoric vibe.
For those who attended The Sheepdogs at ClubNME Portsmouth will be well aware they have seen something special and it’s only a matter of time before we see them playing bigger shows and festivals in the United Kingdom.