Posts Tagged ‘music’

On Sunday evening I did one of my favourite things. I went to a little pub on the outskirts of York, and I played music to a small but very appreciative audience. They were the best kind of audience – the active listening variety – rarely found in most pubs these days, but this was no ordinary event – this was Vale Radio’s FAB Folk and Blues Club.

FAB gig1

The event is young, it started only a couple of months ago, as a result of the radio studio for Vale Radio being too small to accommodate a full band. At best, on a Monday night, the FAB Folk and Blues show might be able to fit a trio into the studio, but that was all. So the idea was born to have a night in a local pub, in the function room, where larger bands could be recorded live for the show.

It was to one such night I found myself invited, and it was marvellous. The pub in question, the Cottage Inn, has a large and acoustically beautiful function room that they kindly allow Vale Radio to have for no charge on a Sunday night. The audience, briefed on what to expect, are quiet, supportive and attentive. In short, it’s the ideal gig environment for folk/blues/country/singer-songwriter artists. In addition to the main attraction (this time it was Itchy Fingers, a 5 piece from Lincolnshire) a variety of local artists are invited to play acoustic short sets of 3-4 songs a piece. There’s also generally a raffle for the prize of a CD or two donated by the artists.

Here’s the thing. The audience was painfully, pitifully small. Will the night survive? This was the third time the event had run (it runs every other week) and yes, it might get bigger, but to survive, it needs to get bigger at a drastically increased pace. The room is free because the pub uses takings on the bar, but if there are fewer punters, there are less takings.

I have found myself pondering this more and more of late. Local live music is such a brilliant thing, so why does it struggle? I have some theories:

Firstly – and I am guilty of this too – musicians rarely go out to watch other musicians perform. We’ll watch people on at the same gig as us (although in some cases even that doesn’t happen, I have seen bands arrive in time for their slot, play and then leave) but rarely do we go out for an evening for someone else’s gig. It’s the old adage about how a carpenter never has shelves. It’s something I’m trying hard to remedy (I plan to be at the Flora Greysteel album launch later this month for example), but it needs to be part of every musician’s schedule. We learn so much from watching others perform. We see what works, what doesn’t work, what makes us respond as members of the audience. So it’s a win-win; supporting local events and musicians while also helping us to develop our own skills. If you are a musician who doesn’t go out to watch others perform, I highly urge you to fix this.

Secondly, people want to hear stuff they know. Pubs will pay an absolute premium for a band to come and do two hours of covers. Show me a pub that’ll pay anyone for two hours of original material and I’ll dig out my collection of rocking-horse poop for you. People coming out for a drink on a Friday or Saturday night tend to have their interests limited to: drinking, talking, trying to pull, singing along with the jukebox/band, more drinking. If this seems jaded, well, I’ve seen it night after night in pubs around York. Yes, there are audiences for good quality live acts doing originals, but there are bigger (and thus more lucrative) audiences for human jukeboxes.

Lastly, for many people, even people who are passionate about live music, sometimes the allure of a night in with Netflix, a duvet, and those famous brothers Ben and Jerry, is just too much to resist. Yes, you could go to see a live act perform, but it’s raining, you have your slippers on and look, the cat has gone to sleep on your knees, so you couldn’t possibly go anywhere just now.

Here’s the thing. Use it or lose it. Live music is good for the soul. It gives you something to talk about (that anecdote about the folk singer who treated us all to a 25 verse epic about a violinist and his sweetheart,and the subsequent death, calamity, fairy infestation, jealous violence, romance etc that went on until the venue owners flashed the lights and cut the power is still going strong in our household…). You may discover an artist whose work really speaks (sings) to you. Your support in turning up to that gig may be the spur that causes the artist to write their next album, or book their next gig. Because let’s face it, we write and perform for you.

This is our life blood. Help us keep live music alive.

Thanks for reading, I’d love your thoughts on this!

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We Could Be Heroes

Ordinarily, I’d have posted yesterday, this being the New Year and the time of Remembering to Post Weekly On a Monday (TM) but I made a conscious decision not to. I was feeling a little too dumbstruck at the news that David Bowie has left the planet.

Clearly if you ask me what I remember about Bowie, I’ll have nothing in the realm of personal anecdotes. I did not know the man. Like so many of us, I only know the face he presented to us through his musical and theatrical creativity. I remember hearing China Girl on the radio when I was 6 or 7 perhaps? I remember being spellbound, seeing David playing Jareth in Labyrinth (and thinking if that’s what the Goblin King looked like, he wasn’t so bad after all!) He’s just always been there, in the backdrop of my life, and like others have said, I always just assumed he was immortal.

Yesterday was a stark reminder that he wasn’t, that none of us are.

But yesterday was also a reminder of another thing. In all the sadness around his passing, in the loss his family are experiencing, in the gut-wrenching grief of his loss, we have been reminded of the potential within us all. The news is full of how he wrote the last album as a parting gift for his fans. Of how, faced with the end, he continued to create, to express and to communicate through music, so that we’d have one last album, the swan song of an extraordinary life.

If he can do it, any of us can. David was human, like the rest of us. He struggled, and failed, and lost, probably thousands more times than he won, we just never saw it. He kept on persevering, that weird little London kid, embracing his own oddity and daring the rest of us to say anything about it. And in the end, he emerged a hero.

So that is the lesson I’m taking from this. The bright spark in the world’s loss. If he could do it, so can I. So can you. And you. And you. We can all find our passion and make it shine. We can all stand up, embracing ourselves, refusing to conform and be loved for who we are.

We can be heroes.




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It’s a little late, being already the 4th January, but to try to make up for a rather lackluster year in blogging, I thought I’d take this opportunity to whiffle on about what I managed to do in 2015 that meant I was too busy/lazy to blog!

On a personal front, it was a pretty quiet year. I mooched from one short term dayjob role to another, ending up somewhere where hopefully I shall now be staying, I achieved my coaching level 1 in Aikido, I celebrated my 5 year wedding anniversary, built a lot of Lego,  watched a lot of Netflix and generally did Stuff. Oh, and I took up archery. That one definitely merits a mention. My inner Hawkeye/Katniss/Legolas* (delete as applicable) is definitely having a whale of a time going “pew! pew!”. I recommend it. Especially if you’d like one arm to become noticeably bigger than the other in a short space of time… Erm…

OK. Well. moving on.

Musically it was a crazy, busy year.

In February, I did my usual romp through 14 new songs that we call FAWM. I didn’t blog about it much at the time, mostly because I was busy doing it. It went well, I dinged 14 without too much trauma, and ended up with several songs I could basically gig with immediately. I made a vague promise to myself to put out another album before the end of the year, and to include some of the songs written as part of FAWM, then shoved it on a back burner and forgot about it.

Spring and early summer saw a lot of gigging, including a fabulous slot supporting Everlate at their album launch at the Basement, City Screen (review here). Really enjoyed that – I think this has been the year I’ve finally started to feel like I have a handle on playing live, rather than just feeling like a random imposter who gets away with it because I smile a lot, or something…

In July I started 50/90, and made it to 5 songs, (so a tenth of the way, which isn’t to be sniffed at!) and suddenly realised I actually had a whole album ready to go. By the end of August, I had decided I was going to crowdfund the album, and in the space of an afternoon, I had set up the crowdfunding page on Kickstarter.

When I launched it, the day before going to Alnwick for a long weekend, I thought “well, I have a month to get to £800, there’s pretty good odds on that”. But, by the time I had returned from Alnwick, 5 days after launch, the campaign target had been reached, and I was looking at stretch goals. It was incredible. It totally made my birthday too, which was not long after!

And so, Here At A Distance came to life. I asked Ros Dando, a local artist, to do the artwork, and amazingly, she said yes, and did a beautiful, beautiful album cover. I mixed and mastered everything, and nearly gave myself a nervous breakdown trying to get it all to the pressing house in plenty of time. Launch night was 30th October, and we booked out the Bay Horse in York, and got Flora Greysteel, Bleeding Hearts and Artists, and Helen Robertson to come and play.

album cover

It’s done well since release. FATEA Magazine reviewed it, as did Soundsphere and Planet London.  It’s certainly my biggest achievement in 2015, and I’m immensely pleased that I got it out there. I couldn’t have done it without my supporters on Kickstarter though, and for me one of the biggest things about achieving it was the reminder that people DO believe in me, and they DO support what I do, and even when it feels like I’m throwing music into the void, someone, somewhere has noticed. That’s been a massive thing for me to bring into 2016.

So what’s next for 2016?

At the moment, I’m undecided. Obviously I’ll do FAWM, although I’d like to get back into the more electronica side of things. I have a gig in April at the Duchess, York, which I’m really excited about, I’m playing at Coventry Pride in June, and I’m also going to be on the Fox’s Den Show on the 29th January, playing live and talking about the album. I’m at one of those quiet points just now, where I’m waiting to see where the tide pulls me..

Meanwhile, if you aren’t bored of Christmas songs, I finished up the year by recording a silly cover of Fairytale of New York, with Jon from The Bleeding Hearts and Artists. 

And if you feel like you want to hear my dulcet tones talking nonsense about music and other things, check out these:

Appearance on FAB Folk and Blues with Tony Haynes on Vale Radio

Interview on The Cultural Review with Tom Mallow

Happy New Year!


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Good afternoon strangers..

Yes, I know it’s been months since I last posted. Yes, I know I’m a terrible blogger, and no, I won’t be offended if y’all buggered off and found a younger, prettier, more regular blog than mine…

For those of you still left, this is me returning to Monday blogging. My current time management situation allows for it, which is awesome 🙂

On to today’s point of interest. I’ve been hanging out on a couple of Facebook groups where people discuss their releases, and one of the questions which seems to pop up pretty regularly is how to organise distribution of a release so that it ends up on iTunes, Spotify, and other cool places like that.

Here’s my guide to distribution. I’m going to assume that the album is written, recorded, mixed and mastered, and essentially ready to go.

The first step is to acquire an ISRC. Many mainstream distributors will not process your release without one, and although for some you can bypass the process entirely, it’s recommended to bite the bullet and get it done, because at some point, it will allow your track to be identified, and may result in some royalties heading your way.

The easiest way to get an ISRC code if you are in the UK is to contact PPL and register with them.  You’ll be given a unique 5 character/digit code which always starts off your ISRC code, and from this you can generate all the ISRCs you’ll ever need for the remainder of your career. If you aren’t in the UK, your local music licencing body can assist you in this process.

Next up, decide on a distributor. I have personal experience with three, Emubands, CD Baby and Ditto. I ended up pulling my release from Ditto after technical problems and release delays but your mileage may vary – some people have had good experiences with them. My experiences with CD Baby and Emubands have been nothing short of excellent.



 FEES  ONCE OFF/YEARLY?  Other Information
 Emubands £24.95 Single
£34.95 EP
£49.95 Album
 0%  Once off  Digital only
 CD Baby $9.95 Single
$49 Album
Option to go Pro for additional features
 0%  Once off  Digital and physical
 AWAL £0 unlimited  15% of sales  n/a  Digital only
 Distrokid $19.99 unlimited  0%  Yearly  Digital only
 Ditto £6 single
£20 Album
£49 unlimited
extra cost for add-ons
 0%  Yearly  Digital and physical
 Tunecore $9.99 single
$29.99 album (first year)
£49.99 album (following years)
 0%  yearly  Digital only

It’s also worth considering whether there are any particular relationships you’d like to exploit. For example, CD Baby work in partnership with Rumblefish, meaning that you can opt in for YouTube monetization if anyone wants to use a track of yours in their wedding video.

My advice is to work out what you want to achieve with your release, do your reading, and choose a distributor based on the one which most suits your needs. Contact your chosen distributor, pay your monies, upload your tracks and artwork, and let them do the rest 🙂 Always allow plenty of time between submitting your release and the release date, and you should be golden. Most importantly, enjoy it!


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You know how sometimes you fail to reply to an email, or a letter, and then time passes, with you meaning to respond, and then more time, and more time, until suddenly you realise that it’ll now be weird when you reply, and you’ve left it way too long and don’t even know where to start?


I didn’t mean for four months to fly by with nary a post from me to let you all know I still had a pulse, I really didn’t. But one thing led to another and as the days crept guiltily by I just couldn’t think of what to write.

So what has kept me from you all this time?

My writer’s block hasn’t extended to music, not one bit. I completed FAWM comfortably with 14 solid songs, many of which are keepers. I’ve continued writing since the end of February, and even have a crazy plan to attempt 50/90 – another songwriting challenge. Where FAWM is a sprint, this one is a marathon. 50 songs in 90 days, or an ambitious 16.333333333 (recurring ad nauseum) songs per month (ish). It starts on the 4th July, and promises to be an interesting diversion. Or obsession. Tomato, tomato.

You know, I’ve only just realised this: “Tomato, tomato.” That’s one of the few phrases that simply doesn’t work in text. Crazy. Anyway, I digress.

What else have I been up to?

Well, amongst the writing, I created a brand new song in an afternoon, along with a video. The demo was basically recorded while I filmed, which was interesting, and the most complex thing I’ve attempted so far.

Videos have always seemed to me to be a dark art, and the one aspect of musical creativity I really don’t understand how to do. I go on Youtube, and I see these amazing videos, done by up and coming artists, who all seem to have tame camera operators and film editors to call on. They are also invariably gorgeous, own long flowing dresses and at least one grand piano, and live near a mystical forest, or a scenic beach, or an empty church… I try to do the same thing, and it looks like the cat got hold of the video camera, dragged it around a bit and accidentally turned it on. Given that an untrained chimp could produce a better video than me without really trying, I was actually pretty thrilled with this attempt:

It was both harder and easier than I expected. I’d like to try the picture in picture thing again, this time for something like Scarlet Casanova, because the harmonies kick in from the beginning. At this rate of video creation, I expect to be halfway competent before I’m sixty!

Anyway, sarcasm aside, if anyone out there feels like it would be fun to make a video for any of my songs, shout out. I have zero budget, but I do a good line in cake and gratitude, and perhaps worldwide fame one day! I’d love to collaborate!

What else? Well, I’ve been working part time at the University in a continued, misguided attempt to make my millions (aka pay the rent). It’s been hard this year, work seems to be thin on the ground, but I do have a good number of singing students, which is helping, and also I enjoy teaching. It’s hard to have a bad time singing duets or showing people how to stretch range and build power in their voices, it’s a learning process I’m immensely proud to be part of.

Musically, I have a few other bits and bats in the pipeline. I’ve started the process of editing and mixing the tracks for the new album. I don’t yet have a title, but I do know that it’s being released in September, and I also have an artist lined up who I’m thrilled to have on board for the artwork. I am so lucky to have the friends I do – I am surrounded by a very multitalented and generous group of individuals and I’m grateful every day for them.

York has a new radio station starting, 2 Rivers Radio, and I’m pleased to say that Vinnie Whitehead is going to be interviewing me and playing some songs from the new album for it. We’re doing a live In Session recording next Tuesday and I’m very excited about it.

To my abject astonishment and without any bribery on my part (either financial or in the form of baked goods) I have also been nominated, for the second year running, for a Yorkshire Gig Guide Grassroots Award, in the category of Outstanding Band/Artist. This is amazing and I’m thrilled to bits! This is where some audience participation can occur, if you feel so inclined, you can vote for me to reach the next stage.

So, I could say at this stage that I promise not to leave it so long before writing again. But you know, and I know, that that is simply a challenge to my subconscious to really fall off the wagon and not write another word until 2016, so let’s not, eh?

Until next time.


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Bandcamp are my new best friends.

This is the update they rolled out tonight:

“If you’ve seen the recent news of changes to EU tax law, you may be wondering how this affects you as an artist or label selling on Bandcamp. The good news is that for digital sales, there is no need for you to register for VAT, submit quarterly reports, and so on. We will take care of all of that for you.

If you happened to see our earlier help item about this, we planned to roll out a temporary solution where artists submitted the tax themselves. We’ve decided to accelerate the changes to our system such that the interim step is unnecessary.”


So. What does this mean?

This goes an incredible distance toward meaning that the small independent musicians can keep trucking. At least for now. The fight is not over yet – with proposals looming to extend the new VAT laws across sales of physical goods from 2016, and with traders on Etsy and other third party platforms still fighting for solutions, we have a long way to go. The ideal would still be for the EU to drop this craziness, or at least reform it drastically. But for now, I and many of my peers in the grassroots music industry can keep selling our music and can keep reaching out to potential new listeners across the globe. This is a fantastic step forward.

Thank you Bandcamp!

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I’ve been terrible at posting on time, haven’t I? I debated spending tonight on the naughty step but then I thought that would only make my post later, so here it is, an update on what I have been up to, since I haven’t updated things in a little while.

1. The Day Job.

I’ve just finished a five week assignment temping at the University. Well, technically I finish tomorrow, because of item number 2 on my list, Being Ill, but in any case, it’s about to be over. I’m still looking for something in that sort of area for three days a week on a more permanent basis, so keep your digits crossed. A regular income would make the whole making music thing so much easier!

2. Being Ill.

Oh yes, dear friends, if it’s circulating, I’ve picked it up. The University is currently infested with Freshers, with all their germs and whatnot, and I seem to have caught anything and everything going. The latest varient has been an exciting excursion into the contents of my sinuses. I’ll not say any more than that. Needless to say, I think I’m buggered when Ebola makes landfall, as it’s certain to do (the Daily Mail said so, it’s going to be brought by Giant Muslim Spiders in Burqas And Their Lesbian Friends or something…)

3. Recording My Next Release.

If you’ve been waiting for the long-promised electronica EP/LP Quantum Ghostlands, this is news you’ll want to hear. I’m in the process of putting it all together. It could still take months, but at this stage it’s months rather than years. Why has it taken me so long? Well, a combination of factors, really. Firstly, electronica takes me longer to write, much longer in fact, than acoustic piano tracks do. Secondly, I’ve been scared. I have only just learned how to mix songs that have only a few tracks (some piano, some vocals, maybe a bit of bass and some harmonies) so mixing something with 30-50 tracks is daunting to say the least. And thirdly, I wanted to master an easier release before I did an electronica release. Mastering Tales From The Undertow was really REALLY good for me, because it taught me a load about how to do it.

Like Tales… Quantum Ghostlands is coming out on a budget, but I hope that won’t matter too much. I’ll probably get a very limited CD run, and I suspect I’ll do a pre-order for that. They won’t be glass masters, because I can’t justify getting 500 made, but I’ll look at doing 100 or so. These will be very limited edition.

So here’s a sneak preview. These are not finished or mixed properly yet, but these are some of the things I’ve been writing/remixing for the release 🙂 (plus I like playing with crossfade….)

Before I go, one of my friends suggested that I write about independent Rap artists from southern USA. So. Check out my buddy G Slade, seen here in his natural environment on Bandcamp…  I think he’s awesome 🙂 That’s all for this week. Take care out there!

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