The Bloodstrings/Party Asylum/The Sux Pastels - 18/0215 - The 13th Note - Glasgow

The Sux Pastels are at the watershed point artistically.

Hovering at a point where they are entertaining people with a fifty-fifty set of originals and covers they are certainly touching all the bases, but it is equally obvious that they are also pressing hard on the tipping point as their self penned songs are starting to muscle the much loved classics to the side in the set.

Covers of early Antz and Clash tracks may well have people singing along, but the songs that are about to surface on their debut ep are the real attention grabbers.

Live the four piece power though their set and it’s damn exhilarating to watch them take the year zero punk template and give it a reboot so that it is ready for the twenty first century.

Very often there’s an inordinate amount of attention paid to youth in the music business, but experience trumps it time and time again.

You only have to give a couple of minutes of attention to The Sux Pastels to appreciate that.

They have all been there and bought the t-shirt, and while some very talented young musicians are out there doing a great job of emulating their heroes there is a certain something that the peer group of the greats has that can’t be grasped.

Maybe it’s a fundamental and organic understanding of the roots of the punk ethos that seeps into everything they do.

Regardless of what it is it sounds authentic and evergreen.

If the term punk rock conjures up an image in your head of well crafted songs that have attitude, swagger and aren’t afraid to challenge the listener then The Sux Pastels are for you.

Party Asylum are once again taking things to another level.

With each show they play you can literally see that a fan base is building.

Slowly and assuredly they are making converts and it is obvious why.

It is simply that they are becoming ever increasingly a better act.

We are seeing and hearing evolution in progress here.

There’s still a garage rock element to their set, and the Ramones ramalama that was inspired by Phil Spector is still there, but everything is tighter, more vibrant, more self assured and more, more, well just more really.

There’s a point in a bands career where they go from being considered a good club band to taking on the mantle of just being a good band, and that’s where Party Asylum are now.

They may still be playing clubs, but they are no longer defined by the venues they play.

Take them out of a small club right now and place them on a big stage and they will command it.

You only have to look at the calibre of the support slots they are tucking under the belts to appreciate that the hard work they are putting in is starting to deliver rewards.

And justifiably so.

Go and see them and enjoy your favourite band of tomorrow today.

The horror punk/rockabilly sound isn’t one that has been widely picked up on in Scotland.

While we do have a few excellent bands ploughing that particular field it is basically true that the fans of the bass being slapped and b-movie lyrics have often had to get their kicks from touring acts who are willing to take a chance and venture north of the border.

So all hail The Bloodstrings, who were making their debut in Glasgow.

It has been a while since I had a fix of this particular genre so it was a very pleasurable experience to get the opportunity to get reacquainted with it.

From the beginning they put their foot down and played a set that rarely had a foot near the brake.

You want it hard and fast? Then this was it.

At points Doc Nics hand was blur on the double bass and the guitar licks were an inspired mix of heavy rock and rock and roll.

Just what the doctor ordered, two great supports and then the icing on the cake.

Surprisingly enough the audience was not made up of the usual psychobilly suspects, and instead a very mixed group of music fans, but not playing to what would be a traditional didn’t seem to matter at all as both the band and audience were operating a mutual respect deal.

The band came to rock, the audience came to be rocked and everyone went home happy.

This ability to entertain out with the genre that they exist in is something that has to be credited.

It draws attention to the crossover appeal that they have and on the cover of the Sonny Bono penned Bang Bang they just hammer home that they have a broader appeal than some of their peers.

Quality entertainment and you should keep an eye out for the bands return. 

The Bloodstrings.

Party Asylum.

The Sux Pastels

Dipping a toe back in with The Bloodstrings.

Okay, I've had enough time off and a few gigs have been booked.
First of these will be German rockabilly/psychobilly band The Bloodstrings.
Touring the UK in support of their debut album 'Coal Black Heart' this is their first time in Glasgow and I am hoping that it won't be their last.

If you love the sound of the Horrorpops, Kitty in a Casket and The Creepshow then these guys will tick all your boxes.

Along with them will be The Sux Pastels and Party Asylum.
Most people will know the latter as they go from strength to strength with every gig, but the former from East Kilbride have all been doing the rounds for a number of years in one band or another such as Jesus and Mary Chain and Baby's got a Gun to name just two.

It's looking good.
A solid three band bill at a fiver.
Maybe Wednesdays will be the new Fridays.
School night rock and roll a go go.

Over the next few days another couple of gigs will be announced.
Just awaiting tickets for this one and they will be on sale from Tickets Scotland and NHC Music* and of course The Sux Pastels and Party Asylum.

* No booking fee from NHC


Event page (Feel free to invite people)

NHC Music

Tickets Scotland

Andy Kershaw, Presales, and the gigs that weren't to be.

A few days ago I noticed a comment posted on social media from Andy Kershaw about two of his gigs being cancelled.

The reason for the cancellation was a lack of presales and the promoter had pulled them.

Ooooft.

No one likes that do they?

Andy Kershaw will have had an itinerary sorted and there will be financial forecasts done that are based on the events planned.

Now any notes on that will be lying like confetti at his feet.

It’s really not just a case of turning up and then leaving a little later in the night.

There really is far more to touring than that.

Travel plans and accommodation may have already been made, and if so then it’s possible that there would have been a few phrases that would make a sailor blush that passed his lips when news came in about the shows being pulled.

Then there are the venues that will now be left with holes in their schedules, and knowing venues - and I do - this is never something they are very happy about.

If you were to put a scale on being unhappy, and one was how you feel when your biscuit drops off into your tea, and ten is when you are so unhappy that you are contemplating breaking the kneecaps of the person who has annoyed you, then the cancellation of a show draws a reaction that hovers around eight from a venue.

And without a doubt the promoter will be wondering why (s)he even bothered, (although apparently there wasn't a great deal of actual promoting done and some blame may need to be shouldered here) and I fully expect will now be ducking and diving around looking to stitch a pigs ear out of what could have been a silk purse.

See what I mean about no one liking this?

And ultimately let us not forget that there are those who did commit to going to the shows and are now left wondering why they even bothered to leave their cash resting in the account of someone else for a while.

None of it is very good is it?

There are a couple of reasons for the poor response to the tickets going on sale for any event though.

One is a lack of promotion.

It is a very real issue.

It doesn't take a great deal of common sense to wrap your head around how keeping the shows secret equates to no one attending, but the other that will have had an impact is that sadly people are simply waiting until the last minute before deciding what they are going to do, and while they have every right to do so this lack of commitment to an event leaves the promoter, the venue and the artists(s) in a very difficult position.

For instance I have been at the sharp end more than once of presales for a show failing to reach double figures and it takes a financially suicidal leap of faith not to cancel.

In the main my never say die attitude has often resulted in a successful night for everyone involved, but it hasn't always been the case, and I have put on gigs that have had acts play to little more than the bar staff of the venue, a few random strangers and the obligatory hardcore fan who always attends the bands shows with the full tally of people attending maybe being five.

The end of the evening ends up with the venue being extremely unhappy, the artist or band(s) being dejected, and for myself, well I slope off under a cloud questioning my taste in music and with my pockets far lighter than I would care to mention as people may weep.*

Basically it’s all just too depressing to contemplate.

In the case of the Andy Kershaw dates I fully expect they would have ultimately been fine as he is pulling an audience wherever he goes, but it would seem to be that the combination of the new-found apathy from the public about committing to shows, and a dearth of any real promotion hammered the nails into the coffin.

So while the promotion side of things is nothing much to do with the public there does need to be some partial responsibility taken.

Today I have seen posts from people who are a tad annoyed that they are unable to attend a show that is sold out.

None of them claim they were short of funds and couldn't buy a ticket and equally I've not seen anyone say they didn't know about it, but instead it’s been stated more than once that ‘I was just going to pay on the door’.

Not now they’re not, but let’s just forget for a moment that this is a sold out show and consider that it is this attitude that leads to gigs being cancelled.

After all how are the artists, the venue or the promoter to know what anyone’s intentions are?

If a ticket hasn't been secured by anyone then there’s no guarantee that it wont be left on the shelf come the night of the show.

Strip everything down and consider that you have booked a venue, arranged a backline and pa, sorted out accommodation for the acts, paid for tickets, posters and fliers to be printed and then with one week to go there has only been six tickets sold.

How many would seriously hang in there with a hope and a prayer?

If we were in a classroom I don’t expect that a forest of hands would be waiving about.

So what is the solution then?

Well actually promoting a show is one, but committing to attending it is another, and I don’t mean clicking on the attending option on a facebook invite page either.

Go and buy a ticket.

*I'm not a big fish in the promoting pond and I just randomly put shows on of artists that I like.

It's never been a money making venture and I either break even or lose. If there is money left over I normally share it among supports and on a really good night buy merchandise from them so that it goes back into their pot.

Anyhow, here’s my next gig.

Obligatory facebook invite page link.

It’s the Bonnevilles and while I could say they are fantastic I’ll leave it to you to have a listen and see for yourself.

Mojo seems to like them.

Also here’s some Andy Kershaw dates.

Do yourself a favour and buy a ticket.

April

4^th Menia Bridge – Victoria Hotel

5^th Tywyn – Magic Lantern

12^th Colchester – headgate Theatre

May

29th Bridgewater – Arts Centre.

 

The live music conundrum

Things have been going very well on the promotion front for a while now.

There has been five shows in a row that sold out and I am very proud of that.

Currently higher profile bands are frequently getting in touch about future shows instead of me chasing them up, interesting opportunities are being offered on a daily basis from a few venues and others, and probably best of all has been the word of mouth praise that has been showered on me.

The appreciation of my efforts from all the acts who have played, those who have attended, and those who I would describe as ethical individuals who are the oil that keeps the music machine running smoothly has been reluctantly welcomed on my part.

Reluctantly because I just feel that while I am playing a role in bringing the music to people I am still but one link in a chain made up of many.

After all it is the bands/artists who really do all the work on the night.

And on the flip side welcomed as it's from my peers.

Anyway, I guess I just want to say thank you to everyone, but I also want to touch on The Strawberry Blondes show that took place a few nights ago.

This was the first in a while that didn't sell out.

I'm a realistic sort and fully expected that a show was looming that wouldn't, and I was/am completely one hundred percent fine with it.

I was wanting to look at why that was though.

To get it out of the way I should stress that a lower than expected turn out had nothing to do with any of the acts who played.

Without exception I would recommend them all.

Not just for being very good at what they do, but because of their professional attitudes towards playing.

Each of them could have business cards printed that say 'We are shit hot, and we don't do hassle'.

In fact I would comfortably go as far as to say that The Brothel Corpse Trio, The Media Whores, The Red Eyes and Billy Liar are all acts that could very easily headline a show on their own merits.

While the Strawberry Blondes credentials as a vibrant live act can easily be backed up just by highlighting that they have been invited to join the Vans Warped tour of the US.

No small potatoes for a punk rock act from deepest darkest Wales.

So here's some obvious reasons as to why the gig wasn't as successful as it should have been..

One is that the gig was on a Wednesday night.

It's not anywhere close to being ideal when you are looking to get people to come out and sample live music.

Plenty of us all have responsibilities during the week that need to be considered.

There's work in the morning, getting kids to school, covering the night for childcare if required, and that just three things for the older music fan to think about.

I guess what I am saying is that I appreciate that it isn't easy.

Still, there is a part of me that thinks I wonder how many people were watching the television and hadn't bothered because..........well they couldn't be bothered.

These people are fully entitled to do that and I'm certainly not having a solid dig at them.

Freedom of choice to do whatever you please is something I actively advocate, but I was talking to Mickie Stabbs of the Strawberry Blondes about the amount of venues on the gig circuit that are closing, and really the only thing that can be said is that if you don't use them then you lose them.

So next time a band is playing that you fancy maybe some, and obviously not all, should think about reasons why they should go and not why they shouldn't.

It's just a tiny shift in perception, but it could make a huge difference.

Another things is cash, the filthy lucre.

There's not a lot of it going about.

I get that.

I really do.

I don't have financial backers or a trust fund to dip into.

No one is bank rolling the gigs I put on and money is tight.

Then again there is that shift in perception again.

I have literally had people at the door of a gig asking what the £5 entry fee is for.

Once you tell them it's to cover paying the acts and venue hire etc they roll their eyes and look at each other as they telepathically agree with each other that they are getting ripped off.

Even though they aren't.

These are the same people who wont question the costs of a continental beer in a city bar.

It's as if there's a logic fail going on and they can't pair the cost with putting a show on with how much it is worth paying to be entertained.

£4.50 for a pint that can be sunk in 20 minutes of sipping on it.

No bother.

£5.00 for four bands entertaining you for a three hours or more.

Not so sure about that eh?

They are happy to pay for any service or goods that is going, but can't wrap their heads around why they should be pay to be entertained by a live band on a club level.

That needs to be addressed and I'm certainly not the first to mention it and I doubt I'll be the last.

Then there's how some view live entertainment.

Quite literally, and more than once, people have said to me 'I only go and see famous people'.

It's a breathtakingly absurd assertion.

Unless people invest their time in going to see bands then they limit the opportunity for them to break through.

The x-factor, and talent shows that peddle the same thing, have skewered peoples views on how to become more successful in the field of entertainment.

Very few people just appear over night and then a week plater play a stadium.

In the main it is a hard slog of club after club, and very often rejection after rejection, as they chip away at the apathy until they finally hit a tipping point and recognition for their artistic worth becomes forthcoming.

This is the norm.

The reality for the vast majority of musicians.

It actually boggles my mind why there is a solid grouping of our society who are happy to wait to see what is being offered.

It's akin to going to a restaurant and asking the waiter to decide for you what you should eat.

So if you do like music, and I assume that as you are reading this that you do, then on an evening when you are at a loose end have a look at what is on out there.

Once something catches your eye have a listen to the band as there's genuinely plenty of options to do so from links on facebook to youtube footage and once you are comfortable with a band you have heard then take the plunge.

This is where I could put up one of those memes from facebook, but I'll resist.

I am saying none of this for people to be swayed towards the shows that I put on, but shows in general.

Get out there and enjoy them.

They are about the cheapest form of entertainment going, and for every act that doesn't impress I bet you will see one that does.

To press the point that I know people can't go to everything, I'll unhappily admit that I missed a gig last night, and it will probably be the same tonight

The fantastic Primevals are playing for just £6 in the 13^th Note with a support bill to kill for and right at this very second I am already regretting that I wont see The Creeping Ivies.

Anyway, we can't go to everything, but maybe sometimes we can make a little more effort.

There's some poster art over their on the right for some gigs I'm putting on.

Have a listen and come along, and as mentioned if none of those pique your interest then keep looking and go and see someone.

There's amazing acts playing every single night.

I sincerely have no doubt of that.

Go on and enjoy them.   

Brave Young Red - EP Launch - 13th Note - 28/02/13 (Glasgow)

Musicians need to keep things fresh, and over the last few years I've seen Matt Scott doing just that.

With each good performance in front of a receptive audience you can see him stretching his muscles and pushing at the boundaries of the music he creates.

Recently he performed fronting a band rather than solo, and from all the witness reports it seems to have went down very well.

In fact I've still to hear a negative comment about it.

With another ep to be recorded on the horizon, and a more serious attitude taken by Matt in promoting his own career, the future could certainly be bright.

Unfortunately while Matt performed at this gig to his usual level of artistry it was going to be an uphill struggle to catch the attention of quite a few of people who had attended.

Most seemed intent on catching up with each other at a decibel level that outstripped the pa.

This event was the one that was the catalyst for the blog update here.

The noise level had nothing to do with the performance.

If anyone tried to claim that Matt lost them, or failed to entertain, then that would be a very blatant lie.

Pretty much a good solid chunk of those who had bought tickets had cast nary a glance in his direction, and they certainly didn't lend him an ear.

I have a great deal of respect for peoples opinions.

If some expressed their distaste for the entertainment on offer after listening to it then that's fine.

If however they failed spectacularly to engage on any level with it, and then tried to claim it was because of anything more than their own ignorance, then I will shout bullshit from the rooftops.

Give a reasoned response based on the facts or shut up.

That seems fair.

Without being able to back up an opinion with a act just means that the person is spouting so much hot air.

I mistakenly thought that things would settle a little when Jamie Flett began his performance.

The quietness of the delivery and the subtleness of the material certainly could be considered to be music that demanded close attention being paid to it.

Not reverential silence, but to get the best from it an appreciation that actually listening to the songs does help.

Around the closure of maybe the third song - after I had been watching Jamies lips move and not hearing much and straining to catch any of the instruments being played - I will admit that I had reached the point when enough was enough.

So dampening down my abhorrence of taking to a stage to speak I put on my promoters hat and stopped the performance and asked for a bit of respect.

The bottom line is that those who arrange events like this, and I do mean me, put in a great many hours behind the scenes to ensure that everything runs smoothly.

The venues equally often step up and provide a sterling service as did everyone in the 13^th Note on this night.

From the booker to the sound guy, and not forgetting the bar staff, there was not one individual who didn't pull their weight.

Then we have the artists who are performing to entertain those who have attended.

Prior to them taking to a stage there are untold hours spent crafting what they do.

Learning how to play their instruments, writing material, practising it.

Spending money on their instruments, expending cash on rehearsal rooms, recording studios and more.

So much more that from the outside looking in no one could really claim that they see a lack of dedication.

Often these people also travel miles to play, and it's a harsh fact that they are rarely even compensated for their financial outlay.

They are in fact more often than not paying more to perform than those who who bought a ticket to see them.

So the noise levels had to be addressed, and while I am aware that there were some who felt uncomfortable at being what was described as chastised, I can safely say that for every individual who felt awkward at their ignorance being highlighted there were at least two who shook my hand or congratulated me on taking the stance that I did.

Thankfully in the 'awkward' silence that followed my intervention Jamie Flett filled it with some music that when heard could make you swoon.

Beautifully delivered, his voice just floats on top of the music and paints a very wonderful pictures.

I sincerely hope that some who had previously been filling the air with their own voices appreciated just how talented these musicians were, and even keyed into a bit of maturity on their own part, and who knows, maybe accepted what had been said prior and then settled in to enjoy the rest of the performance.

Brave Young Red as the headlining band were for me the biggest surprise of the night though.

I had high expectations, but they fell short of the reality of the performance from them.

I had this idea in my head that they would be pulling out all the stops and providing us with a great performance, but I hadn't anticipated that it would have been as good as it was.

Augmented with two more members the music hasn't just taken a tentative step forward, but instead burst out of the gates and is now running free.

This was the sound of a band who have found the path they want and have set their sights on a definite destination.

Maybe the cover if the new ep with it's hand holding a compass as the artwork is more literal than some would consider.

While previous gigs have seen them in a sense paying their dues this was the one where they became fully paid up members of whatever club it is that only lets in the unarguably talented.

A sold out small venue like the 13^th Note was the perfect environment to road test the new material and band members out in, and now with it left in the past the members can safely assume that they are ready to take what they do wherever they wish.

On a night that to be fair couldn't have been described as one that was one hundred percent positive I would still have to consider it as an evening of sterling entertainment from some fantastic performers in the perfect setting for it.

On that basis I reckon that the artists should all be giving each other a deserved pat on the back.

Note - Unfortunately due to ill health Hannah Jackson had to pull out of the show.

Obviously everyone involved wished her all the best and a speedy recovery.

Get the EP here.

Rose Parade - Sell out B*st*rds

There are two words that when put together elicit equal amounts of joy and sadness.

They are sold, followed by out.

If we aren't going to go down the path of talking about artists who have allegedly sold out their credibility for stardom.

Then what we are left with is the proclamation of the two words together regarding an event being now ticket-less.

On the one side of the coin are the artists who know that people are going to make the effort to come and see them, and a busy night rather than playing to one man and his dog, is ahead of them.

For the venue the words are accompanied by the ringing of their tills.

For a promoter the sound is one of a sigh of relief, and for those with tickets there's a smug little voice reminding them that shelling out early for a ticket was a good idea.

On the other side of the coin are those who thought that they would just leave it until the night and pop in.

The ones who know that they had the chance to attend, but let it slip through their fingers.

With them sharing sad faces are unfortunately the people who simply didn't have the means at their disposal to grab a ticket and are now a tad pee'ed off that the night has arrived and they are still skint.

I feel for the later, but I'm not so fussed about the former.

And tonight is one of those nights that draws out all those feelings.

Rose Parade actually sold out weeks ago, but tonight is the night where all the work they have put into recording their debut album is revealed.

The excitement is mounting and with three excellent supports in place it's all shaping up to be a 'you had to be there' gig.

I'm fully expecting to indulge in a weekend of reading posts from people on the social networking sites that mention how utterly fantastic the gig was.

I would advice people to pop in as early as they can so that they can grab a bite from the much loved menu that the 13^th Note has prior to them securing a space with a prime view.

I can feel it in my water that this is going to kick off in a spectacular manner.

Friday night footage

I was asked a few days ago if I had any footage from some of the gigs that I have put on through the blog.
I have.
Not that I filmed anything. Full credit has to go to the people who came along and done such a good job.
They are the ones who preserved some great memories.

Here's some Canadians. Lovely people and an outstanding live band. The Wooden Sky.




and equally as lovely, but from New Orleans this time. Hurray for the Riff Raff




Scabies/James/Texas Terri


Pretty much everything from the gig here