Swindon’s sonic indie popsters Atari Pilot are a prolific bunch, and have a new single out called The Rules Never Change….
And, they don’t. There’s a definite uniformed methodology to Atari Pilot which builds with each new single. Yearning vocals, never without a repetitive chorus to hook you, neatly packaged in retrospective new wave electronica. It may not be as commercially viable as, say, Talk in Code, but it’s irresistibly beguiling and universal to be pop you need to hear.
Wiltshire Music Centre is launching the Make Music This Summer programme, a vibrant 19-day programme of musical activities for children, young people and families….. Designed…
Images by Jess Worrow A busy late spring weekend across the county, with major events from Bradford-on-Avon to Swindon, but I’m bringing quality acts I…
Tickets are now on sale for Frome Festival’s silver anniversary year, taking place between the 3rd – 12th July, 2026. Three hundred events are scheduled…
After months of speculation, controversy, and local media bias, The Shindig Festival at Malmesbury’s Charton Park has been given the green light….. Despite Newsquest flogging…
Kempston joystick! There’s a new single from Swindon’s sonic indie-rock blasters Atari Pilot, and it seems they’re waiting for the summer to fall. Hint, guys, it’s usually, particularly this year, when the kids go back to school….
I’m not wrong, though, am I? Never without that euphoric retrospective tinge, Atari Pilot I liken to Talk in Code, for swinging indie poptastic hooks and unrivalled energy, yet with undertones of sonic soundscapes akin to post-rave dance music, of the Chemical Brothers and Daft Punk et al.
This one certainly doesn’t skip on it,though its theme reminds me of Don Henly, and is equally as passionately delivered. From Jerry Keller to Taylor Swift, summer may be a common topic, but winter songs only hark on about….whoa there, don’t even say the C-word until late November, I thank you! And anyhoo, all the seasons are given a mention in this breezy pay-what-you-like track, save spring. What have you got against spring, Atari Pilot? Don’t make me get all Zebedee on you, I happen to like spring!
Check this out, before it pisses down! Catch them at the Beehive at Swindon Shuffle!
What was once counterculture hedonism is now as mainstream as a package holiday. In the UK music festivals are fashionable, approved and plentiful. Ten years…
Three short years ago, we first spoke with Vanessa Tanner, campaigning in the Devizes Town Council by-election for Devizes East. In those few minutes, I…
Wiltshire Council will discuss granting itself permission to fly the Pride Progress flag outside County Hall and other Wiltshire Council offices during Pride Month. The…
Sixteen year-old entrepreneur, Katie West from Devizes, set up her own gardening business, FreshEdge Teen Landscaping a few months ago, but received a ban from…
The Rondo Theatre in Bath will be bursting with high-energy chaos this June as The Rondo Theatre Company presents Bullshot Crummond, a gloriously silly parody…
It’s Wednesday night, it’s Song of Week time….and here’s your host…. yeah, sorry, it’s just me, couldn’t afford Stephen Mulhern.
Haven’t heard from them for a while, but they’re far from collecting dust in a loft like a retro game console. Swindon-based Atari Pilot return this week with a new single, Train of Life.
If choo-choos are a common metaphor in blues and reggae, moreso to describe the chugging beat, we’re on another platform from Sister Rosetta Tharpe, or Keith and Tex. Sonic indie rockers Atari Pilot have their joysticks calibrated to this philosophical theme, life’s long train comin’, and it sure is a grower. Especially, I’d fathom, if you’re new to this band’s unique style, I ask you take at least a few listens before passing judgement.
But with lyrics like “rolling on til the track runs out, is it the journey or the destinationyou dream about?” there’s thoughtful prose admist those sonic riffs, and it affirms Atari Pilot firmly on the right track.
It’s up on Bandcamp as a name your price. Linktree HERE, go give them a like on the book of Face too, while you’re standing on the platform waiting for the strikes to end!
Irregularly I share a music video to our Facebook page with the status “song of the day,” or week, or whenever, as if it’s a daily occurrence. When the reality is it’s a big, fat fib on my part, it’s only when I happen to find such a video and can be arsed to share it. What-cha gonna do, sue me?
So, just in case your lawyer says you have a case, I thought I’d streamline this sporadic idea for 2021, make it an actual feature on the site rather than a Facebook post, and show off that I know what long words like “sporadic” mean.
Little more gone into it than this, you should be used to it by now. I’m not going to review them, just embed them here for your own appraisal and entertainment purposes. Potentially, it’ll be a groundbreakingily breif post, a simple but effective phenomenon, and something I can do without missing the Simpsons.
The challenge is consistency; whether I actually stick to the idea or, like others, it’ll be a flash in the pan. Who knows, this could be the start of something beautiful, this could be the thing they’re talking about in decades to come. A holographic Ken Bruce could be asking “what was the very first Devizine Song of the Day” in a Pop Master 200 years from now.
And you can answer it with who I bestow this honour, Atari Pilot. They’ll be revelling in the triumph of the hour if it wasn’t lockdown, I bet.
History in the making then, the only issue I foresee is I over-waffle any old crap, which is, incidentally, not what’s happening now and rarely does here; I had to explain myself, didn’t I?
Okay, I get message; here it is then, enjoy the tune, enjoy the rest of your evening. Good job, carry on.
Though now based out of Bristol, at university studying Music and sharing digs together, NRWO (as they are colloquially known) began life in Devizes School not so very long ago. An early gig in the Corn Exchange in July 2023 saw me, Gail of Devizes, Jemma of FTO and a few mums and dads watch them thrash out a full set, to a large crowd of mid-teens, predominantly female … I was aware I was conspicuously the only adult male in the audience aside from parents and must have looked the biggest perv going so I stood next to Jemma for some credibility!
Fast forward a few years and here I was again watching NRWO but this time at Cursus Festival, at Cranbourne Chase Cider, in the early afternoon as the temperatures reached over 30 degrees Celsius in the shade. The lads still looked young, but now sported some noticeable stubble as befits their advancing years. There were far fewer teenage girls present, and a lot more middle-aged men; I felt less conspicuous as a result which was just as well because Jemma was elsewhere with the FTO in Cheltenham!! However, so much for feeling inconspicuous… the band’s merch merchants – the bassist Sam Briggs’ mum and dad! – identified me on sight. My reputation clearly precedes me… the power of being a Devizine journalist!
Way back then in that Corn Exchange gig the lads were raw, nascent, even naïve in their music. What it maybe lacked in roundedness it more than made up for with huge energy and BIG chords. Here the music has become more mature though still full of energy and noise (that’s a good thing!). Less angst, more controlled youthful arrogance and verve.
The band displayed plenty of indie/rock/punk tropes – leering, leaning, feet on fold back speakers from Elijah, broodingly aloof lead from Fin, insouciance from bassist Sam and shirtless, beanied drumming from Lui – all to add to the excellent delivery of their set.
were provided along with non-online tracks TGE Soulgiver Starlift The Flowers Horlix Red
Some of which are on the band’s latest limited release EP – there were at last count seven left in Sound Knowledge (Marlborough) and there’s a reorder of a hundred to come for those that missed out first time around so get your hands on a copy soon! Available then from their merch link on their website.
Of course you could do far worse than catch that band as they close out the 2026 Devizes Arts Festival, at the Corn Exchange, Devizes – tickets a bargain at £12 (£10 concessions) on Saturday 13th June at 8p.m. They lads return to their roots to showcase their advances to a home crowd and while their original fan base, like themselves, are now peripatetic it provides a fantastic chance for those to return for the band, and for late comers to NRWO to pick up on this home-grown band doing good.
Wiltshire Music Centre is launching the Make Music This Summer programme, a vibrant 19-day programme of musical activities for children, young people and families…..
Designed for ages 0–21 and their parents and carers, it offers a wide range of inspiring, accessible and high-quality experiences throughout the summer holidays. From rock bands and musicals to music production and LEGO stop-frame music videos, Make Music This Summer brings together creative opportunities for all interests and ages, From the 25th July to the 30th August 2026.
Delivered in partnership with local practitioners from across Wiltshire, the programme offers young people a chance to explore music, creativity and performance in a welcoming and supportive environment. The programme includes three strands: workshops, concerts and screenings, giving families flexible ways to take part during the holidays.
Hands-on workshops invite participants to try new skills, build confidence and collaborate with others, whether forming a band, taking part in a musical or producing their own tracks.
Family-friendly concerts provide an accessible and relaxed introduction to live music, while screenings of popular musicals are paired with interactive singalong sessions led by choir leader Fliss Courage.
“Make Music This Summer is all about opening the doors to music-making and live performance for children, young people and families”, says Cassie Tait, Head of Creative Learning and Community Engagement. “By offering a mix of workshops, concerts and screenings, we hope to inspire creativity, build confidence and create memorable first experiences of music at Wiltshire Music Centre.”
With activities running across 19 days, Make Music This Summer invites families across Wiltshire and beyond to discover, create and enjoy music together. Early booking is recommended.
A busy late spring weekend across the county, with major events from Bradford-on-Avon to Swindon, but I’m bringing quality acts I find elsewhere on my adventures into my village. Rowdefest was, again, a great success, if I do say so myself…..
Being close to Devizes, where the Arts Festival kicked off this weekend too, Rowde might not gain the traction of events in villages further away from a town, such as The Urchfont Scarecrow Festival. I believe this makes the case for a village fete even greater.
In part we’ve modernised a fete with music, but with community spirit in mind, we retain traditional elements of village fete within Rowdefest. And the fruits of our committee and volunteers’ labour paid off; this year proved it wasn’t beginners’ luck, it’s become a beloved and tremendous annual occasion.
As social media posts gather many aim at my already overinflated ego, claiming I’m the responsible adult of this baby. I confess I played a part, from organising the music to poster design, and, 6:45am found me partially resembling Wurzel Gummidge, as I lugged fifteen hay-bales from the gate to the middle of the field. Thanks for coming, if you did, but you must’ve looked around?!
From our youngest volunteer stringing up bunting to our eldest guiding traffic in and coordinating stalls. From the Parish Council helping erect the tent, and Simon, our sound engineer, going above and beyond his job, to our wonderful committee sorting red tape, legalities and other boring musts, like every event, Rowdefest takes colossal amounts of hard work from many volunteers, and the ones undertaking the most unseen tasks usually don’t receive the credit they deserve. I just attend the odd meeting to ease their biscuit quota.
Yet, aside from my biscuit munching, it was all these elements from so many which made the day. For the first year we had a sheep shearing show, alongside rides and stalls children were catered for, and at St Matthews we had tea and cake for our eldest attendees. With a raffle, tombola, and teenagers raising funds for Camp International adventures, The Mind Tree Cafe ran an affordable bar, along with Woodland Pizza and Boigers dishing out the tucker. What we find now is an annually returning audience, who’ve felt safe in the knowledge this will be a memorable day for everyone in the family.
Last year I crammed music acts in, appreciative of the many offers to play Rowdefest. This time I reduced the slight changeover chaos it caused with lesser acts. On reflection, with gaps to fill, I think, if budget allows, we should push for three acts next year. But once our wonderful Devizes Jubilee Morris Dancers had done their thing, back by popular demand, and our councillor and chair of Wiltshire Council Laura Mayes kindly opened our event in glorious sunshine, Ruby Darbyshire walked out playing her bagpipes, and I was comforted by the notion, while lesser in quantity, the quality was assured.
If there’s any similarity between Ruby and our headline band, Barrelhouse, it’s that no matter how many times I see them perform, (which I have,) I remain in awe of them. Ruby held another crowd spellbound here in Rowde, MP Brian Matthew was among many who came to me to acknowledge his amazement at how talented this young singer-songwriter is, and after an absolutely sublime two-hour show, Ruby left to do it all again in Bradford. Just wow, Ruby, you were truly perfection.
If the landscape of MantonFest abruptly populating when Barrelhouse appears has become a tradition in Marlborough, the institution’s baby sister festival Park Farm and heady nights at our Southgate are securing a similar pattern in Devizes. And this makes sense to me, for Barrelhouse are all about the blues, Devizes loves the blues, but aside those aficionados, Barrelhouse deliver blues with lively universal appeal. And that was my pitch to the committee, way back in the winter months.
Understandable was their initial concern, blues is perceived as melancholic, and they wanted lively. Grateful I therefore remain, that they took my word for it, and the proof was in the pudding, as the wide demographic ignored the temperature and got up and danced in much the same fashion as is the Mantonfest “tradition,” to Barrelhouse’s infectious sound.
A grand finale by an excellent local band, firing on all cylinders, and mirroring last year’s epic hoedown by Burn the Midnight Oil. I appreciate feedback on the chances of bands returning, Talk in Code was one, but I assure you, I’ve more tricks up my sleeve too! What 2027 will bring is undecided, but, with support from the community through the rocky road of maintaining a free event like this, this year’s fantastic and trouble-free event was so pleasant and positive, I hope Rowdefest will remain as it is, and I will continue to place my efforts into making it so, just like our wonderful committee.
Tickets are now on sale for Frome Festival’s silver anniversary year, taking place between the 3rd – 12th July, 2026. Three hundred events are scheduled in 58 venues in and around Frome during the 10-day community arts festival…..
Frome Festival’s programme offers music to suit all tastes – from classical, folk, pop, jazz and world music to hard rock, punk and techno. In a special programme, Frome-based Irish folk singer Cara Dillon will perform songs from across her acclaimed catalogue alongside Sam Lakeman, while also reflecting on the town they call home.
The Bob Morris Lecture is delivered this year by Sir Tony Robinson discussing his life and love of history. Other history talks during the festival include Three Remarkable Women by David Heath, The Bayeux Tapestry organised by Frome Society for Local Studies, and Emily Hauser reassesses the often-mythologised women of Ancient Greece in Mythica. Closer to home, Rosie Eliot will deliver Frome Festival President and Founder Martin Bax’s talk on Celebrating Frome Festival’s Origins with some enjoyable stories and memories to mark its 25th year. This is one of numerous free events, with booking advised.
There is a strong line-up of literary events, led predominantly by Frome Writers’ Collective who have relaunched Words at Frome Festival. Highlights include prizewinning novelist and biographer Nicholas Shakespeare discussing Spies & Lies at the Merlin Theatre. Another favourite literary event, The Crysse Morrison Prize for Poetry, will see winning poems presented alongside an open mic. Submissions for the poetry competition are open until the 14th June.
A special anniversary gala launch performance of the acclaimed musical King of Fools will open the festival at the Merlin on Thursday 2nd July. Written by former Frome Festival Director Martin Dimery, the production forms part of a wider fundraising initiative in support of the festival for its 25th anniversary.
Other highly anticipated plays featured in the festival are Frome Drama Club’s adaptation of Jean Genet’s The Maids and Really Truly Theatre’s Your Move. Dance lovers can enjoy a flamenco performance by celebrated dancer Maria Vega at the Merlin Theatre with Xuefei Yang on Spanish guitar. This is preceded by a flamenco workshop as a separate event.
Frome Festival offers an eclectic mix of hands-on workshops, from several literary and singing opportunities to Silver Jewellery Making, Carve a Green Man in stone, Softcover Bookbinding, Introduction to Bell Ringing, a Perfume Masterclass, Mongolian Overtone Voicing, Morris Dancing, Flamenco, West African and Afro Salsa dance workshops, Medieval Tile Making, a Tibetan Workshop with the Tashi Lhunpo Monks, a Mindful Photography Walk, Singing Bowl Workshops, and a Family Pond Dip for younger children. John Hegley is also running a creative workshop for “anyone who has been seven years old!”
The comedy headliners are Taskmaster favourite Phil Ellis presenting Bath Mat, and Nigel Planer, best known as Neil the hippie from The Young Ones. Timmy Mallett will also be sharing his love of cycling, painting and the landscapes of Britain and Ireland in his own inimitable way.
Art exhibitions have long been a cornerstone of the Frome Festival, with the Frome Open Art Trail showcasing the work of artists and makers in studios and shared venues throughout the town. Independently, the Pedestal Gallery will present ceramics by comedian Johnny Vegas alongside works by Peter Hayes and Emma Rodgers, following the show’s return from the Venice Biennale.
The Food Feast, another favourite free event, will be taking place on Saturday 4th July from 5pm. Visitors can expect great live music and entertainment alongside delicious international food, with many traders offering a low-price tasting menu for the first time this year.
Frome’s Hidden Gardens from Friday 10th to Sunday 12th July is also trying something new by extending the Friday opening hours to 7.30pm in the evening. Guests can discover beautiful spaces when the air is cooler before Frome Festival’s evening events.
With the sought after Frome Tunnels Tours on 7th July and various free events, walks, talks, quizzes, a Cacao Ceremony and Sound Bath, the return of the sensonic crew’s dance music night with cutting edge visuals under the name Synaesthesia, and a children’s Wildlife Parade heading through the town centre on Sunday 12th, audiences of all interests are catered for.
Frome Festival Director Adam Laughton shared, “As Frome Festival celebrates its 25th birthday this year, we’re delighted to see Frome’s remarkable arts scene reflected in events of all shapes and sizes. With 300 events, including 160 that are free and up to £5 per ticket, in 58 venues across the 10-day programme, there really is something for everyone.”
BROCHURES detailing all events are available to pick up from the Cheese & Grain, local libraries, information points and many other locations across Frome and the surrounding area. An online version of the brochure is available here. Publicity photos can be found here.
Juke box musicals tend to be little more than a string of hits, loosely linked together by a fairly weak storyline, and it must be said “We Will Rock You” breaks no moulds in this regard. However, Queen’s wonderful music provides a joyous couple of hours wrapped around a tale of a dystopian future where real music has been replaced by a totalitarian approach to manufactured music allied to an oppressive state a.k.a. Globalsoft, where a bunch of outcasts and renegades run a guerrilla style existence hunted by the security forces on a renamed earth – now iPlanet. A sort of melange of Ray Bradbury’s “Fahrenheit 451” meets “2112” by Rush in a “Robin Hood’s Merry men” saga with Star Wars’ vibes topped with a King Arthur reference, all vaguely linked by Freddie and friends. It must also be mentioned, and applauded, that the references and jokes have been kept contemporary since its initial scripting twenty-five years ago.
It’s a challenging show to undertake – firstly the iconic status of the music, and the unique styles of Mercury’s voice wrapped up in what is really a tribute act turned into a stage show. Secondly Ben Elton’s acerbic wit as the jokes, knob gags, and satire come thick and fast. And not to omit, in this glorious heatwave we are enjoying at the moment, thirdly the cast, band and crew sweltering away during the show! But Trowbridge Musical Theatre (TMT) with their typically large cast of almost forty members deliver the show at St. Augustine’s this week with style, energy and smiles galore, directed by Petra Schofield and produced by Maria Matthews.
The set (“Bright”) is simple but effective providing multiple height levels and stage depth; sound and lighting (Harry Sandford, Chris Sealy & Harry Weissenbruch, and Ryo Rosemann) provided top effects and follow spot, and the standard excellence of the back stage management and crew (Chris Isaacson, Nicky Runyeard-Hunt, Cameron Runyeard-Hunt, Bernice Hudson, Stewart Langford) kept everything smoothly ticking along; the sign of a good back stage crew is that you never know they are there – plaudits to them. Costumes, hair and make-up are an “unseen” team, although their input is critical to a show’s success and Karen Grant, Sandra Tucker, Lucy Adeney and Lyn Taylor deserve kudos in this area.
As a jukebox musical of course the band are an all-important and integral part of the show, so step forward Musical Director (Helen Heaton), keyboards (Helen Heaton and Sian Noctor), guitars (David May and Ben Jones), bass (Owen Heaton), drums (Alex Kemp) and percussion (Helen Altoft) who delivered the Queen “sound” – how marvellous to have a guitarist named May in the band too! All too often a band’s volume can overpower the voices especially as in this case when the band is between the stage and audience, but levels were delightfully placed to support but not drown out the singing… though during the big instrumentals, the lead guitar and drums could have been louder to just give that OOOMPH we have all come to love from Brian May and Roger Taylor 😊… But then again that may (ba doom tish!) just be me who likes his music LOUD!!!
No musical theatre show is ever complete without a wonderful ensemble and as ever with TMT shows, these ensembles were a highlight with tight choreography and slick background singing and stage presence. Its not realistic to mention the nigh on thirty ensemble members all individually, and its possibly unfair to just single one of them out, but I do have to say Yvonne Paulley shone throughout with her happy, smiling face, clearly enjoying herself to the maximum (and that is no slight on all the others either of course!). Regarding the choreography, Dani Fuke has clearly worked tirelessly with the entire cast, and especially the ensemble, to create such seamless excellence – bravo BRAVO!
Andrew Curtis plays the role of “Buddy” which for story purposes acts as a sort Greek chorus, providing the context and background to various key plot information. “Buddy” because his character is named after Buddy Holly though Andrew skilfully provides at times a Ben Elton lookalike as well as Buddy Holly during the show to provide an homage to the scriptwriter 😊
Ryan Chown as Brit (Britney Spears) and the ever excellent Daisy Woodruffe as Oz (Ozzie Osbourne) combine with Buddy to set the scene and bring the early plot along as a loving couple intent on fulfilling their innate desires to rebel against Globalsoft, and Chris Howlett provides one half of the oppressive Globalsoft dictatorship as Khashoggi, the head of secret police with distinct Gestapo overtones.
The other half of the evil empire, the supreme leader of iPlanet, Killer Queen, is superbly played by Keeley Guyan in her TMT debut. Her strong vocals and stage presence shine through and she totally makes her solos her own.
That just leaves us with Carisma Dolphin as Scaramouche and Noah Heard as Galileo; both are excellent in their characterisation and delivery, Carisma especially as her portrayal of the uber sassy, girl power confidence imbued heroine of this piece. Their on-stage chemistry as a couple grows throughout the show in line with their characters’ relationship, quite wonderfully done, and their duets were simply perfect. Now – it’s a tough call for anyone to take on songs by Freddie Mercury, and not even George Michael could fill those huge boots, but both Noah and Carisma had clearly worked hard to emulate some of Mercury’s intonations and delivery. Chapeau!
I began with a comment about jukebox musicals being just great songs and a weak storyline, but it is only fair to add that amongst this daft storyline, there are some real connections to historical and contemporary issues… dictatorships, rebellions, oppression, the struggles of minorities, bread-and-circuses state control and so on; maybe unsurprising given Ben Elton’s past as an irony heavy stand-up comic and satirical author. So, while this is a light hearted show nonetheless it does deal with some genuinely terrible concepts beneath its surface and it is worth a moment of reflection.
“We Will Rock You” is performed by Trowbridge Musical Theatre at St. Augustine’s Catholic College, Trowbridge from May 27th until 30th, at 7.30pm with a Saturday matinee at 2.30pm.
May seemed so far away back in Feb when we ran a preview of two plays which will see a Devizes acting company debut at the Edinburgh Fringe. Beforehand, they’re staged at their base, the Wharf Theatre. I’ve had a sneaky peak already, you can too….
Acting coach Lou Cox, director of The Wharf Acting Company, wrote and devised both shows. Whose Play is it Anyway is showing at the Wharf Theatre on Friday 29th and Saturday 30th May, before heading north, but the second, Having a Baby and the Sh!t They Don’t Tell You in Books is only on Saturday.
Firstly, and undoubtedly the easier to summarise is the interactive comedy Whose Play is it Anyway? Name-spin upon improv show Who’s Line is it Anyway, but more a general parody of low-budget TV quiz shows of the seventies, thirteen actors of the group perform eighteen scenes from various plays and it’s up to audience to call out which decade, genre or play it is, according to the question set by the grandstanding host, Barry Ruffles.
With no fourth wall Ruffles, played with diligence by Gavin Rand, tempts the audience to be the quiz show crowd with offers of carrot-on-a-stick prizes. But the utmost comic element is his impertinent relationship with his superficially glitzy assistant, Jenny Flannel, played with such absolute perfection and improv timing by Danielle Cosh, you’d think you regretfully picked her up in a Wetherspoons in Romford.
A unique angle, yet the greatness of this show is in the contradiction between the sombreness of the scenes against the comical game show concept, and in turn, the scenes make for an interesting display of the diversity of theatre throughout the ages. For the theatrophile it might act as a boastful test to their knowledge, but for someone less culturally aware it has the potential to be a fun clipshow sampler. Being the latter, there were several encapsulating scenes which made me think, you know what, I’d like to see that play in full?
It’s originally quirky, bottom line, ideal for the Edinburgh Fringe but also with a degree of universal appeal. What was most fascinating, and also a testament to the skills of the actors, similarly to its namesake Whose Line, there’s a genuine improv component in the order the scenes are played out. Governed by a deliberately tawdry bingo ball machine, the order is genuinely random, even if you’d be forgiven for assuming it was fabricated. “It keeps us on our toes,” one actor, Matt Dauncey jested, “and makes the show different each time.”
The others, as follows, Laura Deacon, Dion Smith, Karen Payne, Brigid Maude, Laura Bartle, Rhiannon Fitzgerald, Isla North, Jamie Whatley, Jenni Prescott and Lisa Smith all need to be highly commended too, for the immense amount of preparation undertaken to develop this, and their readiness to randomly jump into any of the various characters and styles of play. The team also fondly remembered member Andy Bendell, who recently passed away. This was fun and intriguingly original in equal measure, and (in joke) more a waste of Haribo than a waste of your time!
Only similar for contrasting comedy against tragedy, Having a Baby and the Sh!t They Don’t Tell You in BooksI was treated to next. Lou has performed this one-woman show before at The Wharf and elsewhere; Helen Robertson reviewed it for us, causing me to want to see it myself.
Committed to taking a “manly” perspective to one with their knickers at their ankles chatting about their vagina, which is usually blushing and smirking like Finbar Saunders, I found equal heartfelt emotion and gulp in this unbridled masterwork.
I’m reminded of a podcast interview with Adrian Edmondson, hardly recognising his voice, a voice I should know only too well. He was crying over thoughts of the passing of his comedy partner Rik Mayall, and I reasoned, because I’d never heard Adrian cry, only ever laugh. What happens to the funny person when the funny runs out?
I marvel at writers like John Sullivan, with his knack of creating loveable character relationships, like Del-boy and Rodney, who can switch the comedy narrative to the most sombre and touching moments. But if this takes genius, it’s a whole other ballgame to take a monologue twisting comedy from tragedy to the stage, when it comes from the heart of personal experience. What begins as part stand up routine, part PowerPoint presentation, ends with the most unfeigned emotional piece of theatre you’re likely to witness.
Lou runs off a frank and quite brilliant stand-up routine akin to a most alternative, brutally honest and graphic guide to pregnancy, and while keen to state each case is different from any other and many women like to talk about their experiences, she describes the stark revelations of mental and physical changes due to her own maternity, with comical precision. This self-observational comedy would be plentiful for a trip to Live at the Apollo, and whilst this is impossible to summarise without spoilers, the conclusion to her story is not bathed in the glory of childbirth, nor amusing anecdotes of post-natal activities.
Until this point, you ride it with Lou, especially parents with a story to tell themselves. But, due to lack of oxygen during a traumatic birth, Lou’s daughter Hattie was left severely brain damaged, and only managed five days. Lou reflects on her tragedy honourably but with understandable criticisms to faults made and how they were dealt with, abruptly halting the jokes, and twisting the direction to finalise with a tearful poignant message so powerful you’re at loss for a suitable expression to account for such grief.
I asked Lou if this was her way of dealing with it. “For my show it’s certainly cathartic,” she replied, “but more importantly I’ve been able to raise so much money previously under Hattie’s name. Also having had to be silent during the legal case I feel I can finally tell my story in the hope that I can raise awareness and promote change in maternity services.”
You can donate to Hattie’s Fund here, but sympathy, try as you might, the show is a glimmering reality horror not calling for it. Only commanding you to walk in those shoes for a moment, causing it to be breathtakingly brilliant, but hard to review, words will fail you, dammit. Easier to present to it a deserved award; it’s something you have to see for yourself.
Which you can do, HERE, before they see it in Edinburgh. Of which we wish them all the best for, and being clips of multiple plays, suggest they break more than one leg!
With duty calling in the wee hours of each Saturday, it’s got to be something special to drag me off the sofa on a Friday evening, and whilst I’d rather not provide only half a gig review, this has to be said. Phil Cooper invited some friends along to The Fold in Devizes yesterday, a Canadian friend, multi-instrumentalist singer-songwriter, arranger and producer called LG Breton, who would accompany Phil’s headline set, and two supporting acts, Jamie R Hawkins and Tamsin Quin…..
Something of a reunion and homing for the original trio of The Lost Trades. This backroom of The Lamb served as the foundation of Kieran Moore’s Sheer Music, where, by the end of the last decade it hosted ninety percent of their gigs. Both Tamsin and Jamie cut their teeth here, and Josh Oldfield’s project to receive the venue saw them both return to their roots, to play some new and some old songs, and tell a tale or two about it.
Jamie began. A remaining member of the Lost Trades, he suggested playing solo was rare for him these days, yet a wonderful outpouring of his sentimental muses exhausted from The Fold, like it had never faded. If acoustically singing self-penned songs is like riding a bike I wouldn’t know, but it certainly felt this way when Jamie did his thing, as sublimely as he ever did.
If the narrative of his stage patter was reminiscent, with backstory, it reflected the reunification ambience, and there was always time for a reset, as the banter between all three of them developed over years of working together. In such, Jamie would play bass for following Tamsin, and Phil jumped in on cajón for her finale; just magical!
Though doubtlessly assured Phil would naturally see this through to a masterful conclusion, I’m sorry I couldn’t stay; beauty sleep a stipulation prior to another symphony, the dawn chorus. Don’t get me wrong, I love the dawn chorus entertaining me whilst I work, and it was a particularly spectacular one this morning. But hey, it’s got a bit of a ‘Heart FM’ about it, in so much as those birds repeat the same songs every morning! Tamsin Quin and Jamie R Hawkins (solo) on the other hand, I’ve not heard for what seems like an age, they had some new songs to sing, and the evening was of equal magnificence.
Being separately these three were the backbone of subjects when Devizine started out nearly ten years ago, coupled with the notion it’d been a while, I couldn’t miss them, could I? Phil’s was the first album I reviewed, Tamsin fundraising for her debut album was the very first article, and Jamie bleeped on my radar shortly afterwards. And now, since Tamsin left the Lost Trades, and took a break from music, it was perhaps her in particular I was so enthralled to see again, performing like two years hadn’t passed us by.
There were a few songs I knew, Tamsin’s 2019 single Scandal, and Jamie’s delightful solo rendition of Petrichor, the title track of the Trades’ second album though rarely played, but mostly, and more valuable was their new songs, which followed suit with their individual styles; Jamie with those sentimental looping narratives, and Tamsin with her barefoot timekeeping, hippy-chick odes to life and love.
The crowd was comfortably communal; better numbers than past trips to the Fold. I do hope it gains some traction, another good reason to attend was to check that progress, because we really need an honest grassroots venue supporting original live music in Devizes. Phil, Jamie and Tamsin in one shout, a trip down memory lane, a must and so wonderfully executed; I love ‘em, I love ‘em, I love ‘em. As for the dawn chorus though, yeah, those birds also perked me up about not staying until the end. Those bottles won’t deliver themselves you know!
There’s the story of one newfound fan who, after her performance, asked Ruby how many copies of her CDs she had, bought the lot and distributed them freely throughout the audience! Ruby Darbyshire has that effect, seemingly wherever she goes……
I’m thrilled Ruby is playing RowdeFest on 30th May. On 21st June she supports Chantel McGregor at Long Street Blues Club, a music appreciation society where attendees gaze upon acts in respectful silence. But, I’ve witnessed Ruby captivate regulars of the noisiest pubs into muted awe!
At Devizes’ Three Crowns, number one pub for cover bands knocking decibels across a raucous crowd, Ruby crouches, packing away her bagpipes after a sublime Sunday set of mellowed and breezy originals and covers, professionally smiling, greeting either familiar faces or new fans desperate to express their delight and gratitude.
However long it takes for the crowd to wane, I’m determined to catch up with Ruby. Whilst I’ve known her gregariousness for a couple of years, she also maintains an enigmatic charm, rarely talking backstory, life and what inspires her. I wanted to discover Ruby’s motivations, solve riddles behind how she’s so mind-bogglingly talented at just nineteen. Oh, and if we’ve been heaven sent, or how it comes to be we have this remarkable singer-songwriter on our local circuit.
Icebreaker first. Ruby has two EPs, and a few separate songs, like Caller Unknown, a soulful debut single co-composed with Justin Haywood, and with help from Tim Burgess of the Charlatans. Produced by Freddie Cowan of The Vaccines, it was played on BBC6. But her forthcoming is called God is Offline, which Ruby recently posted a demo of….online!
I asked Ruby if she had a release date. “No date yet,” she replied, “but we’ve planned for the end of the summer.”
“It was inspired by our recent trip to Egypt,” Ruby explained, “where we narrowly escaped Dubai’s missile attack by a few hours. When we got to our apartment, we could see down on the street. There were loads of prayer mats, because the mosque was so filled people had to spill out onto the road. And so that inspired it.”
It’s deeper meaning, I presumed, was not to seek faith online, but to look either spiritually or in the real world. Ruby elucidated, “more just the fact that everyone is the same, whether they believe in a different God or they are from a different part of the world, they’re all the same. We’re all just trying to live our lives. To say, why are we bombing each other, then bowing to God? It’s just saying that God isn’t looking down on us, and he’s not actually looking after us. Or that you cannot connect with him.”
There’s characters in her narratives lost or searching for a light, others dubious of their own answers or consequences. But, if there’s a sparkle in Ruby’s eyes, they are not naïve stars. Rather they’re symbolic of precociousness, one who modestly acknowledges, and is confidently content with, their calling.
Ruby is well-travelled. Across the UK, into Egypt and over in India, she is adjoined to her music, therefore it’s not just us who loves her performances, it’s infectious wherever they trek. To discover why is surely to delve deeper into Ruby’s background and roots.
“My mum’s Filipino,” Ruby said, “My dad’s English, but lived in Scotland for a long time and I was born in Scotland.” If you’ve seen Ruby busking with bagpipes, or at a Burns Night, the latter part might’ve been obvious, but how and why has she settled on the Kennet & Avon?
“I was homeschooled. So we moved down to Cambridge, which was said to be the best place to be homeschooled,” Ruby continued. “And then, during COVID, we needed a change. So we moved, because we had some friends here, we moved over with the boats from one side of the country to the other side. It took us about a year to move the boats.”
I know the reality differs, but I supposed life on the canal can behold a certain perception of idyllic tranquillity, so I asked Ruby if she felt that has an influence on her songwriting. “Someone said to me that I have a lot of songs which are connected to the sea and water, which I would say yes, I’ve got a few of them,” she reacted. “I don’t know. I guess it does. Everything influences songwriting, whether you live in a city or in the countryside. And I guess it does show up in my songwriting.”
A common question which somewhat stumbled Ruby, was particular artists she would cite as influences, because as she explained, “I get a lot of influence from different places. I think, lyrically, Mumford and Sons, made me fall in love with music, and their lyrics are beautiful. Artists I like, Nina Simone for her vocals…. and you’ve put me on the spot!” This though proves her natural professionalism, an understanding that most musicians could write an extensive essay on their influences, but the objective here is to be brief.
On cover choices for a live set though, Ruby mused, “I hear a good song and think about what I can do with it rather than, oh, let’s play it exactly like them. I try and put my own slant on it.”
But, we really should focus on songwriting. Does Ruby have a template or system for writing, or do they more simply sporadically or randomly evolve? “It’s really difficult, songwriting,” she confessed, but explained she “was inspired by the title, God Is Offline. Crowned Lightbringer, I was inspired by a riff. Insomnia, I was inspired by a metaphor I found online. It just comes, like there’s loads of ways of writing and I guess it just depends on each song, because each song is unique and individual.”
While her fanbase is perpetually expanding with each gig, I asked Ruby if she preferred to play to a majority aware of her, or to new audiences, particularly in a foreign country.
“I think it’s nice to know that I have support,” she expressed, but the preference did not allow geographical boundaries. “For example,” Ruby expanded, “there were so many people that knew me from other gigs here, and they’ve come back, which reflects on the quality. It shows me that I’m appreciated. We did some house parties in Egypt where all of our friends came and people that had come to loads of gigs, and they were the most supportive and most enjoyable parties or concerts that I’ve ever done, because it was all people who supported me.” Which returns us neatly to our opening line: Ruby Darbyshire has that effect, seemingly wherever she goes….
Future reflections seemed vaguer, for Ruby’s proficiency is folk, self-disciplined, not scholarly, and I always felt she was comfortable there. Dabbling experiments with breakbeats over her piping, perhaps to modernise its perception, I omitted, but possibilities of forming a band I did mention. “Was this like a year ago?” Ruby causally inquired, but pondered “it’s always a thought,” noting some particular gigs where, “it would be good to have some more musicians, to play and accompany me.”
The ‘what comes next’ section was dominated by her enrolment on an online music course. “I’ll do an undergrad starting September,” she told me, and furthered proposals to continue writing and “experiencing different music,” mostly through planned travelling back to Egypt “next winter, so, experience the Arabic music, beautiful stuff.”
My hopes for this broad-horizons, free spirited prodigy might be proficient backing and a renowned producer, and I often marvel at the possibilities when pondering this imagining. This led us onto talk about the music industry today. Ruby explained how the shift relied heavily now, not on schooled certification or headhunted raw talent, rather on an artist’s ability to self-promote and build an online presence. From monumental beginnings like The Edinburgh Fringe Festival to opening for us at The Wiltshire Music Awards, if Ruby’s journey would one day make as equally a fascinating biography as some musical legends, I envision a day people would be engrossed by it.
But while Ruby’s roots, travelling, and gigs and festivals, to song-writing on her narrowboat, are all narratives in the natural progression of her skills as a multi-instrumental musician, there’s one defining, and perhaps incredulous element to solving the riddle behind how she’s so mind-bogglingly talented, which is that Ruby has been playing music since she was three and a half, and busking by four. Dammit! That’s the kind of age I’d have considered acquiring the skillset to bite my own toenails an achievement!!
It’s 2006, and the charts are awash with what will become known as landfill indie. Somewhere in backwater Townsville UK, an already road worn veteran is making their furtive steps into a solo career that, unbeknown to them, will have a major and lasting impact on the UK music scene…..
Frank Turner is already famous for searing live performances that have put his band right in the front and centre of UK alternative music. Now he has to do it all again. Armed with only a guitar, many opinions and a reading list that would make your local library wince, he struck out, willing to perform anywhere that would have him.
Documented here is the genuine sound of a guy learning his craft. Nights like these are found across the UK every night of the week. Immortalized in lyrics that would appear later in his career, his “bedrooms, bars and bunker squats” work ethic took him to unknown towns, like Devizes.
Devizes had a rich history in live music when it was primarily known as a military / squaddie town. Live performances from Status Quo, Ginger Baker’s Airforce, Curved Air (twice), Yes (twice), Van der Graaf Generator, Thin Lizzy, Fleetwood Mac, King Crimson, Rory Gallagher, Mott the Hoople, all in 1971 alone. But it wasn’t until 2004 that its life was breathed back into its history, when Foals, LostAlone, Frank Turner, The Struts, The Computers, and more began performing here. Putting the town firmly back on the touring circuit.
This cassette documents, warts and all, the chaotic approach to small back room bar live shows. The rawness of the songs, the rowdiness of the audience. Included in the earnest set list are two covers. One from his peer Chris TT and a Sun Kil Moon cover too. Both showcase Frank’s knowledge and passion for underground music.
Frank recounts, “remembering details of one show out of more than 3000, two decades on, is a challenge. Those early days were a blur of cigarettes, trains, whisky, sleeping on floors, panic and drive. My craft has evolved slowly over the years, so flipping back to an early document of a show can be a shocking thing in some ways; so much has changed. But enough has stayed the same. Kieran helped me out with shows in the early days and remains a friend now. Somehow, shows like this led me to where I am now, and I wouldn’t change a thing.”
This release will only be available on cassette, direct from Sheer Music, or at 3 carefully selected independent record shops, Banquet Records in Kingston, Sound Knowledge in Marlborough and Mars Tapes in Manchester. The eight track cassette itself is a 2 tone olive and dusty pink affair, and clocks in at just over 30 minutes.
The artwork apes the style of 70s and 80s bootleg cassette releases. A down to earth, hand made/drawn approach, with an image that was lifted from a photograph of one of the Devizes gigs! The whole release is a charming, straight forward no frills release. The music does the talking, and we know it elevated an honest, hardworking musician to stadium heights. For more information, please visit the Sheer Music website, HERE.
After months of speculation, controversy, and local media bias, The Shindig Festival at Malmesbury’s Charton Park has been given the green light…..
Despite Newsquest flogging this dead horse, last week Wiltshire Police said they have no concerns about Bob Vylan playing at the music festival.
Regardless of the decision of the law, the South Cotswold Conservative Association felt it necessary to attempt to prevent freedom of expression with an application for the Wiltshire Council to review the license. Apparently, they fear a respected, passive, and family-friendly dance festival would descend into “ public disorder,” over one act; best guess, because they’ve never been to a dance festival. But then, who in their right mind would invite them?!
“We have been facing censorship,” a spokesperson for Shindig said today, but continued to inform their followers that following a formal hearing this morning, “Shindig Festival has been given the official green light. We stood our ground, our robust safety measures stand firm, and you can book your tickets with absolute confidence.”
“Bob Vylan will play on Sunday at 10pm. The sun will shine on the Shindig Festival this year.”
Common sense prevails once again. Shindig is a professional organiser with years of experience who takes matters of public safety as a paramount. Historically, musicians will call out political injustices, few ever caused disorders. Bob Vylan was not alone in speaking out at Glastonbury, despite taking the media brunt for it. Meanwhile, this weekend, the authorities did nothing to stop the London “Unite The Kingdom” demonstration from mocking Muslims by hiring French models to strip out of abayas.
Devizine offers our sincere congratulations, and we wish Shindig the very best of luck with this year’s festival and for future events.
A festival is never about one headline act. Dance festivals, in particular, are an experience of multiple performances and activities, and they always strive to continue the passive ethos of rave culture of yore. This is something that has unfortunately never been fully understood by a minority, and their attempts to contain them have caused more issues than the actual events. Let’s momentarily forget Bob Vylan to concentrate on Bob Dylan, who sang “don’t criticise what you can’t understand,” … .in 1964! Sixty-two years later, some spanners still haven’t grasped it.
This extensive belter of eighties-fashioned high-fidelity pop waits for no man, a sonic blast opens it, and the riff wouldn’t sound alien appearing in a John Hughes coming-of-age eighties movie. Visualise Jud, Molly, Emilio et all, dancing around a school library to this latest track from Swindon’s Atari Pilot.
After our glorious appraisal of their previous single Right Crew, Wrong Captain in July, they reckon I’m going to be fair on them again, but really, there’s nothing to dislike about Blank Pages. A review in which they quoted me suggesting, “this sound is fresh, kind of straddling a bridge between space-rock and danceable indie.” Here though, save the strong bassline, the space-rock element is lessened and retrospective synth-pop chimes in a racing beat, twisting this into a real grower on the ears.
Press release aptly cites “everything from Springsteen to Daft punk, Kathleen Edwards to Love,” as influences. As if Daft Punk would work with Springsteen, but if they did, I’d imagine something rather like this. And that alone, makes for an interesting sound, again akin to what Talk in Code are putting out locally, perhaps more so for this single. While we could hinge on an inglorious comeback from an eighties pop star and be thoroughly disappointed by their timeworn platitude and fame induced narcissistic attitude, nostalgia has never been so energetic and fresh when it’s channelled as an influence rather than comeback or tacky tribute act.
There’s a backstory about Atari Pilot, I may have mentioned before but worth reminding. After their debut album “Navigation of The World by Sound” in 2011, a long hiatus took in a serious cancer battle for Onze. But getting a second chance at life gave him the inspiration to get back to writing, and Atari Pilot reformed in 2018 with an acoustic set at the Swindon Shuffle. Reforming the band was actually planned from his hospital bed.
With this in mind, Onze describes the thinking behind this great song, “Blank Pages, like the other songs for the struggle, were inspired by being diagnosed with and recovering from cancer. The songs reflect the highs and lows of life and the struggles we are faced with and have to overcome to reach where we want to be.”
There’s a heartening theme of struggle in the face of change, “it’s also about trying to recognise that we can’t escape ourselves, and asks whether we can use our history and baggage to fire a brighter future,” Onze explains.
It’s a DIY production, recorded and mixed in Onze’s home studio by using Logic Pro X, but sounds stunningly professional. Atari Pilot are Onze (vox,) Paj (bass,) Frosty (guitar) and drummer Andy, and we look forward to hearing more from them. I even managed to review this one without mentioning retro-gaming:
Only gamers of a certain age will know of The Attic Bug. Hedonistic socialiser, Miner Willy had a party in his manor and wanted to retire for the evening. Just how a miner in the eighties could’ve afforded a manor remains a mystery; but that erroneous flaw was the tip of the iceberg. In this ground-breaking ZX Spectrum platform game, the Ribena Kid’s mum appeared to guard Willy’s bedroom, tapping her foot impatiently. Touch this mean rotund mama and she’d kill you, unless you’d tided every bit of leftovers from the bash. Turned out, months after the game’s release, one piece, in the Attic, was impossible to collect. Until this glitch became public knowledge, players were fuming as an intolerable bleeping version of “If I was a Rich Man,” perpetually looped them to insanity.
I swear, if I hear that tune, even some forty years on I cringe; the haunting memory of my perseverance with the impossible Jetset Willy. Music in videogames has come a long way, thank your chosen deity. Yet in this trend of retrospection I terror at musical artists influenced by these cringeworthy clunky, bleeping melodies of early Mario, or Sonic soundtracks; like techno never happened, what are they thinking of? It was with caution, then, when I pressed play on the new single from Swindon band “Atari Pilot.” I had heard of them, but not heard them. I was pleasantly surprised.
For starters, this is rock, rather than, taken from the band’s name, my preconceived suspicion I would be subject to a lo-fi electronica computer geek’s wet dream. While there is something undeniably retrospective gamer about the sonic synth blasts in Right Crew, Wrong Captain, it is done well, with taste and this track drives on a slight, space-rock tip. Though comparisons are tricky, Atari Pilot has a unique pop sound. No stranger to retrospection, with echoey vocals and a cover akin to an illustration from Captain Pugwash, still this sound is fresh, kind of straddling a bridge between space-rock and danceable indie. Oh, and it’s certainly loud and proud.
A grower, takes a few listens and I’m hooked. Their Facebook blurb claims to “change the rules of the game, take the face from the name, trade the soul for the fame…I’m an Atari Pilot.” After their debut album “Navigation of The World by Sound” in 2011, a long hiatus took in a serious cancer battle. But Atari Pilot returned in 2018 with an acoustic set at the Swindon Shuffle. The full band gathered once again the following year with live shows and a new set of “Songs for the Struggle.” This will be the title of their forthcoming follow-up album, “When we were Children” being the first single from it, and now this one, “Right Crew, Wrong Captain,” is available from the end of July.
Its theme is of isolation, “and defiance, after the ship has gone down,” frontman Onze informs me. There’s a haunting metaphor within the intelligent lyrics, “you nail yourself to the mast and you pray that everything lasts, you just want to know hope floats, when the water rises, coz it’s gonna rise, take a deep breath and count to ten, sink to the bottom and start again.”
There’s a bracing movement which dispels predefined ideas of indie and progresses towards something encompassing a general pop feel, of bands I’ve highlighted previously, Talk in Code and Daydream Runaways, Atari Pilot would not look out of place billed in a festival line-up with these acts, and would add that clever cross between space-rock with shards of the videogames of yore, yet, not enough to warrant my aforementioned fears of cringeworthy bleeps. Here’s hoping it’s “game over” for that genre. That said, thinking back, when you bought your Atari 2600, if you recall, oldie, you got the entire package of two joysticks and those circler controllers too, as standard; could you imagine that much hardware included with a modern console? Na, mate, one controller, you’ve got to buy others separately.
So, if decades to come we have a band called X-Box or PlayStation Pilot, I’d be dubious, but Atari gave us quality, a complete package; likewise, with Atari Pilot!
If you rarely venture into Swindon, July is the month in which to make the journey. Swindon Shuffle celebrates and backs local music, since 2007 hosting a weeklong town music festival at its hottest venues; namely The Victoria, The Beehive, The Hop, The Tuppenny and Baila Coffee & Vinyl. In association with Swindon Link and the West Berkshire Brewery, last year they presented forty-four bands over the weekend, all free, and supported mental health charity MIND.
I was forgiven in thinking this year would be virtual, saving some petrol money at least, but the organisers inform me this weekend’s Virtual Shuffle is only to breeze over this gloomy, Groundhog Day isolation period, and they cross their fingers for the real thing on the 16th-19th July; crossing my toes too!
So, yeah, but yeah, whoop-whoop, Swindon Shuffle will indeed fill this gap with plentiful live streams this Saturday 11th April, kicking off at 3:15pm. Streamed direct from their Facebook page, expect to catch all local acts; Jim Blair of Hip Route, the bearer of Devizine’s heart Miss Tamsin Quin, Mr Love & Justice himself, Steve Cox, jazz pianist, singer-songwriter Will Lawton, Harry Leigh, frontman of indie-pop outfit Stay Lunar, experimental Karda Estra project runner Richard Wileman, Onze from Atari Pilot, Joe Rose and Nash.
Mr Love & Justice, Steve Cox
Our favourite Swindonian music journalist, the one and only Dave Franklin, if there’s another he’s a phoney, is all over helping organise this sofa bash. He states “obviously there’s more important things going on in the world right now than worrying about a local music festival, but it is also at times like these that music, art, creativity in general, helps get us through or at least offers an oasis of calm where we can retreat to and forget the day-to-day worries for a bit.”
Karda Estra
For me personally, I’m continuing to toil with the worth of the live stream against a real gig, ponder it’s currently all we have, worry either punter or musician are forced onto the ropes when it comes to how they should be arranged and financed and have even encountered and engaged in heated debates as we scramble in the dark trying to make this work best for everyone. This said, if anyone can I’m reckoning the Shuffle team will make an amazing job of it. If there is an upside to it, it is that one can check these artists out for when the gig scene does take off, and boy, I’m predicting it’ll go off like an atomic blast, and it will encourage many to take the journey to festivals such as Swindon Shuffle, in this example.
Will Lawton
In the meantime, enjoy the streams and not let it miff us too much at missing the real thing. I tell myself the scene is dormant; it will erupt again. It should go without saying, but I’m going to spell it out; B, for BUY, U for Yourself (sort of,) Y for some local music, (okay, that didn’t work) Look, just support the artists and buy their music from their websites and Bandcamp sites!
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