Tag: interview

Gus White Burbage’s Smithy Art Forgery with Ann Liu Cannon and Esmé White

Words by Ollie MacKenzie.

Featured Image by Barbora Mrazkova. 

The creative process can be a winding, long, and often confusing journey. Seeing a project come to fruition from scrappy origin to a packaged, marketable, and well-rounded piece of work can feel daunting – or even impossible. It took Gus White six years of honing his production skills, amassing an arsenal of musical machinery, and developing a community of talented musicians to bring his album ‘For Now, Anyway’ into existence….

At its core, it’s a breakup album, which could feel strange to complete and release so far after the original ‘break’, but speaking to Gus it appears the space has allowed him to finish the album at a much more present and content time in his life. He’s settled into a different existence – he’s in a new relationship, he’s a dog owner, and has played a large role in building a thriving music scene across the venues, pubs, and houses of Wiltshire.

This brings us to the Smithy Art Forgery in Burbage, a kooky yet loveable cultural venue operating out of a 375-year-old house that currently operates as a jeweller. Located on the side of a quiet village road, it’s adorned with nondescript street parking, burgers served off a BBQ, and vegetable curry to order made in the owner’s kitchen. 

It’s these types of places that are few and far between according to Gus – a true grassroots venue for musicians, a haven from playing dusty forgotten corners of pubs where the landlord and patrons don’t even really want you there anyway. It was why it was there on the 14th of September that Gus hosted his album release party.

Taking place in the back garden of the venue, attendees were seated under a marquee packed with various sofas, stools, and garden furniture that faced onto an embankment where the stage was set. Copious instruments lay there waiting, tucked underneath an array of tarpaulin and teepees to shield them and the musicians from the bipolar weather conditions of the changing season.

The atmosphere was intimate – maybe fewer than 100 in attendance – but one that felt lively and far from empty. Friends of friends of friends made happy introductions and chats to one another, waiting for the music to start. Two support acts opened the day. First, a solo and entrancing guitar performance from Grace Elizabeth Harvey, followed by a sort of double act from Ann Liu Cannon and Esmé White, the two swapping between lead vocal spots all the while backed by a mandolin player – the first of many off-kilter instruments to litter the performances. 

Then it was Gus’s turn to play. The performance brought about the live, interactive feel of the album, with a high range of instruments on display — trombones, sublime guitar passages, the double bass, a kazoo solo, and even a set of pots and pans, just to name a few. The music felt sonically based in the past, a careful homage to folk and rock formats from americana, country and indie, exhibiting a range of influence from the 50s all the way to the 70s. Despite its seemingly traditional backdrop, the performance was unmistakably modern, with the lyrics carrying the music firmly into the present. Packed with new-age irony and technological references, Gus’s dry, irreverent humour was centre stage throughout the performance, both in the songs and in his preambles — though this didn’t disguise the sincerity of the music or the performer. Balanced amongst the tongue-in-cheek lyrics were very straight to the point personal accounts of his former relationship, that through their intense and biographical nature revealed a relatability that would be shrouded behind overt poeticism. Though typically robust and amusing, Gus’s songwriting shows a capability of reaching into the elegiac also. The solo encore of ‘Josephine’ makes the case for Gus’s well-roundedness as a song smith; a poetry laden tribute to his partner that drew much of its effect from its earnestness and folk-style imagery.

Gus closed the concert with a rendition of ‘Please Forgive Me’, a rousing finish that allowed each band member their moment to show off, before the crowd sung the concert to a finish. It felt an appropriate end, where Gus, the producer, allowed others to have their moment through his handiwork, sitting back and revelling in the fun of it all. For a set of songs about breaking up, Gus seemed married to the moment, an artist revealing himself at a perfect time to a welcoming group of friends and strangers alike.

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Chatting With Burn The Midnight Oil

It’s nice to hear when our features attract attention. Salisbury’s Radio Odstock  picked up on our interview with Devizes band Burn the Midnight Oil and they gained air time, but the interview was published short of year ago now, and the band have had significant changes to the lineup and their style. So, I the time is nigh to poke my bulbous nose in and interrupt their rehearsal again…..

Formerly a trio, bassist Chris Lane remains with Chrissy Chapman up front,  but guitarist Andy Jacobs sadly passed away this year. “Andy was an amazing musician and really helped carve out our initial sonic signature,” Chrissy told me. “We’ve always wanted to acknowledge his creative contributions, given that music ran through him like the letters in a stick of rock. However, for reasons I can’t discuss out of respect for everyone involved, the band collectively decided that it was no longer suitable for Andy to remain involved. We’ve made every attempt to show him grace since that decision but there was a negative backlash. Regardless, we were all very sad to hear he passed away shortly after, and our sympathies remain with his family and loved ones. We’re committed to remembering him in the best light.”

“There was definitely concern about doing the songs justice after we parted ways with Andy,” Chrissy continued. “Eventually, though, we made a conscious effort to develop a new sound that honoured the music while allowing John the creative freedom. The core of our sound now focuses on doing the  songs justice rather than trying to replicate what Andy originally brought to the table and embracing the natural evolution of our sound that draws from all of our influences.”

The Original Trio of Chrissy, Chris and Andy

John Lane joined as guitarist, but was making me a cuppa while I was chatting with  Ron Riordan, the new drummer. They’ve both been instrumental in forging a new direction for the band, literally! John said of Andy’s passing, “as part of getting through that phase the band has grown,” and Ron added it had “evolved.”

Turning to Chrissy I jested that when we did the original interview, she had suggested they didn’t need a drummer! “Well,” she explained, “we always needed a drummer, but we were able to perform at the time without a drummer because we were percussive enough. And it went down really well. A couple of venues, we did three gigs before we got Ron, a brilliant drummer!”

Ron stepped in immediately at a crossover period between Andy and John, a proficient drummer who told me he had played in a few ska bands in Swindon, “I started playing drums when I was about nine, in orchestras and learnt to read music, that type of thing.” I smiled; he looks like he can blast a Two-Tone riff. “That’s the thing though,” Chrissy said, “because straight away we had DOCA’s Winter of Festive Ales booked. So it was like, everybody had to jump on really, really quickly. And we wanted to use that as an opportunity to do the originals.”

It was on the strength of the demo I asked them to play RowdeFest, I hadn’t seen them performing before. But the committee was encouraging me to find a covers band. “We followed your advice about doing the covers,” Chrissy said, though it wasn’t really advise, rather a  way to get them booked! I’m so glad they did, they were dynamite and feedback was overwhelming. The kind of band you’d think had been on the circuit for years. “I felt that we were at the party at the end of the day!” John remarked, and they certainly was.

“What was nice about that is it the focus was about ‘let’s give people a show’ rather than it just being about  ‘let’s get our songs out’,” Chrissy explained. “Your influence was about getting a show to give to people, keeping people up on their feet, so and not allowing those breathers.”  I did encourage them to ensure they blasted some originals out too, though, which they did!

“We tried to dress it on different levels of the visual,” John stressed, “wearing the outfits, the recognition of known songs, and the come on, party time!”

“Yeah, it worked, didn’t it?” I replied, a template to liven up a pub gig, and Burn the Midnight Oil are certainly getting them. The Queen’s Tap in Swindon and Kings Arms in Amesbury their recent outings, but how do they feel about how far they’ve come?

“Given that the new face of us being coming up a four piece with Andy’s departure in January, to get that in the space of a year, well, less than a year,” Chrissy said, “as a new lineup, I think it’s quite incredible.”

It’s the added drums which changes it, I supposed, surely essential for a harder rock feel.

“It changes the scale of the presentation,” John added. “It’s now got drive and rhythm rather than being listening for the lyric. It’s actually motivated, it hooks into people’s natural sense of rhythm, and you can’t help it. First thing people take in is rhythm, then melody, last of all, lyrics. So if you hook the first bit, you don’t get the second one, then they come back for the lyrics. So we’re attacking it from the best angle.”

Here was were I felt a healthy division between John and Chrissy’s perspective, as she began to speak on where she drew inspiration from in the writing and a change in direction from  intrapersonal to interpersonal. She drew from personal relationships and her faith, implying her writing was key, but the difference was never confrontational and a good blend of opinion is surely necessary to compose the elements of a song professionally.  

“I had a tsunami of a creative spell, and wrote twenty songs in as many days. So we’re now, everybody’s having to play catch up, trying to get them polished!” Chrissy explained. She labelled her past songs as an “angsty teenage phase,” and felt her songwriting about “good guy/scumbags” had evolved and matured into “something more universal. It’s not so much like a diary, it’s definitely becoming more cryptic. It’s pulling in a different kind of imagery and symbolism. And then, because I’m faith-based as well, I’ve given a lot of inspiration taking verses from the Bible that have really helped me through difficult times. I’m weaving them, not to be preachy, but just to be like, this is my story.”

“We’d like the two songs we did at the award ceremony, to polish it up more, get a scratch track done, and then we’re going to go back to Matt Miller’s Dusty Shed, who did the original three.”

“We can’t really use the original EP anymore. And also, it’s fair to say with John’s influences, and the way that we’re allowing space for his creative flow to come into it, it just sounds different.”

John pointed out his mixer was adequate when I pondered if they needed a producer. Chrissy replied while it would be “fantastic,”  she crunched numbers and said they, “really want to get onto the festival circuit, and that means having tracks done ASAP.”

Captivating to listen to Chrissy delving deeper into the inspiration behind her songwriting and the maturity she felt it levelling to, in which she exclaimed with much delight, “it’s definitely been refreshing having John’s influence, him sharing how he sees it as a viewer. Because you write what you know, and unfortunately, I’ve been exposed to quite a lot of things that I don’t think many people would ever want to be exposed to. And being able to find hope and joy in some of the songs and being able to write happier songs. For the first time ever, I’ve written two love songs! I’ve never written love songs before! So, there definitely seems to be more universal themes.”

Yet as fascinating as it is, hearing Chrissy’s writing motivations, John revealing the technical side to their development, Ron adding splices of drummer-fashioned wit, and together them trying to summarise their change in direction whether it be a more rock-blues or dark-country, only to finally decide it unnecessary to pigeonhole it anyway, it makes for a laborious read, so I thought I’d inject a light-hearted, more physical observation with Chris, who otherwise, I suspect, would’ve remained silent, save occasionally strumming his bass!

It was that I heard Jimi Hendrix had extremely long fingers, I noted so too did Chris, and wondered if he considered it an asset to playing guitar! John jested, “it’s like watching a spider running up and down a hot plate!” Ron pointed out his stumpy fingers, “I’m a drummer; I’ve just tried to learn the bass guitar and I can’t get my hands anywhere round the neck of the guitar like Chris can!”

Chris exampled pianists’ tendency to have stumpy fingers. “You look at Elton Joh or Les Dawson, they’ve all short fingers, but they can play like crazy! I can get away with some stuff, but some of it’s more, arguably, bad habit than good! But I can get away with having long fingers rather than good habits!”

 A fellow of far fewer words than the front girl, evidently, but when he does its witty self-mocking is worth it’s weight in gold and sparked a humorous angle to the interview in which, while Chrissy justified his dexterity and nimbleness, Ron favoured to joke about Chris’s dancing on stage, “which is brilliant. I love it!”

John praised the firmness of Chris’ bass, “you’re methodical, you’re listening. I’m done wondering if he’s bored to death as I explain something to him, as he’s sitting there taking it in. It’s not till you go and think he’s got it.”

They all seemed content with each other, and John effectively “keeping them in line,” and this brought up the subject that they abstained from drinking while performing. “One rule I was pretty adamant about,” John explained while Chrissy and Ron laughed about being “hyper,”  “is drink and music don’t mix. If you’re going to load it up, don’t expect to be any good at the music. Because we’re there to make the party for everybody else.”

“Yeah,” Chrissy joshed, “so I’m not allowed to have a pre-shot of tequila, which is really good because I definitely noticed a habit where I needed the Dutch courage in order to get up and I started realising, this is a bad habit that I don’t want to become dependent on. So it’s two-wayed. You were definitely enforcing it. And I tried to be more mindful of it and just get up despite feeling nervous. And I get nervous every single time still.”

Aside the notion everyone gets butterflies, we moved between passionate subjects like the local circuits and venues and getting further afield, and we ventured back into songwriting inspirations, but I wanted them to nail it into a summary.  “In a nutshell,” Chrissy said, “we’re focusing on rhythm and melody so that the lyrics can shine through. And we’re drawing inspiration from real life. Trying to make them more universal and a punchy sound. Rocky, bluesy, layers musically and lyrically; say that, Darren!”

Okay, I will! And if you want to hear this band progressing, follow their socials for gig updates. They’ll be in Devizes on Sunday 14th December, at that tropical holiday resort in the Brittox, The Muck & Dunder, with a fundraiser for Ugandan orphanage His Grace Children Centre Bugiri, which they’ve organised themselves.

In true Christian spirit Chrissy annually organises a fundraiser around the yuletide, which she did as a soloist ironically titled One Trick Pony. Ironic because, she lent her vocals to drum n bass tracks, returned to town to learn guitar and perform acoustically,  and now there’s Burn the Midnight Oil; a proficient four-piece who, merging experiences in varied genres, refuse to  pigeonhole their developing style, and has an angelic vocalist with a penchant undaunted to delve deep into her psyche and faith for inspiration, and oh yeah, a bassist with long fingers!

Now available at Devizes Books!

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For Now, Anyway; Gus White’s Debut Album

Featured Image: Barbora Mrazkova My apologies, for Marlborough’s singer-songwriter Gus White’s debut album For Now, Anyway has been sitting on the backburner, and it’s more…

One Of Us; New Single From Lady Nade

Featured Image by Giulia Spadafora Ooo, a handclap uncomplicated chorus is the hook in Lady Lade’s latest offering of soulful pop. It’s timelessly cool and…

Large Unlicensed Music Event Alert!

On the first day of advent, a time of peace and joy to the world et al, Devizes Police report on a “large unlicenced music…

Winter Festival/Christmas/Whatever!

This is why I love you, my readers, see?! At the beginning of the week I put out an article highlighting DOCA’s Winter Festival, and…

Devizes Arts Festival Relive the Eighties with Riviera Dogs 

Together in Electric Dreams…. at The Corn Exchange

Fashionably late for Devizes Arts Festival, I’d like to thank Andy and Ian for informative coverage of some complex events to review, whilst I took the easier route; rocked up for the last Saturday evening party like I was Prince, stole a fluorescent trilby and dad-danced around my bum-bag until they switched the final disco ball off…..

I’ll be honest, with my diddy-boppers cover band radar on high alert and leg warmers in the wash, I wasn’t expecting to stay until the final curtain, for what seemed from the outside to be a refined generation X school disco. I could also get as pedantic as Mary Whitehouse; the band promised eighties, but the name Riviera Dogs is obviously a play on a 1992 Tarantino movie title; quibble when compared to the fantastic night they delivered.

As bang on cue as waiting for Top of the Pops each Friday, Riviera Dogs fired their flux capacitor and dropped Devizes Corn Exchange into the middle of the decade they’d pay homage to, with an exemplary cover of Go West’s We Close Our Eyes. From the off it was obvious this five-piece were some way above your average function band. Attendees wasted no bashful time finding a spot on the floor and dancing like it was 1985 again, even those few not old enough to recall it the first time around, (like me, a-hem!)

From there, everybody wanted to rule the world with Tears for Fears and I just died in Cutting Crew’s arms as Riviera Dogs played their trump cards early. Mid-eighties power ballads were their calling, they were proficiently and professionally good at them. Seems they tour the nationwide retro circuit rather than play functions, for if they were to play a wedding it’d overshadow the attention the happy couple would receive!

This said, many function bands use both male and female vocalists for songs, respectively according to the gender of the front person, and I wondered, if eighties pop hits were truly to be covered comprehensively some Madge, Cyndi Lauper and Kylie, to mention but a few, wouldn’t have gone a miss with a female singer as proficient and entertaining as the existing male counterpart.

But as it was, it was a highly entertaining show, full of lively play, relevant and amusing nods to eighties trends which roused the crowds and caused them to reflect on their heyday; that’s nostalgia on top form. They rolled out smash hit after smash hit like you were listening to a Now album, Chesney Hawkes to Don Henly and beyond. Perhaps the more rock tunes, like Springsteen’s Dancing in the Dark, which though I welcomed, wasn’t as precisely executed as the electronica power pop ballads, but with those so sublimely fulfilled, and the evening in full swing, the crowds simply lapped it up, and twas so subtle no one cared to notice.

At one point though, we went from one end of the decade to the other too suddenly, for me. One minute we were dancing to Buggles’ Video Killed the Radio Star next it was Bros. The scant warning being a gag about wearing Grolsch bottle tops on shoes wasn’t enough for me to prepare for the paradox! This stark contrast midway may’ve corrupted my timeline but didn’t seem to bother most of the audience either, exposing quinquagenarian Brosettes in the crowd!

As a homage to eighties music several elements were missing; feminine and queer insurgence, and rebellious tenets either side of that mid-eighties march for unadulterated pop mush; punk and Two-Tone at one end, hip hop in the middle, and acid house at the latter. The eighties was about more than the pop they played so well, it was also about advances in music technology and the vast variety of sound experiments it developed. They got as close as covering The Police brilliantly, but j’mon, they never even dared to account for Wacko Jacko, dammit!

It may have reflected only pop commercialisation rather than covering the entirety of a generational divide of consciousness, but this wasn’t supposed to be a history lesson nor comprehensive representation, it was about having a party to celebrate the close of another glorious Devizes Arts Festival, and for that it shone. The vibe was electric, the crowd letting their hair down (or perhaps up with hairspray) for a final night to what’s been a successful and varied programme of events for Devizes Arts Festival. Well done to all involved, you are the one and only, nobody I’d rather you be, you are the one and only, I can’t take that away from you!

Long may Riviera Dogs image the eighties in Matey’s bubble bath, for it was a Bigtrak loaded with fun, and to assume from my minor critique they didn’t stray from their trump card of electronic power ballads, would be unfair, they did. The finale was a Queen medley and in their own way, they made a fine job of such a difficult trick. For what we must judge this night on is not my personal feelings of commercialisation, rather the expressions of pure delight in the crowd, and if you saw me on the night shaking my tail feather like I was thirteen again, you’d be right to suggest I lived among the creatures of the night, like Laura Branigan, and loved every moment of it too!

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One Week Left to Cast Your Votes for Wiltshire Music Awards

That’s right, lovers of local live music countywide, you have less than a week now to cast your votes for your favourite acts in our prestigious, one-of-a-kind Wiltshire Music Awards!

The closing date for voting is Tuesday the 10th June, so get your thinking caps on and VOTE HERE NOW.

Who’s tickled your fancy the most? Who’s brought tears to your eyes with their self-penned ballad? Who’s dragged you off your seat and commanded your feet to the dancefloor, like nobody’s watching?! Who’s provided that ideal space for you to shake a tailfeather? And who deserves to be recognised for their outstanding contribution to local live music in your honest opinion? We need to know, but don’t tell us here- keep it secret and cast your votes now!

We’ve already had way over seven hundred ballot papers sent into us, and I’ve not taken one sneaky peek yet, but I’m informed the results are close to call, so your vote might yet tip the balance.

So don’t procrastinate on me now, will you? Not for your favourite musicians’ finest hour. They need you; this is important, dammit!

And here’s an added special message to all musicians, bands and promoters, we love you all, so, please help us to help you, by sharing this news with your fans, as there’s nothing wrong with shameless self-promotion; order them to vote for you, offer them custard creams if they do, tell your mum you want her to vote for you, tell them all you wanna win a shiny medal for all you’ve done to entertain them. You deserve this, goddammit, everyone creating music around these backwaters does, but there’s only so many awards we can give out on the night – make sure one of them is yours, yay!

I’m so excited, I just can’t hide it, and I am officially about to lose control…and, guess what? I think I like it. At least, those are my inspirational words to motivate you into the groove.

Wiltshire Music Awards 2025

PREVIEW – Chippenham Folk Festival – Friday 23rd May through to Monday 26th May 2025 

One of Wiltshire’s Best

by Andy Fawthrop

Looking for something to do next weekend? One of Wiltshire’s biggest festivals is happening just up the road in Chippenham all over the late May Bank Holiday weekend.  It’s also one of the largest folk festivals in the UK, and one of the longest running – this year they’re clocking up their 52nd festival……

The festival happens over four days at venues all over the town, and provides several streams of entertainment to suit most tastes.  With over 650 performers already confirmed covering music concerts, workshops, dance/ ceilidhs, Morris dancing, storytelling and spoken word, and a wide range of children’s and other entertainment, there’ll be something going on in every town-centre street and pub, to say nothing of the thirteen dedicated stages and dance venues.  

And the good news is that, aside from all the ticketed camping and music/ dance events, there’s plenty of FREE stuff too.  Down at Island Park there’ll be community stages, a session beer tent (run by Moongazing Hare this was highly popular last year, and I’d thoroughly recommend it!), lots of pop-up food vendors (crepes, churros, Sri Lankan, vegan, Mexican, Japanese, ice cream etc), and craft stalls – all  located alongside the beautiful River Avon. It’s got a great vibe and is a good family-friendly place to relax, soak up the atmosphere, and enjoy a session and entertainment with children, family and friends. 

But with so much going on – you should see the bulging programme with its literally hundreds of events – we thought we’d take the chance before all the fun starts to preview and pick out some of the best stuff, and to highlight some of our favourite picks. 

Overall, there’s a brilliant line up of music concerts featuring over 75 different acts, including: 

  • The East Pointers – hailing from Prince Edward Island in Canada. Their dancefloor-shaking, electro-trad glorious combination of folk/ pop sounds has already seen them acknowledged as musical trailblazers internationally. Their debut album Secret Victory won the 2017 JUNO Award for Traditional Roots Recording of the Year. Their 2023 EP House Of Dreams was nominated for a JUNO Award, and won Contemporary Roots Recording of the Year, Group Recording of the Year and Pop Recording of the Year at the 2023 East Coast Music Awards. Their headline show is on the Sunday night; 
  • Phil Beer & Paul Downes – two of the stalwarts of British folk music, and truly great musicians both.  Their shows are not only musically entertaining but always delivered with great bantering humour.  Their headlining set is on the Saturday night; 
  • Miranda Sykes – another of the folk world’s all-time great performers, Miranda has played bass with countless bands and line-ups, and has worked for over 20 years with folk royalty Show Of Hands. In 2024 she toured with Hannah Martin, paired a new Baring-Gould Centenary project with Jim Causley, and has toured a wide range of summer festivals. Catch her on the Monday night; 
  • Seth Lakeman – will be playing material from his new album The Granite Way.  Catapulted into the spotlight after his album Kitty Jay received a nomination for the Mercury Music Prize in 2005, since then he’s produced multiple albums, toured worldwide and participated in several high-profile collaborations, most recently with Robert Plant’s band The Sensational Shape-shifters.  His fiddle playing is simply stunning, and a joy to behold in live performance.  He’ll be doing his thing on the Monday afternoon.

And then there’s a nearly forty different bands, including a great calling team for the dances and ceilidhs, with bands including Banter with Fee Lock, Sawney White Bird, Doug Eunson & Sarah Matthews, Portmanteau, Hinny & Joe Wass with callers Andrew Swaine, Bernie Culkin, Geoff Cubitt, John Stewart, Susanna Diamon, and more to meet every style.  

Add to this nearly seventy different Morris sides from all over the UK, and over twenty-five children’s entertainers (including the simply hilarious and highly-talented Keith Donnelly), featuring music, dance, puppets, dressing up, play, workshops, meet-the-entertainer sessions, and you’ve got plenty to choose from, with different things for all members of the family. 

Apart from the main venues and stages, there’ll be stuff going on in just about every pub, in the main streets, and anywhere else the performers can find a space. There’ll be some open mic sessions too. 

Having been to many Chippenham Folk Festivals over the years (and indeed performed at a few!), I can highly recommend a trip out to one of Wiltshire’s best events – it’s colourful, it’s noisy, it’s busy, but most of all, it’s entertaining! 

There’s still a limited number of day and event tickets, as well as full weekend season tickets (with or without camping) available. Or there’s also still time to volunteer to help with stewarding and venues (which qualifies you for a FREE ticket). All the information is on the festival’s website, together with ticketing information at www.chippfolk.co.uk/Tickets

Bits of Elation; Chatting with The Belladonna Treatment

One of Swindon’s premier grunge pop-punkers, The Belladonna Treatment released their debut single, Bits of Elation, with London-based SODEH Records earlier this month. I spoke about the single, the band and local circuits with the bassist in the band, Ian James, as he was the most punctual at a recent gig at the Vic!

Bits of Elation is fifteen seconds under a three-minute-hero which doesn’t come up for air, compensates for those missing seconds with a dynamic and retrospective Ramones-fashioned riff and the feelgood vibe of pop-punk this side of the millennium.

It is far from the Belladonna Treatment’s first outing to a recording studio, there was a single last year The Torture Garden, and a three-track EP called Pleasure from 2023, which cherry-picks the best elements of many punk subgenres and moulds them into an imitable and infectious house style. Though Ian expressed working with SODEH has opened doors for the band popular in Swindon, evidently blossoming elsewhere. “It’s being played on radio stations in Belgium, Brazil, USA and Canada,” he told me with delight.

The Belladonna Treatment I witnessed live once, in awe at how they rammed the Castle with adoring fans at Swindon Shuffle. Tonight they play a double-header with I See Orange, who alongside Liddington Hill and a number of others usually on this burgeoning Swindon grunge scene, have turned my head toward the subgenre which passed me by at its inception, save Smells Like Teen Spirit. The Belladonna Treatment are ahead of this game, their appeal is universal and seemingly not confined to aficionados of the grunge subgenre. That was clearly evident at the Castle gig, but other than playing Minety last year, I rarely see their name pop up on local circuits other than Old Town’s lively route of The Vic, Castle and Beehive.

Understanding there’s a number of local grassroots venues where The Belladonna Treatment would fit like a glove, I was surprised to note they hadn’t yet ventured to Trowbridge’s Pump, Bradford-on-Avon’s Three Horseshoes or even Chippenham’s Old Road Tavern. I pondered on bands which seem to get stuck in certain fanbase circuits, despite being fully deserved to be showcased across the county and beyond. “It all depends on what everyone wants to do,” Ian began, “things like this pop up and it’s nice to do them, but we do want to expand and do other gigs.”

“It is very easy to get stuck into that circuit, of doing the Castle, and those,” he expanded, “but it’s nice to get out too. I mean, we played a gig in London at the end of January; a cracking venue, which James put together. There were other bands there, all different, but it was a brilliant show, packed out. We were two or three under the bill, so there were loads of other band’s fans watching us and we can get more followers this way.”

Guitarist James has recently moved to London, hence the opportunities for gigs there, but originally the band were all from Stratton, and knew of each other prior to forming The Belladonna Treatment just over two years ago. “Lee and James accidentally got together about five years ago, wrote some songs and went around as an acoustic duo, but we’ve all known each other our whole lives. Then they decided they wanted to get a band together. I hadn’t seen either of them for about twenty years, but I was getting back into playing. Stu, our drummer has been around in lots of other bands, played Glastonbury and stuff like that, and again, we’ve known him, and for the last two and a half years we’ve been playing as a full band.”

The Belladonna Treatment have been honing their sound since, and Ian felt Bits of Elation is a milestone. Pigeonholing their style he cited Nirvana and The Manic Street Preachers as influences they grew up on, and also mentioned Bowie, “but if you listen to the songs they’re melodic, it’s not just head down thrash punk, it’s more melody-orientated, grunge too. That’s why we like playing with I See Orange, there’s a whole nineties feel about us, similar to them.”

We rapped over the idea of levelling off the thrashed out element for a more melodic preference might once have been considered as “selling out,” in punk’s heyday, rather now it’s more of a natural progression and causing the sound to become viable to a wider audience. “It can do,” Ian agreed, “it’s also a case of, you want to sell more records and if you want to be popular, you have to do this.” Such progression is kingpin to crowds turning up at the Vic tonight and ramming the Castle at The Shuffle, knowing there’s a motivated band which rocks!

So I threw in the labour of love concept, and we talked cheerfully about while they’re sharpening their style to suit wider appeal, they’re also determined to strive for individuality, create their own methodology and not clone existing successful bands. Ian spoke of three new songs ready for release, the snowballing of radio plays and their determination to accomplish wider appeal, “that’s what we’re going for.” 

It was great to meet Ian, and the rest of the band briefly, when they turned up! Dad’s taxi was on duty and I could only remain until the end of the Wildcats game, unfortunately missing the gig. A valid reason for highlighting bands seemingly confined locally to our larger towns and encouraging venues to book them around here, because you only need to stream some of their infectious tunes to see what I mean, and why The Belladonna Treatment should be popping up at grassroots venues across the UK, at the very least; fingers and toes crossed.  

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