Tag: live music

REVIEW – Focus @ LSBC, Corn  Exchange, Devizes – Saturday 20th November 2021

Best Gig Of The Year In D-Town!

Andy Fawthrop

Second day on the trot in the Corn Exchange for me – on Friday night it was Motown Gold, with D-Town’s (ahem) young things bopping away to hits from their lifetime’s soundtrack.  But on Saturday night it was something completely different – a journey into the wilds of 70s Prog Rock, with a side-serving of close-harmony contemporary folk.……

This was a complete change of venue for Long Street Blues Club for one night only, switching from the usual Con Club to a much larger hall and stage, in order to accommodate a more fitting light and sound show for one of the music business’s most famous bands, as well as to pack in a bigger crowd.  And it was a move that was fully justified, as the music-starved hordes of The Vize turned out in their hundreds.

But first things first – the support act The Lost Trades, consisting of three well-known local singer/ song-writers: Phil Cooper, Tamsin Quin and Jamie R. Hawkins.  (See Darren’s pre-gig interview with them if you’d like to know more about what makes them tick, [coming soon, Ed!]).  I’ve personally seen these guys sing before, many times, both as individual performers and as The Trades, and they’ve always impressed me.  On this occasion, and with a big attentive crowd in front of them, I thought that they absolutely nailed it.

Kicking off with “Only When We Sing With One Voice”, “Road of Solid Gold” and “Kingdom Falls” – all tracks on their latest album – all three performers looked relaxed and well-rehearsed.  Their multi-voice harmonies were spot on, and their (apparently) effortless swapping around of instruments showcased their collective talent and versatility (including a complete no-panic moment when Jamie broke a guitar string).  The songs were far from being one-dimensional, and instead were nuanced and textured.  As a group, I feel that their song-writing has improved no end, each of them contributing their own ideas, as well as improving the inputs of the others.  Their performance, to my ears at least, is strongest when Jamie takes the lead on vocals and, as they did on their last song, they simply drop all the instruments and just give us the stripped-down acapella harmonies.  All in all a top-notch, consummate performance which I expect will have won them a lot of new friends.  Just superb.

And then, as someone famous once said, for something completely different.  And you couldn’t get much more different than veteran Dutch prog-rockers Focus. 

Currently in the middle of their 50th anniversary UK Tour (which continues to mid-Dec, then starts again from April 2022), these guys are an absolute institution.  Still touring, still making albums (they are now on their tenth!) and new music, and still bringing crowds to their feet across Europe, Focus blew into D-Town and, with a little musical hocus-pocus, blew us all away.

Fronted by founding member Thijs Van Leer (an imposing figure in long black leather coat) on Hammond organ, flute and (ahem) vocals, the rest of the band were: veteran member Pierre van der Linden on drums, Menno Gootjes on guitar and Udo Pannekeet on 6-string bass.  And they seemed to be there on stage in absolutely no time at all, following a rapid changeover from the Trades, almost taking everyone by surprise.  Before we knew it we were off with the first number, fittingly called “Focus 1” – no warm-up, no intro, just straight into it.

And that was the start of a breath-taking two-hour-long set.  Suddenly we were in the midst of progressive rock – heavy chords on the organ, light passages on the flute, with guitar solos, bass solos, drum solos, some wonderful wandering jazzy improv passages, and (of course) those bizarre vocal interludes, scat singing and yodelling.  Most of the set was instrumentals – these are (in true prog-rock parlance) not just “songs” in the conventional sense, but rather “pieces”, consisting of different phases, passages, moods.  We were getting very close to Concept Album territory here, but we managed to avoided any such cliché as that.

Of course we got all the big 70s chart hits – how could they not on an anniversary tour? – “House Of The King”, “Sylvia” and a blistering, massively-extended version of “Hocus Pocus”.  But there was plenty of other stuff to enjoy too – “Le Tango”, “Peace March”, “All Hands On Deck”, “Hamburger Concerto” to name just a few others.  The vocals, such as they were, were largely incoherent, incomprehensible noises uttered by Thijs at key moments in the pieces.  But it was far from a one-man show, as proved by Thijs when he wandered off stage several times, including once through the audience and into the foyer, as the other musicians took their solos and duets.  Menno’s guitar-playing was stunning, and a real highlight for me, beating the bass and drum solos by a long way.

I have to say that this was the gig of the year for me.  By the end of the night the band not only got a fully-deserved encore, but a full-throttle standing ovation.  As far as I’m concerned, they knocked it right out of the park.  If you were there, you know exactly what I mean.  And if you weren’t there, you missed the best show in town!

Given what I’ve said above about The Lost Trades’ equally superb performance, the whole evening delivered a fantastic night’s entertainment, and a really strong advertisement for live music in Devizes.

Future Long Street Blues Club gigs:

Saturday 27th November 2021                   Antonio Forcione Quartet

Saturday 18th December 2021-                  KOSSOFF…The Band Plays On

Friday 14th January 2022                               Chicago Living Legends

Saturday 5th February 2022                         Tinsley Ellis

Saturday 19th February 2022                       Mike Zito Band

Saturday 26th February 2022                       Mark Flanagan Band

Friday 4th March 2022                                    Black Sabbitch (Corn Exchange, Devizes)

Saturday 19th March 2022                            Soft Machine

Saturday 2nd April 2022                                 Alastair Greene Band

Friday 8th April 2022                                       Billy Bremner’s Rockfile (Devizes Town Hall

Saturday 9th April 2022                                  Carl Palmer’s ELP Legacy (Corn Exchange, Devizes)

Saturday 16th April 2022                               Billy Walton Band

Friday 6th May 2022                                        Birdmens

Saturday 17 September 2022                      CSN Express (New Rescheduled Date)

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Devizes Arts Festival’s Soulful Finale

Featured image by Gail Foster

You’d be forgiven for assuming I’m reviewing a greyhound race with this introduction, for akin to snapping open the starting traps, it was a fraction of second after Motown Gold played the inaugural bar of The Temptations’ My Girl at the Devizes Corn Exchange Friday evening, that the first punter broke the dancefloor barrier, and a surfeit of dancers followed his lead.

Usually a summer occasion, Devizes Arts Festival succeeded lockdown’s gap year with this arts festival “lite,” consisting of three main events and a sprinkling of free fringe ones across the town; we’ve never had a November this good. The interim mini-festival came to a soulful finale with six-piece function band Motown Gold, who professionally and passionately delivered some classic soul covers.

Image: Gail Foster

Since day dot Devizes Arts Festival have inundated us with quality original acts, from music, dance, comedy, talks and so much more. To stage a covers function band might well be faced with some reproach, from those who didn’t attend and see the speed the mature audience jumped the dancefloor; call Norris McWhirter, I think we’ve a world record on our hands!

Ha, it’s as if many haven’t had the opportunity to shake their tailfeathers for a year or more, which they haven’t, ergo Devizes Arts Festival in all actual fact, perfectly picked their grand finale, because despite the creativity of originally crafted music, sometimes we all need to throw caution to the wind and dance our cares away to classics we know and cherish.

Image: Andy Fawthrop

The standard model of bassist and lead guitar, drums, keys and one saxophonist, with a female and male singer accepted, because they delivered the songs with wow-factor, onus largely on the magnificent vocal range of both, but in turn the glitzy professionalism and tightness of the band’s bonding. To book Motown Gold for your wedding would end in one heck of a memorable occasion, being a cut sky-high above the average.

Image: Andy Fawthrop

That said, for authenticity of the Motown sound, it was absent of various elements. Backing singers would’ve done wonders, an upfront brass section too, for the saxophonist sounded a smidgen lost without the celebrated trumpeters of Motown’s in-house band, The Funk Brothers. And if it failed to fulfil my “brass-is-class” precept, the one missing component most important is the tambourine of Jack Ashford. Forget modern metronome methods, the tambourine man was the time-keeper in this era of yore, so if you crave authenticity, the tambourine is crucial within a classic soul tribute.

Image: Gail Foster

Entering trainspotting mode, I’d also noted not every song was Motown, rather the band selected a wide-ranging repertoire from Stax to eighties RnB, such as Rufus & Chaka Khan, Sister Sledge, et all. But each one a danceable favourite, and executed with faultless precision, it really didn’t matter one, or even half an iota. So much so, my carping is trivial, I’ll put my handbag away.

Image: Andy Fawthrop

The essence is the pleasing performance, the joyful spirit of the crowd, the lights and eras-spanning retrospection, and it undoubtedly set the Corn Exchange alight with an unforgettable ambience, resulting in a brilliant finale to Devizes Arts Festival’s interim mini-festival, and leaves our jawbone firmly on the floor in anticipation for what they have in store for summer 2022. Though I hinted, they were giving away no secrets yet!

Devizes Arts Festival Team. Image by Gail Foster

If there’s one thing, we all need right now, it’s a good ol’ carefree, soul shakedown party. The proof was in the pudding, a grand night was had, the perfect end to what has been a gratefully welcomed Arts Festival for the town. One which Devizine needs to wrap up with a concluding article encompassing all the events into one feature, but right now, I’m still imagining myself doing watusi like my little Lucy, with the memory of a great night out-out!

Image: Gail Foster

REVIEW – Sally Barker @ Town Hall, Devizes – Saturday 13th November 2021

Joni & Sandy at Devizes Arts Festival

Andy Fawthrop

The Devizes Arts Festival continues!  Following Thursday night’s bash at The Corn Exchange with Ronnie Scott’s Jazz Club, it was time for my second event in DAF’s mini-programme.  This meant a change of both venue and of genre – this time it was folk music at The Town Hall.….

Sally Barker has been around the folk scene for decades, working solo, in duets and various collaborations/ groups (The Poozies, the reformed Fotheringay, The Sandy Denny Project).  She has toured extensively, and played as support act to most of the UK’s folk aristocracy at one time or another (Steeleye Span, Gordon Giltrap, Roy Harper, Richard Thompson, Taj Mahal, Richard Digance, Fairport Convention, Bob Dylan, Robert Plant).  More recently, in ‘The Voice UK’, she was Tom Jones’ finalist on the BBC TV programme in 2014, reducing Sir Tom, and viewers alike, to tears with her flawless performances.

Her focus for much of this time was on singing her own material, but in more recent years (for a variety of reasons), she has tended to focus on playing and interpreting the songs of both Joni Mitchell and Sandy Denny.

And thus it was we got the show entitled “Joni, Sandy and me”, wherein Sally gave us many of the songs of those two fabulous (but very different) famous female artistes.  Sally herself summed up the distinction between the styles of the two songwriters early on her show.  Denny, she said, tended to use “closed lyrics” and “subterfuge” (where you had to look carefully beneath the obvious words to find out what she was really saying), whereas Mitchell was much more like a painter (where the use of bold colours and images made the meaning much clearer).

Aside from the between-song commentary on the style and historical background of the two singers, Sally illustrated what she was saying by singing the songs themselves.  I was impressed by the way she switched easily between Joni and Sandy, her voice conveying just the right level of emotion, vulnerability and fragility in each song.  Some numbers were delivered (to my ears at least) as straight and faithful copies of the songs as I remembered them, whereas others were subjected to much more in the way of re-interpretation.  Either way, it worked for me – Dandy and Joni are two of my favourite artists, and there was absolutely nothing here to spoil it for me.

For this show (compared to the recent WHO offering in the same room) the lighting was much better, highlighting the artist on stage and dimming the background for the audience.  The sound, good when it was working, suffered a number of glitches which were annoying.  The room was at best two-thirds full, and I can’t help thinking that it might have been sold out if there been a little bit more in the way of advertising by DAF.  But that’s a minor quibble – overall an enjoyable and well-received performance. 

Devizes Arts Festival continues for the next week, with a large range of events, including several fringe (free!) events at various venues around the town.  See www.devizesartsfestival.org.uk/ for further details and booking information.  Of particular note will be a rousing finale dance night with Motown Gold this coming Friday 19th November.  Some tickets still available.

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REVIEW – Gerry Jablonski @ LSBC, Devizes – Saturday 13th November 2021

Rock & Blues Is Alive & Well

Andy Fawthrop

Up the road again for the first of a string of Long Street Blues gigs during November.  You spend ages waiting for a gig to come along, then three come all at once.  Added to the musical offerings of Devizes Arts Festival and TITCo these past few days, and it’s been a musically busy week in D-Town where, as everybody knows full well by now, nothing ever happens……

Support act for the evening was local favourite Tom Harris, playing mostly his own material, but throwing in the odd cover to leaven the mix.  I particularly liked his rendition of “With A Little Help From My Friends”.  Tom’s songs are intense and enthusiastic, yet infectious and winning.  He chatted and sang his way through his set, winning over his audience.

Tom Harris; best shirt on!

Main act for the evening, having made it all the way from Aberdeen (by way of Hartlepool) was the powerful and energetic quartet The Gerry Jablonski Band.  Consisting of Gerry himself on guitar and vocals, Pete Narojczyk on harmonica, Lewis Fraser on drums and Grigor Leslie on bass, the band set off at furious pace, letting us know early on that they weren’t here to pussyfoot around.  They knew what they were about, they were loud, they were confident and they seemed determined to pack in plenty of songs.

Through two strong sets, there was the minimum of chat, but just enough to engage the audience.  The music was rough and muscular, but with plenty of hooks and melodies.  Early on we had a number called “Koss”, written in memory of Free’s Paul Kossoff, and the lyrics managed to cleverly name-check many of the band’s greatest hits.  The bass was thumping, the harmonica was squealing and howling and, driven by Gerry’s imperative and rapid lead guitar, the band were on a mission.

Much as I loved it, I was just beginning to think at the end of the first set that perhaps some numbers were a little samey.  But then the band came out in the second set and proved me quite wrong, with quieter numbers, more light and shade, more subtlety.  A highlight was one short number sung by – shock! horror! – Lewis Fraser the drummer, accompanied only by some (for once) quiet reflective guitar from Gerry.  Most of the heavy lifting in the sets was, as you might expect, by Gerry himself.  There was a look and feel of the younger Marriott to me about his demeanour.  Overall the band worked hard as a unit and fully deserved their raucous encore.

Future Long Street Blues Club gigs:

Saturday 20th November 2021                   Focus (Corn Exchange, Devizes)

Yay! The Lost Trades as support at this one, I’m told (Ed.)

Saturday 27th November 2021                   Antonio Forcione Quartet

Saturday 18th December 2021-                  KOSSOFF…The Band Plays On

Friday 14th January 2022                               Chicago Living Legends

Saturday 5th February 2022                         Tinsley Ellis

Saturday 19th February 2022                       Mike Zito Band

Saturday 26th February 2022                       Mark Flanagan Band

Friday 4th March 2022                                    Black Sabbitch (Corn Exchange, Devizes)

Saturday 19th March 2022                            Soft Machine

Saturday 2nd April 2022                                 Alastair Greene Band

Friday 8th April 2022                                       Billy Bremner’s Rockfile (Devizes Town Hall

Saturday 9th April 2022                                  Carl Palmer’s ELP Legacy (Corn Exchange, Devizes)

Saturday 16th April 2022                               Billy Walton Band

Friday 6th May 2022                                        Birdmens

Saturday 17 September 2022                      CSN Express (New Rescheduled Date)

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Seend to get Jazzy!

If I’ve been bragging about trekking to Trow-Vegas this weekend for musical indulgence, next weekend you don’t even need to journey that far to get a dosage, just that direction…..

Halfway house, the lovely village of Seend, with its wonderful Community Centre on the Green hosts a roaring twenties jazz party, next Saturday (20th November.)  And what was an £11 ticket stub is free, if you share and tag your friends in this here Facebook post. Each friend tagged will gain you an entry into the prize draw – the more friends tagged, the greater the chance of winning (Terms and conditions apply.)

A Bristol-based ragtime jazz band, Trip For Biscuits, with Charlie Minty offering a Charleston dance workshop, this roaring evening will transport you back to the 1920’s, an era of speakeasies, prohibition and feather boas, and DJ Meaze will then be on hand to keep the party going until late.

Fancy Dress is also encouraged to get everyone in the mood, and 1920’s Cocktails and Nibbles will be available to purchase on the evening. Tickets are here. “Awl, applesauce!” 

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Ålesund and Agata at Trowbridge Town Hall

With Andy gig-galivanting the Vizes this weekend, I trekked to neighbouring Trowbridge, to find mesmerising and enriching vibes at the Town Hall, via Ålesund and Agata; hold my hat, there’s a good fellow……

Just as Jim Crow segregation laws spawned juke-joints, the twentieth century is littered with examples of mainstream music venues unable to stay in touch, and consequently underground scenes progressing and pushing musical boundaries. It’s true for the Mods, frequenting coffee bars when pubs closed early and refused to play jazz, for beatnik outlawed psychedelia, and from Jamaican sound systems to bless ghettos of New York with hip hop.

Late eighties and early nineties Bristol reflected a different party from the paisley clubs of London. Leftover reggae sound systems merged dub back into hip hop, and a subversive scene of downtempo “trip hop” was innate, swamping rave chillout tents, and imaged by supplementary graffiti artists. If worldwide recognition for Banksy puts Bristol on the art map, I deliberate the music clearly rubbed off on a new generation, subsequently resulting in Bristol’s paramount cultural scene today.

I ponder this while a youthful Bristol-based four-piece fill Trowbridge Town Hall with blissful ambience. The band is Agata, based upon the Polish-born singer-songwriter’s name, and they’re only the support act, apparently! I’d blue-in-face argue this gig is a double-biller, not only from Agata’s proficiency to perform, but similarities to the headline, Ålesund, complimented them perfectly.

It’s spellbindingly mellow, even if the sound is stripped of yesteryear’s trip hop beats it maintains shards of electronica’s downtempo mellifluousness, of Massive Attack, and is governed with emotively powerful female vocals, riding me back to Portishead on a drizzly Glastonbury stage of yore. Drums prominent on these wholly and uniquely original pieces, bass and lead guitars sprinkle over the electronica soundscape, caressing Agata’s delicate but emotive and elegant voice. I love Salisbury’s Timid Deer for all the same reasoning.

Gavin Osborn, the town hall’s music and performance programmer is Bristolian, ergo he’s bringing a taste of the city to Trowbridge, which itself has a blossoming post lockdown gig map. Yet if the mass appeal of Gary Kemp deejaying eighties’ dancefloor fillers at the reopened Civic this weekend wasn’t your cup of tea, make your Trow-Vegas sojourn the Pump or Town Hall. There’s a continuous programme of exhibitions, arts and music at the Town Hall and musicians queue orderly for bookings at the Pump.

With music performances set in a characteristic yet intimate setting, gigs are a convivial experience here, one easy to interact with the bands, and you come away feeling part of it rather than a face in the crowd. Agata though would make for a perfect Sunday festival act, and have played Larmer Tree, Dot-to-Dot and Simple Things.

Currently touring a lockdown inspired EP “A Thread in the Dark,” Ålesund likewise, but the similarities don’t end there. Again, a Bristol-based four-piece creatively pasting natural soundscapes into a mellowed original repertoire, with upfront drums, female vocalist on keys, and bass and lead guitars adjoining them. The main difference is only a hint more professionalism than Agata, a tad more powerful voice commands, and more prominence on that mystifying Celtic folk-rock of say, Florence and the Machine.

Alba Torriset fronts the band, explained to me the Norwegian namesake is rooted to her father’s side. She cites Florence as a major influence, alongside Bat for Lashes, but she was eager to indicate Kate Bush to me too, as I nodded approvingly, thinking the same, and pointed to the preponderance of drums akin to Running Up That Hill. Also, her ability to use her voice as a musical instrument, results in a striking performance, as her naturally emotive soothing vocals carries you aboard her journey, equally as Kate Bush could.

On this particular occasion, in the usual drummer’s absence, an apt replacement was found, and boy did she give it her all, causing me to reason she must belong to a more hard-hitting rock band, later confirmed by sound technician Kieran J Moore. And in turn, this was a spellbinding performance. Hypnotically pleasing it cradled their new lockdown inspired songs, as Alba expressed her solace to the tranquillity of the moment, in the absence of industry and traffic she focused on the birdsong, and her writing reflected this, a song called Dawn Chorus particularly inspired from the notion, enthused with subtle birdsong samples in the background.

So yes, yes indeed, a memorable and most enjoyable evening at the Trowbridge Hall; both Ålesund and Agata less hip hop than predecessor Bristol scene acts like Massive Attack, less gothic than All About Eve, and less retrospective dejection than The Strangler’s Golden Brown, or 10CC’s Not in Love, but equally capsulating, emotive and euphoric; just with an uplifting contemporary method, gaging and merging aforementioned influences, future-beautiful. If either of these bands play near you, you’d be a fool to miss them.

As for the Town Hall, next Saturday (20th Nov) night proves not to be so laidback, as another Bristol-based band, IDestroy plans to bring a riotous, all-female party-punk live show to Trowbridge. Kid Carpet, Larkhall, Katherine Priddy all lead up to the new year, when 22nd January sees Gaz Brookfield booked, and com’ ere, there’s more……

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REVIEW – Ronnie Scott’s Jazz Club On Tour @ Corn Exchange, Devizes – Thursday 11th November 2021

Jazz Is Back In Town!

Andy Fawthrop

Yay!  The Devizes Arts Festival is back in business, albeit in truncated format for this year, and kicked off public proceedings with a real bang last night in The Corn Exchange.

Despite being massively well served for all forms of live music in D-Town generally, jazz has been somewhat under-represented of late.  I certainly remember going to regular jazz gigs a few years ago, just next door in the Bear’s Cellar Bar, but there’s been nothing much since.

But that was all put to rights last night as The Ronnie Scott’s Jazz Club On Tour rolled into town.  This proved to be exactly what it said on the tin – direct from the world-famous jazz club founded by the eponymous Ronnie Scott in the late 1950s London’s Soho, this was a live touring version of what generally happens “live” in the club itself.  We were treated to what can only be described as a multi-media presentation, combining a world class live jazz quintet alongside rare archive photos and video footage.  We were taken on a guided verbal and musical tour of the history of this great cultural institution.  Set amongst the dive bars and jazz juke joints of Soho, we heard of the desperate hand-to-mouth finances of the early years, the frequent police raids, and the various scrapes with gangsters (including the Krays, who were rumoured to have taken Ronnie and Pete “for a little drive”!)

Our “MC” for the evening, playing the role of compere, raconteur and sax soloist Ronnie Scott was the near-lookalike (and birthday boy) Alex Garnett.  He perfectly conveyed the seedy, dubious and wise-cracking humour of the man, combined with a clear love of the music, and appreciation of the skills of his fellow musicians.  On upright bass we had the dapper Sam Burgess, on piano the grinning James Pearson, and on drums the highly-accomplished Shaney Forbes.  Completing the line-up was vocalist Natalie Williams, who brought some real sparkle and show-biz pizzazz to proceedings.  Whether tackling numbers from the Great American Songbook, other jazz standards, or simply scat-singing, Natalie absolutely lit up the room with her enthusiastic personality and powerful vocals.

The band looked very comfortable on stage with one another, compact and tight when required, but giving one another just the right amount of space for the various solos.  I was particularly impressed with Shaney Forbes’ drum solo in the first half.  The material chosen was eclectic, featuring forays into the back catalogue of Sarah Vaughn (“Sassy”), Chet Baker, Ella Fitzgerald, Chick Corea, Duke Ellington, Nina Simone, and many others.

If the aim was to convey “the feel” of what it was like in the early days of an evening in Ronnie Scott’s Club, then the quintet certainly succeeded.  A near-packed house was treated to a great evening’s entertainment, and lapped it all up.  A rousing call for an encore was the least they deserved.  A really great night out.  Let’s hope someone in town now picks up the jazz baton again!

Devizes Arts Festival continues for the next week, with a large range of events, including several fringe (free!) events at various venues around the town.  See www.devizesartsfestival.org.uk/ for further details and booking information.  Of particular note are An Evening With Sally Barker (featuring the songs of Joni Mitchell and Sandy Denny) at The Town Hall tomorrow (Saturday) 13th November, and a rousing finale dance night with Motown Gold next Friday 19th November.  Some tickets for both are still available.

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Ride & Oasis Member “Andy Bell” Brings his Space Station tour to Trowbridge

Not only am I old skool enough to recall DJ Sonique singing whilst on the wheels of steel, I’m even so aged to confuse this musician-come-DJ with the namesake of the Erasure frontman. But Sheer promoter, Kieran J Moore is excited with the announcement the frontman of legendary Oxford “showgaze” pioneers, Ride, also called Andy Bell is coming to our county town.

“This is huge deal for me,” self-confessed massive fan of shoegaze and Ride, Kieran, explained, “so being able to bring this Independent Venue Week to a new and very cool venue in our County Town is special.” The reasoning for me bringing up Sonique is that on this Space Station tour, Andy deejays with live guitar, something I must say, is completely original to me.

Ride’s album “Nowhere” will often jostle for top spot in the all-time-shoegaze lists with “Loveless” by My Bloody Valentine. But you may also know him from late 90s indie outfit Hurricane #1 or latterly as the Oasis bassist, joining them for their last four studio albums and finally Liam Gallagher’s post-Oasis band, Beady Eye. He’s also appeared live with Pink Floyd, The Creation, Talk Talk, and The Brian Jonestown Massacre, and has appeared on record as guitarist for Andrew Weatherall, and recently as bass player for Du Blonde. Wherever you know him from, he’s a big figure in the industry, one of Oxford’s finest alumni and a noted figurehead of a scene.

Lockdown project, Andy Bell Space Station started in 2020, when Andy had a residency at Lo-Fi, a coffee shop in Crouch End, where he lives. As a way of reaching people with some form of live music, Andy started streaming performances from the empty coffee shop, playing electric guitar along with reworked versions of backing tracks from his various musical worlds, the backing tracks are deconstructed and extended in a way that makes them easy to improvise over; something I’d be both intrigued and impressed to see for myself.

Andy Bell will be performing his Andy Bell Space Station, at Trowbridge Town Hall on Sunday 6th February 2022, as part of a national campaign called, Independent Venue Week. Set at the end of January every year, the week-long campaign is designed to raise the profile and support independent venues during a period that is traditionally quite quiet.

“This is often done with underplays,” Kieran explained, “where a larger artist than would traditionally play a venue, goes in to give the venue a killer experience. This is also hand in hand with making the events really affordable and accessible.”

Tickets for our Andy Bell Space Station show go on sale this Monday, 15th November via WeGotTickets, priced a paltry £8, and in the spirit of things these gigs are all age too!

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REVIEW – TITCO’s Switch The Lights Back On! @ The Wharf Theatre, Devizes – Tuesday 9th November 2021

TITCO Hit the Ground Running

Andy Fawthrop

That’s it – the set is now complete!  Back in August we had the Fulltone Orchestra striking up once again after a long enforced lay-off.  In September Devizes Musical Theatre shyly peeked out from behind the showbiz curtain.  October saw White Horse Opera step out onto the stage, and now, in November, TITCO have finally switched on the lights back on!  And what a delight it was to have them back, completing the fantastic range of local music offerings based in D-Town.

Switched from the earlier venue of St Mary’s to the, perhaps more suitable, surroundings of the Wharf Theatre, TITCO hit the stage with their presentation “Switch The Lights Back On”.  From Chris Worthy’s opening number of “Wilkommen” from Cabaret, right through to the closing ensemble rendition of The Proclaimers’ “Over And Done With” we had a fast-paced and thoroughly enjoyable evening.

The two-hour programme included songs from Cabaret, Cats, Jesus Chris Superstar, Sunset Boulevard, School of Rock, Joseph, Spamalot, Billy Elliot, Les Miserables, Hamilton, Once, Everybody’s Talking About Jamie, and Sunshine on Leith.  The numbers chosen were not always the usual ones from those shows, not always the obvious biggest “hits” that one would normally think of, but great songs nevertheless.  The items chosen, and the sequence of those songs, nicely showcased the individual talents of the cast members, giving most of them at least one solo, with duets and ensemble numbers.  It certainly worked for me.

The staging was simple and sparse, allowing the music to do all the talking.  Dressed all in black, with little in the way of colour or props to distract the eye, the songs were completely to the front.  Musical accompaniment was understated, but absolutely spot-on, provided by Dominic Irving on keyboard, Lou Hewitt on bass, and Becky Nottingham on percussion.  And in front of them, although it’s always a little unfair to single out particular individuals, the stars of the night (for me at least) were Chris Worthy, Mari Webster, Matt Dauncey and Jemma Brown.  But there were strong performances all round.  And I also have to give a special mention to our local Fulltone Orchestra musical arranger and baton-wielder, Anthony Brown.  I’m so used to seeing him from the back conducting his orchestra, that I’d almost forgotten what he looked like, and that he has a wonderful voice!  Respect!

The show’s finale consisted of three songs from “Sunshine On Leith”, the musical by Stephen Greenhorn, based on the music of The Proclaimers, a fitting trailer for the full-length production which will take place at St Mary’s, Devizes next June 2022.

Overall, this was a thoroughly enjoyable show.  Full disclosure – I’m not the greatest fan of musicals – but even I couldn’t help but warmly applaud this splendid show.  And I was in good company – the audience throughout was loud and enthusiastic in their well-deserved rounds of applause.

The show runs through to Saturday 13th November, and I have absolutely no hesitation in recommending that you get along and see it.  There are still a few tickets left (but not many!) – I guarantee that you won’t be disappointed, and that you’ll have a great night out.  Trust me!

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Spoiled Rotten in Devizes this November with Devizes Arts Festival, The Wharf Theatre, Long Street, TITCO, DOCA and more!

Spoiled Rotten in Devizes this November you are. In what is usually a quiet month leading up to yule, the easing of lockdown has detonated the month, opening it up as anyone’s game. It’s just so good to see a chockful event calendar for the whole county, and so many event organisers making a Rocky Balboa style comeback.

Dave and Deborah at the Southgate

Aside our dependable Southgate, who’ve led the way for events in Devizes, and continue to provide top notch live music every weekend, free I might add, it’s exciting to see the Cavalier, The Muck & Dundar, and even the Condado Lounge in the running.

There are some big guns coming out too, as we welcome back the Wharf Theatre, who hosted The Paul Simon Story last weekend, and the return of the Invitation Theatre Company from Tuesday (9th) to Saturday (13th) this coming week. The Long Street Blues Club are back in force with three gigs this month, the Gerry Jablonski Band Saturday 13th, Force on the 20th, which is such a whopper it’s coming out of The Corn Exchange rather than usual Cons Club, and the Antonio Forcione Quartet on the 27th.

If it’s sounding good so far, we’ve not even touched on Devizes Eisteddfod from Thursday 18th to Saturday 20th, The Lawrence Art Society’s exhibition at the Town Hall from 25th to the 27th, and of course DOCA bring the Winter Festival and lantern parade on the 26th.

With all that I’ve mentioned it would be understandable to have overlooked the icing on the cake; Devizes Arts Festival surprisingly pops up to host some awesome events this month, when it’s usually confined to more summery months. Despite we’ve outlined the individual gigs lined up at the Arts Festival, back when it was announced in August, such has lockdown caused much jiggery-pokery with the dates of such things, and not forgoing I’d suspect the Arts Festival got itchy fingers and simply couldn’t wait until summertime to present us with some amazing performances, these things need reminders, so here I am!

Though the opening gig, Thursday’s Ronnie Scott’s All Stars Jazz Club Tour has sold out, tickets for the others are on the table awaiting your attention, plus, of course there’s free fringe events across town too. Let’s have another look at what’s on offer here, to wet your appetite shall we?

Under the banner, “the show must go on,” the Arts Festival are delighted to welcome Sally Barker to Devizes, on the 13th. In this new show ‘Sandy, Joni & Me’ she will bring some of the songs of both Joni Mitchell and Sandy Denny to the stage, exploring the singer/songwriter legacy that was forged in the early ’70s.

Veteran folk-blues singer/songwriter Sally Barker became Tom Jones’ finalist on The Voice UK 2014 after reducing her mentor, and many watching the TV, to tears with her performances. Sally has toured with Sir Tom, Bob Dylan and Robert Plant amongst others. Radio 2 DJ Chris Evans said, “Sally changes the atmosphere in a room when she sings.”

And Friday 19th is Motown Gold time at the Corn Exchange. Dust off your dancing shoes for a fabulous evening from a fantastic band. Motown Gold celebrate the finest songs from the timeless Motown and Classic Soul era, which kind of speaks for itself.

As for free Fringe events, The Muck & Dundar have loop pedal guru Arif Najak bringing laid-back reggae sounds on Friday 12th. Sunday 14th is at New Society, where you’ll find Bristol’s dynamic jazz vocalist Lucy Moon, performing energetic swing and classic swing-era tunes to liven up your Sunday lunchtime. Booking is essential for this one, contact New Society to reserve your table.

There’s a couple more fringe events before the Arts Festival’s grand Motown finale; South Wales’s Big Sky are at The Crown on Wednesday 17th, with roots rock infused with touches of blues, country and psychedelia, they are known for being one of the few bands containing brothers who have not yet had an on-stage altercation! And Thursday 18th sees Mark Harrison at the Three Crowns. An original and interesting songwriter, a stunning guitarist, and a master storyteller.

It is, in all my years of running Devizine, the biggest November I’ve ever seen! But the Devizes Arts Festival doesn’t stop there, this is just filling a gap. I asked artistic director Margaret Bryant if there will be something in the pipeline for a summer arts festival too, and she replied “yes, we’re already planning 2022!”

But let’s not get ahead of ourselves here, just look forward to November; get your Devizes Arts Festival tickets here, for all other gigs and events, see our event calendar for links and info; see you out and about, folks!

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How Common is “Spiking” in Wiltshire?

We’re talking with Wiltshire Police about spiking in the area, how common it is, how to best prevent being a victim of it, and what to do if you suspect you’ve been “spiked.”

There’s been a truckload of media coverage of “spiking” nationally, with a notion towards a trend of using needles rather than the more common practises of topping up a drink or dropping a drug into a drink. If anything, it’s made me realise how totally out of touch I am with modern clubbing. While it may’ve been a while since I got my groove thang on, which I feel imperative to add I can still cut-a-rug as good as any twentysomething, clubbing was a religion in my younger years, and I retain, just about, fond memories of carefree dancing the night away; but you don’t want to hear about that!

Therefore, I’m saddened and literally sickened to hear stories in the press of youngsters who’d rather stay in than risk being spiked, and those who’ve been victims. So, I’ve called upon Wiltshire Police, to find out how common this appalling trend is in the county, what people can do to both prevent it, and what action they should take if they suspect they’ve been spiked.

Wiltshire Police told me, “This issue has caused a lot of interest recently and we are keen as a Force to make sure the story is being told correctly and the actual picture in Wiltshire is being shown.” Still, I’d like to think cases in our county are low, and figures for the past three years in Wiltshire, supplied by Wiltshire Police’s Business Intelligence Unit show while twelve incidents were reported in 2019, this was reduced to eight incidents in 2020, which I suppose lockdown had an effect, because unfortunately, this year another twelve incidents have been reported. Police are keen to point out, these figures include instances where spiking may be mentioned in the summary of the incident but may not later be confirmed, and they relate to drink spiking, not needle spiking.

Yet this leaves me pondering incidents which go unreported, and I’m alarmed to read the charity Talk To FRANK website suggesting “while the aim may be to incapacitate someone enough to rob or sexually assault them, sometimes it is just intended as a joke – a bad joke as it is very dangerous.”

Beggar’s belief someone would do this as a prank, and in turn, I must say, I’ve had trouble angling this article. Firstly, if you’re a regular reader you’ll be aware I attempt sprinkling humour into my words, but there’s nothing funny to this issue. Secondly, I originally thought I’d have something concrete to say to anyone considering spiking another person, but I changed my mind; I have nothing to say to you which you’d probably take heed of, and I could legally publish.

The concentration has to be on sending a message to potential victims, which could be anyone. I’d like to advise you not to let these nasty bastards spoil your fun, but at the same time I implore you to stay safe.

Watch your drink at all times, remain within a group of trusted friends, and if you believe you’ve been spiked, try not to panic, but find support from friends. I accept this is easier said than done, the drugs these idiots use can be seriously intoxicating, things are going to get wobbly, so much more than having too many drinks, which should act as the indicator something is amiss, especially if you’ve taken account of how much you’ve drunk.

You may question what’s happening, where you are, even who you are, commonly used drugs like ketamine and Rohypnol are seriously debilitating, so getting help urgently is paramount. Wiltshire Police say, “we would encourage anyone who believes they have been the victim of spiking or have witnessed it to contact us on 101. Any reports of spiking will be investigated and taken seriously.” Details of prevention on Wiltshire Police’s website can be found here, please read it.

FRANK gives tips to stay safe: Plan your night out, including your journey there and back. Make sure the venue you are going to is licensed – venues are required to take steps to ensure the safety of their customers. When going to a pub, club or party avoid going alone. Friends can look out for one another. Stay aware of what’s going on around you and keep away from situations you don’t feel comfortable with. Think very carefully about whether you should leave a pub, club or party with someone you’ve just met, and make sure your mobile phone has plenty of charge in it before you leave home and keep your mobile safe.

I’m pleased to read nightclubs like The Chapel in Salisbury and Tree Swindon freely distribute “bottle stoppers,” but contacting another two local nightclubs, I received no response when asking them what they’re doing to prevent such incidents. While I know it’s not an easy issue, I urge them to reconsider policies such as no glass on dancefloors, hoping they can provide a plastic alternative.   

Wiltshire Police have launched Project Vigilant, with operations being carried out on a frequent basis to proactively prevent violence and sexual offences. You can read more about Project Vigilant on the Wiltshire Police website. A Wiltshire Police spokesperson said: “We continue to work closely with licensed premises and our partners across the county through initiatives like Project Vigilant to ensure everything is being done to spot the signs of predatory behaviour.”

FRANK continues onto how to avoid drink spiking, suggesting always buy your own drink and watch it being poured. Don’t accept drinks from strangers. Never leave your drink unattended while you dance or go to the toilet. Don’t drink or taste anyone else’s drink. Throw your drink away if you think it tastes odd.

There is also an initiative led by Wiltshire Council called Ask For Angela, which the Police supports. The scheme helps people who are on a date or who have met someone at a venue and feel unsafe get help from bar staff. Anyone who feels unsafe in such a situation can get help from bar staff by simply asking to speak to “Angela.”  Staff will then assist the person in leaving the venue discreetly and getting home or to a place of safety. This could mean taking the distressed person out of sight, calling for a taxi and making sure they get home okay or even asking the person causing distress to leave the venue if appropriate. Details about this are here.

To conclude, I’d just like to reaffirm my appeal you stay safe by taking heed of the advice, because although the media are focussing on needle spiking, spiking your drink is far more common and easier to execute. Prof Adam Winstock from the Global Drugs Survey says it would be difficult to inject someone with drugs in a night out situation, “needles have to be inserted with a level of care – and that’s when you’ve got the patient sitting in front of you with skin and no clothes. The idea these things can be randomly given through clothes in a club is just not that likely.” But not impossible, and dropping a pill into a drink, well, this is far simpler, so go out and have fun, but be aware, please.

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REVIEW – Climax Blues Band @ Long Street Blues Club, Devizes – Saturday 30th October 2021

New Music For Old Favourites

by Andy Fawthrop

Another trip up the hill to the Con Club for the latest pop-up session of Long Street Blues Club, and another great night with a busy and enthusiastic audience.

Support act for the night was Bristol-based Damian Arketta, a new name for me, but I’m always happy to listen to new talent.  Damian played a lot of his own stuff, which I found generally unremarkable, and a rather awkward cover of Heard It Thru’ The Grapevine.  To be honest I found his singing style a little strident and shouty, and there was nothing special in his playing – no subtlety or nuance.  To me the applause sounded polite and supportive, rather than genuinely enthusiastic, but I’m aware that views may differ.  Thinking that I was perhaps being a little harsh on the guy, I asked around a bit and found a somewhat Marmite response – some folks thought he was really good, whilst others (like me) were far less enthusiastic.  Overall, however, you simply can’t like everyone, and I’ll just say that he didn’t really float my boat.

Main act for the night were the legendary Climax Blues Band.  The band were originally formed way back in 1968 by Colin Cooper who led the band with Pete Haycock through great success and recognition through the 1970s and 1980s.  The current 6-piece line-up, however, are a different set of guys now, but that’s not to say they don’t have plenty of track record between them.

George Glover has been on the keyboards since 1981, Lester Hunton on guitar since 1986, and Roy Adams (drums) and Neil Simpson (bass) joined the band on a permanent basis around 1990.  The current line-up was completed by Graham Dee on vocals, and Chris ‘Beebe’ Aldridge on saxes.

Why am I telling you all this?  Well there was much chat from frontman Graham Dee about the journey the band was undertaking in trying to blend the music from their historic roots, the material they’ve inherited, with the songs they’re writing and delivering today, the completely new material.  The band, quite rightly, want to move forward and to develop.  And the result, to my mind, was a complete success.  They delivered two good long sets of blended soulful, boogie-woogie, funky, bluesy music.  There was also a jazzy feel at times, as the musicians took their solos, then blending easily back into the groove.  The band looked and sounded comfortable, giving the music the space to breathe.  Dee’s gravelly vocals, combined with Alridge’s seductive sax notes, added superb subtlety and tone to the driving rhythm section.

Dee was a terrific frontman, looking and sounding the part of the band’s MC, coaxing and encouraging all the musicians in turn as they took flight.  His rapport with the audience was spot-on – confidential, cheeky, honest, down-to-earth.  And, yes, he did mention from time to time that the band had a new album out (Hands Of Time)!  He also led the audience in a great call-and-response treatment of “It’s A Family Affair” – exhausting, but great fun.  It was infectious, it was engaging, it was a great performance

Overall another great night at the club – great value to listen to world-class musicians in our own back yard.  Well done to Ian Hopkins and his team!  And there’s loads more good stuff in the pipeline too – see the listings below.

So – you know what you’ve got to do – get out there and support live music!

Future Long Street Blues Club gigs:

Saturday 13th November 2021                   Gerry Jablonski Band

Saturday 20th November 2021                   Focus (Corn Exchange, Devizes)

Saturday 27th November 2021                   Antonio Forcione Quartet

Saturday 18th December 2021-                  KOSSOFF…The Band Plays On

Friday 14th January 2022                               Chicago Living Legends

Saturday 5th February 2022                         Tinsley Ellis

Saturday 19th February 2022                       Mike Zito Band

Saturday 26th February 2022                       Mark Flanagan Band

Friday 4th March 2022                                    Black Sabbitch (Corn Exchange)

Saturday 19th March 2022                            Soft Machine

Saturday 2nd April 2022                                 Alastair Greene Band

Friday 8th April 2022                                       Billy Bremner’s Rockfile (Devizes Town Hall

Saturday 9th April 2022                                  Carl Palmer’s ELP Legacy (Corn Exchange)

Saturday 16th April 2022                               Billy Walton Band

Friday 6th May 2022                                        Birdmens

Saturday 17 September 2022                      CSN Express (New Rescheduled Date)

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It’s Beginning to Look a DOCA Like Christmas

Devizes Outdoor Celebratory Arts are in the thick of planning for the Lantern Parade and Winter Festival, set to take place at the Market Place on Friday the 26th and Saturday 27th of November, but it looks doubtful the usual mass-gathering to see Santa Claus switching on the Christmas lights will be possible this year.

Divided in opinion on controlling the pandemic and vaccinations we may be, but I’m certain, though disappointed, it would be an understandable move to spread the festival out for safety reasons, as it did so well with the town’s celebrated International Street Festival in the summer. Not forgoing, we’ll all agree, the last person we need to test positive at this time of year, is Santa!

“Traditionally Devizes Lantern Parade,” DOCA announced, “a huge magical community event comes to our streets on the last Friday of November, it is usually part of the Town Councils Light Switch on.  Things may be a little different this year.”

 But, let’s look forward for the positives; posters are going up around town this coming week, lantern making workshops in schools and at the Wiltshire Museum will take place on the 7th and 21st of November, and DOCA is gearing up to present the town with a wonderful parade and market. “We can confirm that we will have an amazing festive market,” they delight to inform, “with carefully selected sellers and makers bringing unique gifts, tasty food, and drinks to our Market Place.”

“The Makery” in the Corn Exchange will hold independent crafter stalls on both days, where you’ll find beautiful handmade gifts. Fantasy Radio will be playing festival tunes in the Market Place, Devizes Town Band will bring class brass to the Market Place, from 6-7pm each evening, with fireworks straight afterwards, and the highlight lantern parade starting off at 6:30pm.

There is a revised route for the parade, DOCA advises checking maps on lampposts around the town. Collect your lanterns from St. John’s Church between 5pm until 6pm. Leave unwanted lanterns under the Christmas Tree in the Market Place for recycling.

Other first-time things to look out for include the Air Giants, outside the Corn Exchange and the Town Hall at 5:30pm and 8:30pm. Amazing gentle giants, Triffid and Luma are huge illuminated, emotionally expressive, soft robotic creatures. “You may think the wind is blowing them, but they can actually sense you and will interact with you as you approach them,” DOCA claim. This I have to see for myself; who knows, by the end of the evening we’ll be best buddies and probably stop off for a pint at the British!

Also look out for Ghost Caribou; part caribou, part spirit, roam a mystical world after dark. That being outside the Mayflower on Long Street at 5:30pm and 7:10pm, and they’ll go walkabout along the High Street and Long Street afterwards. Join them as they clear a space to perform their other-worldly ceremony, with music, song and shadow puppets they tell stories of lost homes, impossible migrations and seeds of hope before continuing the journey into their hauntingly beautiful dream-world of the night.

Spooky! Hope to catch you there, with mulled wine and mittens! Find out more, HERE.

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REVIEW – White Horse Opera’s Top Of The Ops @Town Hall, Devizes – Friday 29th October 2021

Love Potions & Family Curses

by Andy Fawthrop

Another sign that things are slowly getting back to normal was the re-emergence on Friday night of the rarely-seen, but very talented, White Horse Opera with their first post-Covid presentation of the dodgily-titled show “Top Of The Ops” in the splendid surroundings of Devizes Town Hall.  I think the title was meant to be a play on words involving the word “opera”, but never mind.

The two-hour-plus show featured excerpts from two comic operas – Donizetti’s “L’Elisir D’Amore” (the Elixir of Love) and Gilbert & Sullivan’s “Ruddigore”, together with several other pieces.  The purpose in selecting these two particular operas was to highlight the fact that the company are planning to perform them both in full in 2022 – the Donizetti next October, and the G&S as a bookable touring production for local venues from Spring onwards.

But on Friday night (also reprised on Saturday night), the emphasis was on presenting a rich selection of items, and to get singing once more in front of a paying audience.  We kicked off with guest tenor Carlos Alonso leading the charge into the Donizetti, with strong support from in-house principals Lisa House and Stephen Grimshaw.  And before we reached the interval we had highlights from Mozart, Saint-Saens, Bizet, Gounod, and Borodin amongst others.  Paula Boyagis and Barbara Gompels were the stand-out performers here.

The Town Hall is a splendid venue for this sort of music, with its high ceiling, great acoustics, and plush formal decoration.  The only minor problem is the chandelier-based lighting, which makes it difficult to dim the lights in the audience whilst leaving the action on stage well-illuminated.  But this is a tiny quibble when compared to the overall glory of the historic surroundings.

On to the second half, which took more of a sideways step in its selection of items.  A particular highlight for me was Lewis Cowen’s rendition of Tom Lehrer’s “Masochism Tango”, which I discovered I was still nearly word-perfect on, but that’s just my particular perversion.  We also had pieces from Flanders & Swann, Kismet, West Side Story, and Little Shop of Horrors.  But the key pieces were from Gilbert & Sullivan’s fantastical comic opera “Ruddigore”, a particular favourite of mine.  This featured some nice solos from Chrissie Higgs and Jess Phillips, but with strong and fulsome support from the whole company.  Pianist Tony James, the sole musician, was impeccable in providing bright and upbeat accompaniment.

So by the end of the evening we were all au fait (and very well-acquainted!) with such musical technical terms as glissando (sliding from one note to another) and colatura (elaborate ornamentation).  I’m no expert, and couldn’t carry a tune if you gave me a large bucket, but I know what I like when I hear it, and I definitely liked all of tonight’s performance.  Not only did it sound good, but it was obvious that the performers were enjoying themselves, and the packed audience certainly appreciated it.  Great night out & amazingly good value for a tenner!

Future WHO events:

18th December                                 Fauré ‘s Requiem/ Christmas Concert7.30pm St John’s Church Devizes

Sat 8th Jan 2022                               Top of the Ops                                   7.30pm West Lavington Village Hall

Spring 2022                                        Ruddigore                                           7.30pm Venues TBA

26th, 28th & 29th Oct 2022          L’elisir d’amore                                 7.30pm Lavington School

More information on WHO is available at www.whitehorseopera.co.uk

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So, it’s finally come to pass, beginning to look a lot like autumn and a Halloween weekend crammed with events I feel I should attend conflict against the general drizzle looming outside. Having a soaking every morning at work I’m dubious to continue past summery wanders up the hill to Devizes, coupled with my newfound knowledge it’s actually easier to get to the Sham from Rowde via public transport and I really felt like a cider or five.

While I appreciate the killons (that’s a zillon zillions) of invitations I get per weekend, I opted for the easy route and headed for The Cross Keys in Rowde, a local I neglect in pursuit of trekking the county gig hunting, yet which holds many fond memories, including my own wedding reception!

A grand open-plan Waddies, The Keys served the village community with historically a mixed bunch of landlords, some, it must be said, far more dedicated to the task than others. Given an interior paint job complete with retro movie and rock n roll stencils the new owners have recreated the friendly and down-to-earth welcoming atmosphere. They boast a new chef and the continuation of an affordable Sunday carvery, the legacy of the previous owner.

But I’m not here on chance, or for a roast potato; the Rowde landmark opens itself back up for a live music event, and I’ve not heard of the billed “Life of Brian Band.” Promising pop-rock from the sixties to the noughties and boasting the frontman, conveniently called Brian to avoid any Monty Python quips, as a former guitarist for Kate Bush. Okay, I’m game.

Usual wobbly photo from yours truly; always the mark of a good night!

Took a while to kick off, as best things to come to those who wait, plus with their usual drummer absent, Jim from Rowde band Eazilyled made an outstanding adlib performance between this couple of, shall we say, matured and proficient gents, on lead and bass guitars. Eventually cracking open with The Temptations’ My Girl, and following with a plethora of well-defined Beatles, Rolling Stones and Kinks classics, including a wonderfully delivered Waterloo Sunset, Brain and his bass player skilfully executed a grand show of anthemic rock n roll and blues pop covers.

Though there was nothing ground-breaking going on here, it was a rousing and professional sporadic pub band clearly and nostalgically loving every minute of the spotlight. That makes it for me, the sheer expression of bliss and fun, particularly from the bassist. It gives the impression they’re in their element, and they were, rocking out. The couple bouncing off each other with slight banter and dexterous guitarwork, with drummer Jim challenged to improv the next moves from this refined double act, blessed the Cross Keys with an exhilarant evening; here’s hoping for more.

Arguably the noughties where underrepresented, but I don’t believe this mattered one iota to the punters, as Beatles and Stones works for every generation. Plus, alongside we had guaranteed crowd-pleasers from Cream, Free, even the Travelling Wilburys, at times soul with Wilson Pickett and Sam & Dave covers, an especially adroit couple of flashes of the Police’s Roxanne and Message in a Bottle, and some memorable moments with the Who’s Squeeze Box and Tom Petty’s Learning to Fly. What they did they do with charm, professionalism and enjoyment, and one can’t ask for more than this.

A blessing to know the Cross Keys is on top form, and I’d welcome more live music nights, encourage Paul, the landlord to get in touch with some recommendations, if he so wishes. Because while one might trek to towns and cities in want of live music, our villages need some love and attention too, saving stranded people some taxi fees or steps on their FitBits!

Trending…..

Milton Jones; Deadpan in Devizes

Mock the Week’s recurring panellist and Radio 4 comedian Milton Jones stood on the stage of Devizes Corn Exchange on Friday, with the setter, “it’s…

Let’s Go Swimming with Poppy Rose

Two years ago we fondly reviewed I’m Ready Now, a debut EP from Bath’s Poppy Rose. I praised her unique take, her thoughtful prose and…

REVIEW – Jack Grace Band @ The Southgate, Devizes – Sunday 24th October 2021

Another Cracking Show

by Andy Fawthrop

It was February 2020, pre-pandemic, pre-Lockdown, that the New York-based Jack Grace Band last performed at The Southgate.  I remember that show as being a cracking night out, so I wasn’t going to miss a second bite at this rather luscious cherry.  Jack is on a short UK tour, before heading back to the US for a few more gigs.

With an eye on the weather forecast, Dave & Debs had moved the gig indoors – a smaller space to see the band, but a much better intimate atmosphere.  Getting back to old times almost.

Appearing previously as a trio, this time the “band” consisted of only one other musician, drummer Ian Griffith.  Yet this didn’t appear to slow Jack down one little bit.  We got two great sets, packed with songs, stories and great audience banter.  The songs were punchy, often short and to the point, with witty whip-smart lyrics and some spot-on guitar picking.  Each one was introduced with the story behind it, often featuring booze, love, women and the life as a musician.  The music was full of hooks, foot-tapping riffs and catchy lyrics.  We even had audience participation, with Jack managing to poke fun at what he referred to as Britain’s “warm” beer.  But we’ll let him off that little insult.

https://fb.watch/8TLBXzgiFv/

Jack is not just a song-writer and a musician, he’s also a born raconteur and a great all-round entertainer.  Using harmonica, guitar and vocals he was able to quickly conjure up vivid pictures of past scenarios, memories, jokes and his occasional brushes with fame.  Only one number in and the audience were completely onside.  This was what live music is all about – a man who wants to play and get close to his audience, and a crowd who were absolutely out to enjoy themselves whilst having a few beers.  Great gig.

Future gigs at The Southgate:

  • Friday 29th October – Grizzly Rhys Morgan 9pm
  • Saturday 30th October – Celtic Roots Collective
  • Fri/ Sat/ Sun 29th – 31st October – Beer & Cider Festival

Trending…..

Manning Lifeboats, In Devizes!

Manning the lifeboats with Devizes Arts Festival in landlocked Devizes last night, and I didn’t even get a sticker. I did shake a tailfeather out…

Barry Reviews Strange Folk at The Southgate!

Well, what can I say? They might lose a couple of brownie points for the singer continuously referring to me as “Barry,” but Somerset-Hampshire psych-folk rock four-piece, Strange Folk, who graced Devizes’ Southgate’s little magic box last night can afford to!

Aside an acoustic set in Crewkerne, it was their first electric gig post-lockdown, and the first time they’d played at Devizes answer to the O2, though some may cast their minds back to a brighter sunny day when they showed us what they’re made of at Pete & Jackie of Vinyl Realm’s alternative stage at DOCA’s street festival. It was on the grounds of this outstanding performance which summon me to the Gate, not forgoing the awe-inspiring tune they sent us for the Julia’s House compilation. Which, in turn would’ve substituted any lost gold stars for the Barry banter!

A small price to pay to ensure they played Glitter the very song they kindly contributed, a request which took them by surprise, being recorded during lockdown, they were unprepared, and hadn’t yet played it live. Still, as was the entire gig, they made a grand job of it, and I’m about explain why.

It’s David Setterfield’s sublime electric and acoustic guitarwork coupled with the awe-inspiring power of Annalise’s voice, which bounds their sound beyond the confounds of the usual gothic-folk rock genre. So soulfully captivating is this voice, and is the gifted guitar, at times there’s a natural nod to electric blues, particularly of the late psychedelic sixties sort. In fact, I was praising them to someone, Bran Kerdhynen, I believe, one half of the Celtic Roots Collective, by suggesting they remind me of “White Rabbit,” which they indeed later covered, along with the other Jefferson Airplane anthem “Somebody to Love.”

If I could think of no other cover so apt for their particular and inimitable sound, covers of T-Rex’s 20th Century Boy, Gold Dust Woman by Fleetwood Mac, and the Stones at their most enchanting with Gimmie Shelter, also fit the bill perfectly. Tainted Love being perhaps the outside chance, but very much based on Soft Cell’s version, I’ll give them that too, for the goth perspective.

Similarly, though, as I said about Frey’s Beer’s Beast album a few days ago, the professional finish and hauntingly alluring female voice, rather than the gritty vocals common with said genre, despite not being the black hair dyed and leather friendship bands type, I devoured, because Strange Folk sweep the arena of All About Eve, into System of a Down and Blind Melon, to blend Fairport Convention with Jethro Tull and Hendrix. And I was born out of time, loving to have hitchhiked to San Francisco with a flower in my hair.

Yet at times covers at the Gate last night felt pushed, as to appease a perceived audience, compared to their own original compositions; they were the icing on the cake and truly ushered you away on a petite mind-trip. The coupling of David and Annalise would be bare without the proficient bassist, Ian and drummer, Steve tucked in the back of the skittle ally, and they rocked through their own songs more so. For future reference, unlike many a pub gig, originals are encouraged here.

Talking of here, it was lovely to be back at the Southgate after gallivanting somewhat to bring news of other venues in our rural precinct, for while they do exist, for me, just like Norm Peterson and Cliff Clavin, sometimes you wanna go where everybody knows your name, except, it seems for the lead singer on this occasion! I mean, Barry, for crying out loud; do I really look like a Barry to you?! Rhetorical, you don’t have to answer that.

The canopies over the beer garden have become locally legendary, a testament in our town, to upholding live music throughout this era, and Deborah and Dave have created this haven, where you’ll see no drunken squabbles and feel no bad vibes.

Nice to hear their communal acoustic jams have respawned on Wednesday evenings, and next Saturday is the time for The Blind Lemon Experience, Billy and the Low Ground following on the 23rd October.

Meanwhile Strange Folk have three singles, an EP from 2014 called Hollow Part 1, and a debut promo EP from 2004, which are very worthy of your attention. Around our way again at B-O-A’s Three Horseshoes for Halloween, their sound is a gorgeous gothic-folk crossover professional enough to captivate even those with a passing interest in the genre.

 

REVIEW – Jimmy Carpenter – Long Street Blues Club – Saturday 2nd October 2021

Long, slow sax in the evening

Andy Fawthrop

I think we’re all partial to some casual sax when it’s on offer, so it didn’t take much persuasion to get me back up Long Street to the Con Club for the next date of Long Street Blues Club’s winter season.  Tonight it was the turn of Las Vegas-based Jimmy Carpenter and his band, and the Devizes date was the first night of their UK tour…..

But first things first.  Acoustic support act for the night was Lewis Clark, shorn of his Essentials for the evening – just the man, his voice and his guitar.  Lewis played mostly his own material, and a lot of the songs were new.  These were often raw in emotion, but still strong on melody, with some intricate guitar playing and soaring vocal work.  He did play one cover – John Martyn’s I Don’t Wanna Know, and a damned fine job he made of it too.  Lewis is a talented guy, and the crowd clearly appreciated it as a great start to the evening’s entertainment.

Then it was onto the main man – Jimmy Carpenter.  The man came highly recommended on the back of his new album (Soul Doctor) and his Blues Foundation 2021 award for Best Instrumentalist.  The guy is a saxophonist, singer-songwriter, and arranger and has been in the music business for over 35 years – and it showed.  I was new to the guy’s music, but was totally won over by the end of the night.

The 5-piece band played two 50-minute sets and it was the mark of how darned good it was that it seemed to slip by in half that time.  Jimmy was in total control of his band (including a bassist brought in at the last minute due to a possible Covid scare) and, after a few numbers, in control of the crowd.  The sets featured several original tracks from the album, including a really superb rendition of the eponymous Soul Doctor, together with a seamless leavening of carefully selected covers.  Just as I was beginning to think of comparisons – Van Morrison, Southside Johnny, Junior Walker – up came the latter’s Shotgun.  We also journeyed through Peter Green’s Need Your Love So Bad, Otis Clay’s Trying To Live My Life Without You, the Rolling Stones’ Shine A Light, Freddy King’s Surf Monkey and Eddie Hinton’s (of Muscle Shoals fame) Yeah Man. 

All of this was played with enormous panache and great energy, effortlessly working through Memphis soul, boogie-woogie, rock & roll, and blues.  And not content with blowing some wicked sax and putting out a great line in gravelly vocals, the man kept flipping over to lead guitar “just for a rest”.  What a performer!  Needless to say the crowd lapped it up.

Great night’s entertainment, and what good quality live music is all about!  Best sax I’ve had in ages!

Future Long Street Blues Club gigs:

  • Saturday 30th October – Climax Blues Band (at Devizes Town Hall)
  • Saturday 20th November – Focus (at Devizes Corn Exchange)
  • Saturday 27th November – Antonio Forcione Quartet
  • Saturday 18th December – Kossoff: The Band Plays On
  • Friday 14th January 2022 – Chicago Blues Allstars
WIN 2 FREE TICKETS HERE!

Trending….

Devizes; Full of Scummy Mummies!

Guys out on “the pull” on Thursday in Devizes were cut short. The Scummy Mummies were back in town, and you’ve never heard so many…

Pride Where Pride is Needed

Pride month finds me wondering if Pride events are actually needed more in our smaller market towns where awareness and acceptance is perhaps lesser than…

The Evolution of Kirsty Clinch

“The only thing disappointing about Kirsty Clinch’s Evolution is, it ends.”

It’s a generation X thing, I’m suggesting, which levels me to downloading an album as the last port of call to actually “owning” something anywhere near physical, against this era of streaming music, sourly missing the fondness of holding a piece of vinyl for all its crackles and jumps. Because owning an album was like a piece of treasure, the cherished keepsake sense you don’t get with streaming, and in review today is exactly the sort of album to be such a cherished keepsake.

Nevertheless, Wiltshire’s adorable country-pop virtuoso, Kirsty Clinch has mastered the art of marketing, and with a drive to succeed, knows precisely through social media, how to gain and keep engaged a modern audience, equally to her exceptional gift as a musician and singer-songwriter. Yes, you could’ve guessed it, her new album Evolution is a masterpiece. The finale of which being aptly a tune called Social Media, which expertly reflects on the image one projects online against the hidden imperfections of reality.

But the ingenuity of marketing is a miniscule element as to why Kirsty manages to reach the fourth position in the iTunes charts in under a few short weeks of releasing her debut album, against the much larger reason that this is the sort of music which doesn’t require pigeonholing, because whatever the angle of your personal taste, you’ll emerge from it thinking; you know what, I like country-pop now.

So, I bite the bullet, stream it on Spotify, like a fledgling, mottled boss, ignoring the invasion of adverts for the sake of hearing an album I’ve held in high anticipation, since she mentioned it to me quite a while ago. If it’s taken time, it’s primarily Kirsty being a perfectionist, and it shows. Nothing here will disappoint or make me doubt the faultlessness of the composition of this album, and in turn, Kirsty’s talent, her picture-perfect balance, in such a way, it’s impossible not to love.

Around and Around’s modest drum makes this song an irresistible introduction, if the astute song writing, complimented by Kirsty’s rich and warming voice, doesn’t, oh but it does. Water’s Running Low continues the quality, confirming you’re in for a beautiful journey, ten tracks strong.

Fit The Shoe, the single we’ve fondly mentioned prior, is hauntingly divine, like William Orbit’s production of Madonna’s Frozen, with a theme of who the cap fits, which is followed by the title track, again, wonderful. Uplifting is the keyword throughout, maintain the balance of sombre yet jubilance. I am Winning, a song of faith in your accomplishments, being a grand example, it drifts over you, as if it’s always been in your life.

Previously there’s always been an obviously and well played out taste of country’s female giants clearly influenced in Kirsty’s songs, of Tammy or Dolly, but here, now, this is wholly Kirsty, it sounds freshly awakened to the junction whereby one day, not far away, reviewers will cite her influence on newer folk artists; that much I’m certain. 

Perhaps the memorable, yet not as quirky as the title suggests, No Cornflakes makes me sigh, are we past the halfway mark already? The only thing disappointing about Kirsty Clinch’s Evolution is, it ends.

But not before I Am Me, a rejected romance theme, breaths the most heart-warming narrative of all, with a trialling drumbeat imposing you to realise her style is contemporary, rather than the genre’s archetypal nostalgia. And three more tunes which never faulters the experience, the catchiest of them being Down, and it ends with the aforementioned Social Media.

In this finale you get the confirmation behind the stunning, echoing voice lies honesty in the song writing, from the heart and soul. And that’s it’s worth, in a nutshell, you feel as if you’re getting a little piece of this performer, who is the whole deal, plus one. Self-managed, produced, save the odd tip and mastering from Pete Lamb, marketed, Kirsty even drew the cover illustration. She puts the young students of her newly opened music school before that of promoting this album, she surely shines, and if you heard her previous songs, seen her perform live, you’ll remain convinced this album, is Kirsty indeed evolving into a shooting star you cannot ignore.

Trending….

After Ruby, Barrelhouse and RowdeFest 26

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…

Chatting with Ruby Darbyshire

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…

Pumpkins & Poppies with Devizes Town Band

In six weeks, the historic Devizes Town Band will be performing at their first indoor concert for two years!

On Sunday 31st October, Devizes Town Band are thrilled to be bringing to you a very special ‘Poppy’ Concert supporting the Royal British Legion; “Pumpkins and Poppies”

An afternoon of beautiful and entertaining music, to celebrate on Hallowe’en being able to perform again and to remember those who served, those who live with the consequences of conflict and those who paid the ultimate price. The concert will be held in the Corn Exchange, Devizes. Doors open at 2pm and the performance will start at 2:30pm.

All seats will be socially distanced and the building is fully air conditioned. Tickets are £10 each and available online via the link below from today!

You can also get them from the lovely Jo at Devizes Books. We Will Remember Them. Come along to our concert and remember them too….

Win 2 Tickets; Click Here!

Trending Now….

Shindig Festival Goes Ahead, with Bob Vylan

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…

Wife Cooks Husband in Devizes!

A wife cooked her husband on Thursday evening in Devizes. I watched the whole thing unfold, but would have politely passed off any offering of…

New Devizes Mayor; Congratulations, Vanessa!

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…

Should Wiltshire Council Fly the Pride Flag?

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…

M3G, De-Anchored

At the end of last year Chippenham singer-songwriter M3G released the single Rooks. I felt it set her bar at a whole new higher level.…

REVIEW – Creedence Clearwater Review – Long Street Blues Club – Saturday 18th September 2021

Up Around The Blues Club

By Andy Fawthrop

Well, it’d been a long old time but finally – finally! – we were back after 18 months to Long Street Blues Club, hosted by The Con Club.  The original artists for this gig had been the USA-based Billy Walton Band but, once one or two other dates on their European tour had been cancelled due to Covid restrictions, found that the tour as a whole had become unviable.  Hopefully they’ll be re-scheduled for 2022.

Which left Ian Hopkins needing to scrabble round fairly quickly in order to fill this date for tickets already sold – and what a great job he did at such short notice.  He found two very competent acts to step in, and the gig could go ahead, even if not quite as originally planned.

Kevin Brown

Support for the evening came from an old mate of mine, Kevin Brown.  He of the oil-can guitar, the blues slide guitar and, when playing on the local pub and festival circuit, Shackdusters fame.  This was his first appearance at the club, playing solo.  His laid-back, humorous, self-deprecating style quickly won over a large audience, who listened in rapt attention. Kevin writes his own material, based on his life experiences, so that the man and the music blend almost seamlessly. His JJ Cale tribute number was particularly impressive.  A very winning performance, which elicited fulsome and well-deserved applause – so let’s hope he’s invited back in the future.

The main act, Creedence Clearwater Revival arrived with a “show” – a pre-programmed set, introduced by, and intercut with documentary voice recordings by members of the original band.  Early on the band explained – if explanation it was – that their rhythm guitarist “couldn’t make it”, so they were doing the show as a trio.  An odd start, but then they got on with ticking the hits off the list – Up Around The Bend, Rocking All Over The World, Heard It Thru’ The Grapevine, Midnight Special, Because You’re Mine, As Long As I Can See The Light, Bad Moon Rising, Born On The Bayou, Proud Mary, Have You Ever Seen The Rain.  The show – delivered as two fifty-minute sets – was performed with confidence and aplomb.  By the end we had singalongs and quite a few folks up dancing at the front.

And yet. And yet…..and yet it left me rather un-moved.  I grew up with the music of CCR and John Fogerty, so I’d like to think I’m a bit of a fan of their material.  So I was surprised to find the show rather unexciting.  The band were professional and competent and captured, to some extent, the “feel” of CCR’s bayou-based sound. Yet somehow, something of the original CCR’s drive and energy was missing.  It felt a bit “CCR-by-numbers” if you get what I mean? I thought perhaps I was being a bit super-critical, so I consulted a few people whose musical opinions I respect (as well as a few whose musical opinions I don’t respect) and there seemed to be a clear consensus – it was OK: the band were good, but not great.  My own acid test on these things is – would I pay money to go and see them again?  Sadly, my answer would be in the negative.  It felt a bit one-dimensional. There wasn’t a whole lot of audience engagement.  They’d come to play a show, and they played it.  Job done. No criticism whatsoever of the great job done by Ian, but not every band can float your boat, can it?

Future Long Street Blues Club gigs:

  • Saturday 2nd October – Jimmy Carpenter
  • Saturday 30th October – Climax Blues Band (at Devizes Town Hall)
  • Saturday 20th November – Focus (at Devizes Corn Exchange)
  • Saturday 27th November – Antonio Forcione Quartet
  • Saturday 18th December – Kossoff: The Band Plays On
  • Friday 14th January 2022 – Chicago Blues Allstars
WIN 2 Free TICKETS HERE

Trending….

Ready for RowdeFest?

Not long now, for Rowdefest! Which, as the name suggests, is in Rowde, near Devizes, on Saturday 30th May, and is a free, community spirited…

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Vinyl Realm Settles Into New Home

A median haul of vinyl can weigh in, but there’s no longer a trek down Northgate Street for record collectors and musicians alike. Vinyl Realm…

Help Choose a Charity For A Fundraising Music Event in Devizes….

A prestigious live music gig is being planned for Devizes. Top secret, if I spill anymore beans about it they’d be forced to shoot me, and I know you wouldn’t want that…..would you?

I thought not, not even if they just skimmed my kneecap with a spud-gun?

But what you can help the organisers decide is, what local non-profit charity would you want this event to fundraise for, should it go ahead?

I’ve added some worthy charities, but you can add your own if you wish. Please give us your feedback asap, takes a second, thank you! And yes, I’ll tell you all about when the time comes, just, like push me, man!

REVIEW: Devizes Town Band – Proms in Hillworth Park –Sunday 12th September 2021

Sun Shining & All Is Well with The World

Andy Fawthrop

Does anybody else feel like things are starting to roll again?  I mean like “normal”? – not the “new normal”, not the “old normal”, but just “normal”?  Just me then?!

After snuggling up with the BBC on Saturday night to witness the old “last night of the Proms”, with a cup of warm Horlicks and a packet of McVities digestives, and remembering that this was what it’s always been like at this time of year, I came over all nostalgic.  You know what I mean – the slide into Crimbo & the New Year via “putting the clocks back”, Halloween, Gunpowder Plot (and Thanksgiving if you’re of a Yankee persuasion).  And the “it must be Autumn because Strictly’s started up again”.  Yeah – all that.  Soon be snow on the ground, blah, blah, blah…

Well, Sunday in Hillworth Park proved that there’s still a bit of life left in the old Summer yet, and it’s not quite time to pull out the long-johns and big coat.  A large group of D-Town citizens turned out with camping chairs and picnic blankets to be royally entertained by Fantasy Radio (broadcasting live), the talented young singer Chloe Jordan, and the massed might of the Devizes Town Band, with their version of Proms In The Park.  Children played, dogs scampered around, people ate ice-creams and queued for the loos.  This was England!  This was Summer!  All good traditional stuff.

Chloe Jordan

We were treated to a wonderfully varied programme of songs and music, ably MC’d by Mark Jones of Fantasy Radio 97FM, and under the direction of the enthusiastic Sharon Lindo.  There were great solos from Jim Keenahan and Bruce MacDonald, ensemble and orchestral pieces, and of course the traditional rousing coda of Sailor’s Hornpipe, Rule Britannia, Jerusalem (beautifully rendered by Chloe), and the National Anthem.  We had everything – clapping, singing, dancing, flag-waving – from the enthusiastic crowd.  If anyone was feeling a little blue after months of Lockdown, no-one had told the hundreds of people who were out to enjoy themselves.  And they rewarded the performers with a pretty darned good ovation at the end.  Perhaps we ought to ask the Town Council to build us a bandstand?  Just a thought. (Yes Andy, I suggested this too; Ed!)

A really cracking way to spend a Sunday afternoon!

Next Devizes Town Band concert – Sunday 31st October in the Corn Exchange

Future Events in Hillworth Park: Party In The Park – Fantasy Radio – 2pm to 5pm 19th September 2021

WIN! Two tickets to Gary in Punderland @ The Corn Exchange

Trending…..

Radium on Liddington Hill

Swindon-based adrenaline pumping five-piece Liddington Hill released their first EP for three years, and Radium is highly radioactive….. For most on the North Wessex Downs,…

Some Reasons Why I Enjoyed Jesus Christ Superstar at The Wharf

One reason why I enjoyed Jesus Christ Superstar at Devizes Wharf Theatre yesterday evening, is similar to why I like sci-fi and fantasy genres.

No, hear me out, long winded it maybe, but there’s a point! With sci-fi you can take an earth-bound concept, and moving it from its usual perimeters, see it for what it truly is, without being predetermined via propaganda or personal opinion. Example; racism. Take a green coloured race of aliens fighting with a blue race, and from outside looking in you can see how completely meaningless and rash it is.

Jesus Christ Superstar throws out preconceptions of this renowned Easter story, bought about by biblical re-enactments and more commonly accepted adaptions. In essence, it’s a rock opera, opera is tragedy, and rock music is modernised, least it was when Tim Rice and Andrew Llyod Webber created it.

I often wonder what it was like for Michael Jackson, in the limo to the show, mobbed by obsessive devotees throwing themselves unashamedly at him. In a way, the tragic desolation and isolation of fame is more the subject in question, rather than the biblical Easter story. Just like our sci-fi scenario, it never suggests a religious connection, never states definitively that Jesus is the son of God. It takes the story out of the usual context and reconnects the dots.

The set is deliberately void, mostly of black backdrop, and props are minimal. Rather than a school play’s amateurishly painted scene, the darkness leaves the setting to your imagination. While Nazareth and Rome are mentioned, there’s no depiction of it. The concentration is flowed into the characters and music. For Jesus here is unlike another representation; in fact, I’d argue Brian from Monty Python’s “Life of” is closer! Played convincingly by Jordan Overton, if this was intentional, I found Jesus actually quite irritating. Far from blasphemous given the circumstances, for here he’s unforgiving, frustrated at the mounting iconic hysteria surrounding him. Probably more likely how it would be, especially in the modern era.

If Jordan made a grand job of it, more so did the surrounding characters, for Judas is Jerry if Jesus is Tom, the tension between the two the narrative. Arguably Peter Assirati’s performance is passionately executed greater, the focus on his despair is equal pegging, as Judas feels overexposure will be Jesus’s ruin. Like washed up rock stars or actors in the modern era, we know from tragedies like Marylin Monroe, to Whitney and Kurt Cobain, the feeling is real. In a way then, the lines between protagonist and antagonist are blurred, another reason why I liked this piece of musical theatre.

More general is the third reason; the Wharf is such a splendid asset to Devizes. This historic shoebox theatre central to town is so welcoming, if the doormat was curled at the edge staff would lie over it so you don’t trip. Chat in the auditorium is not of condescending theatre-goers and thespians, rather an almost family ambience with an age demographic to match. As with most venues, lockdown flogged this theatre, kicking it while it was down. Those who can, bearing in mind ticket stubs here are far more reasonably priced than city playhouses, are dutybound to help it to its feet. I witnessed said devotion firmly in place already, as Jesus Christ Superstar plays to a full house.

The fourth reason I enjoyed it is simply the surprise element. I went in critical, didn’t expect to actually like it, given the theme tune’s school playground variant of yore, set to ridicule it with Yamahas and dustbin lids, was wedged in my mind. Anyone younger will have to ask Alexa about this; I’ve exposed my age enough already!

I tip my hat to the performances of additional characters, Pete Winterton casted perfectly for the seventies-fashioned game show host version of Herod, breathing one humorous element to the tragedy, at least! Francis Holmes as Caiaphas made for the textbook managerial role and convincingly bellowed his solo with professionalism.

Emma Holmes and Chris Smith’s recitals of Simon and Peter, respectively, being especially poignant. None so much though as Mary Magdalene, played by Cassy Swann, who, with her astute expressions of woe and loyalty, her superior voice commanded the stage above all else. In this, full credit has also to be awarded to Victoria Warren, music director, and the band, Jennifer Cardno, Bob Ball, Claire Borovac and John Joy, for limited to a four-piece, amalgamated the show to epic and euphoric proportions.

You should note, if you go see this, at the time, amidst the hullabaloo surrounding its controversial subject, it took the best part of decade to alter from rock opera album to the stage in London, and only because of its success in the USA. True music fans will recognise this more as an album of music than a play, ergo the dynamics of elaborate stage effects are deliberately stripped back, the opening of Jesus Christ Superstar rightfully displays the band playing the overture prior to actors taking their stance. But go see it you should; decide quick and seize a ticket post haste. It’s only running at the Wharf Theatre until this Saturday, the 18th September, and last time I checked, tickets are up for grabs weekdays, Saturday is sold out.

Please buy our compilation album of local music, all proceeds go to Julia’s House, thank you!
WIN 2 tickets to Gary in Punderland @ Devizes Corn Exchange by clicking on the poster!

Trending……

Seren’s New Single; Worm

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Don’t Click on Illegal Rave Rage-Bait!

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A Gallery of Rogues: Devizes Musical Theatre is Back!

A Gallery of Rogues, huh? Can’t be, they look okay to me; it’s always the quiet one. I’m just pleased to hear the Devizes Musical Theatre is back and coming to a Market Lavington Community Hall near you!

Presenting a complete performance of “Trial by Jury,” W.S Gilbert and Arthur Sullivan together witha collection of other ditties, performed by members of the cast, and directed by Laura Deacon and Susan Braunton.

On the 21st October 1965, Devizes Musical Theatre (formerly named ‘Devizes Light Operatic Society’)  was born. A society committed to the arts, with an emphasis on fun, team work and a love for all things musical. Since, ‘DMT’ has grown into the talented, passionate and friendly society that it is today.

The society performs two full-scale productions each year with a number of concerts and showcases alongside these. In two sections; youth (‘DMT Footlights’) or adult, aged 8 or 80 they have something for you! On stage, behind the scenes or front of house alike, they are always keen to welcome new people.

Rehearsals began in a back garden and they’re now ready to bring you a large slice of G&S, followed by a pot pourri of songs. A light-hearted evening’s entertainment for all the family, on 11th September. Doors at 7:30pm, £7 payable on the door. Or email chairman@devizesmusicaltheatre.co.uk to reserve your tickets.

Trending….

The Makers Exchange; DOCA Call to the Creative

Thimbles on standby, Devizes Outdoor Celebratory Arts are calling all creative craftspeople and makers to their new project, The Makers Exchange. It’s a new craft…

Harmony Asia Can Do This

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How it Feels for a Bluebeard!

The first time I heard the name Bluebeard and the Desperate Hours, I presumed their sound might be folk or blues inspired. Judging a book…

What’s Happening in September?

That’s it, one big blowout of a bank holiday weekend and August is kaput. Nights drawing in, the fall will be here before you can say “was that it, summer?” Given last years blazing heatwave, while we were couped up, this summer’s been comparatively damp, you could’ve have made it up. There were lots of great things to do, and that doesn’t show signs of slowing through next month.

So, check in and scroll down to see what’s happening this bank holiday, where’s there’s more than enough just in Devizes alone to keep us busy. Awesome, firstly, to see Swindon’s indie-pop stars, Talk in Code will join our favourite Daydream Runaways, for the first Friday night of music down at The Southgate. Then the town goes festival crazy, for three solid days! Full-Tone Festival hits the Green, Saturday and Sunday, and Monday you have to get down to the Market Place for our wonderful, Devizes Street Festival and the Colour Rush.

September 2021Once you’ve gotten over that, September then, here’s the highlights:

Running now until the 4th, Four artists exhibit at Trowbridge Town Hall. A selection of 2D and 3D works by local artists Deborah Clement, Sonja Kuratle, Jennie Quigley and Jane Scrivener.

It was in August 1979 that arguably Swindon’s greatest-ever band, XTC, released their first commercially successful album, 42 years on, original drummer Terry Chambers pays tribute as EXTC, at Swindon’s Victoria on Thursday 2nd.

Following night, Friday 3rd, the Pink Floyd-Fleetwood Mac double-tribute act, Pink Mac will stand on the same stage, at the Vic, while The Wiltshire Blues & Soul Club presents an evening with Sloe Train at Owl Lodge in Lacock, and Corsham’s Pound Arts has comedy with the brilliantly titled “Rescheduled Rescheduled Rescheduled Time Show Tour 2021” by Rob Auton.

Burbage celebrates their the 24th Beer, Cider and Music Festival, with Humdinger and Kova me Badd.

Saturday 4th and there’s a Greatest Showman Sing-a-Long with the Twilight Cinema at Hillworth Park, yet it will be loud down Devizes Southgate, with a welcome return of NervEndings, Fangs & The Tyrants sound equally as loud, they’re at Swindon’s Vic. For a more chilled evening, Cara Dillon plays the Neeld. An extraordinary, captivating Irish singer Mojo magazine claims to be “quite possibly the world’s most beautiful female voice.”

It is also good to see the Melksham Assembly Hall back in the biz, they have Travelling Wilbury tribute, The Unravelling Wilburys! And there’s a unique blend of melodic folk-pop blowing out from Trowbridge Town Hall as Bristol band Sugarmoon come to town.

One to overshadow the lot, is The Concert at the Kings at All Cannings, happening over the weekend. Great line-up for Rock against Cancer, as ever, with Billy Ocean headlining Saturday and 10CC on Sunday, albeit they seem completely unresponsive to messages from us. While I accept the strength of booked acts alone means they need no local press presence, it’s a shame they won’t care to respond; it would be great to cover this.

Ah well, Sunday rocks anyway, with an incredible booking by The Southgate, mind-blowingly awesome US blues outfit of Well-Hung Heart, with a local twist, Beaux Gris Gris & The Apocalypse play. Not to be missed. Westwards, Schtumm presents Will Lawton & The Alchemists with support by Hazir at the Queens Head, Box, and north, Syteria play the Vic, with Adam & The Hellcats and Awakening Savannah.

Oh, and The Lions Clubs of Trowbridge & Westbury have their White Horse Classic & Vintage Vehicle Show on Sunday 5th too!

Second weekend of September and things just get better, from Thursday to Sunday, the place to be is Swindon. The free roaming festival is back, with a line-up across too many venues to list, see the poster. The Swindon Shuffle is truly a testament to local music, everyone who is anyone will be there, in the words of Zaphod Beeblebrox.

It’s time for Jesus Christ Superstar to magically appear in Devizes, as the Wharf Theatre showcases the retro musical, opening Friday 10th, running until 18th.

A hidden gem in the heart of the Wylye valley, the Vintage Nostalgia Festival begins too, running until Sunday at Stockton Park, near Warminster. Sarah Mai Rhythm & Blues Band, Great Scott, Shana Mai and the Mayhems all headline, with those crazy The Ukey D’ukes and our favourites The Roughcut Rebels also play. Lucky if you’re off to the Tangled Roots Festival in Radstock, all sold out.

Closer to home though, Saturday 11th sees the Stert Country House Car Boot Sale, for Cancer Research, the Corsham Street Fair, Women in Rock at the Neeld and The Rock Orchestra by Candlelight at Swindon’s MECA. Eddie Martin’s solo album launch, Birdcage Sessions, at the Southgate, Devizes and the awesome Will Lawton and the Alchemists are at Trowbridge Town Hall. Two Tone All Ska’s play Chippenham’s Consti Club.

Staying in Trowbridge, Rockhoppaz at the Park for an Alzheimer’s Support Gig on Sunday 12th. Meanwhile it’s Hillworth Proms in the Park with Devizes Town Band, and the incredible homegrown guitar virtuoso, Innes Sibun is at The Southgate.  

Third weeks into September, find some jazz with Emma Harris & Graham Dent Duo at Il Ponte Ristorante Italiano, in Bradford-on-Avon. By Thursday 16th, The Derellas play the Vic, and a welcomed reopening of the the Seend Community Centre sees our good friends Celtic Roots Collective play on Friday 17th.

Also Friday, in Swindon, Road Trip play The Vic, and Hawkwind, yes, Hawkwind at MECA!

It’s Dauntsey Academy Scarecrow Trail and there’s a Happy Circus in aid of Nursteed School in Devizes on Saturday 18th, and the welcomed return of Devizes Long Street Blues Club, with the Billy Walton Band. People Like Us are playing The Churchill Arms in West Lavington, ELO Beatles Beyond at Melksham Assembly Hall, and the amazing Onika Venus is at Trowbridge Town Hall.

Sunday 19th sees the Rock The Rec for Macmillan Cancer Support, free fundraiser at Calne Recreation Club.

On Thursday 23rd Antoine & Owena support the The Lost Trades at Komedia, Bath, Steve Knightley plays the Neeld, and there’s ‘An autobiographical journey of a deaf person trapped in a hearing world’ calledLouder Is Not Always Clearer at Pound Arts.

Tom Odell is at Marlborough College Memorial Hall on Friday 24th, and Fossil Fools play the Vic in Swindon.

Sat 25th sees the opening of the Devizes Food & Drink Festival, with the market. A Full Preview of everything happening at HERE. The HooDoos do The Southgate.

Meanwhile, Melksham Rock n Roll Club presents Johnnie Fox & The Hunters, Juice Menace play Trowbridge Town Hall. Wildwood Kin at Christ Church, Old Town, Swindon, and, this will go off; Talk in Code, The Dirty Smooth & The Vooz at the Vic, while tributes to Katy Perry vs Taylor Swift @ MECA.

Award for the most interesting thing to do this Saturday goes to Pound Arts. Sh!t Theatre Drink Rum with Expats is a production which contains distressing themes, images covering topics including migration and political assassination, plus a dog onstage; make of that what you will!

By the end of the month things look a little sportier, with bookworms, Sunday 26th is The Hullavington Full Marathon & 10K, travel author and TV presenter Simon Reeve talks at Dauntseys on Wednesday 29th, Thursday sees the opening of Marlborough Literature Festival.

But this list is by no means exhaustive, stuff to do is coming in all the time, making it near impossible to keep up, you need to regularly check our event calendar. Help me to help you by letting me know of your events, and if you’ve the time, write us a preview or review, I can’t be everywhere at once, and sometimes get so overloaded I just want to slouch on the sofa watching Netflix!

Have a good September!

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7 Hills to Trowbridge’s Old Town Hall

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Extended Lineup for CrownFest

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Vox Populi: New Album From Deadlight Dance

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Chandra Likely To Go Boom!

Buzzwords, like “turbo,” or “sonic” are cliche, overused trends which gain popularity because they sound impressive, even if they are empty of meaning. I avoid them, but you cannot call Chandra’s releases just plain indie-pop;…

Marlborough School of Languages to Hold Second Fiesta

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Devizine Presents M3G and Seren at The Fold

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Top of the Ops; White Horse Opera are Thrilled to be Back

White Horse Opera are thrilled to be back rehearsing for their forthcoming concert. They will be singing in a wonderful Gala Concert Devizes Town Hall on Friday 29th & Saturday 30th October at 7.30pm

A blend of Operatic Favourites and well known Songs from the Shows with Guest Tenor Carlos Alonso to thrill you with his amazing arias.

Tickets only £10 from Devizes Books 01380-725944 or online at www.ticketsource.co.uk/whitehorseopera

Is Devizes Ready for The Full-Tone Festival?!

Amidst the controversial decision by Emily Eavis to headline Jay-Z at Glastonbury Festival in 2008, in which included Noel Gallagher throwing his toys from his pram, while UK press went on a bender about an imagined ethos of exactly what Glasto is, and what it should be presenting, I read an American article hitting back with the headline “is Glastonbury big enough for Jay Z?”

One has to ponder if the author who penned such piffle in retaliation had ever seen Glastonbury, let alone been, and had any inkling what it means to so many people. On this basis I thought of, but then rejected, this headline to be “is Devizes big enough for the Full-Tone Orchestra?!”

Organiser and better half of the composer, Jemma Brown tells me the capacity of the Green is 3,000 but next weekend’s (28th-29th August) event is restricted to half, “so everyone feels safe.” But, it’s not a question of “is Devizes big enough for the Full-Tone Orchestra,” rather our fortunate premise, the Full-Tone Orchestra is now a part of Devizes, no less than the brewery or canal. They’ve ventured to other local towns, Marlborough College, Swindon’s Wyvern, to present their eclectic genre orchestra, but Devizes is home sweet home, and 95% of shows have been based here.

Here’s the biting point, and something I’ve come to understand better, staging such an event like this is not pocket money. Yes, Full-Tone successfully crowdfunded to put on a free show in the Market Place in 2019, but this is not an avenue any event organiser can slog and expect to come up trumps each time.

For an entertainment package as stupendous as Full-Tone to be in our humble dwelling, it needs and deserves our support, and while a majority will tell you so on the street, ears to the ground unearth some rather inexcusable and inappropriate notions. Firstly, you cannot expect anyone to provide you a free show annually, just because they did once before, and secondly, it’s an “erm,” to the idea Full-Tone is some kind of commercial enterprise gaining only to profit. “It’s just not why we’re doing it,” Jemma pledges, “we’re doing it to bring an orchestra into the centre of Devizes and for the love of all things music!”

At this conjunction, just one weekend away from the show, you have to ask yourself, would the same level of display as 2019’s Market Place not become tiresomely samey after a while? Full-Tone wish to expand on the experience, to progress and make it better. “The sound and lighting will be fabulous and to do that we have to pay good dollar!” Jemma tells me, and to do such, ticket sales is the only option.

Phew, glad I got that off my chest! Can we all be friends again? Anyone putting on any event right now needs our backing and deserves a medal, in my honest opinion. Anyone organising an event must worry it’s either going to go two ways, overloaded with a cabin-fevered raging mob or fail to impress enough to drag apprehensive troops out from their lockdown shelters, as if the hospitality industry isn’t it in enough deep water. My chat with Jemma today went onto me mentioning a time I was juggling the attention of three gigs in Devizes in one night; a time we took live music for granted, and looking back now, well, you go figure.

Least we can be sure, unlike Emily Eavis and her longing to update her father’s institution, Noel Gallagher won’t be on a wobbler because an upcoming US hip hop star is upstaging him! 28th-29th August sees the sixty-piece Full-Tone Orchestra present a very local affair, not only their all-encompassing themes, from big band and film scores to euphoric dance anthems, but Pete Lamb’s Heartbeats, jazz singer Archie Combe and The Red Bandits on Sunday.

It’s been some years since I sat in Rowde School after school hours. No, not like a kid in detention, rather to see the orchestra rehearsing the Star Wars theme. I believe Jemma was encouraging me to direct my satirical rant column from Index;Wiltshire, No Surprises Living in Devizes to more positive pastures, which kind of went totally against the concept of the column. But it was running fast out of ammo, because, underneath it all, Devizes is a great town and I love living here.

Hence, Devizine was born, a sort of counter-strike against all the negativity I once brushed Devizes with. So, if you want to blame someone, Jemma is also an accessory! The icing on that cake will be a Devizes rendezvous on the Green; hope to see you there!

Tickets Here.

Trending…

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Local Supergroup Fundraising Event for Superhero Carmela

Here’s the thing, did you realise Monday marked the second anniversary of when Wonder Woman joined me on my milk round?! Yeah, true, and we raised some wonga for her alter-ego Carmela’s fund and fight against muscular dystrophy. And now Carmela is not only a tiny best friend of mine, but huge inspiration to us all and something of celeb now too.

Star of her own fun children’s book you can buy in Devizes Books to raise funds for her campaign, as well as hobnobbing with the stars, I’m delighted this evening to hear, some other of my favourite girls are reforming their supergroup to raise some funds in her name too.

Pre-lockdown, girl members of six bands annually joined for a fundraising one-off gig, and it was always something explosive, fun and a darn awesome night. Nicky Davis from Warminster based People Like Us and The Reason, Glastonbury’s Julia Greenland from Soulville Express & Delta Swing, Frome’s Claire Perry from Big Mamma Banned & The Misfitz, solo artist Charmaigne Andrews from Melksham, and Julie Moreton from Trowbridge’s Train to Skaville and Jules & The Odd Men, will come together once again, at the Melksham Assembly on 16th October, for a show not to be missed.

This, for me, is all too much to take in, girls, girls, girls, I’m not sure I can control myself. The Female of the Species raised just over £3,000 in 2018 for the fantastic youth community project, Young Melksham, and for all their efforts, they were selected for a Community Civic Award.

This time all of your pennies from the tenner tickets will go to Carmela’s Fight Against Muscular Dystrophy, and those tickets are here.

Support will come from Melksham rock, blues and alternative covers and original band Plan of Action. Seriously folks, put this is your diary.

Roughcut Rebels Hit Trowbridge

If I was ever to be privileged to interview Bruce Springsteen, which I doubt I would be, I’d like to ask him of his thoughts now he’s 71, of penning a song called Growin’ Up at the tender age of 23. Similarly, I’d probe Pete Townshend, only a year young than the Boss, over lyrics of My Generation, which go, “hope I die before I get old!”

Yet, despite its title, I view My Generation to be less about a specific generation, and more about the attitudes of youth, and with this in mind, it could easily be placed into any subsequent generation. The Oasis cover aside, for this opens another Pandora’s Box I’m not willing to go down (I’ve a gig to review here,) it’s fair to say, akin to any song of the “mod” genre, it’s timeless.

To believe the “mod” is wrapped in sixties nostalgia is only partly factual, London’s emerging mod-girl sweetheart, Emily Capell sports a beehive hairstyle, but often sing-raps, like Kate Nash, and collaborates with Dreadzone. Similarly, the age demographic of Devizes-based mod cover band, The Roughcut Rebels spans generations, particularly now young Finley Trusler fronts it; still, he stands, belting out a vigorous and eloquent cover of My Generation.

It’s my reasoning for trekking to Trow-Vegas, keen to finally scrub “must see Finley fronting the Roughcuts” off my to-do-list. He got the job with two gigs before lockdown, thankfully bookings are returning for the band. For through his musical journey, started in the Devizes School boy band 98 Reasons, which branched off to duo Larkin with Sam Bishop, and still works with cousin, Harvey, as the Truzzy Boys, his cool demeanour stage presence and exceptional talent has to been celebrated. Query being, how would this fair with a proficient, yet older mod cover band?

The answer; very well indeed, thanks for asking. I jested with Fin outside the pub, asked him if he had to learn the songs senior to him, and he replied “not really.” This, and their dynamic performance, of course, proved my “mod is timeless” theory. In an explosive manner and highly entertaining show, they rocked Mortimer Street’s The Greyhound, and could do the same for any given venue.

Think of the eras the term encompasses, from The Beatles, Stones, Kinks and Spencer Davis through to The Jam and Purple Hearts, onto Ocean Colour Scene, The Stone Roses, to Britpop, Oasis and Blur, and modern times like Jake Bugg’s Lightning Bolt, The Roughcut Rebels got them all covered, and, loving every minute of it, they took the slight crowd with them.

To blend A Hard Day’s Night into a set with A Town Called Malice, swiftly move onto Park Life, or The Day We Caught The Train, and return with the Kingsmen’s Louie Louie, displays their ability and keenness to incorporate and fuse epochs, and they do it with certain ease. Grant Blackman’s expert drumming and John Burn’s bass played upfront gives it oomph, while Mark Slade adds the succulent and memorable rhythms, topped by Finely’s accomplished vocals, accompanying guitar or else showy tambourine timekeeping like a young Jagger giving it Jumpin’ Jack Flash. Roughcut, huh? Yeah, they are a cut far above the average cover band on the circuit.

As for the venue, The Greyhound, I like it, in the shadow of The Pump, a long-bar town pub unexpectedly clean and tidy, with hospitable staff and drinks cheap as chips. Without so much as a blackboard, it could’ve done with promoting its live music event, as a regular told me he was unaware of it and only popped in because he heard the music. Consequently, the crowd was slight, and all-male (ladies, if you want to bag yourself a drunken Trow-Vegas native in a cheap polo shirt, this place is for you) but through the excellence of the Rebel’s music, all were up dancing.

Here’s a great local covers band which will pull in an age-spanning crowd to your pub, and spur them to spend at your bar; because there’s an anthem or ten for all generations, and it’s lively, accomplished and entertaining.

Trending…..

Ronnie Scott’s in Devizes? Devizes Arts Festival Returns for November

Have you missed our wonderful annual Arts Festival, Devizions; too hungry for it to return to wait for next summer? I know I have. Never fear, Devizes Arts Festival offers an interim while we wait for 2022, under the motto, “The Show Must Go On.” Three fantastic musical events at the Corn Exchange and Town Hall over the month of November; and they’re tasty, very, very tasty.

For starters, a taster of London’s legendary Ronnie Scott’s Jazz Club is coming to Devizes on the 11th. Celebrating 60-years since the founding of one of the world’s most iconic music venues, the Ronnie Scott’s All Stars take to the road to celebrate the ‘Ronnie Scott’s Story’.

Direct from London’s world-famous jazz club and combining world class live jazz alongside rare archive photos and video footage, The Ronnie Scott’s All Stars, take you on a guided, musical tour of this music institution. Set amongst the dive bars and jazz juke joints of London’s Soho, we hear about the desperate hand-to-mouth finances of the early years and the frequent police raids.

Hear how Ronnie’s became neutral ground within rival gang territory and their scrapes with gangsters including the Krays who were rumoured to have taken Ronnie and Pete “for a little drive”! Life at Ronnie’s is evocatively re-imagined through tales of the club’s past visitors, from pop stars, film stars and politicians to comedians and royalty, but above all, the musicians.

But that’s not all, The Arts Festival are delighted to welcome Sally Barker to Devizes, on the 13th November. In this new show ‘Sandy, Joni & Me’ she will bring some of the songs of both Joni Mitchell and Sandy Denny to the stage, exploring the singer/songwriter legacy that was forged in the early ’70s.

Veteran folk-blues singer/songwriter Sally Barker became Tom Jones’ finalist on The Voice UK 2014 after reducing her mentor, and many watching the TV, to tears with her performances. Sally has toured with Sir Tom, Bob Dylan and Robert Plant amongst others. Radio 2 DJ Chris Evans said, “Sally changes the atmosphere in a room when she sings.”

And Friday 19th November is Motown Gold time at the Corn Exchange. Dust off your dancing shoes for a fabulous evening from a fantastic band. Motown Gold celebrate the finest songs from the timeless Motown and Classic Soul era, which kind of speaks for itself.

Online tickets are not yet up on the Arts Festival Website, but will be available from Devizes Books. Events are £21 for Ronnie Scott’s, £16 for Sally Barker and £18 for the Motown evening. To keep in touch with them, get onto their mailing list.

And you could look the part on the evenings, as The Show Must Go On facemask, and similar tote bags, T-shirts, badges, note books and more are available from www.theatresupportfund.co.uk which supports the NHSCovid19 Appeal, the Theatre Support Fund, the Fleabag Support Fund and Acting for Others. There’s currently 20% of all merchandise.

Devizine would like to welcome back The Devizes Arts Festival, and wish the team the very best for these great events.

Today is Bandcamp Friday, Best Day to Bag Our 4Julia’s House Compilation

As the headline suggests, it’s Bandcamp Friday, August 6, 2021, when the music platform waivers its fees, from midnight-to-midnight Pacific Time. There’s no better time to buy our awesome fundraising compilation album as an average 93% of your tenner will go to Julia’s House Children’s Hospice.

Bandcamp Friday has been operating since March of 2020, on the first Friday of every month. Bandcamp is a wonderful site, it doesn’t prioritise signed artists, but level pegs all musicians. They waivered their shares to help support the many artists who have seen their livelihoods disrupted by the pandemic. You can explore Bandcamp forever, finding your favourite artists, local music, or do as I like do sometimes, and venture off for a musical journey beyond your usual haunts. You can trek to a country and find all manner of musical styles you’ve never heard before, safe in the knowledge, unlike streaming sites, it is fair trade for the artists.

Streaming sites offer a pittance of revenue share to the artist, they have to get millions of listens to make the price of sausage roll, whereas Bandcamp is a buying service, where merchandising can be added too. This is why I chose the site to launch our compilation album. Money comes straight over to us when you buy, and we’ve currently raised over £150 for Julia’s House, please help us to raise this bar.

buy our album here, only £10

Besides, it’s a cracking album, where if you’re in the local area, name your favourite local artist, and I there’s a high chance they’ll be on it, and I guarantee you’ll discover some new ones too. 46 full length songs of various genres, thoughtfully placed in sections according to those genres, to create a soundscape encompassing everything that’s amazing about both our local music scene, and beyond, artists we’ve featured on Devizine in the past.

In fact, I call it an album, but a “boxset” would be a more appropriate term if it was a physical product. Unfortunately, it is only as a download, as to make it an album would take over 5 CDS, and the expense of producing a product is too much to risk taking any profits made for the charity. I would be keen to hear from a business willing to sponsor the production of a small run of CDs, but as it is, download it is. There’s a good thing with download, your purchase is stored in a cloud, so you’ll never lose it as you have unlimited downloads of it. You can transfer it from one devise to another, you could burn it onto your own CD, if you wished.

It will never fail to amaze me, just how many musicians rallied to donate a song to this project, and I’m forever grateful to them all. Artists you should branch out to, and buy some of their albums and singles, as I’ve handpicked these fantastic people, so you can be rest-assured of their quality and talent.

For detailed track listing click here, but here’s the lowdown of who you’ll be hearing on this musical journey of over three hours, in order of appearence: Pete Lamb & Cliff Hall, King Dukes, Erin Bardwell, Timid Deer, Duck n Cuvver, Strange Folk, Strange Tales, Paul Lappin, Billy Green 3, Jon Veale, Wilding, Barrelhouse, Richard Davies & The Dissidents, Tom Harris, Will Lawton – Evanescence, Jamie Williams & The Roots Collective, Kirsty Clinch, Richard Wileman, Nigel G. Lowndes, Kier Cronin, Sam Bishop, Mr Love & Justice, Barmy Park, The Truzzy Boys, Daydream Runaways, Talk in Code, Longcoats, Atari Pilot, Andy J Williams, The Dirty Smooth, SexJazz, Ruzz Guitar Blues Revue, The Boot Hill All Stars, Mr Tea & The Minions, Cosmic Shuffling, Blondie & Ska,The Birth of Bonoyster, The Two Man Travelling Medicine Show, Julie Meikle and Mel Reeves, Meru Michael, Cutsmith, The Tremor Tones, Big Ship Alliance, Feat Johnny2Bad, Robbie Levi & Stones, Urban Lions, Neonian, First Born Losers.

Disenchanted Webb

Swindon’s one-man red-hot chilli pepper, Webb is about to blow your mind, speakers and pants off with his new EP Disenchanted; I’ve heard it, and live to tell the tale….

First impressions last, and I’m having one of those mornings. Perpetual drizzle, darker mornings conspicuously drawing nearer, and other trivial irritations which I can’t quite put my finger on, are building to a generally low-spirited mood. Tedious has the eighties pop mix I’m listening to become, even nostalgia cannot help me. I stop for a break, knowing I’ve got Ryan Webb’s new EP Disenchanted to review, which promises to mark the emergence of WEBB’s new, heavier direction. This is displayed by the forename being dropped, saving as Webb.

I consider playing the Lost Trades, for their folky calmness will do wonders for my wellbeing, and I suspect Disenchanted might have the opposite effect. Though I acknowledge it will be of high quality, Ryan’s sound has always been substantial, heavy rock or metal isn’t my bag, and I’m usually highly critical of it. Don’t do it, I deliberate, last thing they need is for me to be set to whinge mode. But I did anyway, and given all algorithms, I worried this could head south rather quickly.

The five track EP includes the previously released track “DON’T!”, which we reviewed in May last year. I didn’t headcount the tracks but noted, after a while, I’d heard the one playing before; it’s gone around on repeat unnoticed, I’ve been sucked in, and it surpassed my preconceptions by a country mile. Ha, turns out it did suit the mood after all, in fact, it fitted all too well, and is, essentially a magnificent piece of music.

Now, given all I’ve said, about heavy rock not being my cup of tea, and this is something rather special even to me, if you are partial to the heavier weight of rock, it’s got your name all over it.

So, now I’ve awarded my mind the task of figuring out why it works so well. And to do this is to honestly unravel why I maintain qualms about metal. Don’t get me wrong, after the hip hop boom in the eighties became somewhat tiresome, like many I looked towards the soft metal genre for solace; I was shot in the heart too, just like Bon Jovi, longed for crazy, crazy nights, and if Heart sang how can I get you alone one more time when all they had to do was ask me, I’d be content. And as student years rolled in, I lost myself in the classics. Noting if it was compulsory for every soft metal band to sound like Jimmy Page, which while this is no bad thing, the vocal trend over time seemed to metamorphize into a hackneyed caricature of the voice of Satan. My qualm begins here, you don’t know if Satan actually sounds like that, all coarse and demonic, he could have a camp voice for all you know!

There it is, the negativity, the hellish themes of death and destruction, and the long hair; I don’t want to bring my, or anyone else’s daughter to the slaughter, if you don’t mind. Even if it’s tongue-in-cheek, times when I want to push the extensive fringes of metallers from their foreheads so they might see the beauty in life, the positives. Nu-metal, I say, feels like a long stretch to the elements I favour, the frenzied driving passion of Zeppelin, of The Ace of Spades, even Black Sabbath’s Paranoid I’ll give you.

And here’s where Disenchanted fits; contemporary with nods to the classics, the vocals more on Page than Beelzebub, and Webb can hold a note like a tenor, while sublime drums roll over it blissfully. This fits because it’s precisely the opposite of mindless headbanging for headbanging sake, it’s composed and constructed with clarity and a truckload of talent.

The reason the EP rolled on unnoticed is because it captures all that is positive, all the elements I appreciate of the genre. Webb says, “I’m really excited about Disenchanted. It’s an EP that I am really proud of, and I feel that now I have found the right direction for my music,” and proud he should be, for in technical jargon, Disenchanted can be summed as oomph; here, have a bit of that.

It amplifies a quote from my review of the single, “a one-man red-hot chilli pepper.” Ryan wrote, produced, sang, wailed his guitar, recorded and mixed this track in his studio. The only collaborators being Dave Collins on Don’t, the mastering engineer for Metallica’s last album, and Pete Maher who mastered the whole EP; he’s mastered the Rolling Stones and the Killers to name but a few.

Within seven seconds it pounds, the stunning lead single Concrete Beds; oh, those rolling drums, proficient howling guitars and Webb’s mighty soulful vocals; it rocks. Disenchanted demonstrates the multi-instrumental talent that makes him unique.

There’s acute narrative to boot, Concrete Beds aptly homelessness themed, I’m Standing Here erotically scorching, the third track though, Secrets is a haunting ambient caution to bottling up, and debatably the most poignant on the EP. When Darkness Falls lifts the tempo once more, and is heavy, but I’m still engrossed, then the finale, Don’t rips you a new arsehole, the riff beguiling, the considerable power and passion launched into this is exceptional.

The test of good “driving” rock is just that, your foot’s tension on the accelerator is judge and jury, and Disenchanted will have your pedal to the metal. It’s unleashed to the world next Saturday, the 14th August, and tickets are now available for the launch show at The Vic, Swindon.

CD pre-orders are available directly from WEBB’s online store: https://www.webbofficial.com/product/disenchanted-pre-order

You can also pre-save/pre-add to your favourite music platform https://ditto.fm/disenchanted

I suggest you do, then hold on tight to the nearest thing nailed down.

Hotting up for August 2021: Things to Do Across Wiltshire and Beyond

If July saw the gradual return to normality, and cautiously events crawled back with a welcomed but awkward feeling, while it may be hugely debatable if we’re doing the right thing, or not, August is warming up to be stonker. Events of all types are flung up each day, it’s hard to keep track and up-to-date, nevertheless I try.

Fingers crossed it doesn’t go Pete Tong. Such a divided issue with good arguments on each side, I’m not about to start ranting for either, but I salute everyone organising events, at great risk to themselves financially. All I will say is, it is vital for the success of any event and the continuation of them in general, that we still apply certain rules, restrictions set by the organisers, and adopt the necessary etiquette when attending them. We know what the precautions are, they’re second nature now. The government passed the buck, it is up to us, each and everyone of us to think for ourselves, respect other’s decisions on how to act, but I appeal, act responsibly and long may this continue.

Without further-a-do then, here’s what we’ve found on Devizine for August. It’s far easier to knock this article up with providing too many links, they can be found at the event calendar, and for family events throughout the school holidays, check here; but please do check for updates, it’s never an exhaustive thing, new events are being added. Said that bit before, but it is even more vital to check ahead, to ensure events are going ahead as planned, and what restrictions might be in place at them individually. Have a great August, stay safe.

Week 1:

Kicking off on Monday August 2nd with the +5 Holiday Club at The Farm Cookery School. Tuesday 3rd and running until Thursday 5th August, RW Football School Summer Football Camp are at Green Lane, Devizes, ages 6-11.

Wednesday August 4th, then. Chippenham Museum host a Children’s Art Walk. Take a walk, through Monkton Park for this fun arty session. You will receive a pack with pencils, crayons and plenty of paper and join local artist Kirsty Jones to explore the wonderful setting of the park.2pm – 3pm. £4 per child. Recommended age 6 and above, all children must be accompanied. Meet at the town bridge entrance to Monkton Park. There’s also the +8 Holiday Club @ The Farm Cookery School.

Wednesday also sees the first Junior Actors with Lucia, for school years 6-9, for the Youth Theatre Summer Workshop at the Wharf Theatre, Devizes.

Thursday 5th and the Summer Kid’s Art Club at Wiltshire Scrapstore starts on Bowden Hill, Lacock. Sessions from 10:30 am – 12:00 pm, run every Thursday and Friday through August.

Our first August festival starts Thursday, Wickham Festival in Hampshire, where Van the Man headlines, and the Love Summer Festival at Plympton, Devon starts Friday.

There’s an interesting-sounding new family musical written and produced by Mel Lawman staged at Bath’s Forum on Friday 6th -Saturday 7th Miss Red. Devizes folk support this, because our homegrown talented twelve-year-old, Jessica Self from Centre Stage Academy of Dance in Devizes and Stagecoach Trowbridge is in the cast, playing Daisy Blewitt. We wish you all the best, Jessica.

Friday 6th also sees the Salisbury Comedy Festival start, Black Sabbath tribute, Supernaut play the Vic in Swindon, and HoneyStreet’s Barge will be kicking as the Mid Life Krisis Collective head down there.

On Saturday 7th time for Sheer Music to put aside their lockdown TV presenting skills and get on with what they do best, hosting gigs. And what a way to start, it’s Frank Turner at the Cheese & Grain. Also, catch the amazing Kevin Brown the Southgate, Devizes, and those mods, The Roughcut Rebels play the Greyhound in Trowbridge.

The wonderful Strange Folk are at The Three Horseshoes in Bradford on Avon. Concord Drive, Transfer Window and Man in Vest play Swindon’s Vic, Jive Talkin’ perform the Bee Gees at Chippenham’s Neeld Hall and it’s The Bath Festival Finale Weekend, where McFly headline.

For Sunday chilling, on the 8th, get down to the Queens Head in Box where Schtumm presents The Lost Trades with support from Lee Broderick, alternatively the Neeld play The Rod Stewart Songbook.

Week 2:

Monday 9th August there’s a +8 Holiday Club, The Farm Cookery School and +11 on Tuesday.

Wednesday sees another Youth Theatre Summer Workshop, at Devizes, the Wharf Theatre, check their website for details. Chippenham Museum also hosts a Writing & Performance Workshop with performer Ruth Hill, for ages 8 and above. More Summer Kid’s Art Club at Wiltshire Scrapstore on Thursday and Friday, and The Cake Lady takes The Farm Cookery School’s +8 Holiday Club.

Friday night, I’ve got Stop Stop playing Swindon’s Vic, and that’s it so far.

Saturday 14th, Cobbs at Hungerford have a charity Emergency Service Day, should be fun for the little ones. For the grownups, cider fest at the Civic in Trowbridge with the Mangled Wurzels.

Lewis Clark is at The Southgate, Devizes, Shepard’s Pie at Wanborough’s The Harrow, and Webb, formally known as Ryan Webb has this EP launch party at Swindon’s Vic, with Broken Empire and Land Captains in support. Hope to get a copy of this for reviewing, some clog in the pipeline at the moment. But hey, it’s also Buckfest at Marlborough The Roebuck where the loud and proud Humdigger headline.

Bedpost, Transfer Window and Pool play the Vic in Swindon on Sunday.

Week 3:

+11 Holiday Club at The Farm Cookery School on Monday 16th, and the RW Football School are in Melksham. Suitable for ages 6+, Pound Arts welcome Scratchworks Theatre Company’s joyful and mischievous show to Corsham Almshouses, for an outdoor performance of The Grimm Sisters.

A welcomed return of events at Melksham Assembly Hall on Thursday 19th, with Neil Sands Bringing Back the Good Times; ol’ time favourite show tunes from the 40s, 50s & 60s and a heart-warming tribute to Dame Vera Lynn.

Friday 20th and Jack Dee’s new show, Warm Up is at Chippenham’s Neeld Hall. I’ve nothing else for Friday night yet, but Saturday21st, woah, festival time!

First up, is where I plan to be, Mantonfest, near Marlborough, with Blondie tribute Dirty Harry, Dr Feelgood, Barrelhouse, Richard Davies & The Dissidents and many more. Over the downs, OakStock at Pewsey’s Royal Oak is another safe bet; Amy Winehouse, Rag n Bone Man tributes, alongside the brilliant Illingsworth.

Meanwhile the rescheduled Bath Reggae Festival takes place, with Maxi Priest, Aswad, Big Mountain, Dawn Penn, Hollie Cook and more. Anne‐Marie, Dizzee Rascal and Clean Bandit headline Live at Lydiard 2021.

Howlin’ Mat plays The Southgate, Devizes, while Sex Pistol’s tribute Pretty Vacant are at Swindon’s Vic, with support by The Half Wits and Subject Ex.

Week 4:

Monday 23rd August is +8 Holiday Club at The Farm Cookery School, and Tuesday is11+.From Tuesday until Thursday, The RW Football School Summer Football Camp returns to Green Lane, Devizes, for ages 6-11.

Chippenham Museum has a one-hour workshop to create your own simple mini scrap book inspired by their latest exhibition on Wednesday, for ages 6+.

Thursday and Friday it’s Summer Kid’s Art Club at Wiltshire Scrapstore. And Thursday 26th August sees an Olympic Gold Medallist, Alex Danson running a Hockey Masterclass at Devizes Hockey Club. Open to all hockey players aged 11-18 – you don’t have to be a member of DHC.

All weekender at The Barge on Honeystreet, when Honey Fest kicks off Thursday, with a grand local line-up, including The Lost Trades, The Blunders, and Chicken Shed Zeppelin, to name but a few.

The Southgate is the place to head towards on Friday in Devizes, where my personal indie-pop favourites, (not that I should have favourites) Daydream Runaways are booked in. Also, the highly anticipated FullTone Festival returns to Devizes Green, all weekend, with the Full Tone Orchestra and Pete Lamb’s Heartbeats appearing Sunday.

A theatrical outdoor re-telling of Kenneth Grahame’s classic, Wind in the Willows on Saturday 28th August at Corsham’s Pound Arts. And Sunday, a Magical show where beautiful Princesses become Pop Stars, Pop Princesses comes to Wyvern Theatre, Swindon.

Meanwhile, it’s the welcomed Triple JD Band at The Southgate, Devizes and HarrowFest at Wanborough’s The Harrow, featuring Jamie R Hawkins, The Blind Lemon Experience and more…

Longcoats Get Dancing

Opps, near-on delayed a month due to the amount of work involved with promoting our Julia’s House album, other stuff going on, and generally slacking off in my garden with my belly hanging over my khaki shorts, I’ve a backlist of music to tell you about, hopefully, before you visualise me slacking off in the garden with my belly hanging over my khaki shorts.

To begin, Bath’s indie-pop favs, Longcoats have an official new bassist, Will Vickery. The band claim he was “a stray man we found on the street and august-rush style he could just hear the music and play it.” Proof in the pudding, I’ll double-bet ya you’ll going to love their new belter, “Get Dancing,” which is, incidentally just what we all need right now.

Will Vickery

Probably why it’s blossoming attention and airtime from the likes of BBC Bristol, Target, Soho Radio, Sheppey FM, New York’s New Visions Radio Network, and even Australia’s Valley FM, and seeing them bookings at Moles, Brighton’s Pipeline, and supporting The Rift at Swindon’s Rolleston.

Just as Pretty in Pink did, which incidentally Longcoats kindly donated to our aforementioned and plugged charity fundraising compilation, (which I’m not going to shut up about until you buy it) Get Dancing is symbolic of the band’s ability to compose such a beguiling and catchy riff it feels like it’s always been in your life after just one listen.

It’s lively, carefree, resides bopping over hopeless romantically conversing, as it says on the tin, encouraging to dance in both sound and theme. And with that, I should take heed, stop writing how great it is and just add the Spotify link so you can hear it for yourself and I can revert back to the building mountain of new music I’ve yet to explore. But rest assured, this one is a keeper, and perhaps true to the word; I should get dancing if I’m ever going to work off this belly hanging over my khaki shorts!

Was a TwoManTing at the Southgate

Managed to make it somewhere between out and Micky Flanagan’s out-out last night. In other words, I didn’t change out of my manky khaki shorts I’d been gardening in, but still got a pint or so down “the Gate.” I’ve been aching to witness the duo, TwoManTing for myself, Captain Obvious; yes, TwoManTing is a duo, you can’t make it up.

Appearing at the Devizes trusty Southgate a few times previously, it’s been something I’ve been meaning to catch-up with, being their appellation sounds all rather reggae, my favourite cup of tea. My residual curiosity though, how can a duo make reggae, something you surely need a gang for; a bassist, a drummer, brass section et all?

Two Man Ting

Answer revealed, the “ting” part might be misconceiving to our preconceived notion the phonologic is Jamaican patois. The Bristol-based duo consists of English guitarist Jon Lewis, who has a clear penchant for Two-Tone and punk inclinations of yore, and Jah-man Aggrey, a Sierra Leonean percussionist. They met playing together as part of dance band, Le Cod Afrique, at venues such as Montreux Jazz Festival and WOMAD, formed the duo in 2004, and make for an interesting and highly entertaining two-man show.

Something of a surprise then, and a rarity around these backwaters, to hear maringa, demonstrative folk of Sierra Leone, perhaps catered more to our tastes via Jon, but essentially the same ballpark, acoustic guitar and percussion. Somewhere between calypso but with the Latino twinge of rhumba, best pigeonholed, their sound is motivating and beguiling, and achieved with originality. In fact, to my surprise most of their compositions were their own creations, save the sublimely executed known cover of The Clash’s Guns of Brixton, Jon’s clear punk inspiration showing forth.

They told there’s a Clash cover on each album, of which they’ve produced three. Story checks out; Armagideon Time on their first album Legacy, which I could quibble is actually a Coxsone’s Studio One cover by the Clash, aforementioned Guns of Brixton on 2015’s Say What? and something of a rarity from Combat Rock, the poet Allen Ginsberg’s duet with Strummer, Ghetto Defendant, which can be found on their most up-to-date album, 2019’s Rhymes With Orange.

But this punk influence is sure subtle, the mainstay of their enticing sound is the acoustic maringa, palm wine music traditional throughout West Africa, at least for the start of the show. The most poignant moment for me was Jah-man attributing his homeland’s natural glory, rather than that which people tend to ask him about, the civil conflicts and war, in a chorus which went, “why not ask me about….”

Jah-man and George hanging out after the gig

As the performance progressed the fashion modernised, live loops upped the tempo, and it became highly danceable afro-pop, in the style of soukous, more spouge than cariso in delivery; how apt for the current heatwave! At times lost in the music, it was easy to throw-off the notion the wonderful sound was reverberating from just two guys, rather than an eight-piece band, reason enough for BBC 6Music’s Lauren Laverne to say of TwoManTing, “brilliant – if you want a bit of early summer, then get this into your ear-holes!”

Today they can be caught at Salisbury’s Winchester Gate, but appreciation again to The Southgate for supplying Devizes with something diverse and entertaining. Next Saturday at “the Gate,” Rockport Blues appear, for a night of blues, rock and soul classics, starting at 7:30pm.

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A Detonation at the Southgate with Vince, Tamsin, Phil and Jamie

Could it be, I wonder this Sunday morning after a grand evening at our dependable Southgate, that being couped up and unable to play to a live audience for what feels like a decade, has planted fire in the bellies of musicians and a drive to return to the spotlight in an explosively intense and mind-blowing manner?

Image by Nick Padmore

It certainly felt this way with the Boot Hill All Stars giving it their all, last weekend at Honey Street’s Barge, and again, last night where a “Plus Friends,” gig took place at the Gate, in the blaze of glory local folk have come to expect from the homegrown talented musicians involved.

Image by Nick Padmore

As far from a band name as a desperate attempt to rehash a once-trendy US sitcom, Plus Friends is the banner for a looser formulation, I’m assuming, to temporarily disassociate the trio of Phil Cooper, Jamie R Hawkins and Tamsin Quin from their Lost Trades Americana branding and allow themselves the freedom to adlib and play in unison their separate songs as solo artists, generally rock out, and perhaps throw in a cover at will, as they did with a finale of Talking Heads’ Road to Nowhere. Though covers were scarce, the crowd know these guys only too well, and their original penned songs.

Plus, and, most importantly where the “plus” part falls neatly into place, to add a fourth member in par rather than “support,” that being the modest acoustic local legend, Vince Bell. Not forgoing this allowance also saw Jamie’s eldest son occasionally join them on percussion, adding to the overall “family” nature of the homecoming gig.

Image by Nick Padmore

And that’s precisely how it felt for punters and performers alike, a true community recovering from isolation the best way they know how. “This is how it should be,” delighted photographer Nick Padmore told me at the end. Because while the Southgate’s dedication to bringing variety, and artists who might well be unbeknown to Devizes is most welcomed, nothing raises the roof quite like Vince belting out his satirical prose about his hometown and the crowds joyously joining in with the “and you ain’t ever leaving!” chorus.

Image by Nick Padmore

It hallmarks everything great about this splendid occasion, and a true Devizes-fashioned return of live music with homegrown talent abound.

But it’s not just the brilliance of Vince, Tammy, Jamie and birthday-boy Phil, to perform with bells on, which made the evening, rather the friendly assembly of local live music aficionados too, with their meeting of the “same ol’ faces” not fully grouped since lockdown begun. And, in turn, the Southgate to accommodate them so welcomingly within current regulations.

Image by Nick Padmore

There’s a streamlined table service, its dedicated staff have the efficiency of McDonald’s, and the genuine friendliness of Disneyland. Though such comparisons should end there, for The Southgate is far from the mechanism of commercialism, rather a rustic haven for those seeking a “real” West Country pub experience, and within it, creating a free music venue that performers are queuing to play.

It’s without doubt the sum of all these parts made it so many chose our Southgate over Gareth’s squad on the tele-box, a brief “footballs coming home” chant raised by Jamie being the only reference to the Euros necessary. No, we’re happy here, thank you. Content to hear the welcoming homely vocals of Tamsin Quin, the passionately executed sentimental writings of Jamie as he rings out solo classics such as his tribute to his dad, the rockier side to Phil Cooper as he selects a tune from his solo lockdown album, These Revelation Games and the beautifully arranged understated lyrics of Vince as they so eloquently weave a tapestry of narrative. And as my opening presumption noted, they delivered it with such Jack-in-the-box passion, what once would have been a pretty standard gig down the Gate was more akin to a Phoenix rising from the ashes. Oh yes, more of that, please!

Image by Nick Padmore

And our wish is granted, as The Southgate’s gig calendar is building as if 2020 never happened; next Saturday, 10th July sees Swindon’s premier ska covers band The Skandals, with ex-Skanxter Carl Humphries returning as frontman. Sunday is the turn of Essex’s finest Americana roots band, Jamie Williams & The Roots Collective.

One weekend after is all you need to wait until reggae duo Jon Lewis & Jah-man Aggrey, TwoManTing, on Saturday 17th, Rockport Blues on 24th, and Blind River Scare’s Tim Manning rocks up on the final Saturday of July. The dates are booked into August too, with Kevin Brown on the 7th and the brilliant Strange Folk on the 9th October, but you can bet your bottom dollar dates in-between these will crop up very soon, check the event guide as I attempt to keep ahead and update it without getting too frustrated with cancelations, or the Southgate’s Facebook page, where the spirit of live music lives on, as proved last night.

Update: check the board, not the Facebook!

All Images used with kind permission of Nick Padmore

Our compilation album is out now and raising money for Julia’s House Children’s Hospices; click to download your copy!
Got your ticket to MantonFest yet? Hurry up, I need a lift!

The Daybreakers @ The Southgate: OMG, a Live Music Review!

Shock, horror OMG and other unsuitable internet abbreviations, yes it happened. Like mutated survivors emerging from their underground lair in some post-apocalyptic movie, to snuffle fresh air once again, tonight could’ve been any other night two years ago, but with renewed captivation I sat in a beer garden, an actual beer garden, with a real pint of scrumpy, while the incredible Daybreakers played music. Yes, real, live music, which received not one applause emoji, but real applause, the like of human hands clapping and everything; how surreal.

I don’t ask for much these days, but let me tell you, it was both a relief and joy to feel somewhere back to normal, and I couldn’t think of a more appropriate band to be there for the occasion.

Of course, It’s our trusty Southgate, the Devizes O2 arena. A rustic watering hole of sociability, hospitality and scraggy dogs. Fingers and toes crossed future Saturday nights will look like this, as blues-rock Leon Daye Band arrive next week, followed by Trevor Babajack Steger on 12th June and Jon Amor’s King St Turnaround on 19th.

Life isn’t fully repaired, expect table service, adhere to etiquette, remain seated wherever possible, and wear masks while moving around, but it is an awesome beginning. I’ve returned home, loaded up Word to pen a citation, but while it was booting, I worried; it’s been so long since I’ve knocked up live music review, is it like riding a bike?

Ah, bollocks. I was never much cop at either, anyway.

Unlike me, the professionalism of Gouldy, Cath and those Daybreakers, who lost no grip on their skills, played a blinder, seemingly thoroughly loving every minute of it. I arrived to hear the Jam’s Start, which was good start, ba-boom, and they continued through their plethora of wonderful era-spanning covers, from the Cure to The Levellers and OMD to the Specials, and so on; even adding their original song, I think they called The Wait. The masses of optimism in the cool air came to an apex when those Daybreakers burst into Dexy’s Come on Eileen just as it once, always did. And the wildcard, thrown in at the last moment, was a beautiful rendition of Ah-Ha’s Take on Me, believe it or not, yet as they have a tendency to do, they smashed it out of the park.

Hats off to them, and of course, Dave, Deborah and staff at the Gate. With their newfound roles of waiters and waitresses, I’m guessing not in the original job description, they catered to everyone promptly, with their charm and wit, and I’d imagine a smile under their facemasks. Here’s to many more perfect gigs at the Southgate.

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Hoping for a Summer of Local Music Festivals

Presented a punter-based cautionary piece on the hopeful move forward for live music this year, and how chancy it all is at this stage. If the playground remains uneven, I never intended the article to be pessimistic, though it may’ve been perceived that way. I just advised applying caution may be necessary prior to a compulsory detonation of over-excitement.

The other side of the coin of this vicious circle is that, without ticket sales there will be no show. While many organisers have cancelled their regular events, some keep their fingers and toes crossed, others are trying to work through it, and are dowsing a silver lining to this cloud with a summer of festivals planned.

Let’s hope and pray it pays off. Festival websites report that it is, and tickets are selling fast, which agreed, could be a sales pitch. So, you’re left to risk the call, and snap up tickets, especially for the most popular ones. I have faith most festivals will refund you if it either goes Pete Tong, or Pete Tong is booked to DJ, or else ask to retain your ticket for another year, because they organise festivals, and festivals are all about openness and sharing. Booking agents on the other hand, might be another story.

Personally, I’ve done gone got the festival t-shirt many moons ago, and the jester’s hat too, come to think about it; I can bide my time from power-napping in a spinning canvas pyramid, paying over the odds for a baggie of basil, and sliding headlong into a ditch of piss. For many though, particularly younger generations, festivals are essential, and vital, for their wonderful feeling of togetherness. For the music industry it’s crucial to maintain this notion; ignore my aged rant, there is no ditch of piss, not really, not in this clean-cut era!

Let’s run through the locally based choicest ones, which sound too good to miss… but remember to check the individual planned conditions of entry, some will ask you to provide evidence of licensed vaccination or negative PCR test within the previous 48 hour period.

June

11th – 13th: Kite Festival

Kirtlington Park, Oxfordshire

Born from a Kickstarter campaign in January 2020, but cancelled for the obvious reasons, it’s this festival’s maiden voyage this year. KITE aims to combine incredible music and breakthrough ideas in a unique programme of live performances and interactive discussions. “We wanted to bring together contemporary and legendary performers, thinkers, writers and public figures from the world of music, politics, business, technology and the arts and give you the opportunity to engage with the people who are influencing the way we live.”

Cultural icon Grace Jones, multi-Grammy-Award winning jazz singer Gregory Porter and gospel legend Mavis Staples were set to lead the music programme for the original date last year, we wait in anticipation to hear the line-up now, as Kite announce they’re working on their 2021 programme. Sign up for their newsletter for updates.

18th-20th: Bigfoot Festival

Ragely Hall, Warwickshire

Another first outing cancelled last year sees its debut this June. Just the map is enticing enough, with a boating lake and woodland and all that stuff. Local breweries and bands, who share the stages with a great line up, including Primal Scream, Fat White Family, Hot Chip Megamix, Maribou State (DJ) Baxter Dury and Dinosaur Pile-Up. There’s also an intersting wellbeing programme with hip hop yoga, boxercise, Let’s Talk About Sex Meditation & Mindfulness, and biscuits & burpees; I’ll just have the biscuits, thank you! Find Bigfoot here.

July

2nd – 4th: Minety Music Festival

Hornbury Hill, Malmesbury

Fourth outing for this popular do. A community non-profit triple day extravaganza, run entirely by volunteers which raised funds for the Wiltshire Air Ambulance, and local schools and charities last year. Guaranteed excellent music, a great, wide range of food and a well-stocked house Bar, Gin & Prosecco Bar and Cocktail Tiki Bar! There will also be a range of FREE activities in the Kidzone, including rock climbing wall, rock climbing digi-wall, an inflatable slide and assault course, bouncy castles, circus skills workshops and kids craft workshops, plus many more activities.

Line-up includes, Dr & The Medics, Space, Jesus Jones, Dreadzone, Crikey Minogue & Six Packs, a Ministry of Samba workshop, and a great local roster of Devizine favourites The Tribe, Talk In Code, The Dirty Smooth, A’La-Ska, Navajo Dogs, Sloe Train and Plucking Different. This is going to be a brilliant one, make sure there’s room in your backpack to sneak me in! Info Here.

Should get you in the mood…..

8th-10th: 2000trees Festival

Withington, Cheltenham

A largely rock and indie festival, 2000trees has a good reputation and won awards. This year sees Jimmy Eat World headline, with Thrice, Creeper, The Amazons, Dinosaur Pile-Up, The Menzingers, The Get Up Kids and many more to make me feel old!  Tickets & info Here.

9th-11th: – Cornbury Festival

Great Tew, Oxfordshire

Still in the planning stages, this ever-growing festival in the most beautiful Oxfordshire Cotswold location think it’s enough just to announce on headline act, yeah, but it is Bryan Adams; show offs! Should be good though. Info here.

22nd-25th Womad (?)

Charlton Park, Malmesbury

Still hopeful, Womad are holding off announcing acts, but you know, I know, we all know it’ll be the crème de la crème of world music on our doorstep, if all goes well, they’ve secured the date and tickets are here.

31st Mfor 2021

Lydiard Park, Swindon

A family orientated, affordable, one day pop-tastic festival I’ve only heard good things about, could be just the thing to introduce kids to festivals. And with Craig David, Rudimental, Ella Henderson, Phats & Small, Mark Hill (Original Artful Dodger), Lindy Layton on the line-up, it’s easy to see how this party is going to go down. I believe local acts will also be on agenda, certain our friends Talk in Code feature. There’s even an over 18 Friday night special additional event, with Five, S Club, Liberty X, Baby and Rozalla; everybody is freeeee, to feeeel gooood, apparently. Info & Tickets.

August

5th-8th: Wickham Festival

Fareham, Hampshire

New one on me this, but The Wickham Festival is an annual four-dayer of music and arts. Boasting three stages, and rated as one of the safest, most relaxed and family-friendly festivals in the UK, Wickham was voted ‘Best UK Festival, cap. under 15000’ at the Live UK Music Business Awards in October 2015; so, they know their stuff; I mean, they’ve got Van the man, and The Waterboys. Note also, Devizine favs, Beans on Toast, Gaz Brookfield, Tankus the Henge along with Nick Parker on the agenda; sweet! Tickets & Info Here.

6th: Love Summer Festival Devon: SOLD OUT.

7th- 8th: The Bath Festival Finale Weekend

And what a finale it is, Saturday; McFly, Scouting For Girls, Orla Gartland, Lauren Hibberd, George Pelham, Josh Gray, Novacub, Dessie Magee and Luna Lake. Sunday; UB40 featuring Ali Campbell & Astro, Billy Ocean, Fun Lovin’ Criminals, Seth Lakeman, Bloco B, Hannah Grace, Casey Lowry, Port Erin Life, and Life In Mono, with more to be announced… Tickets HERE.

21st: Mantonfest

Manton, Marlborough

Any closer than this and it’ll be in your back garden! But that’s not the sole reason to grab a ticket for MantonFest! Just thirty notes for adults, a tenner for teenagers, and a fiver for kids, but that’s not the only other reason. Reports on this family, broad ranging charity fundraising annual do has never been negative, and we’re glad to hear it’s back for 2021. Number one Blondie tribute Dirty Harry headline, along with Dr. Feelgood, Ex-Men (five members of original 60’s bands), Barrelhouse, Jo Martin with his band, Devizine favs Richard Davies and The Dissidents, Josie and the Outlaw and homegrown Skeddadle. We previewed it last year before shit hit the fan; tickets bought in 2020 are valid for 2021. Mantonfest say, “we may have to introduce some anti-covid restrictions. These will be announced nearer the time and will be in line with the latest developments and best practice;” let’s hope this goes off this time. Tickets & Info here.

21st: Live at Lydiard

Lydiard Park, Swindon

Anne‐Marie, Sean Kingston, Roman Kemp [DJ set] Artful Dodger, Chaney, Fabian Darcy on the line-up over four stages for this day festival at Lydiard, with a dance tent, boutique cocktail bar and food court. Info & Tickets here.

21st: Bath Reggae Festival

Now pushed back to August bank holiday, this is the maiden voyage for the Bath Reggae Festival, and we bless them with the best of luck. With a line-up this supreme though, I’d imagine it’ll sell itself. Legends Maxi Priest, Aswad, Big Mountain, Dawn Penn, and The Slits solo extraordinaire Hollie Cook, Laid Back and lovers rocker Wayne Wonder, this is a must for reggae fans. Tickets & info here.

September

4th-5th: Concert at the Kings

All Cannings, Devizes

For locals little more can be said about how awesome this ground-breaking festival raising staggering funds for cancer research is. Since 2012 it has bought international headline acts to the sleepy village outside Devizes; legendary fables and the fondest memories have been had there. No difference this time around, save for some social distancing. Billy Ocean, 10CC, Steve Harley & Cockney Rebel, Sweet, Strawbs, Lindisfarne and Devizine favs Talk in Code, with more to be announced; twist your arm anymore, sir? No; no need to! Tickets & Info here.

9th-12th: Swindon Shuffle

Venues across Swindon

A later date for this annual extravaganza of local live music, spread across Swindon’s premiere venues and hugely supportive of original homegrown talent, this is weekend to head for the railway town. Since 2007 the Shuffle raises funds for MIND, and is largely free to attend. Ah, there’s plenty time to arrange a line-up, which is underway, but you can guarantee a truckload of our local favourites will be there, somewhere! Info.

10th-12th: Vintage Nostalgia Festival

Stockton Park, Near Warminster

The mature place to glamp this summer if you want to get retro; classic cars is the concentrate, but there’s no shortage of great bands from rockabilly, doo-wop, blues to mod skiffle, boogie woogie jazz and beyond. Sarah Mai Rhythm & Blues Band, “Great Scott,” Shana Mai and the Mayhems, The Bandits, Junco Shakers,The Flaming Feathers, The Harlem Rhythm Cats, Little Dave & The Sunshine Sessions, The Rough Cut Rebels, Riley K, The Ukey D’ukes and loads more. Info & Tickets Here.

You know, this one could be for me, rather than trying to look youthful clutching onto a marquee pole for dear life while a hoard of sugared-up teeny-boppers check Instagram amidst a soundtrack of dubstep! But look, I reckon there’s something for everyone here, but if I did miss yours, let me know, for a squashy cup of cider at the festie bar, I must just add your do here too!

​

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The Return of Local Live Music; should I add a question mark?

“But I’m bidin’ my time

‘Cause that’s the kinda guy I’m

While other folks grow dizzy

I keep busy

Bidin’ my time,”

George Gershwin

It’s important, I think, not to get over-excited, but I understand and expect a major outbreak of momentary bipolar disorder from myself and many others when we look somewhere over the rainbow at the prospect of events restarting, and live music in particular.

How the next few months pan out will be crucial to this concept of returning to normality, and we all play the part of Sarah Connor in Terminator 2; Judgement Day, when she said, “the unknown future rolls toward us. I face it, for the first time, with a sense of hope.” Hereafter the bit about a Terminator learning the value of human life is inconsequential to our particular occasion, but maybe has some relevance. We have to hold it down, guys, we have to be like little Fonzies here, and as Samuel L Jackson will ask you, Yolanda, what’s Fonzie like?

If we charge this thing it could backfire. It was heart-breaking and annoying too, running through our event calendar deleting everything, and despite the concern I’m going to be a busy bee updating it when events actually start happening, I’m like George Gershwin, biding his time. This said, you should note month-to-month the event calendar is far from void, there’s lots of live streams, online events and popup kitchens to check out; do not abandon it. But, and this a big but, bigger than the butt of Rod Stewart and Jennifer Lopez’s lovechild, we should keep in mind the word of the day is possibilities, and nothing should be set in concrete yet.

Still the local rag seems more gung-ho than me, which is odd until you figure they’ve staff to pay, advertisers to appease and content must be attractive. As I write this, they announce the headline “Fulltone Festival will be back in town this summer!” as I’m sure you’ll all be happy to hear this news, planning to go ahead on the 28th and 29th August, as am I, but I worry for the word “will” in this piece of clickbait, because right now can we really say will?

Look, my ol’ mucker, I don’t want to pop your bubble of optimism, I’m just playing the realist. Tomorrow sees schools and higher education heading back out; how strict testing will be, given pupils will test themselves in some circumstances, the same pupils who created the user-name “reconnecting,” so teachers would think they’re having connection issues with their online class! The R-rating hinges on this moment and its success, ergo the rest of this so-called roadmap does.

The second part of this giant step, on the 29th March includes the use of outdoor swimming pools, for example, but pubs won’t reopen until step 2 on April 12th. How are fifty-plus bods dribbling into a swimming pool safer than a socially distanced pint in your local? There’s inconsistences and flaws, to be expected, the further the pitch extends, but the wording is all made up of “we hope,” and “the government will look to continue easing limits,” there is no “Will,” therefore no media outlet should be using the word, unless mass hysteria is what they want.

The COVID-19 Response – Spring 2021 (Summary) on Gov.UK is quite clear, “in implementing this plan we will be guided by data, not dates, so that we do not risk a surge in infections that would put unsustainable pressure on the NHS. For that reason, all the dates in the roadmap are indicative and subject to change.” Yet bands are getting bookings, events are being arranged, money is being pumped into thin ice. The Victoria in Swindon is planning a comeback with Ion Maiden, Iron Maiden tribute on 14th May, but The Tuppenny aren’t announcing yet. Bradford-on-Avon’s Three Horseshoes haven’t added anything on Facebook until 7th August, when the brilliant Strange Folk are booked, whereas same band are the only thing to be listed at Devizes Southgate on 9th October.

But can you rely on the Fakebook as a source? Southgate landlady Deborah has been “quietly booking up bands,” with seventeen in the pipeline to date, starting from 22nd May. “This year,” she explained, “we’re concentrating almost entirely on just one gig per week. The earliest gigs will be outside with early evening start and finish times, but we hope to get back to our pre-COVID timings as soon as possible.”

The Long Street Blues Club state “there is light at the end of the tunnel,” aiming to restart their program on Saturday 18th September with the popular Billy Walton Band. This is brilliant news, but here, I believe is where the boundary lies, the smaller pub and club gigs. The idea of large-scale concerts and festivals, and upholding conditions are simply incalculable, for some.

Devizes Scooter Club have sadly cancelled their brilliant rally, as organiser Adam Ford said after making the decision in February, “even if it were allowed to proceed, we feel it will not be possible to host any event to the standard we would want to, and that attendees deserve.” There’s a similar feeling at Devizes CAMRA who have cancelled the Beer Festival. This is, sad but true, the exact logical response we should respect from those in the responsibility of organising events, well done to them both.

One should follow the lead of the Eavis family, experts in, quite literally, their field. If Glasto says no, then you, as an organiser should perhaps take heed. Meanwhile, Lydiard Park in Swindon is set for MFor 2021 is set as early as 31st July, and tickets are 50% sold. They remain adamant they’ve not the massive structure and organisation as Glasto, and will proceed with social distancing measures in operation. What I am questioning with these events still on the agenda, will we need proof of vaccination, as we’re a long way from vaccinating the country? Unless you imagine an evening with only over-70s going to watch Craig David, it’s a melon twister.

Talking with Kieran J Moore of Sheer Music, he stated, “the proof question hasn’t been answered by the Music Venue Trust yet, so there is no guidance or anything for the venues to base their decisions on. We can’t do gigs until May either, so still plenty of time for the working outs to begin.” Sheer has something in pipeline in Frome at the end of June, but isn’t really resurfacing until the highly anticipated Jon Gomm gig with support from The Lost Trades at Trowbridge’s Emmanuel’s Yard on the 15th October.

Satisfied that their safety measures conformed to the government regulations last Summer, the Southgate will do the same this time around. “Government guidelines have not yet been published,” Deborah said. “Unless we are required to do so, we have no intention whatsoever of  demanding proof of vaccination.”

Loz of Devizes Outdoor Celebratory Arts, who give us the unforgettable carnival, street festival and winter ales events, among others is looking forward to coming back “to help us make amazing things happen in the future.” She said, “I’ve spent every spare minute searching for and writing funding applications to ensure DOCA can relaunch at the end of this crazy blip in our history. I’m currently working on an Arts Council Cultural Recovery Bid; it’s a lot of work and I am supported by our fantastic Trustees whenever I have a question I stall on.”

But still, carnival in Devizes hangs in the ropes. But this is how it has to be, unfortunately. Believe me, I am adamant my next gig will not be when a kindly lady wheels her Bontempi organ into my care home to recite Bridge over Troubled Water, all I’m urging people to do is keep things in perspective and not raise their hopes, or more-so, let their guard down, just yet.

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Yasmin Lacey Live Stream Tonight

Nottingham has never been so soulful since Yasmin Lacey came onto the scene.

But for Yasmin it’s been too long since playing live. “I’ve been missing playing with my band so much, and being able to meet and interact with you all after shows. So, this is the next best thing,” she expresses on announcing a live stream tonight.

Tickets are £7 from Bandcamp, here. A chatroom will be open where Yasmin encourages you to engage with.

Song of the Day 16: Blondie & Ska

If you came here looking for an original song by upcoming hopefuls, look away. Chippenham’s Blondie & Ska may not be groundbreaking or looking for a mainstream recording contract, a Blondie tribute act who fuse ska and Two-Tone classics into their repertoire, but what they do they do with a barrel load of lively fun. And, in a nutshell, lively carefree fun is the backbone of ska.

Heores of the live stream currently, booking Blondie & Ska for a party or pub gig in the future, and you can gurantee, if fussy music devotees tut, the majority will be up dancing. For this reason enough, I blinking love this duo, but that alone is plentiful. Like their Facebook page for details of future free streams, it’s an entertaining, unpretentious show.

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Tankus the Henge’s Luna Park

London’s Tankus the Henge’s third studio album is released today (4th Dec.) Tis a quixotic rock’n’roll fable, a utopian realm of wonderment with ingenious prose and the composition of a variety performance….

Picked on this new release to scribe a few words about based upon Devizes Arts Festival organiser Margaret Bryant’s thrilled expression when she leaked booking Tankus the Henge for the 2020 line-up, that sadly never was. Yet, sadder is the reality of the era, where so other many events didn’t happen either, and the decline of live music venues. Such is the subject of this inimitable London-based group’s Luna Park, an album out today.

If the pandemic has been a catalyst for music production, and often the theme too, from all I’ve heard it generally focuses on the virus itself. Although Luna Park centres around the decline of music venues, an allegory for what is happening on London’s Denmark Street and all across the UK, one should note while it may resonate of lockdown fever, it was actually recorded during the winter of 2019.

Though nothing comes across melancholic with Tankus, it’s all clouts of glam-rock and funk wrapped in a showy, big top magnificence. They describe their sound as “five-wheeled, funk fuelled, open top, custom paint job, rock ‘n’ roll jalopy that comes careering around the corner on a tranquil summer’s day, ruining the silence and disturbing the bats.” While rock n rolling songs blast, there’s refined moments, as with The only Thing that Passes Here is Time, but it’s gawdy big band fashioned horn-blowing. Picking it apart there’s so much on offer here, like a variety performance in one album, and for this, despite I’m grinch for glam, it’s ingeniously composed and addictive.

Glitterlung, is borderline downtempo “Portishead” triphop, for example, while the incredible Susie Sidewinder comes across as if Lloyd Cole and the Commotions wrote Sgt Pepper. Of course, it relies heavily on the glam side of rock n roll, but there’s rudiments of everything; Deacon Blue to Zappa is showing a bit shoulder here. Each influence it throws into the melting pot is taken with a pinch and is wholly fun. Particularly noted for the amusing element, Staying on the Side of the Dirt was the tune which swayed me, it’s terribly Dennis Waterman theme tune fun, and I mean this is a good way! Chas n Dave are legends, given electric guitars and told to work with Noddy Holder, you might get something along similar lines.

During listening I pondered if this rock opera, and decided more on rock circus. I usually reserve that fairground comparison for the two-tone sound of groups akin to Madness, but it applies here too. It’s not a concept album as such, more a vision. A fantasy of a realm where creativity is celebrated and live music thrives. A place where venue closures are a thing of the past, and corporate gentrification is a non-entity. A refuge from greed and capitalism, and the salvation of independent music, free thought and good-times, packaged in dark, wry satire with a neon glow.

Speaking about the underlying themes at play, frontman Jaz Delorean said, “I don’t think the public knows the entire truth when it comes to the hardships and thin margins of running a venue, and most of the time we don’t want them to. They go out to have a good time and forget about life for a while. Thousands of people work all hours to keep venues, and festivals alive, and at the moment all of it is under threat. The ripples will be felt in every household eventually… We learned and started honing our skill in Denmark Street, in clubs like 12 Bar Club and Alleycat, both of which have closed. Jamboree, Passing Clouds, The Peel, 14 Bacon Street, Madame Jojo’s. All these venues were haunts of ours and are now closed permanently too.  We need to support these small venues so much more.”

Yet Luna Park is more then the sum of its parts, there’s gorgeous portrayals and the well-grafted, thoughtful characters of a novel, in disordered or decisive situations. If anything twisted my opinion on flares and glitter it’d be this very entertaining scrapbook of sounds.

https://www.tankusthehenge.com

Shake a Leg this Christmas in Swindon with The Tribe, Showhawk Duo, and Brother From Another

With the beguling blend of hip hop and reggae, Swindon’s pride The Tribe are a force to be reckoned with. Always a lively show, they team up with a most original act you’ll see this millennium, the Showhawk Duo. Recreating rave classics acoustically, yes you read that right, they’re super amazingly awesome.

And not stopping there, local purveyors of funky reggae, the ever-entertaing Brother From Another are also invited to the Christmas Shake a Leg party at Swindon’s Meca.

It ’s been a crazy year to say the least and we all need a good ol’ knees up so we’d like to invite you to the Shake A Leg Christmas Party on 12th December.

This could be just what you need to liven up this terrible year.

Full production for the show; Amber Audio & Patch are providing sound, IC Lighting will be bringing the stage to life with a lighting show and OT Films will be streaming the event live.

Adhering to restrictions, there’s a limited capacity and table service for the show. Tables of up to five are £33. Over 18’s only.

Gigs Continue at the Southgate with a Bonza Line-up for November

Remember around this time of year, how the UK’s terrestrial television stations would wind down quality of their schedules in order to accrual a superior agenda for Christmas? Well, the near-only dependable live music venue in Devizes we have left is showing no sign of copying the idea. Abiding by restrictions and regulations, Dave and Deborah at The Southgate Inn on Potterne Road continue to bring us the very best of local music, and show no sign of letting up for November.

Maintaining Wednesday’s consistent Acoustic Jam evenings, and on top of regular Friday’s Ukelele Group, there’s something for all tastes during the lead up to the big C. Let’s run through them, but remember most gigs are early, from 4-6 or 7pm, and to adhere to the social distancing rules, and respect others at all times. Booking a table is recommended, particularly for the more popular gigs, and boy, there’s plenty of them upcoming. Call them on 01380 722872 or send them a Facebook message to let them know you’re coming!

This Saturday, 31st, we see the return of Swindon’s Navajo Dogs. They’ve not played since lockdown, and say they can’t wait to blow the cobwebs off, with their own-brand of punky, blues-rock, and as they say, “some face melting guitar solos!”

On Sunday, the local family band Skedaddle are in the house, with their popular singalong covers.

Next Sunday, the 8th November, is bound to be awesome as what The Southgate brand their house band pay a visit for some unforgettable funky blues. Local legend Jon Amor, Jerry Soffe, Tom Gilkes and Evan Newman make up King Street Turnaround

Saturday 14th and it’s time for Mirko and Bran, aka, The Celtic Roots Collective. The wonderful duo you should all know by now for their blend of Irish and Celtic folk and rock.

The Sunday, 15th, sees Bristol-based regular original folk, soul and bluesman, Lewis Clark, who appears solo rather than with his full band, The Essentials, focusing on new original material written during lockdown.

Saturday 21st has the combination of Manton’s own Ed Witcomb, of the aforementioned Skedaddle, & Marlborough’s talented Nick Beere, promising magical mellow blues, catchy guitar riffs, and a combination of chilled acoustic covers and original material.

More blues on the Sunday 22nd, and why not? Bare blues with rural roots, delivered via slide guitar, harp and stomp-box with energy and passion. The Gate welcome back Trevor Babajack Steger.

Saturday 28th I’ve defo bookmarked, when Swindon’s two-tone ska darlings, The Skandals skank the Gate. Since the split with frontman Mark Colton, the lively band welcome back their original lead, ex-Skanxter Carl Humphries. Playing as selection of two-tone ska covers, is always welcome.

The Southgate are keen to point out at this stage, gigs do depend on changing covid regulations and should things alter, larger and louder bands might have to sadly be cancelled. Fingers crossed, as Bite the Hand are due to arrive on the last Sunday of November, the 29th. Like many, it’ll be these crazy metal-heads’ first gig since lockdown. Bite The Hand perform fast and furious punk and metal, self-penned reasoning is “to try and offer audiences something less vanilla. It’s the kick in the teeth you’ve always wanted, the dirty habit you just gotta have.”

Personally, as well as wishing Dave a happy belated birthday for yesterday, I just wanted to thank them and their team for continuing to work through this period safely and provide Devizes with such a great line-up of free entertainment from their hospitable and welcoming, best pub in Wiltshire!

The Return of Wilding; Falling Dreams

It doesn’t hang about, it doesn’t drift dreamily as some previous tracks on the Soul Sucker debut EP, unbelievably near-on a couple of years ago, but it is unmistakably Wilding, this beguiling new tune from George Wilding, back with his band after lockdown. As a frustrating era for all creative groups, it feels as if with “Falling Dreams” they concentrated all their het-up energy, impetus and vigour, directed it into a trunk, padlocked it for a few months, then smashed the deadbolt and channelled it direct into an adroit three-and-half minute explosion.

Excellence is a watermark of Bristol’s Wilding, what initially began as a backing band for our homemade favourite lead singer, George Wilding’s prodigious young solo career, I expected no less. Though, while it’s not excessively upbeat it rocks steady, but Falling Down is a grower, appeal increases with every listen. It fits their self-penned label, psychedelic Britpop, but what is more, unlike Hendrix and Joplin it’s not psychedelia lost in time, similarly with Britpop darlings Oasis or Blur, which are somehow suspended in nineties nostalgia, a more apt comparison would be the Doors, a band with jazz and classically trained elements, and wild frontman poet, their sound is timeless.

Processed with VSCO with p5 preset

If Soul Sucker received regular rotation on BBC Radio 2 from Graham Norton and burgeoning interest from major labels, here is a natural progression and a multi-layered detonation, compacted into one song. Writer and frontman George, multi-instrumentalist Perry Sangha, bassist James Barlow and drummer Dan Roe have shattered expectations and produced something here to refine their style. If this is a glimmer of what is to come, you had better watch out.

Why? Because, as I said to George, there’s so much good music being released during this troubled time for musicians, if they can get some writing and production out to help fill the shortfall, it’s all good. “I suppose that’s been the upside,” he replied, “everybody has so much time on their hands to create.”

The theme of Falling Dreams is ambiguously defined, as any strong songwriter should allow audience interpretation. To me it feels bitterly like a broken romance theme, but George jests, “they’re usually about girls, but ‘Falling Dreams’ is just about being fucking cool,” adding, “it’s about me…” Herein requires some prior knowledge to his character to fully appreciate, as far from egotistical, George’s charisma lies with tongue-in-cheek witticisms shadowing a selfless good egg. But yeah, he is fucking cool too! They all are, this song verifies it.

To see what I mean, hold out for its release this Friday, 23rd October. If you’re used to George providing entertaining covers on our pub circuit and his sublimely succulent solo EP’s of dreamy indie, this will be a wonderful surprise, but as I said, its skill and catchiness is neither unexpected or unmistakable.

The Revelation Games of Phil Cooper

Crouching beside me at our IndieDay outing last month, one third of our local folk trio, The Lost Trades, Tamsin Quin explained she’s slowly working toward her second album but a lot of time is spent concentrating on progressing the Lost Trades. I supposed here is an advantage to DIY projects, as if The Lost Trades were signed to contract it’d likely be an order to focus entirely on the group.

In pop we’ve seen the pressure put on bands to collaborate equitably, and the result usually causes a split in the end. Major record companies in tough competition don’t do enough to discourage this. Note drama sells in Simon Cowell’s ‘show-me-how-easy-it-is-to-manufacture-a-pop-star’ dressed-up karaoke television show, and hear the boos as he obstinately and impassively divides a prearranged group. He sells the tears of the rejected and the tension as young friends split. You could blame Yoko Ono, if you must, but bands breaking up is, sadly, no new thing.

Hence the accord and friendship between unsigned bands is a delightful contradiction to the harsh realities of the music industry, and I sense an unequalled unity in The Lost Trades, and deep respect for each other’s solo work. Cue another third, Phil Cooper, the binding, organised element of the Lost Trades, and his new solo album, These Revelation Games due for release by Infinite Hive on 30th October. It’s great, I’d expect no less, and Phil’s fanbase too, but it’s varied content would also serve as a taster for newcomers to his repertoire.

Historically it’s been over a couple of years since he sent me his Thoughts & Observations album to review, which does what it says on the tin, largely acoustic-based annotations and judgements. But I focus on a particular night down the Southgate when Phil was accompanied by his Slight Band. Man, he was on fire, loudly and proudly rocking our legendary live music tavern with unsurpassed esteem and passion.  Make no mistake, These Revelation Games contains many a track comparable with Thoughts & Observations, they’re observational and sometimes quirkily humoured. But this new solo album takes no prisoners, and blasts its doors clean off their hinges from the off.  

Yeah, while so the opening tune, House of Mirrors explodes rock, and dare I say it, has that impact of the sixties Batman theme, it shouts the riff at you, second up Phil returns us to the mellowed aural breeze we’re more accustomed to with his recorded material. So, it’s a mixed bag of astutely written and perfectly executed songs with Phil’s joyful aura and defining style.

Eleven songs heavy, the early tunes creep us slowly back to the up-tempo as it progresses. Without a Sound particularly adroitly manages to raise that notion, and Keep Your Hands on the Wheel is a prime example of how Phil ingeniously twists metaphors of the simplest of everyday things. Leading us onto the quirkiest song, I am a Radio. Akin to Robots on the Lost Trades EP, Phil makes a heartfelt connection to an inanimate object, yet here using sound effects to create the idea his voice is operating on shortwave. It’s by far the most interesting and experimental, also absorbing his electronica work under the title BCC.

For marvellously prolific and diversified is our Phil, performing as solo, as The Slight Band, his electronica side-project, or what it’s now concentrated on, the outstanding folk harmonies of The Lost Trades with Jamie R Hawkins and Tamsin Quin, Phil never slacks off or confines himself to one sound. “I wasn’t planning a new album this year,” Phil expressed, “but then, all plans for 2020 went out the window six months ago. So, I spent my time in lockdown writing and recording a whole load of songs that explored influences I’ve never explored before.” Therefore, as a solo album, bought about by lockdown, don’t expect it to remain in one place.

It rocks without reference to this folk avenue, for sure, but stretches to every corner of rock. There are surprisingly heavy guitar riffs. Fervent ballads like the particularly adroit Into the Void, whisking Lennon-like. And there’s ardent electric blues, Changing Times perhaps best example of the latter. It polishes the experience off with a Clapton-fashioned smooth blues finale called The Horseman Rides Tonight.

With a plethora of new music being produced, lockdown it seems did have one benefit, and These Revelation Games in a varied taster of a concentrated Phil Cooper at his peak. I look forward to the progression of the Lost Trades, but love this aforementioned freedom to produce solo work too. I mentioned my chat with Tamsin to Phil, about the time and effort dedicated to the Lost Trades, but the joy of the flexibility of freely venturing off to work solo, thoroughly supported by the other members of the trio. “You’re far from the band in the Commitments film,” I noted!

“Yeah,” Phil responded, “having a record label release it has helped keep the balance between solo and Lost Trades stuff. The Lost Trades has always been built on mutual respect for each other’s work, so we’ll always support each other.” Which kinda wraps it up aptly, the ethos of the trio is like this album, nice. Nice one Phil, nice one, son!

Details on Phil Cooper and These Revelation Games, here.

Our IndieDay at Brogans!

Images by Gail Foster

Coming from Essex where shopping is religion, you’d think I’d be impartial to the duty. But no. To be bluntly honest, as I believe I mostly am, I find nothing entertaining or enjoyable in sauntering a continuous stream of mundane chain stores aimlessly, other than to spend money I haven’t got on crap I didn’t want or need in the first place. Blessed we are then, in Devizes, with an array of original, charming and interesting independent shops, which make shopping endurable for whinging cronies like me! An ethos celebrated, kind of, this Saturday by the group Devizes Retailers and Independents who, in order to return commerce to our wonderful and lively town, held an “IndieDay.”

MP Danny Kruger opened the event, I missed that, loads of shops got involved and opened their doors to a festivity-fashioned celebration, missed that too. Donkeys and more, I missed. Far better for me to contribute by loitering outside Brogans café, munching on a bacon roll and taking credit for Mike J Barham’s hard work!

I arrived late, The Devizes Rotary Club arrived long before to lend us a grand gazebo, and Mike too, he set up a PA, he managed the PA, he hosted the event with his charming and entertaining charisma, and everyone came up to me and thanked me; result!

Honestly, as I’ve said, I have to give a massive thanks to everyone involved for making it such a special day, and in this day and age it was indeed even greater. Mike Barham for one, aforementioned contributions, but two, for rocking both the opening and finale with a plethora of his own work, such as the lively Bowser’s Castle, and thoughtful prose through downtempo blues, to the thundering satire of a west-country-styled Top Gun theme, Danger Zone! The guy is a one-man machine, the best of the best, of the best.

So yes, breakfast to a late lunchtime at Brogans got lively, as people filled the plot outside and the carpark, in the sunshine. It was something until late last night I feared would fail, with gapping gaps between the confirmed acts. Sadly, and for various reasons, Archie Combe and Tom Harris had to cancel, and our opening act, Pewsey singer-songwriter, Cutsmith was also unable to attend. The worry took me until 10pm when I unleashed a masterplan; Tamsin Quin cropped up on the book of face, to thank me for reviewing the new Lost Trades single, and so, whammy, I dispatched note of my concern and asked nicely if she would be able to grace us with her presence, and naturally, sing us a song or three.

I highly suspect they’re secretly superheroes, Tamsin, Jamie and Phil, and if not, they certainly saved my skin, more than once before. Tamsin dragged Jamie R Hawkins along, and as their alter-egos with no need for superhero costumes, they did it again. Thank you both so, so much. Tamsin gave it her all, which needs no surprise, her confidence and professionalism doesn’t preside her charming grace and skill to entertain. Jamie accompanied her brilliantly on cajon, claiming to be “getting into it now!” after just two songs in.

Then Cath and Gouldy rocked up on their way to the Southgate, to play as their folk duo Sound Affects, which was, as ever, blindingly awesome. All originals and finishing on Mr Blue Sky and Come on Eileen covers, it was superb. So, a massive thanks to them.

The finale then, was rocked by Mr Michael J Barham, which I’ve said already, but needs another mention. Thanks to everyone who turned up and made it really special day, including our photographers, Ruth, Nick and Gail, writer Andy and all the supporters. Thanks to Brogans for having us, I trust we behaved, least it could’ve been worse, believe me! It’s times like this which make Devizine feel more than me clonking on a keyboard, and rather a thing of community, of spirit and substance. Though now I’m back clonking, vainly bigging up our own gig, which I justify by noting it’s not about me, or my bacon roll, and more about the good folk who regularly contribute to make this website function, the musicians, writers and photographers, and supporters. Here’s to more, I want more!

This is not an act of vanity, but a condition Gail set forth in order for me to get permission to use them! Thanks Gail, it takes a highly skilled photographer to capture me smiling!

Bristol Hip Hop Group, The Scribes Coming to Salisbury

Described by The Evening Herald as, “raw and exciting, honest and sensitive, a soulful brand of rap,” Bristol’s trailblazing hip hop outfit, The Scribes play Salisbury’s The Winchester Gate, on Saturday September the 12th.

The Winchester Gate is a community pub just on the out skirts of Salisbury city centre which heralds live music, particularly supporting reggae and hip-hop culture. The event is free, The Scribe planning to begin at 7pm.

The Scribes are a multi-award-winning hip hop trio, whose unique blend of beatboxing, off-the-cuff freestyling and genre-spanning music has created a critically acclaimed live show quite unlike any other on the scene today, with appeal ranging far beyond traditional hip hop fare.

The Scribes at BeCider Festival

They have consistently proven to be an impressive and engaging live act with 2019 festival appearances at Glastonbury, Wilderness Festival, Shambala, Boomtown Fair, Bearded Theory, to name but a few, and have toured extensively across the UK and onto Europe.

The Scribes are also proud winners of both the Exposure Music Award’s “Best UK Urban Act” and the EatMusic Radio Award’s “Best Live Act”, and have provided original music for BBC and Channel 4 television, as well as being featured regularly on both national and local radio and media including BBC 1Xtra and BBC Radio 1 Introducing.

Hotly tipped as one to watch, The Scribes have shared stages with the likes of Macklemore, Wu Tang Clan, Dizzee Rascal, Kelis, Rag N Bone Man, Example, Lethal Bizzle, The Wailers, Jurassic 5, Sugarhill Gang, KRS One, De La Soul, MF Doom, and Souls Of Mischief, and are steadily establishing a growing following across the continent to add to their already significant fan base at home.

Check out their new EP, The Totem Trilogy Part 1 here.

Two Man Ting Bring Sunshine to the Southgate Today

Winding up their “mini tour,” after last night’s gig at Salisbury’s Winchester Gate, world/reggae duo, Two Man Ting appear at Devizes Southgate for an afternoon session from 4 to 6pm.

Midlands Jon Lewis and Sierra Leonian Jah-Man Aggrey, are a branch of world dance collective Le Cod Afrique, who play a cheerful combination of multicultural roots-pop. A welcome addition to the Southgate’s continuing mission to provide a diverse range of live music to Devizes; and a grand job they’re making of it!

With Aggrey’s bright, chatty vocals and bongos, and Lewis’s acoustic guitar picking, this promises to be something great and wholly different around these waters. They’ve done the festival scene from Womad and Glasto to the Montreux Jazz Festival & Glastonbury, and their acclaimed album “Legacy” has been much featured on BBC Radio 3 & BBC 6 Music.

Should be a good ‘un!

Devizine’s IndieDay Outing!

Well blow me down, cover me in peri-peri sauce and call me Natisha if we’ve had a Devizine event recently. Understandable all things considered. Annoying though, being I passed on the idea of holding a second birthday bash last autumn thinking we’d host or co-host something better in the summer.

Crystal ball smashed, see? Face bothered? Yeah, a bit, y’ know. Hits to the website has taken a blow, yet that informs me just how many people were using it as a what’s on guide in times prior to lockdown. And anyhoo, for me it’s a hobby, like trainspotting, just without the trains….and spots. I still don an anorak for formal appearances! For businesses and performers alike though, it’s been a rough ride.

What was waffling about before a class 55 diesel locomotive chugged past me? Oh yeah, events. Well, you may/may not be aware town centre will be alive on Saturday, 5th September, when the Devizes Retailers and Independents group hold their Indie Day, celebrating our array of independent shops and cafes. There’s fun to be had, shopping and eating and stuff, with lots of prizes to be won, etc. Original idea was to have buskers around and about, but I believe that’s not so easy to do with current restrictions.

So, we plan to be in presence, centred in the rear garden of Brogans in the Brittox, purveyors of a fine breakfast, nice tea or coffee and scrumptious lunches and cakes. In which we will have some live acoustic music running throughout the day from, I dunno, 10ish till 3ish; that sound good?

Check dis out; Vegan Jaffa Cake style cake @ Brogans, say no more!

Rather hastily put together at short notice, due to getting approval on our proposal to observe social distancing, so if you come along, it’s essential you abide by them. We will track and trace, advise you to wear a facemask if wandering outside of your “bubble,” and Brogans has measures already in place too.

I think it’s important, the day as a whole, being local business have been hit hard by the lockdown. Yet equally is our side-stall, gigs were the bread and butter for musicians, sadly missed by the punter, desperately reducing performer’s revenue. That said, the budget I’m working on is zero and I’m asking the acts to come for the love of it. I sincerely hope if you come along, you can show your appreciation when I badger you with a bucket, thank you.

I also encourage them to bring their wares, CDs and any merchandise they have for sale on the table; and this goes for anyone passing by also, who may have a creation for sale. Make sure you drop past by 3pm to pick up any earning. Any earnings are 100% yours, I might get my arm twisted if your offer me a bacon butty, other than that I’m asking for nothing!

Said tip bucket will be shared between all participating performers at the end. Shutdown is around 3pm, giving us time to finish up and head to the Southgate where the amazing Absolute Beginners will play from 4pm, and I’m getting a round in for all the performers. That’s the plan anyway, subject to change as ever. In fact, I’m delighted to say Cath and Gouldy of Absolute Beginners are pencilled in to drop by around 1pm, before the gig at the Gate, so you can see for yourself how damn good they are.

Everything is in pencil at the moment, just wanted you to give you plenty of notice before you start planning a shopping trip to the Greenbridge retail park, or anything wildly hedonistic like that. Colour pencil though, rainbow; on the cards we have the one-man army, Mr Mike J Barham, who’s kindly to offered to setup a small PA while I rub my stubble, and pretend I know the technicalities he’s referring to.

Also, hopefully dropping by will be our brilliant Tom Harris of the Lockdown Lizards, Pewsey’s finest Cutsmith, and London-based Archie Combe, a classically trained jazz pianist, composer and musical director. I’ve not given them timeslots as of yet, but we’ll play it by ear, which will be a beautiful thing given the wealth of talent. There might be room for one more, if you’re up for it, let me know, or just drop by with a guitar on the day and I’ll try fit you in; can’t be any vaguer than that! But vague is my middle name (actually, it’s Lee, but c’est la vie, Lee.)

So yes, it only leaves you to browse past and enjoy the day. Danny Kruger is coming, and if he can make it so can you; don’t believe the hype! Let us know you’re coming on the book of Face.

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Jamie Williams and the Roots Collective Do What They Love, at The Southgate

He’s a fast learner, that Keanu Reeves; think how he progressed to “the chosen one” in little over an hour and half, while his superiors barely advanced at all; comes with the chosen one job, I suppose. Think cat scene, for example, where this novice presumed déjà vu, but twas a glitch in the Matrix.

Had a touch of déjà vu myself on Sunday, chatting with Essex’s Jamie Williams and the Roots Collective; alas I’m not the chosen one, until it’s time to do the washing up. Barefacedly had to check my own website, suspecting they’d been mentioned before. And I was right, Andy wrote a part-review back in July; I was briefly there too. Blame it on a glitch, rather than memory loss; this is 2020, glitches in the Matrix are abundant.

Regulars at the Southgate in Devizes, Jamie Williams and the Roots Collective are as the name suggests, but don’t do run of the mill. Cowboy hats and chequered shirts held a clue, but arrive excepting unadulterated county & western and you’ll get nipped. While there’re clear Americana influences, here’s an exclusive sound unafraid to experiment.

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Jamie’s abrasive vocals are gritty and resolute, perfect for this overall country-blues sound, but it progressively rocks like Springsteen or Petty, rather than attempts to banjo twang back to bluegrass. It also boundlessly exploits other folk and roots influences, with a plethora of instruments and expertise to merge them into this melting pot. And in this essence, they are an agreeable rock band, appealing to commonalities; but do it remarkably, with upbeat riffs, tested but original material, and passion.

Not forgoing, I still need to be careful, and it was but a whistle-stop to the Gate, to wet my whistle. As current live music restrictions being the way they are, it’s unfair to use a gig review as a base for an act’s entirety. For starters, they’re missing bassist Jake Milligan, and drums deemed too loud to bring, James “the hog” Bacon made do with a cajon and bongos. The remaining two, Jamie and Dave Milligan, cramped in the doorway of the skittle ally with acoustic and electric guitar, respectively. Which, in a way, proves this band’s aforementioned adaptability and desire to experiment. The proof is the pudding though, and battling through the restrictions of the era, they came up with a chef-d’oeuvre.

jamie

Professionally, they scorched out a great sound nonetheless, mostly original, but a rather fitting Knockin’ on Heaven’s Door, with Jamie’s grinding vocals apt for a later Dylan classic. But this downtempo cover was the exception to the rule, their originals upbeat and driving.

To pitch a fair review, though, is to take a listen to their latest album, Do What You Love. The cover of which is unlike your cliché Americana tribute too; highly graphical splashes of colour akin more to pop, or a branding of fizzy drink. The songs match, a popular formula of cleverly crafted nuggets intertwining these wide-spanning influences. One track they did live from their album was accompanied with an explanation the recorded version used a brass section and even a DJ scratching, yet they made do with Jake joining James for a hit on the bongos.

dowhatyoulove

They certainly enjoy what they do, and appear relaxed in the spotlight. This doesn’t make them tongue-in-cheek, like, say Californian Watsky & Mody, who blend hip hop into bluegrass for jokes. Rather Jamie Williams & The Roots Collective has evenly balanced said collective’s influences and conjured this celebrated, danceable and fun sound, flexible for a standard function, like a wedding party but would also liven up the day at a mini-festival.

As an album though it encompasses all I’ve said above, there’s cool tunes like Lazy Day, the orchestrated reprise If I met my Hero, and rather gorgeously executed ballad, Held in Your Glow, but also frenetic tunes, driving down the A12 with the windows open music, Red Hot and Raunchy being a grand, light-hearted example but I’m A Stone as my favourite, with its clever pastiches of Dylan and The Rolling Stones, it rocks.

You need not visit the Oracle, waiting with spoon-bending broods, Keanu Reeves, for her to tell you Jamie Williams & The Roots Collective are not some “chosen” livid teenagers trailblazing a new sound and striving for the spotlight, but a collective of passionate and talented musicians loving every minute of performing, and this comes across as highly entertaining.

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Open Music Venues, or Do They Hate Art?

The Smart E’s “Sesame’s Treet” bleeped through the hills of a west country location in 1991. There was an air of delight and mirth when someone pointed to the ridge yonder. “Look,” they chuckled, “the pigs are dancing!” Story checked out, I turned my head to witness a couple of police officers jumping and waving their arms, mocking the fashion of a dancing raver. Imitation we never took to heart, ravers were tongue-in-cheek about their chosen music; repetitive beats over a children’s tv theme was comical nostalgia, and not supposed to be taken seriously. As for the police, seemed as individuals observing, they saw the simple truth that there was no harm in what we were doing. Yet there was always hate in the establishment they took orders from, and we were months away from being grounded by force.

rave

Hysterical measures by a desperate conservative government, who failed to see the value we held for something they couldn’t understand, an electronic art movement, principally, a modern folk music.

Authoritarians detest art, least the progression of art, seems to me. And it has been plaguing my mind of recent. Freedom of expression, they fear, encourages liberation, unrest and consequently, rebellion. Munich, 1937; Third Reich leaders combined two opposing art exhibitions into one, the “Great German Art Exhibition.” The first hall featured art which Hitler considered suitable, orthodox and representational, lots of flaxen folk gallantly posed like Roman deity sculptures, and local idyllic rural sceneries.

great german art ex

The second displayed what Hitler deemed “degenerate art,” contemporary, progressive and mostly abstract. But they ensured it was demoted, through exhibiting it callously, with disorder, and bestowing dissuading labels on it, describing “the sick brains of those who wielded the brush or pencil.” Hitler pushed stringent boundaries onto German artists, because he figured art was key to the rise of Nazism and his vision for the future.

Damn, he hated the Bauhaus. Forced the art school to close in 1933. Their angular designs which would herald the most efficient revolution of modernist architecture, were deemed communist intellectualism by the Nazi regime; give them an archaic Spalato Porta Greek arch, or be shot!

bauhaus

I see humour as my art, my aim is to make you laugh, whenever possible. In a week where a keyboard warrior reported me to Facebook for an ironic slate at Boris Johnson, yet a grammatically atrocious meme, stating they need not pay for a holiday, when purchase of a dinghy from Argos will see them put up in a hotel, is hailed as hilarious, I receive a message of eternal doom for the grassroots music industry, from a professional musician.

Gone, it seems, are the days of eighties “alternative comedy” of the Footlights, of Ben Elton and Rick Mayell scornfully ridiculing Thatcherism. Gone is the echoing mantra of Joe Strummer demanding “a riot of our own.” Today the art of comedy, and music, barely touches political matter, and never takes risks. Humour is subjective, as is all art, I accept this, but art enriches our lives, provides joy and entertainment, and should never be curbed or censored. Yet we find a consistent urge by blossoming traditionalists to dampen the spirit of artists.

The Trump administration eliminated the budget for the National Endowment for the Arts. An annual $150 million is a devastating blow to the industry, yet hardly major cost-cutting as it weighs in at only 0.004 percent of the federal budget. Akin to the ethos of the “Great German Art Exhibition,” history is peppered with examples of right-wing philosophy opposing art. The Stalinists enforced stringent principles of style and content, to ensure it served the purposes of state leadership, methodically executing the Soviet Union’s Ukrainian folk poets, according to the composer and pianist, Dmitri Shostakovich. Just as Chile’s coup of 1973, when Augusto Pinochet tortured and exiled muralists. Singer, Víctor Jara was murdered, his body presented publicly as a warning to others.

grassroots

In the UK, the reopening of lockdown restrictions despite the pandemic still mounting, where it seems perfectly acceptable to travel to foreign lands on a luxury holiday and return without quarantine, where we are encouraged to shop till we drop and eat out in restaurants to save the food industry, and it’s commonly accepted our children will be used as lab rats in a herd immunity experiment, a government, who let’s face it, should have imposed a lockdown sooner, as was the example of every other developed nation worldwide, rather than fail to attend meetings with the World Health Organisation, and use unreliable companies to supply software and PPE to help combat the virus, simply because they are mates of theirs, will not allow us to have a sing-song in a pub.

Now, at first, I accepted the possible threat, but in light of recent lessening of restrictions, I fail to comprehend the logic in this, in continuing the restrictions on art and music. Given the historical facts surrounding the authoritarian’s apparent hatred of art, I am beginning to fear the virus is a being used as a convenient excuse to suppress and suspend creativity. Oi, loony leftie, shut up, stay in your home and watch the celebrity Pointless special.

banksy

I suggested, didn’t I, art is subjective? If Hitler liked the conventional, representative of Renaissance tradition, it was his prerogative, but there was no need to kill everyone simply because he couldn’t draw horses very well. Since the invention of photography can duplicate precise imagery, artists seek expression, inimitability and design according to their own mind. If it constitutes liberal or reformist ideals, why should it be devalued by opposing attitudes? The problem arises when oppression is enforced, freedom will return the fire, and will be back, refreshed, to bite them on the bum!

Just as the Jamaican JLP party of the right, battled burgeoning Rastafarians into the Wareika Hills in the 1950s, and labelled them “Blackheart Men,” or bogeymen, yet the surge of reggae and the popularity of Bob Marley today sees Rastas accepted in Jamaican society for the tourism it attracts, The Battle of the Beanfield in 1985 did nothing to control travellers in the UK. Less than a decade later the free party scene metamorphized into a rave generation which saw youths rally to support them. You cannot curb progressive movements in any art without risking a wave of rebellion. Ironically, the very thing they’re trying to prevent.

Basq

We’ve seen a return of the rave, police fearing a riot if they try to prevent them, but they reflect nothing of the magnitude of the nineties, yet. Unless grassroots music venues and pubs who were regularly supplying live music are reopened, even if that means social distancing measures are in place, it is inevitable you will open a gapping underground and future generations will strike back. This does nothing for the values conservatives uphold, or their vision of a totalitarian future, but furthermore severely punishes every professional in the arts industry from rock star to sound engineer, every prospering new performer in an era formerly to lockdown, I see equivalent to those swinging sixties; a time I suspect most baby boomers of tory ethos hold dear. An era where every youth was in a band, and focused on music rather than belligerent misdoings.

Yet still, gammons, I believe is the modern terminology, if the left is snowflake, persist in whinging about how youths have no respect, how they were flaunting rules in the park, gathering, conspiring, they so suspect, against them. What if they are, though probably just socialising as they likely once did in their younger years, what if they’ve some masterplan to overthrow this Tory charade; they surprised by this? How egocentrically imprudent, how selfishly insular. This is people’s livelihoods they are toiling with. As Bob Marley once said, “a hungry man is an angry man.”

bob

 

 

Ben Borrill Takes A Little Time

Bobbing around the St John’s corner of Long Street, trying to act important, and sober, I had a message for Ben Borrill, Pete was looking for him, he was on next; ah, gave me something to do. It was the fantastic Devizes Street Festival, made that much more fantastic by Vinyl Realm organising a second stage, showcasing local talent. You must’ve heard about it, even if you weren’t there, I’ve harked on about it enough!

Mission accomplished, he was loitering the doorway, and equably replied with an “oh, okay.” There’s a casual air around Ben, perhaps the most altruistic and modest musician, and, oh, skateboarder too, on the local circuit. It was this way when I first met him during an acoustic jam at The Southgate. Yet there’s a magnetic sparkle when he performs, which captivates. Other than friendship, it’s probably the plausible reason he supports Daydream Runaways recurrently.

Image by Nick Padmore

I never held out for something recorded from Ben, content as he seems to roam the local circuit performing live, yet with the current climate surrounding gigs, time and effort is channelled into getting studio time down, for everyone. Sometimes this transmits the talents of a live performer, occasionally not, and I happily report it’s far from the latter.

Groovy, in a word; there’s something pleasantly sixties Merseybeat-come-beatnik about Ben Borrill’s debut single, Take a Little Time; not in a tacky tribute kind of cliché but in a nonchalant, progressive way. Particularly in the intro, the reference of seasonal change, shifting leaves and blossom of a fading spring, balances into romantic ditty, and spanning just over two minutes too; it’s short but sweet.

While it doesn’t go off down a completely psychedelic sixties formula, it’s no Mammas & Papas, the riffs do lean heavily on all that’s golden about that golden era, of Kinks or Hollies, with a fresh tinge of modern acoustic. Here’s a smooth ride into an intelligently grafted, but easy-going song, reflecting Ben’s charismatic and breezy attitude. It is, blinking marvellous, and leaves you yearning for more… jump to it Ben, equably I’d imagine he would reply with an “oh, okay!” Spotify link here.

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Sam Bishop and the Fallen Sky

Ex-Devizes boyband and half of Larkin, Sam Bishop is away studying music in Winchester. He posts about his latest single, Fallen Sky with the thought, “I really do think this is the best song I’ve ever made.” You do always say that, Sam, tee-hee, but it’s no bad thing! I think it was legendary underground cartoonist, Hunt Emerson, who once told me, “never put anything out you’re not confident to say it’s the best thing you’ve ever done.” It suggests Sam is always striving for better, but the proof is the pudding, and this is a Michelin star sundae. Yeah, I believe you’re deffo right with this one.

It’s got that dark, moody ambience, backed with a deep bassline, sonic piano and ticking drumbeats, as if William Orbit took boyband to dubstep. This compliments Sam’s humming vocals to a tee, as it characterises dejected teenage anguish and echoes the passion in early romantic interactions. While it’s a bromide subject at the best of times, Sam rests on it well, as was a time when we wanted Phil Collins to have a broken heart, so his reflection on it would be so powerfully crushing and relevant to our own life!

I feel old ears will nod in memory, but Sam’s defining style speaks volumes to younger generations. This is heartfelt stuff, as ever with Sam, but this time, in particular, the production on Fallen Sky envelopes that atmosphere so brilliantly.

sam

You know what I’d like to hear? And call me old-fashioned if you will, I’ve been called worse, but I’d like an amalgamation of songs filling a complete narrative, as the parable ends like an open-ended short story, leaving you wondering the next decision Sam’s character in the song will take. Like a chick-flick plot, he sings, “does it feel like it’s the end of our lives?” While this is great, I’m left yearning to know if they get back together or not, so, just a suggestion, but an intertwined set of songs spanning a complete fictional relationship, like, dare I say it, a concept album. This may not be the modern way to go with distribution I know, but here is Sam Bishop at his best, and a development worthwhile expanding.

Yeah, alright, I hear you, I’m old, yeah, thanks a million! Check this Fallen Sky out here.

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The Big Yellow Bus Rocks The Gazebo

Two things former humble truck driver Gerry Watkins is a natural at, plucking an ingenious idea and putting it into action, and putting on a gig to fund it. In 2017 Gerry raised four-grand to buy a double-decker bus, which he converted into a homeless shelter in Cirencester. Since he’s launched a similar plan in Swindon, and continues to raise funds for this amazing homeless project. The Big Yellow Bus project is innovative but simple, and Gerry works tirelessly to keep it running.

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With live music teetering on return, it still maybe a while before some venues are ready to reopen, despite yesterday’s sudden given date of August 1st. The following weekend, 7&8th, sees a grand restart for The Big Yellow Bus, to get funds rolling once again. The Tavern Inn in Kembleplays host to this glorious two-day mini festival, which is free, with collection buckets for the Big Yellow Bus doing the rounds.

Music plans to kick off at 7pm on Friday 7th August with our good friends, Absolute Beginners. I know, like most, Cath, Gouldy and the gang will be itching to get back to live music. While there’s still a few gaps in the line-up to confirm, The Roughcut Rebels will be a welcomed act, introducing their new frontman, the one and only Finley Trusler; an awesome unification we look forward to hearing. Mick O Toole is also on Friday’s header.

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Saturday 8th though is an all-dayer. Paul Cooper (Martin Mucklowe) from the twice BAFTA award-winning BBC tv series, This Country, will be opening up the event at midday. Shaun Peter Smith will be the Compère for the day, as Miss Lucy Luscious Lips, he’s certain to add a little bit of glamour and sparkle. There’s a number of faces I know to this busy line-up, and plenty new to me.

An interesting Opening at midday, Ascenda are a four-piece, playing smooth music with a rock edge and thoughtful, theatrical vocals. Their current collection of songs ‘Celeste,’ forms a love story that explores conflicts; solitude versus companionship, and spirituality versus practicality.

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Acenda (image by Eric Hobson Photography)

Cath, Gouldy and the gang return as The Day Breakers at 1pm, with their irresistible blend of Celtic and mod-rock covers, it’s guaranteed to go off! Swindon’s all-girl rock and pop covers band, Bimbo follow at 2pm. Dirty and filthy punk is promised to followed with The Useless Eaters, a band who accurately recreate the iconic sound of late 70’s British and American punk.

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Six Lives Left

Cirencester’s masters of high-energy classic eighties rock covers, Loaded Dice are on at 4pm, followed by a mesh of Britpop, new wave and ska with SkA’D Hearts at 6pm. Era-spanning soul follows with Joli and The Souls, and rock restarts in style with Six Lives Left. Sticking with six as the magic number, the finale will be from Calne’s fantastic misfits of Britpop and new wave, Six O Clock Circus, who are always up for a party!

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Joili & The Souls

Yeah, it’s all slightly out of our usual jurisdiction, but with a line up like this, all for such a great cause, and with limited events these lockdown days, this is highly recommended and worth the effort. Kemble Railway Station is right opposite The Tavern Inn so it’s easy to find.

Note, putting such an event on so early after lockdown will not be without expected guidelines, everyone must abide by. Gerry urges social distancing and that you respect those around you. “This is all done so you can enjoy yourself and have a great time watching and dancing to great live bands and performers, thank you for all your support and together we can have a great time.” I’m sure they will, Gerry. If anyone is heading off from Devizes, gimmie a lift, pal, because this sounds unmissable!

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Talk in Code Taste the Sun

Back in January 2019, I was dead impressed with Talk in Code’s debut album Resolve, and labelled it “sophisticated pop with modern sparkle.” I offered the track “Oxygen,” as best example of how, like classic pop anthems should, its instantaneous catchiness gets stuck in your head. To compare and contrast that favourite from the album with the upcoming release from this Swindon indie-pop four-piece, it’s clear they’ve come an incredibly long way to enhancing and refining that fashion.

Reflecting back, Resolve has the definite “indie” sound of the nineties, only dipping a toe in the pool of eighties synth-pop. I felt this coming, each track they release sounds more like an iconic mid-eighties sugary hit, and Taste the Sun dives right in. It supplements my “sophisticated pop with modern sparkle” label much more.

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Recorded just before lockdown at Studio 91 in Newbury, the band define the theme as “about waking up and smelling the coffee, a feeling that change is coming and the relief when that change is made for the greater good.” Nothing wrong with that inspiring concept, but perhaps nothing original; writing style they stick to a model template, but the sound is invigorating. In a word, it’s refreshing, like the zest of a sparkling iced fruit drink on a humid holiday afternoon, it encompasses all that is glorious about pop. Blooming with good time, summery vibes, Taste the Sun is the sort of lively “Wham” anthem a younger you would’ve retained from a holiday camp disco, and evermore evoke a fond memory of a fleeting romance.

That said in the best manner possible. Talk in Code is a well-oiled machine, refining that classic sound for a new generation and, most importantly, extracting and binning any cliché or cringeworthy elements. You know the sort, listen to any eighties pop now and wince at a particularly ill-thought out component, be it a castoff sample, badly grafted rap or, worse still, a “talky” part; “I thought I told you, Michael, I’m a lover not a fighter!”

Yet I find similar with today’s pop, and hold my daughter accountable! “Why they doing that bit?” I grumpily whinge. “What bit?” she retorts. It’s like a repetitive synthesised single word, or randomly placed high-hat making me shudder. Talk in Code use the acuteness of “indie” to eliminate said pop crime, use pop for catchiness and throw something back at you with universal appeal. It’s true, I concern myself at the prospect of taking my daughter to a pop festival, be it I’m cowering at her modern taste, or she’s dragging me away from something I like the sound of. Talk in Code is something we could both agree is great, and throughout reviewing their singles, Taste the Summer is perhaps the prime example of this notion.

Released on Monday 27th July, on digital download at http://www.talkincode.co.uk and on iTunes, Spotify, Amazon Music and all digital platforms. Go on, you have a listen, and I challenge you to find something bad to say about this sparkling, uplifting nugget of pop; because I can’t!

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Jamie at The Southgate; first live music review for a while!

Has lockdown made us appreciate the simpler things in life we once took for granted? Even if, it’s pathetic to lose your shit over the lessening of restrictions and go on an all-out bonkers spree of drunken foolishness, playing into the media’s hands creating a drama from a crisis. It is understandable isolated folk fear the idea of venturing to pubs when carefully selected images of hordes of pissheads scrapping outside some chavvy chain bar are spread across social media, just as a few weeks ago a trip to the beach would’ve been scorned at.

For me, a relative good, aging boy, who’s been looking forward to the prospect of an unpretentious pint down the Southgate all morning at work, to return home and regrettably check Facebook to notice a local post claiming sixty-plus youths were last night causing havoc in town, and extend the horror to hear similar events occurred in the Sham too, it’s discouraging. Will I be held up as a hooligan, because I desire life to return to a time when going to the pub was normality?

It’s a matter of being selective. If it was up to me, I’d encourage a mass boycott of Bojo’s philistine bum-chum, Tim Martin’s shamelessly uncultured shithouses, but each to their own. They lead by example, a bad one. If you want to pour your hard-earned pounds into the pocket of this billionaire who treated his staff with such utter disrespect, perhaps you’re the kind of insensible sociopath who enjoys a punch-up. Not me, I went to the Southgate for an afternoon pint and report back a decidedly lack of hooliganism from rampaging shirtless knob-jockeys; don’t believe the hype.

Going to this pub was safer than shopping, and the delightful experience it always was, if not more being it’s been a while.

I actually got what I anticipated all along; a warm welcome, orderly queuing for the bar, a bottle or two of hand sanitiser and a slight gathering observing social distancing, able to contain their excitement at being let off their leash. But what is more, some breezy live music; what I’ve been holding out for. Yay! I’m not writing to slag off some corporate monopoly, but wanted to compare and contrast, plus get the rant off my chest. Rather it is, our first live music review for seemingly eons, and who better to grace the step of the Southgate’s garden than Jamie R Hawkins? Okay, I know I’m asking too many questions in this piece, but that was rhetorical.

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Perched in the doorway of the skittle alley, slighter of beard and longer of locks, Jamie was every bit the icing on the cake. Predictable, could be said, but welcoming to see the many faces admiring over his ambiance of acoustic goodness. In faith too, of the gradual phase-in for live music, the session wasn’t intended to be long; just a few songs from 4-6pm. Enough though to get a taste, and Jamie looked to be enjoying it as much as the crowd.

There were some new ones, Walking into Doors (?) one I arrived for, one perhaps called “Speechless.” Jamie did one cover, Simon & Garfunkel’s Cecelia, and went through some of his benchmarks, the wonderful Capacity to Change, the remarkably sentimental Not Going Anywhere, and being it was a family affair, the ukulele-driven “Welcome to the Family,” aimed at his restless toddler in her pushchair. Yes, an intimate setting, but with words crafted so beautifully and perceptible as Jamie’s, one cannot see the relevance in your own life.

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It was also a notable notion that Jamie was the last person to perform at our splendid Southgate, prior to the lockdown, so fitting he set the ball rolling in reopening. Though, with the unification with Phil Cooper and Tamsin Quin as The Lost Trades, a band formed in just enough time to play a debut, Jamie and the gang are really gathering acclaim further afield. They are promised at the Gate, but again, we have to be patience; this was a teaser under certain restrictions. A band, a late night outside may not be feasible for this humbling pub, yet, but time will tell.

Here then, was a lovely teaser afternoon, and proof above all media hype surrounding this ease of restrictions, that it can be done sensibly and responsibly, and the Southgate is on top of the movement towards normality; when it does, it’ll be something wonderful. Has lockdown made us appreciate the simpler things in life we once took for granted? Not really, it’s always been this good.

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NervEndings For The People

More clout than Ocean Colour Scene I’d expected after hearing frontman Mike Barham’s prior thrashing solo releases and drummer Luke Bartels previous band, but more roaring blues than Reef was an angle I didn’t see coming when I first checked our local purveyors of loud, NervEndings.

We’re countless gigs in now, the band, with bassist and secondary vocalist Rob McKelvey, still tight and raucous. I’m glad there’s a six-track album doing the rounds on the streaming sites, as by way of a meanderingly drunken tête-à-tête with Luke down the Gate, an album in the pipeline was one of the random topics breezed over, but so was the debatable aggression levels between Welsh and English badgers too, so I only held hope it’d see the light!

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“For The People”they’re calling it, then, out last week. It’s got the kick I now predicted, with that surprising blues element to boot, particularly in the opening track, Infectious Groove. Yet the Muddy Puddles single we’ve reviewed in the past follows, and sets the ball really rolling; it takes no prisoners, yet, for its catchiness, contains a slither of something very sixties; imagine pre-Zeppelin metal.

Emo, to audaciously use an unfamiliar genre, I’d best describe Colour Blind; smoother, drifting indie rock. And in that, Fighting Medicine is more as I’d supposed, guitar riff rocking like a driving song and Mike’s brainy lyrics, with added profanity to describe the drunken hooligan spoiling for a rumble. You know the bloke, there’s always one.

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With themes of non-pretentious indie, Chin up continues this ethos, forget the attempts to conform to expectances, it’s a be-yourself song. Best, in my humble opinion, though, is Dark Dance; as it says on the tin, teetering on crashing punk, it’s upbeat and danceable, in a throwing-your-head mosh-pit kind of way, which isn’t my way, usually, but it reaches a bridge of mellow romance-themed splendour. Here’s Jimi Hendrix covering Blur’s Song Two, as the blues is retained in all these contemporary rock tunes, and for a dude indifferent to the cliché indie sound, it works on my level too.

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Nicely done, and, double-whammy, Mike has forced upon me this streaming inclination which defies all my generation stood for when collecting music. Our parents called us by name when shouting up the stairs to turn the music down, not “Alexa!” Ah, it needed to be done and I’m grateful, in a sense. “Send me a download or something,” I pleaded, “I don’t understand this Spotty-Fly thing!” But it only met with the reply, “it’s on all the streaming sites….” I’m of the generation who tried to turn over the first CD they got, to listen to the B-side, and only just got the hang of downloading. Now I’m causally informed downloading’s sooo millennial.

I dunno, all moving too fast it; seems so unphysical, not to have a record collection, rather a playlist. You can’t skin up on a Deezer playlist. At least downloading had a file, nearer, somewhat, to owning a record. But I’ve persevered and found the Spotify app on my PC more user friendly; I didn’t harass my daughter for assistance once, as I regularly do with the phone.

So, cheers, Mike. Hopefully this will help me surpass the “noob” label my son has tied to me, which, I’m told is a word for both a novice and an insult in one. Honestly, I feel like my grandad, who, when he came over once, stood staring at our new LCD television and asked, “where’s your tele?!” For the People needs to include the older people too, as I reckon many would either love it, or give this trio a ruddy good clip around the ear, which is maybe what they deserve for being so damn good; they’d have me talking emoji next.

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Jon Amor is Cooking

Last time I saw Jon Amor he was queuing for Sainsburys. Sign of the times I suppose, would’ve much preferred to say we were in a pub or hall, and Jon was doing his thing. Capers, was what, he explained, he went in for. Those Mediterranean pickled berries, I figured; Jon is as epicure with his tucker as he is with his music. A new single, Peppercorn, expands the hypothesis; he’s cooking alright.

A contemporary blues performer with an established diverse repertoire, I was surprised upon reviewing his 2018 album, Colour in the Sky, of a distinctive and quirky fashion akin to late-seventies pop-rock in the more beguiling tracks; a drainpipe-suited Elvis Costello, of type, and songs as good to match. I’m thinking of the tracks Red Telephone and Illuminous Girl in particular, they don’t follow the archetypical modern bluesman manner, they’re upbeat, zany and define a certain panache emerging with Jon. I’m pleased to say Peppercorn doesn’t just correspond with this notion, but expands upon it.

Accompanied by video of crazy antics around his home, presumably recorded over his many entertaining lockdown live streams, with not only a rather perfected Ministry of Silly Walks tribute in snappy blue winkle-pickers, but an amusing puppet sequence to scream Sledgehammer at you. This is a quirky, catchy little tongue-in-cheek number. From Shanks & Bigfoot’s Sweet Like Chocolate to, more appropriately, The Soul Leaders’ boss reggae classic, Pour on the Sauce, food innuendo is no new thing in music; Louis Jordan nailed it in the thirties. Still with his demarcated and inimitable stylishness, here’s Jon’s own take on it.

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With a little slide-guitar intro, after thirty seconds it’s having it; immediately enticing and definingly why Jon Amor sets the local live music bar high. Though he is, the hybrid between man-about-Devizes-town and blues legend. At a quid from Bandcamp, this shiny example of why is a winning dish.

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A Cracked Machine at the Gates of Keras

Don my headphones, chillax with a cider, and prepare my eardrums for a new album from our local purveyors of space-rock goodness; Cracked Machine is a wild ride….

There are few occasions when mellowed music truly suspends me in the moment, when it just exists in the air like oxygen and totally incarcerates and engulfs my psyche. Jah Shaka and ambient house rascals the Orb both achieved this a couple of dusks at Glastonbury, but the same with likewise happenings, I confess I was intoxicated on matter maturity caused me to long leave in my past!

The issue for any reborn psychedelic-head is pondering the notion, will it ever be the same again, will music and art tease my perception to quite the same degree. The sorry answer is no, unless your intransigent mate slips something in your drink. Yet it’s not all despair, with a sound as rich and absorbing as Cracked Machine, it’s doable without drugtaking shenanigans.

They proved this at the most fantastic day in Devizes last year, which was that bit more fantastic, when what was intended to be a bolt-on feature became the highlight of DOCA’s Street Festival. Funded and arranged by Pete and Jacki of Vinyl Realm, the second stage highlighted everything positive about local music; a historic occasion we’ll be harking on for some time yet. I nipped away briefly after Daydream Runaways stole the early part of the day. But where the lively indie-pop newcomers had roused the audience, I returned to witness a hypnotised crowd and a mesmerising ambience distilling the blistering summer air. Smalltalk was numbed, as if the area was suspended in time. A doubletake to confirm we were still perpendicular, sitting in deckchairs or slouching against a wall on the corner of Long Street and St Johns and not slipped through a time vortex to a Hawkwind set at a 1970 free-party love-in. I was beyond mesmerised, but not surprised.

For this is how it was with their impressive 2017 debut album, I, Cosmonaut, the soundscapes just drifted through me, as I causally drafted the review, reminding me of a smoky haze of yore, giggling in a mate’s bedroom, listening to Hawkwind’s Masters of Universe. Youth of my era though, were subjected to electronic transformation in music, which would soon engulf us. Rave culture cut our space-rock honeymoon short, though, Spaceman 3 were a precursor to the ambient house movement of the Orb, Aphex Twin and KLF, others changed their style, like Frome’s Ozric Tentacles merging into Eat Static, and a perpetually changing line-up for Hawkwind appeased the older rock diehards.

I love I, Cosmonaut, it manages to subtly borrow from electronica and trance, only enough to make it contemporary, but keep it from being classed as anything else other than space-rock. I felt their second album, The Call of the Void avoided this slice of Tangerine Dream, and submerged itself totally in the hard rock edge; bloody headbangers! Therefore, it’s a refreshing notion to note newly released Gates of Keras bonds the two albums and sits between them perfectly.

Again, there’s little to scrutinise as it rarely changes, it meanders, trundles me to a world beyond wordplay, as these completely instrumental tracks roll into one another, gorgeously. A Deep Purple styled heavy bass guitar may kick it off, yet the opening track Cold Iron Light takes me to the flipside of Floyd’s Meddle, with seven and half minutes of crashing drums and rolling guitar riffs. Temple of Zaum continues on theme, Ozrics-inspired funkier bassline, and we’re off on the drifting journey, splicing subtle influences. The Woods Demon, for example, stands out for particularly smooth almost Latino guitar riff, making it my personal fave. Yet Move 37 is heavier, upbeat, like the second album. Low Winter Sun is sublime blues-inspired, imagine Led Zeppelin created Satisfaction rather than the Stones, if you will.

Recorded back in November, this is eight lengthy soundscapes of pure bliss, and will guarantee you a safe trip. A signature album for a lonely lockdown of dark, yet emersed in a time of Tolkien-esque vibes and mandelbrot set fractal posters. If this was released in the mid-seventies-to early-eighties every spotty teenager would be inking their army surplus school bag with a biro-version of Cracked Machine’s logo. As it is, age taking its toll and all, I have no idea if this still happens, but doubt it. None of that matters, here is a matured era of the genre, only with a glimpse of how it once was. Nicely done.

Paul Lappin; Awake in the Dark

“Lying Awake in the Dark,” the new single from Swindon’s indie soloist Paul Lappin, drives a breezier and more melodic sound than previous singles, taking me to something Jamie R Hawkins or Phil Cooper might conjure. As his third single to discover on Bandcamp since the upbeat “Life Was Good,” near on a year ago, here’s an indie-pop rock artist I’ve just discovered, worthy of lots of attention.

Though our friend Dave Franklin, over at Dancing About Architecture got there first, describing Paul’s sound thus, “it bridges a gap between the sweeter sounds of the pre-Britpop era and today’s indie creations. This is an infusion of past and present, a blend of indie, rock and pop which is at turns melodic, euphoric and soulful but always honest, relevant, reflective and passionately in love with life.”

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There’s a positively determine, tried and tested formula at work here, which may break no new ground, yet is beguiling nonetheless, and needs no experimentation. While the first two singles prompt me to suggest, though proficient, it’s all quite contemporary indie-pop, joyous and optimistic, Lappin reflects on the more melancholic theme a lost love with “Lying Awake in the Dark,” and to be honest, it suits. Backed by partial exerts of female vocals, provided harmoniously by Emily Sykes, whispering through the melody, the composition is exquisite.

Paul spent some time in rural isolation in France, polishing his song-writing skills, along with painting and sketching. Winning a song-writing competition with his debut single, the aforementioned “Life Was Good,” the story starts here. No stranger to this self-isolation era then, Paul says, “it feels familiar, all be it under very different circumstances. But now I’m confined to my parents’ house in England, where I’ll continue to draw, paint, and write songs. Might as well make the most of it.” Paul strives towards an album release shortly; something to watch out for from him, his handful of backing performers and Swindon’s celebrated Earthworm Studios.

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There’s a kind of rueful honesty and openness about Paul’s building discography, the sort after attending just the single gig I’d imagine you retire with the content notion you know this guy,  hence my comparison to our Jamie or Phil. Tracks are downloadable for a mere quid, for example; there’s no fleecing here. It wouldn’t surprise me to hear the cover art is a self-portrait, here you get the whole package of a person. It is, though, a watermark of a great acoustic musician, and Paul fits that bill.

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Mr B & The Wolf come out of The Mist

On our promise, via The Indie Network Facebook group, and generally a growing cognisant inside me, for Devizine to musically venture outside our local area, geographically, here we go with a starter for ten. Though it’s no new thing, in the past we’ve mentioned many, from Cosmic Rays in Shropshire, to Mayyadda from Minnesota; I invite this pandemic to officially crash our borders….

One request recently came from one Vince Henry, who’s digitally-adapted Facebook profile pic makes Doug Bradley in his Pinhead guise from the Hellraiser films look like a bedtime Care Bear, and led me to assume the band he manages, Mr B & The Wolf was about to unleash some thrash death metal or psychobilly peculiarity unwillingly into my aging eardrums. I prepped myself accordingly, one ear in the headphone, paracetamol within reach, but I was pleasantly surprised.

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As a function band based in my motherland, Essex, Mr B, and his wolf too, are lively, true, but present a flowing range from blues-based rock and Americana to “throwback” pop and soul, and do it with the finesse of a contemporary Fleetwood Mac. It’s a zephyr blowing your locks, the single I’ve been sent, Out of the Mist archetypal of the band’s bravura. I liked it and now have the album, LazyDay to give a fuller appraisal.

With echoes of driving rock Mr B and the Wolf keep a balance, there’s no tearing off metal as I preconceived, no angry underscores, rather a commercially viable equilibrium of uplifting rock radio stations cannot excuse for not spinning. Second tune, Rise Up, a great example of this breezy and enriching chic. Yet in the acceptance lies an aching sensation eighties power ballad bands, like Huey Lewis and the News should’ve been striving for a sound more like Mr B & The Wolf.

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Three tunes in then, and Crazy Town strips the style back to a deeper blues riff, vocally gritty, vocalist Dean Baker handles it very well indeed. Out of the Mist combines the two and stands out, for both catchiness and composition. Chestnut subject matter, yeah, but it doesn’t sway me when it’s performed so well.

What we find here is a bonded, proficient band with stains of all rock has produced before but boy, do they know how to wear it well. They being, Ben Pellicci on lead and backing vocals, Jason Bird on bass and backing vocals, George Wallis on rhythm, and Jason Chown on Drums; unconfirmed which one is the wolf!

Phoenix ballads us to the finale, harmoniously and mellowly. I couldn’t go as far to compare it with the way Morrison would direct the Doors through an audience-mesmerising voyage, but it does equate the great soft metal bands of yore’s more magically rousing moments. I nod to Heart and of course, Bon Jovi, but they’d be knocking on the doors of Floyd or Cream, see if they’re coming out to play.

The finale though, belts back the blues riff and takes us full circle. In conclusion then, Mr B & The Wolf certainly don’t drift from blues-rock formulae, though it’s a damn fine established blueprint anyway, and this Chelmsford band do it with style. LazyDay would refrain you from road rage in traffic and compel you to turn it up when you hit the open road, Mr B & The Wolf would be a gig you’d return from with fond memories.

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Don’t, Ryan!

Okay I confess, in my last article I did, didn’t I, state there was a trend of indie music taming to mass appeal? And yeah, I suggested this is no bad thing. There will, however be exceptions to the rule, and rock will, and should always retain its hard edge; we have room for all here. Swindon’s Ryan Webb, for instance, who’s just dropped a new single, “Don’t,” takes no prisoners.

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This is militantly metal, with spikes. It rocks with edge, it doesn’t hang around with an ambient intro, stop for a melodic break, the bridge is reached in seconds, the rolling guitar riff perpetually quivering your bones. A one-man red-hot chilli pepper, Ryan wrote, produced, sang, wailed his guitar, recorded and mixed the track in his studio. The only collaborator being Dave Collins, the mastering engineer for Metallica’s last album, who mastered this too.

It must be said, this not the template of Ryan Webb, who quotes influences ranging from Pink Floyd, Joe Satriani, and Zeppellin, to Coldplay, Muse, and Kings of Leon. He has the range encompassing any rock avenue, and projects all with comfort and competence.

“Don’t” though, whoa there Ryan, I’m inclined to put my frayed denim jacket over my AC-DC t-shirt and head-bang my way to the highway from hell, and I’m not usually one for all that; haven’t even got an army surplus bag with badly grafted pictures of Eddie the Head and Megadeath logos!

So yeah, if I like it, you iron maidens will love it! What is more, the track is “a plea to anyone contemplating suicide to take a step back and see that they have a lot going on for them in the world. Even when times are really bad, it’s important to talk to those around you.”

Ryan has chosen All Call Signs as the beneficiary for any sales from the single. All Call Signs is a UK organisation set up by two veteran soldiers, Dan Arnold and SJ James, in order to help other vets/serving military personnel who may be finding life difficult. They have also created an app which helps locate those reported missing and in need of urgent support.

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Indie Networking and Long Coats

If social media is the rearguard in music’s battle against the Coronavirus lockdown, there’s plenty of battalions networking at this last stand, and physical location is no issue. A virtual realm is borderless, and for this reason, while Devizine is concentrated on content local to Wiltshire, there are many avenues worthy to waiver the rule for. So, expect us to cover some bands and artists without borders, ones I’ll connect with through social media, such as the Facebook group I’m here to mention, as is the group’s tenet.

That said, Ollie Sharp is a young performer from within our geographical catchment, Bath, who recently set up said Facebook group for indie music, called, aptly, The Indie Network. Its welcoming and dynamic attitude is gaining attention. I joined, they cast a thread of introductions; made me feel old! Funny cos it’s true, pipsqueaks by comparison. Young enough to have to Google my antiquated phraseology, like cassette tapes and Danny Kendal. Some poor guy confessed he was older, at 43, at which he faced compassionate reassurances such as, “it’s only a number.” I knew then to keep my gob shtum, so I stated I was “old enough to know better, too old to care.” Least it’d do no good for our Kieran from Sheer Music, who also joined, to grass me up as an old skool raver, historical to those barely an itch!

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Though we’ve jested before about the era of yore where never the twain would indie kids and ravers mingle, Mr Moore and I, and come to the conclusion I’m exempt on account of my eclectic taste. Let it be known now, I like the sound of Ollie’s recently formed band The Longcoats, and it’s just the sort of thing which allows Kieran to win the genre argument! It’s breezy, placid indie, acceptable on a larger scale than predecessors, much least my aging preconceptions, bit like what our Daydream Runaways and Talk in Code are putting out; and I like them. I even refer to them as “our,” see, like a northern working-class family. Shoot, pass my Smiths tee Mr Moore, I’m an indie kid! (kid used here in its most unlikely definition.)

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Anyway, I digress. We’ve reached the part of the show where the artist mumbles “is this codger going to actually review my single?” Apologies for my Uncle Albert moment, ha, there was me thinking Boris had made arbitrary tangents trendy. There’s no telling some, he’s a bastard. However, we’ll never get going if I branch into politics.

“Used to Being Used” is the single I was sent, the earlier one of two on their Bandcamp page. It follows a blueprint of indie-pop, there’s a trudging guitar riff, a theme of dejected ardour, yet it’s done with skill, catchiness and promising aptitude. The latter single, Drag, which came out in March takes a similar tempo, and cool attitude; there is no need to be angry in an era which accepts the genre, so ever with edge but only enough, The Longcoats create a beguiling and entertaining sound to appeal wide.

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Last year guitarist Arthur Foulstone and drummer Kane Pollastrone added to frontman Sharp’s lone act, which bridged the gap between band and solo artist. The final piece of the puzzle came upon recruiting permanent bassist Norton Robey. With the assistance of producer Jack Daffin, The Longcoats have created a defining sound which is appealing and instantly recognisable.

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There is nothing about this Bath four-piece indie-pop-rock band here, I’ll be honest, which will act as their magnum opus, but an auspicious start dripping with potential. Here’s one to watch, with their debut EP ‘October’ in the pipeline, here’s hoping it’ll reach us before the month of its namesake.

But it’s not so much about the individual band here which maketh this article, rather the conscious efforts to unite and network, thus creating a scene. Even through this era of wishing for a live gig, the networks thrive, perhaps even more so. Ollie also created Wise Monkey Music, a multi-media music and events promotion company based in the Southwest, of which we look forward to hearing more of; attention, the like Facebook group The Indie Network is likely to bring. They even let this aging raver in, dammit; though my white gloves and whistle must be in a box in the loft somewhere, it’s a deceased stereotype, of which I’m glad.

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I do find though, as someone who glued and photocopied zine after zine, aside the mass media driven pop tripe, the underground thrives as it ever did, the internet only creates an easy route in. Just like the bands of the now, such as The Longcoats and others rapidly joining the group, what’s not to like about it?

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Talking Gravity, and other things, with Daydream Runaways

With some images used by Nick Padmore

How professional of me to create a to-do-list of outstanding subjects for articles, but then spoil said professionalism by dithering to the Daydream Runaways boys about the nineties rave-indie divide and becoming a grandad. The sensible members of the band promptly left the group chat, save guitarist Cameron Bianchi who stayed to endure my inane waffling up as far as the Madchester scene.

Prior to this though we had a great heart-to-heart early in the week, but if the title of this article is misleading, I should add the subject of Sir Isaac Newton never came up, rather Gravity is their latest single, hot off the streaming sites yesterday. It’s quality, as expected, going on their three previous releases, blinding reviews and an appearance on BBC Wiltshire.

It does indeed, as the press release states, “deliver on their brand of retro-modern indie rock,” but while maintaining an emerging signature panache, it pushes firmer towards a heavy rock division. A hasty grinding atmospheric intro with a pause, then the spiralling sonic guitar takes no prisoners. If the last tune, Closing the Line bore topical sentiment with a theme of the town’s Honda Plant closing, Gravity is perhaps more general, but even more powerful. This imminent Swindon-Devizes four-piece really have dug into an emotional slant with Gravity.

The combination of Ben Heathcote’s idiosyncratic vocals, said sonic guitars and class production value, this belts across as a rock anthem to not only scare The Darkness but fight a Foo. They say it comes from “a time of turbulence and explores the burden of life’s toughest decisions.” If I predicted the air of gloom surrounding the era would produce some intensely expressive songs, here is the all the proof you need, if indeed it’s a product of the pandemic. I’m going to find out.

So, I’m wondering, if the recording was done at a distance, or prior to the lockdown. Drummer, Brad Kinsey informed, “it was done in February, in Swindon, with an engineer from Westbury.”

I explained my reasoning, “it sounds heavy, rather darker than usual. So, I wondered if it was a result of the lockdown. Is there a drive to take it that route, I mean slightly darker and heavier, or is just the mood of this particular track?”

Cameron replied “I think it was just the mood of the track. Everything kind of centres around the experience Ben’s lyrics are speaking about. In fact, Ben’s probably the best person to about the story behind the song. But we definitely made a conscious effort to push ourselves on this on to do the song justice.”

It certainly does. “It doesn’t hang around,” I pointed out, “and the vocals are more powerful than before. Seems like a natural progression, a maturity. Not that I’m calling you immature, you understand?!”

Bradley responded, “nah, I get that. I think we gained confidence and are more unified about this sound.”

Cameron interjected, “I think it’s important to all of us to keep pushing ourselves with each release and not churn out the same number. I’m not saying we’re the Beatles or anything, but you know give it some time. We’re still young!”

Bradley bantered, “are you, Cam?!”

Cameron added, “well, some of us are still young…” Laughing emojis are added, but I’m getting paranoid.

“Okay,” I opposed, “spring chickens; don’t rub it in!” But even with any such change, such as the edgier component of Gravity, there’s a distinct signature maintained in all their tunes and this, I feel, sets them apart from many a local band. I could have guessed it was them before knowing it. “Is that important,” I questioned, “to be instantly recognisable?”

Cameron said, “I think it helps that Ben has got a very distinctive and powerful voice. I suppose we’re starting to find our sound as well. Ben & Nath wanted to go a bit heavier with this track but I’m not a massive fan of heavy guitar. So, I opted for a more chimney yet overdriven guitar style that suits me, but also packs a punch. Plus, I got to flex my inner Graham Coxon/Jonny Greenwood with the effects heavy solo part!”

Brad covered this shot too, “I would say so, yeah. It’s good to build a sonic trademark, all the greats have that! It’s a good thing when people can still recognise you, even when you change things. Shows that you’re using that style but without losing the integrity of what you are.”

At this early stage, Daydream Runaways call a good compromise between them, witnessed when they tuned for our Waiblingen Way Fire fundraiser. “There’s always going to be differing opinions,” I pondered, “Bit like marriage!”

Cameron replied, “no relationship comes without some disagreements, a band included. But we’re all good at finding a compromise, which is good!”
Throughout the interview I’m concerned if I should bring the idea of a possible album up, as when we did the fundraiser I asked, and it met with varying opinions between them. However, with the topic running on compromise, it’s now or never! “I wasn’t sure, though wanting to ask, if I should bring it up again!”

Cameron delegated, “Bradley…over to you on the album talk!”

I interjected with the proposal before he did, “I think you should, but accept I’m not thinking about current climate in the music industry, rather an old fashioned ideal.”

Bradley answered, “there was a plan. However, the coronavirus has impacted that. Not going to say it’s completely gone but we’ll wait and see what happens. You can’t really make any plans at the moment.”

Cameron expressed, “it’s not a matter of if but a matter of when is probably all we’ll say for now!”

Brad added, “I’d say doing an album is all dependent on what genre you’re doing. Rock music fans are still very defiant and keeping the album alive. So maybe with this Gravity sound we’ll go down that route.”

It did bring us onto these strange times, and my deliberations on what’s the best approach for artists on how to continue, continues. “What’s best for musicians,” I asked them for their tuppence, “the live stream is simply not the same as a gig, and while charging for it is a bit cheeky, it’s difficult to know where to go to get some revenue for the work you put it. In short, must be a bitch. Let’s not say the word again!”

I couldn’t argue with Brad’s comment, “some bands I follow have rejected the idea and directed people to supporting more pressing causes.”

Meanwhile, Cam elucidated his feelings about the lockdown. “Whilst you really miss that immediate response from a crowd, and the fact you’re in a room where you can play loud and really get into it, they’re still fun to do! We were lucky enough to do one right before the lockdown was enforced. Probably one of the first bands to do it, then Chris Martin came along after with his solidarity sessions. We still haven’t forgiven him for that!”

“Springsteen did one! But not before you!” I supplemented.
Bradley was proud to say, “we were the first UK band to do a self-isolation livestream. There, I said it; Let the feud with Chris Martin begin!”

The topic continued for a while, this dilemma between fan etiquette and revenue for artists. But I wanted to notify how much I enjoyed theirs, “yeah, good it was too. Saw that! Right now, I guess, it’s all we have. That’s the point I cleared with Kieran at Sheer. It’s never going to be the best plan. I think it’s time to get down and write some killer songs, agree?”

Cameron agreed with a feel-good quote, “definitely, but now is also the time to look out for each other, even though we’re all apart. If we can reach out to people with our music or it helps them get through their day, then that’s amazing.”

Bradley approved too, “yeah, and there’s never been a better time to write. Technology’s made it so accessible now to bounce ideas. Who knows, we could even release a song in lockdown without even meeting up.”

It always amazed a younger me, that Paul Simon could collaborate with the South African musicians on Graceland, back in the late eighties, and it sounded like they were playing in harmony in the same studio. It is possible to edit parts and stitch together. Must bugger up the flow of it though, make it sound mechanical or manufactured.”

Bradley replied, “well, if the band records the parts individually themselves and lays off the editing it’s possible to get that organic feel. I wouldn’t be surprise if we start seeing artists jump on this idea and release original tracks.”

It was at this point Ben Heathcote joined us. “It seems like the boys have covered the questions quite well! As Cam said, Gravity comes from a place of uncertainty and pain from circumstances and the decisions triggered from them. A crossroad of the mind. And yeah, lockdown wise we’re hoping it makes people see the value in their freedom before and hopefully will bring out further support when pubs, clubs and entertainment reopen.”

I see Ben’s clarification reflected in the cover art too. With a kind of “stairway to heaven concept,” an impressionist character is looking lost, pondering which road to take. It’s apt for the song.”

Ben welcomed this, “you got it. And again, the artwork is something were really proud of. Provided by ezra.mae.art. We also enjoyed working with Reloopaudio on the production, a friend who we will be working with again. We love this song and we’ve loved the whole creation, writing and everything about it. It’s nice to have developed it from the live sound too.”
For Ben’s benefit, we found ourselves back on the subject of Gravity’s edgier side, “I think it will please the hardcore indie fans, and those which come from a heavy rock side, which is good, there’s a majority of them locally.”

Ben replied, “as you mentioned earlier, with the style sounding fresh, but still us. This is something I’ve always been hot on since the band formed. I’ve never wanted us to be doing the same thing every time. The aim was, and continues to be; to write and produce fresh sounds with hints of varying styles that is still recognisable as us, allowing it to not be boring or repetitive; kind of inspired by many of our favourite artists who keep developing their sound.”

I take off my hat to this, “I might come across pop or soul-ish but I had my day, and do still listen to bands like Zeppelin and Floyd etc. I think Gravity will be boss with that crowd.” With which I asked for their influences, and if they mutual.

Ben reacted, “I’d say our choices are not miles apart, but to pin a group favourite would be impossible as we all have our firm favourite influences.”

Cam agreed, “yeah, I don’t think there was a particular band or artist that inspired the track as such but we all agreed what the sound was we were aiming for. Making sure that each of us brought our own thing to it.”

Laughing emojis made a reappearance, when I teased, “Ed Sheeran it is then!”

Keen to take it back, Brad nods at my sixties psychedelic citations, “Floyd and Zeppelin are timeless though. Prefect example of bands that pushed themselves overtime.” And the Daydream Runaways can relate to that with this progressive new release.

Ben said, “I think before we produced the track, we all knew in our head how it should sound.” It’s definitely a belter. I thank them for their time, with one last question before we headed into our tangent about the rave-indie divide of the nineties! Where do the Daydreamers see themselves in five years?

Ben suggested in five years’ time he would like them to have a steady schedule, “playing to crowds who know our words, filling sold out venues as well as intimate gigs, which we can always remember.”

Cameron felt they’d have “an album or two under our belt, playing to crowds in our favourite venues. Having a slot on The John Peel Stage at Glastonbury is a bit of a dream of mine!” Ah, there’s the source of my waffling, started with seeing Oasis at Glasto but, unbeknown to me at the time, I paid them little attention.

Daydream Runaways though, worthy of your attention, here’s the Spotify link to Gravity, like them up on the book of face, and cross your fingers and toes we’ll be seeing them live soon, if not the John Peel Stage at Glastonbury!

© 2017-2020 Devizine (Darren Worrow)
Please seek permission from the Devizine site and any individual author, artist or photographer before using any content on this website. Unauthorised usage of any images or text is forbidden.

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The New Local Blues

Had a nice chat with Sheer Music’s Kieran about acts, live streaming, future plans, and gardening this week… what am I on about? It’s always nice to chat with Mr Moore….

If the beginnings of Devizine was a learning curve in which I realised I’d bitten off more than I could chew, one might be mistaken to think now we must’ve covered every musical talent in Devizes, if not Wiltshire. Not so, as a post from Kieran J Moore of Sheer Music incited me to shudder. Why have I not heard the name Joe Edwards before?

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Joe Edwards

Name does ring a bell, must have posted about the cancelled album launch at the Wharf which would’ve happened this week. Well-travelled, Joe has been touring through Europe as a drummer for Australian band The Wishing Well, plus his debut solo album Keep on Running was mixed in Nashville and mastered in New Jersey with Grammy nominee Kim Rosen; might explain it, and if I have encountered the name I had no idea how renowned and awesome he is.

Hoisted in the help of Kieran for this then, to insure I’m bought up to date; there is a new cool in Devizes, and I’m going to prompt him about it. The initial message on any chat window these days is enquiring of wellbeing, understandably. Mr Moore is positively beaming, “[I’m] getting so much done and achieved,” he explained.

I replied with a question, “Like the gardening?!”

A boundless list of household chores followed which included, “how to programme moving head lights, learned how to live stream, learned how to record and edit videos.” Bless, that’s our Kieran, dedicated to fetching us the best live music and promoting local artists, no matter what the era brings us; you have to tip your hat to the man. Seeking permissions to release sets Sheer recorded from 2012-14 and bootleg them onto Bandcamp being the latest venture.

What of the live stream though? My Virtual Festival started with good intentions, but there’s been so much of it it’s hard to keep up, some may not be appreciative my sharing of their stream; it’s a close call. In these frustrating times, I asked Mr M if he felt “people are going to get bored with the live stream.” I often feel it doesn’t make up for the real thing and enforces my sadness that we’re missing out on live music. Yeah, I know, right; then I apologised for my despondent attitude.

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It’s a close call because artists earning from a live stream is problematic. Some have found methods of a pay-per-view stream, but many rely on a PayPal donation option. While I sympathise with the artists, also I ponder if charging for a live stream is justified when Wi-Fi can drop out, be overloaded, etc. “So,” Kieran added, “live streams have become a necessary evil, in the sense that everyone is doing them, and it’s really difficult to earn from them. Let’s be clear, live streams will never replace the real thing. No need to go into detail, we all know why, it just won’t.”

He believes they have a place in the future, though, after lockdown has ended. “You’d be a dolt not to recognise it! Whilst it may be difficult and lacking for most of us, these streams have enabled many people who wouldn’t usually be present, be it social anxiety, disability, or a myriad of other reasons, be able to take part and fell part of something.”

I gave mention to a stream-festival by Swindon Shuffle, it doesn’t have to be geographically grounded, organisers said people attended as far away as Mexico, and this increases the fandom of the performers to international levels.

In these few short weeks, we’ve seen musicians getting more creative with the concept, nice to see Benji & Hibbs sitting around a fire rather than indoors,Jon Amor climbed onto his roof last night, and Phil Cooper is getting tech with green screens for a Lost Trades stream on 1st May. “A lot of people have invested in the technology,” Kieran expressed, “so why would it stop after? It’s just daft, of course it won’t. Also, the reality is that venues won’t be back and open before 2021. The possibilities are currently being peddled by MVT,” He continued, “and it’s being taken seriously.”

I felt the need to apologise for my grumpiness, it had been a long day at the diary. I would, however, like to see artists getting some releases out rather than live stream, but accept that’s not easy either, for a band, with social distancing. Talking blues though, surely some the most poignant music, particularly blues, comes from feelings of isolation, depression and disappointment; from teenage anguish or working on the chain gang! The lockdown should deliver some interesting content.

“Be prepared for an avalanche of Coronavirus and lockdown blues songs,” Kieran suggested, and yep, seen a few emerging myself and played the “Corona Blues” by The Ragamuffin All-stars on my radio show last week.

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Little Geneva

Talking local blues, though, on top of Joe Edwards, who after a listen to I’m liking to a raw George Harrison or Clapton, what else has Kieran got for me? “Jon Amor likens Joe to JJ Cale, which is nice,” he compliments. “Then we have Little Geneva, who actually do covers, but they’re so obscure, people don’t know them. I actually like that slant.” Ticked that box some time ago, Little Geneva playing the Cellar Bar was knockout, and I’ve nothing but praise for their authentic blues sound.

This said, Little Geneva have since recruited female singer Mariam Maz to add to their already talented gang, and this I have to witness.

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Will Blake

“Then we have Will Blake in Bromham, a honky-tonk 12-bar type of guy,” but I’ve recently bookmarked Will too, sharing this soul cover multi-instrumentalist’s Isolation Sessions, which see him on piano in the middle of a Bromham field giving us a marvellous rendition of Man in the Mirror et all.

And finally, Kieran aims one I don’t know at me, a “swampy and dirty” contemporary Trowbridge four-piece, Sober Son. This is hard-hitting rock and one to watch. Looking to the future, where I predict an aching aftermath for concerts and gigs, many might frivolously suggest we have the party of parties, but Kieran is a doer. Can I spill the beans on his “overall idea?” “Say it’s currently Sheer’s intention to host an event!” he informs, yeah, will do.

Hosting a “Devizes Music Festival” is said idea, when the lock down is over, and to do a multi-stage bill, across the whole venue. Kieran’s dream team would consist of Jon Amor, Sober Son, Little Geneva, Joe Edwards, Will Blake and The Lost Trades, “etc.” I’m saying no more, not to get over-excited too soon, we’ve a long way to go with the lockdown; I could be a pensioner by then and only wishing to listen to Pat Boone!

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Ah bugger, back to the now; do like the Sheer Music Facebook page, currently dedicated to bringing you the best local live streams, “the necessary evil.” But most importantly is the notion I’ve said before and will no doubt say again, unless you want to pop the bubbles of musician’s aspirations and see them pushing supermarket trollies, it’s vital you check out local artists and buy their music, be it from Bandcamp, streaming sites, their sites or send Vinyl Realm a message, as they stock a selection of local music too.

© 2017-2020 Devizine (Darren Worrow)
Please seek permission from the Devizine site and any individual author, artist or photographer before using any content on this website. Unauthorised usage of any images or text is forbidden.

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Phil Cooper is Without a Sound

Surprising title, Phil Cooper is not usually without a sound. Trowbridge’s prolific singer-songwriter subtlety reflects, I believe, on the silence of the lockdown in a new single born today. Subtlety is the key to many of his works, there’s a wonder in this one in particular if there’s undertones of a political statement, or if it’s a simple love and togetherness theme. I like it when it’s open to interpretation.

Yet if there’s something unsurprisingly catchy about Phil’s Easter egg single Without a Sound, I’m uncertain if he’d be flattered with my Elvis Costello comparison, but that’s what I picked it out of it, and you might be surprised by this.

Though comparing isn’t necessary now, Phil have stamped his own unique mark onto music and this one retains that personal fashion.

However you choose to look at it, it’s a gradual step in the right direction for Phil. With the Lost Trades obviously on hold for the time being, it’s a welcomed surprise and while we look forward to the vocal harmonies with Tamsin and Jamie, ah, this single will fill the gap perfectly.

As with Tamsin’s first rate live stream last night for the Swindon Shuffle virtual festival, it’s still good to see this trio working apart as well as together.

But dont take it from me, give it a listen!

The Lost Trades; Debut at the Village Pump

By Helen Robertson

Images by Abbie Asadi

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On a rainy Friday night in Trowbridge, I followed the directions from the bar staff at the Lamb Inn- past the pool table and out the back – to the Village Pump, a quirky, intimate performance space that was already packed. And there was cake, lots of cake.

This was the first gig for The Lost Trades but most people seemed to know the Wiltshire-based singer songwriters, Jamie R Hawkins, Phil Cooper and Tamsin Quin, pretty well as they mingled in the breaks between support acts Vince Bell and newcomers Timid Deer.

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Tamsin confessed she was nervous, hoping the new three-part harmony adventure would start well. She needn’t have worried. The sell-out crowd were on their side right from the start.

 
Swapping instruments and lead vocals throughout the night, The Lost Trades shared their stories and songs with the relaxed ease of seasoned performers. There are three distinct styles to the songs but an obvious pleasure in playing together binds the music into a cohesive set. It’s folky, funny and full on harmony.

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 I’m glad Phil took the time to introduce his original, the Groom of the Stools – a little context went a long way to explaining this rollicking, foot stomping number where “every day I take a look at the Crown jewels”. Google it, trust me it’s that job that you’ve never dreamed about.

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 About halfway through the set Tamsin debuted Hope Cove, a very personal song for a friend about holidays in Devon. Loaded with emotion the absolute strength of the trio, the balance of harmonies, was on display. These three voices create a beautiful rich sound, layered and textured.

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 My favourite song wasn’t an original – sorry guys – but a traditional American spiritual, Down in the River to Pray. The harmonies, wow. Just wow. As it soared and rolled around me, I’m not ashamed to say I might have had something in my eye….

 
The Village Pump is a cracking venue, home to the local folk club and a regular open mic night. I was told a group of friends started the folk club there in 1973 in a barn at the back of the pub. Performances were staged from a wagon and there are nods to this on the walls with horse paraphernalia hanging with tubas, French horns, guitars and pipes from a church organ. Upstairs in the balcony there’s plush red tiered seating from a now-closed local movie theatre. Great acoustics, a welcoming vibe and drinks on tap from the Lamb Inn, it’s just the place to showcase local talent.

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Shout out to Jamie’s fiancé Janey for the cakes – a vote saw the chocolate cake coming out the clear winner with the consolation prize going to Tamsin’s flapjacks. I tried a few, for research purposes. Perhaps more than a few. Yum!

 
The encore was a swinging country version of Talking Heads’ Road to Nowhere. I’m picking this is far from the truth for the trio. The Lost Trades are out on a Spring tour now with a handful of gigs around Wiltshire as well as trips to far flung places including London, Stratford on Avon and Exeter between now and the end of April. Details are on their website along with the chance to join the mailing list for early bird benefits.

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© 2017-2020 Devizine (Helen Robertson)
Please seek permission from the Devizine site and any individual author, artist or photographer before using any content on this website. Unauthorised usage of any images or text is forbidden.

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Blues at the Sports Club got my Mojo Working

If I divide rock music into three favoured eras; its birth from rhythm and blues to form rock n roll, psychedelia moulding it back to wailing blues, and second gen mod or new wave from the eighties, and anything post these I don’t care for so much, be it heavy, soft or Nu-metal, I paused for thought last night, observing these three pillars firmly personified at this most fantastic jam at the Devizes Sports Club. And what is more, it’s fused, together in one great monster of a performance, which, in a word, was spellbinding.

Impelled to duck out the Cavy early, as while I figured our writer Andy would be in attendance, and be willing to put some words into action, I had to see this for myself. It was as I predicted in our preview, no musician singled out, no-one-on-one-off exhibition, rather a humongous blues jam amalgamating the exceptional talents of all present. Already underway on my arrival, our guitar heroes Ruzz Evans, representing the rock n roll in my three-pillar theory, with his classy suit and quiff, Innes Sibun on the psychedelia with that long hair and wailing guitar, and Jon Amor in his trademark drainpipes and sneakers. To boot, not only is Ruzz’s backing band present on bass, drums and horns, there’s the legend who is Peter Gage causally making the keys look like Child’s play.

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Afterwards I made a beeline for Ruzz, inquiring how one goes about creating this wonderful amalgamation and how rehearsed it needed to be. There was no rehearsal, he explained, it’s based on specific templates in which the musicians observe each other’s changes and improv takes control. This takes a wealth of experience and talent, as Ruzz continued to get technical it showed both his obsession with his craft, and my incompetence in such matters. I should’ve recorded his explanation for a quote, as the jargon pursued and I’d drunk far too much! (Note dodgy photographs as proof!)

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Again, the slight topic of conversation that was passed around the club related to the current virus situation. Naturally people are concerned, yet it didn’t stop this venue filling sufficiently with our blues aficionados, matured or otherwise. I figured if times do go terribly wrong in the coming days, this could potentially be my last night out for a while, and if so, or even if not, I’m out to party. This event satisfied that ideal, but I knew it would, it said so on the tin.

It was good to bump into singer-songwriter Joe Hicks, where we expressed concern for the decline and postponing of events and its effect on organisers and musicians alike. He had, as I suggested, already an album up his sleeve. Perhaps the coming month will see musicians take to recording studios as the bread and butter of gigs phases out. It’s a sad thought, but absently unnecessary tonight, as the power of live music blessed the hall in a way which should make Devizes proud.

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Staggeringly as ever, Innes was on lead when I got there, taking the audience on one of his magical journeys, only for Ruzz to be frontman for one of my favourites of his tunes, Sweet as Honey. After a short break it was Jon’s turn, picking Juggernaut to blast us with, ever so proficiently. Then, was it a Billy Price song which Peter Gage so skilfully but causally covered with the honky tonk of Howlin’ Wolf, The Price I Paid for Loving You? I dunno, no expert, but I’d lost the will to keep track, allowing the blessed music to flow over me.

With a hypnotic guitar-off, if that’s the appropriate terminology, between Ruzz and Innes, sections provided for all musicians to show off, including the drum solo of drum solos and the most amazing bass guitar solo too, it was one heck of a brilliant blend of electric blues I’ve bared witness to.

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If my only criticism was pondering if the sound could contain this monster of supergroups, and that a semi-circle barrier between the musicians and audience had naturally formed, with the blues preservation society of Devizes merely wobbling on their feet, the sound system took the strain adequately, and after not too long the movers penetrated the semi-circle and all round dancing ensued. Otherwise, this gig was perfection on all levels, my blessings to all involved. If there is, gloomily, to be no Saddleback Festival this year, last night thoroughly made up for it and leaves me pondering what will be next from this fantastic venue.

© 2017-2020 Devizine (Darren Worrow)
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REVIEW – Lewis Clark & The Essentials @ The Southgate, Devizes –Friday 13th March 2020

No Pigeon-Holes

Andy Fawthrop

Friday had been a not-so-great day, with lots of news about C**, pitched battles in the aisles of Morrisons over the last few toilet-rolls, and the cancellation of many sporting and other events. How to react to this desperate situation? Well it was obvious – go to the pub for a few beers and to listen to some live music.

It was The Southgate’s landlady Debs’ birthday week-end, so some great music (as always) was promised. And it all kicked off on Friday night with locals Lewis Clark & The Essentials. Although the band had played this venue before, I’d managed to miss them last time out, so wasn’t quite sure what to expect. I’d been told that they were wonderfully hard to pigeon-hole, but that they were an acoustic based band, blending folk, soul, and blues.

Lewis’ band on this occasion consisted of the man himself on vocals and guitar, accompanied by upright bass and keyboards, and they had just kicked off their first number when I got there. I was with friends and so started the evening by chatting to them, but the chat soon died away as we all relaxed and really began to listen to this very talented performer. This was no mere pub background music. None of us wanted to ignore what was clearly some very fine music.

The first thing that struck me was Lewis’ incredible voice. His range, delivery and vocal style were completely arresting and mesmerising. Coupled with some wonderful jazz-like phrasing, his vocals absolutely carried the night. The effortless musicianship of the band supported Lewis’ songs through a whole range of musical styles and influences – folk, jazz, blues, latin, roots, soul – sometimes within the same song. The result was a spell-binding fusion of melodies, haunting lyrics, and an eclectic and varied performance.

The trio produced two superb sets of original music, and still managed to work in a few covers, to which they lent their own fresh interpretation. Stand-outs among the latter were a mash-up of Led Zeppelin’s “Whole Lotta Love” with the Guess Who’s “American Woman”, and later on Free’s “All Right Now”, which all received a damned good seeing-to.

In total, it was tour de force performance – lyrical, multi-influenced, impossible to pigeon-hole, and thoroughly entertaining.

And, yes, after self-medicating with beer, I did wash my wash hands at appropriate times during the evening.

Future gigs at The Southgate:

• Saturday 14th March Lightnin’ Hobos
• Saturday 21st March Eddie Witcomb
• Sunday 22nd March Vince Bell
• Saturday 28th March Mark Smallman Band
• Sunday 29th March Gary Hall

© 2017-2020 Devizine (Andy Fawthrop)
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Phil Jinder Dewhurst at the White Bear

You know you’re stockpiling years when you decide staying in for your birthday is the choicest option. I did, finally, haul my birthday-cake belly off the sofa on Sunday, driven by lingering desire, or an essence of ritual, which put up a fierce battle against my indolence; I’m glad it won.

Though the anticipated birthday banter and celebratory sacraments were scarce, as the White Bear was held captive by an extraordinarily acute and enthralling sound. An artist I thought Andy had reviewed for a past Sunday session here at this snug tavern, but searching came up with no reference to it, Phil Dewhurst, known as Jinder was mysterious to me as either. Yet he weaves intricate and personal storytelling as an introduction to each song, so you leave feeling you know a little about the musician.

If it’s a Springsteen-esque cliché, Phil summarises well, each song illustrated with an explanation to his thoughts and inspiration while writing it. No matter if it’s fashioned with poetic riddle, once you’ve a background to it stimulus you comprehend. And his writing is well crafted, eloquent and precise.

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While the songs were melodic and mellowing, few with a melancholic theme, Phil conducts his prose against the cynical, and his songs breath an air of positivity over pessimism. There was a running leitmotif of keeping on the sunny side of the street against all odds, and for such, I compare him again to Springsteen, for his wild romantic style. Never was the subject quixotic, pragmatism showed his true colours as he poured his emotion fluently into his songs, attached to acoustic guitar so you couldn’t see the join, through proficient use of the loop peddle he created a beautiful soundscape, like a one-man Pink Floyd.

And it was when to come back with the following verse which really impressed me, Jinder has professionalism in his timing and a natural flare, making this afternoon a notable and entertaining affair.

See, I observe the loop pedal operation with a certain fascination, particularly under the command of the multi-instrumentalist, previous referencing Chris James Marr from a Sheer gig, or when the Arts Festival introduced Devizes to She Robot last summer, but it never ceases to amaze me when a man like Jinder can weave such intense resonances with just an acoustic guitar. The instrumental sections penetrated the mind and drifted from person to person; he clearly knows what he’s doing there, wincing an electric guitar sound or bashing a beat on the side of it.

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Big “but” here though, it was the crux when he let off the pedal, the songs of simplicity; man, and guitar, ah, the acoustic really showed his true expertise. I’d recommend and welcome a Phil Jinder Dewhurst gig to all mature aficionados of rock. And marvellously prolific is he, a West Country based international touring musician, Jinder has released ten critically acclaimed albums for five different labels, including Sony BMG and Universal, had top 40 singles with ‘Overthinkers Anonymous’ and ‘Keep Me In Your Heart’, the latter of which has been successfully covered by many other artists and features in 2019’s international smash hit movie ‘Fishermen’s Friends’.

Through the delicacy of lo-fi folk-noir to the crank but pleasing blues tune he charmed the humble audience with personal anecdotes of woe, or uplifting inspirational moments, he expressed his passion for his art, that of friends in collaboration, and he pitched his landmark album The Silver Age with accounts of its orchestration. I’d like to hear that, yet as solo he has a force of his own, and was the perfect finale to a weekend.

© 2017-2020 Devizine (Darren Worrow)
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Baby, we were Born 2 Rum!

Received a substantial golden handshake when Anchor Foods closed the Swindon site in 2000, by the following week I was maxing-relaxing on Long Bay near Sam Lord’s castle in Barbados, sipping the local beer, Banks. Upon my second influx at the beach bar, a conversant gent questioned why I drank beer, “mek ya belly get big,” he advised.

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“What do you recommend?” I inquired. He suggested I gave this local lad a dollar, I did, and before I knew what was what, he had ascended a palm tree with a machete and used it to knock off a coconut. With a thud it hit the sand, the top was severed, the remaining part handed to the barman who filled it with a generous dosage of Mount Gay white. I’ve been a rum drinker since.

You can’t get white Mount Gay for love nor money in the UK, so I made a beeline for the Muck & Dunder’s mobile rum bar at the Devizes Scooter Rally to ask them. I’d been chatting online with Stu and Shelly, listing their Born 2 Rum event at the Wyvern Club in Devizes. Sad to have missed it, what with the now defunct SN Dubstation playing. I don’t intend to make the same mistake this year, as the Muck & Dunder plan to do it again, with bells on, same place, on 23rd May.

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What these kids don’t know about rum you could write on the back of a matchbox, with space for diagrams. It’s a borderline obsession which sees them travel the Caribbean searching to increase their collection, and they call that work! Since 2018 they’ve been a welcomed sight at our food festival, fetes and events, providing fabulous insight on their passion, often bringing an exotic musical accompaniment, and generally providing the joyous ambience you’d expect from drinking rum, as well as the rum itself of course!

You can guarantee they’re sorting through their collection right now in anticipation, claiming to bring us over forty varieties of rum, some locally brewed rum-ale, with all the added cocktail ingredients they so expertly concoct. Tickets are a tenner and on sale now. It includes a Rum Punch on arrival, and a Rum Map (with tasting notes.) Doors open at 7pm, last entry at 9pm, event closes at 11pm. Strictly over 18’s. There promises to be beer, soft drinks and food available from the club.

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As of last year, WierdyShit spins some tunes. Not come across this DJ before, so I’m intrigued. One thing is for certain though, the most innovative and exciting band to come out of Swindon for a decade or so, The Tribe, will be playing a live set. This year sees a new release from the Tribe with Shakka and Chunkz, yet their debut album Tribal Wave is three years old. If hip hop is usually tricky to reproduce live, The Tribe are a firm favourite on the contemporary festival scene, with a plethora of bookings, and I’d speculate their live performances are the greater priority for them; and take it from me, they rock.

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First time I came across The Tribe was Calnefest some years ago, where I’d returned to my car, taking a break from overheating in the Wilber the Wiltshire Air Ambulance Bear suit! Some fine bands played, but I chose my timing badly to leave the site. This funky, hip hop sound I was appreciating from afar, contemplating heading back it was so good. But when it unexpectedly split to an offbeat ska, the crowds exploded and I hotfooted it back to see what the deal was. Here’s where The Tribe excel, embracing the original hip hop ethos of a fusion of styles, they encompass localised preferred genres, of rock, gypsy-folk-ska, then blend it with funk, rap and dancehall reggae. It’s frenzied, stylised, unique and invigorating, and has to be seen and heard to be believed. So, grab a ticket to Born 2 Rum!

© 2017-2020 Devizine (Darren Worrow)
Please seek permission from the Devizine site and any individual author, artist or photographer before using any content on this website. Unauthorised usage of any images or text is forbidden.
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Jamie, Tamsin, Phil, Vince and Ed Too; Five Go Adventuring to The Southgate

“Norm!” – brilliant, wasn’t he? A kind of anti-hero pre-Homer Simpson. Part of the furniture in Sam’s Bar and despite him being an average guy, when he walked in the whole place lit up. It defined the lyric of the Cheers theme song, “where everybody knows your name, and they’re always glad you came.”

If I awakened from my hibernation Saturday night to attend the wonderful Festival of Winter Ales, such was the arrangement of tables in the Corn Exchange, it felt like the sort of event you appeared at with a posse of friends. For Billy-no-mates here, I’m kind of scanning the horizon for people to hassle with my company. So, I nipped out towards the end, knowing what I was doing; I had a calling.

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There is a place in Devizes akin to Sam’s Bar in Cheers, I could visit anytime, but it’s been a while and knowing what’s occurring there, resistance is futile. It takes a few minutes in the winter wind to turn the corner and get the Southgate in my sights, but I’m immediately assimilated into the Borg collective upon hearing her song. While the Southgate strives to bring us a variety of live music acts, regular as clockwork, freely, and from varying locations, Tamsin Quin’s distinctive voice summons me, the very essence of her hometown. It’s like returning for a homemade roast dinner, or a New Jersey resident going to see Springsteen.

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There’s enthusiastic talk between them, about the amalgamation to be, The Lost Trades, yet the trio aren’t leaking any secrets until their debut at the Village Pump. Gate as welcoming as ever, Jamie R Hawkins billed for tonight, “with friends.” You know this is a local circumstance, sharing of the limelight a must, with flare and passion for the venue and crowd, it reflects into their performances. Phil Cooper is like Clark Griswold, if Jamie and Tamsin are Rusty and Audrey, but Vince Bell is also in attendance, so I don’t know where it leaves him! I mean this in so much as Phil is the organised one, with a setlist scheduled, he’s professional in all aspects of the game, providing order to their show. Jamie is sauntering and socialising, before being beckoned to the now legendary red-carpet makeshift stage, “oh, is it my turn?!”

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At that conjunction you’d expect a song come over muddled, but Jamie, like the others, just rolls into it and knocks out the perfect rendition of his own classic, “As Big as You.” Yep, I’m in my comfort zone, with or without an easy chair.

Through all their subtle differences, the trio work, period. As we’ve said here, The Lost Trades will be a natural progression from the sporadic and less formal amalgamations. Phil is thrilled, nodding and telling me how well the harmonies work, and it’s unusual to have a boy-girl-boy harmony trio. The conversation progressing onto Simon & Garfunkel citing the Everly Brothers as the unsurpassed vocal harmony. In this line of chat, you can sense Phil’s passion and love for what he does, and with every performance it shows. If anything, that is the symmetry within this triangle, Tamsin and Jamie sport the same proficiency and appetite.

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I’ll go as far as illustrating this point: later in the evening, after each performer took their turn until Clark’s schedule ran out and the punters craved more, improv covers streamed. Landlady Deborah handed Phil a drum and his eyes lit up like a kid with a new X-Box; “oh yes!” he thrilled, and joined Jamie with it, strumming. There are no prizes for guessing the improv would take over, once drinks were flowing, and with the gang helping one another out. There are subtle hints as to how the Lost Trades will sound, and it’s simply awesome.

For now, though, they’re still three separate performers with an intimate ethos, and Vince is equally involved, rather than treated like a prodigal son. That’s the spirit in a nutshell; be it George, Kirsty, or others, it’s a family affair to make Sister Sledge envious. That’s precisely why Devizine celebrates this little circuit. In a sentence, it’s guaranteed to be an awesome night, and thus it was, with a very special added surprise.

There is nought negative I could say about it. Between acts, if there was a confusion who was up next, the crowd ardently called for “Ed” to take another. I didn’t like to inquire, something I missed? If another singer was present, I didn’t see him, just a ten-year-old sitting on a stool amidst the regulars. Ed did take the stage, the very same; no one nicked his stool.

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If the near future of our local music scene is the progression of these talented adults, we just glimpsed the future beyond. Ed took up his acoustic guitar, played an Oasis cover superbly, and effortlessly raised the roof. What a surprise and absolute gem, reflecting in all I’ve said about the family atmosphere. I chanced my luck and caught a quick chat with Ed, who came across mature and at ease. Oasis songs his comfort zone, for now, he expressed, it was his first time performing to an audience, it did not show. To get an entire pub singing along, no easy feat, well done Ed; you owned it.

© 2017-2020 Devizine (Darren Worrow)
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Mad March: Things to Do. Part 1…

Huzzah, hurrah, hurray, whoop, bravo, hoot, shout, shriek, hosanna, alleluia and other synonyms for expressions of delight which I’ve shamelessly purloined from Word’s dictionary. Do I care? It’s March, time of the Mad March Hare, spring springing, birds a-singing in the blossoming treetops; after such a damp winter it’s refreshing to look forward to the April showers season!

Why do we even call them April showers when they tend to carry through from March to June?! Nevertheless, it’s warmer rain, with momentary lapses of sunshine, those little teasers of spring; don’t blink you might miss them. Still, just like a bear, I’m awakening from my hibernation, and heading downstream for a salmon supper!

In celebration of the feast, here’s some choosiest stuff to do over the coming month, as fished from our event calendar. The list is by no means comprehensive, you know the score by now, it’s updated (nearly) every day, so do try to keep up. Facebook is a good idea, if you do that, our page pumps posts out like Dwayne Johnson on a promise. Also, consider signing up for a weekly email, I don’t spam you, just once a week bulletin of what we’ve done and what’s to come.

First fortnight in March then, here it comes; the second half will follow…… I say that, then like a goldfish it’s a notion that’s gone in three seconds! Also, I can’t provide the links, but it’s all listed on our home page with links; it’ll take till April to do that, computer running at the speed of snail and all!

Devizes: First of the month is Sunday, nice way to ease into it. Georgina, Landlady of the White Bear, is running the London Marathon for Dorothy House, so there’s a pub quiz at 6:30pm to fundraise; £2.50 per person, max. 6 people on a team. Great Scott! St James Church hosts the monthly Devizes Silver Screen Film Club; Back to the Future showing this month. A great social meeting for our elders, and Driving Miss Daisy can provide transport.

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If you’re looking for something wilder, The Three Horseshoes in Bradford on Avon is the place to head, where those Back-Wood Redeemers will be twisting those dark country and blues riffs into their splendid frenzy. Highly recommended from Devizine, tell them we sent you!

PSG has their regular Monday “Devizes session of Pop Soul & Gospel Choir,” at the Parish Rooms on Long Street, from 8pm until 9:30pm. Incredibly welcoming, PSG currently expect between 25 and 30 members on a Monday, and inform us “it’s a fantastic sound!” Join them for a fantastic start to your week!

Tuesday 3rd then, and it’s Devizes Film Club at the Town Hall. The Farewell (PG) from China, 2019. Director: Lulu Wang. To western eyes, this film has a curious plot but it becomes understandable in the telling. Billi has left China aged six, to be brought up in New York. Twenty-four years later, she is called back to attend a wedding that has been arranged purely to conceal from her grandmother that she is dying of lung cancer. Such kindly subterfuge is apparently common practice but Billi finds it hard to accept. She sees again many family members and it is her gradual reacquaintance with her Chinese heritage that provides this compelling, spiky exploration of family duty. A heartfelt, funny, emotional and rewarding film. The screenplay and production are wonderful, prompting The Irish Critic to call it the Best Film of the Year.

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Edgelarks

Wednesday is the regular acoustic jam at the Southgate. Marlborough’s folk-roots club has Edgelarks at the Town Hall; duo Phillip Henry and Hannah Martin combine exquisite folk with influences as diverse as the blues and Indian classical slide guitar, to create a sound that is “subtle, atmospheric and bravely original” (The Guardian.) Alternatively, one of the most romantic operas ever written, La Bohème is showing at Bath Forum.

Even if not for the weather, Thursday 5th should get heated. Extinction Rebellion Devizes and Marlborough debate with MP Danny Kruger at St Mary’s Devizes.

Friday night in Devizes looks loud; hard-edged vintage blues with Barrelhouse at the Southgate will yowl like the Howlin’ Wolf. To contend, AC/DC tribute, Hell’s Bells play the Exchange, but want for a local, loud, classic rock cover-band, the awesome Homer play The Crown at Bishop’s Canning’s, and you’ll probably hear them from the Market Place!

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Buddy Holly and The Cricketers

Lighter rock n roll tributes come from Melksham’s Assembly Hall, where you’ll find Buddy Holly and The Cricketers. Or Bath Forum has Elvis show, The King is Back, and Johnny Walker presents Sounds Of The 70s at Swindon’s Wyvern Theatre.

The 7th, first Saturday of the month then, here it is: A songwriter genuinely literate, sometimes almost literary, Ian Parker is an original craftsman. Expressed through a distinctive bitter-sweet vocal delivery, Ian’s songs hold nothing back. His ability and willingness to share with his audience, naked honesty and genuine emotion, is what sets him apart, and The Long Street Blues Club welcomes him and his band back. Meanwhile, a little more light-hearted, Teachers Pet Rock Show comes to The Cavalier Community Hall. If you’ve seen School of Rock, expect an East/West Midlands styled tribute, promising to be a “gut busting, face melting glorious rock show that’s suitable for all ages!”

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There’s acoustic fingerpicking, electric guitar thumping rhythms, harmonica and a loop pedal at the Southgate with Jon Pollard, while Marlborough’s Lamb has the high-energy classic rock covers band, The Electric Troubadours. Down t’other end of that enlarged High Street, The Wellington has its Welly-Fest; check their Facebook page as there’s stuff going on the whole month long. Comes to ahead for reggae fans though, on Saturday  when our friends Razah and Knati P bring their sound system; oh yes.

Tributes in Trow-Vegas with Abbamania at The Civic. Whereas it’s a Britpop tribute double-header at the Melksham Assembly Hall with Oasis Maybe and Ultimate Stone Roses, and always worth catching, The Blue Rose Band play The Talbot Inn, Calne.

Would you Adam & Eve it, Sunday March 8th is my birthday? Thank you, it’s just a number. Not spoiled for choice as I’ve only one gig listed at the moment, but I do love the White Bear, where Phil Jinder Dewhurst continues their regular Sunday Sessions. Talking Sunday sessions, Swindon promoters Songs of Praise do similar at The Tuppenny, find the Richard Wileman & the Amy Fry Experience there this Sunday 8th.

Week 2

Second week of March then, then we’re done and you go vacuum the hallway, or whatever else is outstanding; never ends, does it? Extinction Rebellion Devizes and Marlborough holds workshop “Roots of a Regenerative Culture,” Monday 7pm at The Barge on Honey Street. This training demystifies how to make everything we do regenerative and, as such, it is the key to understanding how to build resilience within ourselves and our communities.

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Tuesday 10th there be a Quiz Night at The Vaults, Devizes in aid of Opendoors. And the Devizes Film Club has a Mexican movie, The Chambermaid (15) at the Town Hall. Director Lila Avilés’ first film quietly pulses with life in a multi-storey luxury hotel in Mexico. We see the engrossing work of a young, single mother trying her best to be promoted by thorough work, and to study in what spare time she is allowed. There is no life-saving Hollywood romance, just the drudgery of her daily work, problems with her fellow workers and managers and her efforts to improve her life. Cartol acts with sublime understanding of her role. With persistence and wry humour, she rearranges her tasks for variety, wickedly teases the window-cleaners, goes to evening classes and reads Jonathan Livingston Seagull. A subtle gem of a film, beautifully shot against the boring and colourless back-rooms, lush guest-rooms and the stunning city views.

Wednesday 11th at Marlborough’s Merchants House Michael Hart presents “Protestantism and the English Character.” While one of the most intriguing and exciting collaborations on today’s folk scene, Peter Knight, legendary violinist and ex-Bellowhead member John Spiers brings an evening of improvisation and invention of mysterious tunes to Pound Arts in Corsham. In Devizes, it’s time again for the acoustic jam at the trusty Southgate.

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Blossoms

Blossoms play the Bath Forum on Thursday 12th, revealing their new album, Foolish Loving Spaces. They explain, “The album is a pure celebration of love in all of its splendid and baffling guises, toying with the so-called sins of lust and forbidden infatuation. It’s inspired by a summer spent listening to ‘Stop Making Sense’, ‘The Joshua Tree’ & ‘Screamadelica’.” If you’re in Swindon though, head for The Tuppenny, where the awesome Jake Martin and Jess Silk perform acoustic. Acoustic, made for Thursday, eh? If you disagree, check out the Winchester Gate, Salisbury where top Ramones tribute, The Ramonas are guaranteed to liven it up.

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The Lost Trades

Friday is the night when the county finally gets ready for the debut gig of super-group The Lost Trades. Highly anticipated amalgamation of our good friends, Phil Cooper, Jamie R Hawkins and Tamsin Quin. We wish you the very best of luck, guys. They’ll be supported by Timid Deer and Vince Bell at Trowbridge’s Village Pump.

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Meanwhile, keeping Kalm ‘n’ Kind in Devizes, there’s a Restorative Yoga class with Kim Pierpoint, a Fundraising Quiz Evening for Opendoors at 7.30. Philippa and Declan Morgan are running the quiz at Wiltshire Museum. Tickets £10, including nibbles and a glass of wine. Reserve your ticket online and pay on the door! https://devizesopendoors.yapsody.com/event/index/533176/quiz-evening

On my never-ending list to do is get to “Pelly,” kudos for putting on live music gigs, guys, just got work early in the mornings! Drew Bryant is live at The Pelican Inn on Friday, Lewis Clark & The Essentials with folk, soul, and blues at The Southgate, and there’s a Queen tribute called The Bohemians at the Corn Exchange. Comedy Night at Bradford’s Boat House with Jake Lambert, and the amazing Frank Turner plays Bath Forum.

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Lewis Clark & The Essentials

Tuesday is St Patrick’s Day, but Devizes’ Cavalier can’t wait, and present a St Patrick’s theme weekend with those brilliant Day Breakers in the Community Hall on Saturday 14th. On the other side, three-piece rock originals, the Lightnin’ Hobos play The Southgate, and if you’re not spoiled for choice this Saturday, I don’t know when you will be, as the one and only Pete Gage plays with Innes Sibun and Jon Amor, all backed by Ruzz Guitar Revue at the Sports Club, corrrrr, that’ll be awesome.

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Extinction Rebellion Devizes and Marlborough are back at the The Barge, Honeystreet for a gathering, where the evening presents a stripped back, 3-piece version of Troyka Bristol, Troyka Mala. They play a stormy mixture of traditional and original songs and rhythms from the former Yugoslavia and the Balkans with brushes of Klezmer and the Middle East; intrigued? I am.

Powerhouse Gospel Choir play Melksham Assembly Hall while Jon Hopkins is at Bath Forum. For something more off planet, stoner rock and electro art-punk are promised at the Three Horseshoes, Bradford on Avon, with Head Noise, Conspiracy of Chaplains and The Forgetting Curve.

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That’s about all, we will follow this up with the final fortnight of March, when I get around to it. I do, though wish I’d stop promising these things! One thing you can depend on, Saturday in Swindon will rock with Splat The Rat at The Merlin on Drove Road, unfortunately, I cannot recommend Talk In Code’s new single Talk Like That enough, see our review. Note, the launch party is at the Castle on this particular Saturday, the 14th, and I can’t think of a better way to finish this lengthy roundup off!

© 2017-2020 Devizine (Darren Worrow)
Please seek permission from the Devizine site and any individual author, artist or photographer before using any content on this website. Unauthorised usage of any images or text is forbidden.

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Hold Tight, March Brings R’n’B Showcase at the Sports Club

Ah, hold tight, two preview pieces from me tonight; I’m an unstoppable steam train of broadcasts, choo-choo! Yet, I’m not sure this needs an introduction, not because we’ve been running the poster for it a while now, but if you’re in the know regarding Devizes links to blues then the line up at the R’n’B Bar at The Sports Club on Saturday 14th March will appeal no end, and you’ve probably snapped the tenner tickets already. If you’re new to said scene, then this gig would act as the ideal taster; digest this……

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Legendary bluesman Peter Gage, former frontman of The Jet Harris Band, member of Dr Feelgood who blew the roof off Long Street with Dave Raeburn, Paul Hartshorn and Pete Lowrey as The Pink Tornados in December, will headline. But come here, there’s more. The guitar maestro I’ve been raving about, Mr Ruzz Guitar and his Blues Revue will also be there, his trio backing, or blessing these otherwise solo performances. I swear his guitar is like a phaser in Star Trek, set to stun, and I’m still speechless after his performance at the Gate a number of moons ago.

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While Ruzz is Bristol based, and Peter resides in the west country too, both Devizes links to the contemporary blues scene also show up to do their thing. Innes Sibun, who we featured partnered with Marcus Malone as the Malone Sibun Band on the night they allowed me to roam free at the Long Street Blues Club, and be astounded by the quality of goings-on there. And of course, Jon Amor who is regularly featured here as, well, he’s regularly here, but more-so, because his talent is unsurpassed. Though I’m sure, as when such heroes meet, there will be a communal feeling and we’ll be treated to some improv and guitar-showdowns, rather than a balanced one-off-next-one-on scenario; least I’m hoping.

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All in all, this event is like pulling four bells in a row on the fruity; need I say more? See you there. Oh, nearly forgot, slow down, man; tickets on door or in advance from Sports Club.

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REVIEW – King Street Turnaround @ The Southgate, Devizes –Saturday 22nd February 2020

The Juggernaut Rolls Back Into Town

Andy Fawthrop

There had been some concern that this gig might not go ahead after Jon Amor was forced to cancel Thursday night’s outing to The Beehive in Swindon due to illness. But fortunately for us, and thanks to the amazing healing properties of Lemsip, Jon’s latest home-town gig went ahead as planned. And even being a bit under the weather, Jon was on good form.

King Street Turnaround is one of Jon’s latest band outings, formed at the end of last year, and features Jerry Soffe on bass, Evan Newman on keyboards and Tom Gilkes behind the drums. And what an outfit it is. The band rolled into the Southgate and blew us all away.

What did we get? We got soul, funk, blues, boogie-woogie and rock. This was high-octane stuff, delivered with confidence and panache. We got some great solos from each member of the band, including the always-expected wizardry from Jon’s squealing lead guitar. How he manages to squeeze some of those sounds from that one guitar is simply amazing.

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And we got tight, driving rhythms that gave a solid platform to some great improvisation work. We got a band that could dial it up, then dial it down, then back up to eleven again. We got a dance-floor packed with people having a good time. We got very little time wasted on inter-song chat, just lots and lots of music that spoke for itself. It was hot, it was sweaty, it was great.

Highlight of the night for me was the band getting in the groove to deliver a fearsomely good performance of “Juggernaut”. It’s got to that point with me now that if Jon doesn’t play this monster of a song, I almost feel short-changed!

Are we allowed to say that it was shit-hot? Can we say that? Yes – it was shit-hot!

Yet another belting gig from Mr Amor and friends, and yet another inspired booking by Debs and Dave at The Southgate. Live music at its very best.

Future gigs at The Southgate:

• Friday 28th February The Shudders
• Saturday 29th Feb Plus Friends
• Friday 6th March Barrelhouse
• Saturday 7th March Jon Pollard
• Friday 13th March Lewis Clark & The Essentials
• Saturday 14th March Lightnin’ Hobos

© 2017-2020 Devizine (Andy Fawthrop)
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George Wilding; Sunday Session @ The White Bear

Marc singing off the same song sheet as me, when he explains he encourages original material from the performers at his Sunday sessions at the White Bear in Devizes, yet covers which the artist “make their own” are always crowd pleasers. Who could be more apt than George Wilding?

Yeah, car troubles caused his slight delay, but the fireplace was warming, the denizen atmosphere matched. Convivial and geniality are prevalent at this earliest of Devizes inns, still going strong; I do like the White Bear. Last time I was here, George Wilding coincidently blessed the alcove, while others such as Wade Merrit, Andrew Bazeley, Vince Bell, Jon Walsh, Ian O’Regan, and Cutsmith have all graced the sessions, to name but a few; I’ve just been a bit rubbish in attending. Though our man Andy has been there to review most, I see why. It’s a comfortable and welcoming central pub.

Andy was there, to breath a sigh of relief upon seeing me; I’ll delegated myself to write a little something and he knows it. Though there’s not a great deal to say, especially nothing negative; I didn’t even snap a photo through nattering. If you’ve not heard how unsurpassed George’s every performance is then you’re both new to Devizine and to the area. In a peak cap he breezed through sublime covers and proficient originals like it was child’s play, and maintains his audience with genuine and sincere affability.

Hidden between Simon & Garfunkel, The Animals and even Abba classics, he slipped a refined version of his own My Backwards Head, doing as he always does, brilliantly. With right here, and naturally, The Southgate adding end-of-weekend live music too, Sunday afternoon in Devizes has never been so good. If the value of a pub is the sum of its landlords and its atmosphere, Marc and Georgie have done wonders. It’s Wadworth but with its own stamp. Sunday sessions continue for a while, check our event calendar of their Facebook page. Sunday roasts are also popular here; Mark tells me about plans to open some outside space, but while it’s February, we’re here, nice and warm.

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REVIEW – Navajo Dogs @ The Southgate, Devizes –Saturday 8th February 2020

Pub Rock Is Alive and Well

Andy Fawthrop

After the previous night’s superb gig with The Arnie Cottrell Tendency (see other review elsewhere in Devizine), it was back to The Southgate for something completely different. From gentle Americana on a Friday to straight-up pub-rock on a Saturday night. Part of me was concerned that the night just couldn’t be as good, but I needn’t have worried. Different music genre, different vibe, but still excellent.

Navajo Dogs, formed in 2016, are a local blues-influenced rock band. Consisting of Simon Hansen on vocals, Tom Evans on lead guitar, Kieran McLaughlin on rhythm guitar/ vocals, Jonny Wallhouse on drums/ vocals and Graham Hill on bass, these guys are one solid entertainment unit. The music is loud and uncompromising, the performances are hot, sweaty, sweary and in your face.

Covering a wide range of pop/ rock/ blues classics, outstanding numbers for me were Hot Chocolate’s “Everyone’s A Winner”, Free’s “Fire and Water”, Prince’s “Purple Rain”, The Kinks’ “You Really Got Me” and Sam The Sham’s “Woolly Bully”, but there were plenty more. The dance-floor was full all night long, and the crowd clearly appreciated their no-nonsense, no-apologies style. This was 4-star leaded, full cream, full fat pub-rock. It was thumping, steady, rocking and totally infectious. Great vocals, nice guitar work.

Two superb gigs on two consecutive nights. This is what live music is all about.

Future gigs at The Southgate:

• Friday 14th February Trevor Babajack Steger
• Saturday 15th February Mike Barham
• Friday 21st February Kent Duchaine
• Sunday 23rd February CRC
• Friday 28th February The Shudders

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REVIEW – Arnie Cottrell Tendency @ The Southgate, Devizes –Friday 7th February 2020

Live Music At Its Very Best

Andy Fawthrop

Friday night is music night, so where else to go other than the ever-welcoming Southgate? Once again Dave and Deb had found a wonderful band to fill the pub…..

I managed to miss the very start of the gig, but then stayed to catch the rest of it, and was still sitting there at nearly midnight.

What had been originally billed as The Velvet Doonicans had morphed into The Arnie Cottrell Tendency. Same people, same band. Whatever. Whoever. Either way Arnie Cottrell, Rick Foote and Graham Bushell played a simply superb gig. Featuring upright bass, acoustic and steel guitars, mandolin, and shared vocals blending into double and triple harmonies, the trio produced music that was magical, melting, melodic and absolutely mesmerising. This was Americana at its best.

The guys were clearly confident and comfortable with their music and with each other, and produced some stunning versions of Dylan’s “Girl From The North Country”, Joni Mitchell’s “Woodstock”, and The Band’s “Up On Cripple Creek”. Every song was easy on the ear, relaxed and understated, delivered with panache and some wonderful self-deprecating good humour.

Song after song was wheeled out, and I dearly wanted to go home and get my head down for the night, but there was no way I was leaving whilst these guys were still playing. Such superb musicianship just drew you in. It was warm, lovely, embracing, mesmerising and – well – brilliant. No other word for it.

Yet another reminder that it’s absolutely worth getting your arse in gear, going out into the night and supporting live music venues like the Southgate.

Future gigs at The Southgate:

• Friday 14th February Trevor Babajack Steger
• Saturday 15th February Mike Barham
• Friday 21st February Kent Duchaine
• Sunday 23rd February CRC
• Friday 28th February The Shudders

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REVIEW – Jack Grace Band @ The Southgate, Devizes – Saturday 1st February 2020

Live Music At Its Very Best

Andy Fawthrop

It was Saturday night, which could mean only one thing – free live music at The Southgate!

Jack Grace was a figure new to me, so thought I better give him a good old listen – be rude not to. And so pleased that I made the effort to go and see him.

Jack’s band is described as delivering “Country Rock with a Latin Twang” and that was certainly much in evidence. The trio were already operating at full blast when I walked in, and rarely if ever let the tempo and the excitement level drop. The pub was full, the dance-floor crowded, and the band were cooking. They gave us two superb sets of music that was loud, exciting and great to listen to.

We got lots of styles – country, country/ rock, R&B, boogie-woogie, rock n’ roll, and little bit of vaudeville, all delivered with some panache, confident playing and a good deal of humour. There were musical nods in there to Tom Waits, Led Zeppelin, The Doors, Johnny Cash, and many others. Jack and his band seem to be constantly on the road, and their playing reflected a close understanding, driving rhythms as tight as a nut, and some very assured vocals and guitar playing. Yet this didn’t mean any kind of complacency or just running through the numbers. The band were not afraid to experiment, and to completely let rip at times. And the crowd absolutely loved it.

To me, this is what live music is all about – musicians who want to deliver a great show, and a crowd that really wants to listen. A completely belting gig, and a fabulous live band.

Future gigs at The Southgate:

• Friday 7th February Velvet Doonicans
• Saturday 8th February Navajo Dogs
• Friday 14th February Trevor Babajack Steger
• Saturday 15th February Mike Barham
• Friday 21st February Kent Duchaine
• Sunday 23rd February CRC
• Friday 28th February The Shudders

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A Skandal in Marlborough

Broke my hibernation last night to trek across the downs and catch Swindon’s Skandals play the Lamb in Marlborough; well worth the effort……

“Some proper drum and bass,” yelled frontman of The Skandals, Mark Colton during the break of a Bad Manners’ Special Brew cover, “not like the shit the kids listen to today!” In essence there’s the summary of The Skandals’ ethos, yet with the catchiness of the simple offbeat of ska, you’ll commonly find every generation up dancing together. So, while the attitude is to appease the elder, skinhead, mods and scooterists, I think you’ll find generations too young to personally recall the days of yore a band like The Skandals arrest, still love it.

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This was certainly true in Marlborough’s Lamb last night, as this Swindon ska cover band came to skank, with bells on. It was a squeeze in the crowd, with the aforementioned varied demographic, but none can resist the surge of retrospective ska. Limited to saxophonist Nina as the brass section, and without keyboards, this six-piece still manage to capture the spirit of the era and throw it back in your face loud and proud. I’d wager this comes from experience; the band boasting not just Nina, but both guitarists Jase and Mark, who previously played with Swindon’s legendary Skanxters, and in turn this event brings fond memories to my old watering hole, as those Skanxters skanked here during their nineties reign.

Though frontman Mark also heads a new wave punk cover band, The Rotten Aces, among other projects such as Thin Lizzy tribute, The Lizzy Legacy. This punker angle showed through the playlist, as adroit but only subtly ‘ska’d’ covers of “Echo Beach” and the Toy Doll’s bonkers arrangement of “Nellie the Elephant,” echoed between the more archetypal tunes of Madness, The Specials, Bad Manners, et all. I wanted to quiz Mark on what he favours, but when they stated they were taking a ten-minute break, it was far more punctual than most bands!

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Pigeonholing I haven’t time for, and in a hedonistic moment it matters not. Example; they covered Rancid’s Time Bomb, pioneers of the ska-punk crossover that the international third-gen ska-heads thrive on. Yet the Skandals didn’t venture over this border, delivering predominantly eighties Two-Tone they were obviously inspired by, and giving the audience diminutive verbal notations as to why, amidst the usual banter. They were lively, fun and entertaining; everything a ska band should be, and would guarantee to liven up your venue or pub. Specials covers Rat Race, Rich Girl, Little Bitch and their version of Toot’s Monkey Man being the nimblest.

It may be a timeworn formula for a ska band to cover classics like Baggy Trousers, Lip Up Fatty and Mirror in the Bathroom, but like fish n chips, it’s cliché because it never fails to thrill an audience, and The Skandals do it superbly. Interestingly, they added northern soul anthem “Tainted Love,” reggae’s “Pressure Drop” and “Chase the Devil,” into the melting pot, and choosing “Food for Thought,” as their UB40 cover is a wise move; anything post-Red Red Wine and it’s a cover band covering a cover band!

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While Devizes has a thriving music scene, other than sporadic gigs from the scooter club, the pub circuit lacks ska and reggae, and you all know how I feel about that. If the mountain won’t come to Muhammad. It was a delight to pay a visit to Marlborough’s Lamb again, despite remining in Wadworthshire, it’s working formula stands the test of time. “We’re quite lucky in Marlborough,” a regular informed me, rattling off the Bear’s backroom, The Wellington and Royal Oak as fond live music venues, as well as the Lamb. Yes, I nodded my acknowledgment, but when ska comes to town that’s where you’ll find me! “Let me tell about Sally Brown……”

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REVIEW – Jon Walsh @ The White Bear, Devizes – Sunday 27th January 2020

Mr Versatility

Andy Fawthrop

Having got a couple of hours to spare before the evening’s Rockfiles gig at Long Street Blues Club (see elsewhere), I thought I’d pop into the White Bear for a couple of looseners, and to see Jon Walsh, a performer new to me.

Using both acoustic and resonator guitars, Jon clearly had an extensive repertoire of songs. His material varied from old 1920s and 1930s blues standards such as “Crossroads” and “Walking Blues” through to fairly contemporary pop songs e.g. “Walking In Memphis”. In each of his two sets he was joined on vocals by his partner Terie, who lent some bluesy and jazzy phrasing to several classics such as “Crazy”, “I’d Rather Go Blind” and “Valerie”. There was clearly some musical chemistry between these two, and they obviously enjoyed working together.

Jon put in an extremely versatile performance, including a nice smattering of his own original songs. Nice crowd, and nice atmosphere.

Can’t think why I’ve not come across Jon before, but shall certainly be happy to listen to him again.

Future Sunday Sessions at The White Bear:

• 16th February George Wilding

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REVIEW; Long Street Blues Club Weekender

January Blues Banished!

Andy Fawthrop

Two days up at the Con Club this week for Long Street Blues Club’s “Beat The January Blues” Week-ender.

On Saturday night we had a packed room to listen to Liam Ward & Malcolm Thorne (support) and the Kirk Fletcher band.

Ward & Thorne, who are new names to me, were a delight. Their set was clean, fresh, quirky and entertaining. Featuring guitar, vocals and some deft touches on harmonica, these two produced a wonderful set of originals which were laid-back and nicely bluesy. I particularly liked their song “You Are My Medicine”. I’d be happy to go and see these guys again.

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Then a single extended set from the main star Kirk Fletcher and his band. Kirk hails from California and is ex-lead guitarist with the Fabulous Thunderbirds. He’s had some great reviews on this tour so far. Ian Hopkins reports that Innes Sibun said he was amazing when he shared a bill with him last year, and Joe Bonamassa rates him as one of the world’s best guitarists. Well, I didn’t know anything about all that, so I could only judge on what I saw and heard.

Kirk himself was obviously up at the front with some snarling guitar work, but there was plenty of featured keyboards too. It took a few numbers to really get the room warmed up, but once the trio hit their stride, the band were really cooking and in their groove. We had guitar solos aplenty, the band providing a solid platform of driving rhythms. There was minimal chat from the stage, and the guys delivered number after number, hardly pausing for breath. The playing was always technically superb, and at times inspired, and the crowd lapped it up, but (for me at least) it didn’t carry that magic spark of real excitement. Don’t get me wrong – I really enjoyed the gig, but it didn’t quite hit my hot-spot.

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Then just 24 hours later, on Sunday night we had Thompson Smurthwaite (support) and Billy Bremner’s Rockfiles. A slightly smaller crowd this time, but still a great atmosphere.

Thompson Smurthwaite is starting to become a regular in these here parts. Having played support here at the Club a few months ago, Thompson has also recently played slots at The White Bear and The Southgate. It was good to see him back with a large audience again. He was relaxed and confident, joking with the audience, whacking out some great tunes from guitar, harmonica (his “Mississippi saxophone”) and stomp-box. The guy put such heart and soul into his performance. Great entertainment.

Then on to the second main act of the week-end. Billy Bremner was one of the founding members of Dave Edmunds’ Rockpile along with Nick Lowe, and produced some great music during the seventies. Prior to this particular outfit he has had a long track record in session work and a member of Lulu’s backing band the Bruvers. Then a season as guitarist with The Pretenders during the recording of On The Chain Gang – he has always been the guitarist to go to. Billy now resides in Sweden and his touring is carefully rationed so the Club were delighted to be one of a few carefully selected club dates on this UK tour.

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Rockfiles are probably the polar musical opposite to Kirk Fletcher. Whilst the latter was focussed on originality, improvisation and exploration, Rockfiles were just as firmly set on reproducing classic hits of the seventies and eighties. The songs were short, snappy, catchy pop/rock classics. The four-piece hit the stage running, sharing the vocals between them, and never let up for the whole of their 75-minute set. This was Old Skool retro and nostalgia at its very best. And the hits just kept on coming, including “I Knew The Bride When She Used to Rock & Roll”, “Three-time Loser”, “Cruel To Be Kind”, “I Hear You Knocking” and many, many more. The inter-song chat was absolutely minimal, so they could pack more in. The music wasn’t complex, but it was solid, thumping good stuff, and difficult not to enjoy. Absolutely no blues were involved in the making of their performance.

Overall a great weekend of music – four great acts, four different styles, but all enjoyable and great value for money. There was something there for everybody. Devizes is so lucky to have access to so much great live music.

Future 2020 gigs at Long Street Blues Club:

• Saturday 7th March Ian Parker Band
• Saturday 4th April Mike Zito Band
• Saturday 18th April Mark Flanagan Band
• Saturday 30th May Antonio Forcione Quartet

© 2017-2019 Devizine (Andy Fawthrop)
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A Dirty Harry, some Ex-Men, a One Love Orchestra and more @ MantonFest 2020

Tickets for this summer’s Manton-Fest are up for grabs, a one-day festival I’ve heard only good things about.

The date is Saturday 27th June. A £20 Early-bird ticket will guarantee you’re in for this previously sold-out mini-fest, this year you can book a plot for your gazebo for £5, parking has been moved to a separate field allowing more space, but let’s see what your money will get you this year shall we?

The headliner is Edinburgh’s Blondie tribute, Dirty Harry. While there’s Blondie tributes aplenty, the band say, “the essence of Dirty Harry is to put on a show Blondie would give the nod to and in true punk style.” Call me, I’m convinced, and slightly hot under the collar; with the advantage of YouTube you can judge for yourself, modern technology eh?

The Ex-Men are next on the hierarchy, as the name suggests, it’s an amalgamation group made up of Alan Sagar ex Big Country, Graham Pollock ex The Hollies, Peter Barton ex the Animals, Phil Bates ex ELO and Geoff Hammond ex Denny Laine; you get the idea. A stimulating sounding assembly with a wealth of experience between them couldn’t possibly go wrong.

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The Ex-Men

Vintage blues with a hard edge groove is the ethos of Barrelhouse, who promise up-beat original tracks and classic covers. You be forgiven for assuming the Swinging Blue Jeans would headline, but this classic-sixties rock n roll group have no members of the original skiffle sextet. Yet the band went through constant changes throughout its expansive history, with replacements dating back as far as 1963, when they had their memorable hit, “Hippy Hippy Shake,” and frontman Alan Lovell has led the band for over twenty years.

London-based Bob Marley tribute, the One Love Orchestra could well be my arm twister. Formed in 2010, by musical director and lead guitarist Marcin Bobkowski, One Love Orchestra comprises of reggae musicians who’ve worked with legends like The Wailers, Max Romeo, Johnny Osbourne, Lee Scratch Perry, and UB40, and bring a moving tribute to the legend.

Lancashire singer-songwriter Joe Martin returns after being a hit last year, Manton’s own mellow blues-based Ed Witcomb will also appear, along with local rock covers band @59, and Skedaddle open the show with their mix of soul, blues and jazz. More are promised, if this isn’t enough to be getting on with, and I dunno, it just sounds like a splendid day. For what begun as an event to aid much-needed restoration funds for Manton Village Hall, its grown into an important occasion on our local circuit and aids other local charities.

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Ed Witcomb

More info and for tickets look ‘ere….

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@59

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PREVIEW: Bradford Roots Music Festival 17th – 19th January 2020 @ Wiltshire Music Centre, Bradford

Andy Fawthrop

If you’re looking for a whole week-end of music-based events, with lots of sessions for children too, then you should do yourself a favour and head over to Bradford-On-Avon. It’s a bit out of D-Town I know, but it doesn’t take long to just tootle over to the really splendid Wiltshire Music Centre.

Now in its eighth year, Bradford Roots Music Festival, now extended to three days, is all about two things – showcasing the vast array of musical talent that has any connection with Bradford, and raising (lots of) money for good causes. This year’s beneficiaries will be Dorothy House Hospice, Zone Club (creative club for disabled young adults) and Wiltshire Music Centre. All the artists play for nothing and the event is administered and operated wholly by volunteers. That way all the funds raised go to the good causes.

This year’s event starts next Friday night (17th Jan) with a concert featuring Louie Millar, Crossing The Rockies and Verdisa. This concert is almost sold out, so get your skates on!

Then the main two-day Festival spreads itself across Saturday and Sunday from 11am each day. Saturday’s programme goes through till 10pm, and Sunday’s programme finishes at 4pm. There are four stages in operation, including the superb main WMC auditorium. Over the two days there are more than fifty different acts scheduled to play, including music concerts, shanty sessions, children’s concerts, jazz, blues, poetry, morris dancing and much more.

Particular acts to look out for are The Magnificent AK47, Will Lawton & The Alchemists, Lee Broderick, Billy In The Lowground, and The Yirdbards, although there’s so much going on that it almost seems invidious to pick out individual artists.

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Apart from all the music events, there are several spaces given over to craft workshops, merchandising, tarot readings, a Peculiar Gin Company gin bar, a Box Steam main bar and an artisan fair. Just outside there’s a huge marquee hosting JC’s Kitchen, which runs all weekend serving hot drinks and great array of home-cooked food.

I can’t recommend this event highly enough – there genuinely is something for everyone to enjoy, with great food, great beer and a great atmosphere. It’s superb value for money and there’s plenty to do and see for children and for adults. If you’ve never been, I urge you to check it out. You can buy tickets online, or on the door. Day tickets for Saturday or Sunday are available, as well as a 2-day Weekender Ticket.

The Wiltshire Music Centre is also a superb venue in its own right, hosting a year-round programme of top UK and international artists from all genres – classical, folk, blues etc. Worth checking out if you are after top-class entertainment.

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Nerve Endings Love Muddy Puddles!

Local indie-rock outfit, Nerve Endings have a debut single, out last week…..

At the distal end of every axon lies the conclusion to a nerve. They message sensory neurons, bleating “you’re hot,” “or cold,” or “oi, that hurts!” Around these waters a personification are the nociceptors of noise, chiefly guitarist and lead vocalist Mike Barham, bassist and vocalist Rob McKelvey and drummer boy, Luke Bartels, and their stimuli definitely sends threat signals on the ears, in a premium possible manner.

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When they step on stage expect a little horseplay, then an explosive set of twisted blues riffs combining the elements of all contemporary alternative and indie rock subgenres. It leaves one intrigued by the news, which was drunkenly fed to me one summer’s evening at the Southgate, what will become of the progression towards recording the sound; we now have confirmation. Muddy Puddles is a Peppa Pig free song, which howls all that’s prodigious about Nerve Endings; unless Peppa is one who wears her heart on her sleeve.

Players, I shit them. Relationship annoyance by those who view romance as a sport, if being an archetypical subject, this alarm-ringing debut single of thrashing guitar riffs, with howling vocals that meet a near-sixties blues melody composes it with freshness. And as the gritty theme takes no prisoners, wailing “you won’t change, get your head out your arse and you might see,” analogous of actual nerve endings, sending a powerful warning to those who dig the dagger deeper into their victim’s heart. The result is boundless energy I might’ve expected, but executed professionally and agreeably adroit; great start to the year, guys!

See, I once pondered if the rave era ended youth culture as without conviction, I couldn’t assess any post-genre apt for the idiom. Perhaps the most stimulating conversation I’ve had with Mr Mike Barham, over a decade my junior, was at a Saddleback Festival, where he proclaimed grunge and emo proceeded my era. I was saturated in the fact younger people considered them youth cultures, concluding just like the teddy boys, punks and skinheads before me, my epoch was blindly trapped in the renaissance of a particular era.

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For the record I wouldn’t change it for the world, we partied harder, faster and longer than any predecessor, and I’d like to wager more than any “emo,” whatever that was, had to Google! Yet his statement not only aided new exploration in me, but a liking for this gentle giant who explodes with passion and fiery temperament when on stage. A specific style of the genre, that much I am aware. I know who Kurt Cobain was pal, blanketed by an era maybe, but not living on the moon; just a few miles closer to Earth.

My eclectic taste was never faulted by the overindulgence of the youth culture which engulfed me for a period, and I emerge open-minded and prepared to accept anything. Intrigue took me to a Bowling For Soup gig at Bristol’s O2, that and my son’s need of a lift. Yet if I felt out of place, searching for another sober, taxi-driving Dad as youths collapsed in the heat and the frontman made stagediving a cliché, I still enjoyed it. As is Nerve Endings, I’m not dying my hair black with a neon streak, neither are they, but this rocks with competence, appetite and enjoyability.

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Here’s the spotty-fly link, I know my system needs updating, here’s one if you’ve an apple; but Mike, thanks to my son’s Christmas present I now know where Bowser’s Castle is, and I like it; getting there, I just take the long way around!

© 2017-2019 Devizine (Darren Worrow)
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REVIEW – Pink Torpedoes @ Long Street Blues Club, Devizes – Saturday 28th December 2019

For One Night Only

Andy Fawthrop

Only a week after John Coughlan’s Quo’s rousing set, it was back up to Long Street Blues Club for another great gig. If you needed the Christmas blues blowing away, this was the gig to do it.

Support act for the night was Jamie R Hawkins, aided and abetted by his sometime collaborator Phil Cooper. I suppose you could say that this was two thirds of the newly-formed Lost Trades, but we’ll have to wait until later to hear their new songs. This set was Jamie and Phil classics from their back catalogues, taking it in turn to take centre stage with mic and guitar, then to drop back onto cajon to provide backing beats and vocals. Of the two, Jamie’s presence and performance is the stronger, and his songs stand up much better. And it was great to hear Jamie belting out his rather non-PC “Hope You Have A Bloody Good Christmas”, with enthusiastic audience participation, to finish up with.

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Then an amazing, raucous almost two-hour set from the The Pink Torpedoes. Fronted by ex Dr Feelgood Pete Gage, backed up by former Hoax drummer Dave Raeburn, with guitarist Paul Hartshorn and bassist Pete Lowrey, this four-piece really delivered the goods in this one-off gig.

Keeping the chat to an absolute minimum, the boys launched straight in and played their way through an enormous song-book of rock, blues, R&B, boogie-woogie – you name it. Sounding as tight and professional as if they were gigging every night of the week, the set was full of excitement, raw power and incendiary licks. Pete, on vocals, harmonica and keyboards was the dominating presence up front, but the rest of the band absolutely played their parts.

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At times there was a definite “feel-good” factor in the room, and the dance-floor filled up number by number. There was no tin, but if there had been a tin it would have said “open with care – raw, undiluted and powerful”. And the band did exactly what that tin would have said. Stevie Ray Vaughn’s “Pride and Joy”, Muddy Waters’ “Hoochie-Coochie Man”, Little Richard’s “Lucille”, Bob Troup’s “Route 66” and Albert King’s/ The Doors’ “Roadhouse Blues” all came tumbling out, one after the other. This was R&B at its very best.

And it was clear that the band thoroughly enjoyed their outing playing together again – the smiles and the laughs, and the audience rapport were great to see.

Another amazingly good gig, another bargain night’s entertainment at Long Street Blues.

Future 2020 gigs at Long Street Blues Club:

• Saturday 25th January Kirk Fletcher (Fabulous Thunderbirds)
• Sunday 26th January Billy Bremner’s Rockpiles
• Saturday 7th March Ian Parker Band
• Saturday 4th April Mike Zito Band
• Saturday 18th April Mark Flanagan Band
• Saturday 30th May Antonio Forcione Quartet

© 2017-2019 Devizine (Andy Fawthrop)
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REVIEW – John Coughlan’s Quo @ Long Street Blues Club, Devizes – Saturday 21st December 2019

Deeper And Down

By Andy Fawthrop

Images by Nick Padmore

 

This one was billed as Long Street Blues Club’s Christmas Bash, and it turned into a rare old party.

Support act for the night was the irrepressible George Wilding. As usual, he was witty and engaging, a bit sweary, but always charming and completely entertaining, finishing his set with the inevitable singalong crowd-pleaser of “Always Look On The Bright Side Of Life”.

Then two sharp sets from Status Quo’s original drummer’s John Coughlan’s Quo. This four-piece featured the set-up of John on drums, Rick Chase on vocals/ bass, Mick Hughes on vocals/ guitar and Pete Mace on guitar/ vocals. John was a member of Quo from 1962 until 1981, and the set-list mostly featured material from that early “classic” period.

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They’re not a “tribute” band in the normal sense of the word, more interested in keeping alive the spirit of the classic early line-up. But they certainly looked the part – long hair, head-bands, Marshall stacks, and satisfyingly loud, complete with demon drumming and catchy guitar breaks. They kicked off with “Something About You Baby I Like”, and the dance-floor was immediately full. Thereafter we were taken through the early back catalogue from 1972’s “Piledriver”, 1975’s “On The Level” and 1976’s “Blue For You”, including the song they first appeared on BBC’s Top Of The Pops with – “Pictures Of Matchstick Men” – a period when the band were still toying with psychedelia, before settling into their now more familiar rock groove.

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The sound is not complicated, nor sophisticated, but simple and effective and emotive. It does exactly what it says on the tin – good, down-to-earth rocking – and you can’t help dancing and singing along. We had all the early hits – “Paper Plane”, “Caroline”, “Roll Over, Lay Down”, “Without The Rain”, and a rollicking version of The Doors’ “Roadhouse Blues”.

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It was going well, and the crowd were having a party. Then John decided to come out from behind the drums to talk to the crowd and to reminisce. Personally I think this was a bit of a mistake, because the band lost impetus quite late in the set. Whilst it was interesting and amusing, it might have fitted better much earlier in the set.

Fortunately the band quickly got back into gear again to finish with John Fogerty’s “Rockin’ All Over The World”, followed by a well-deserved encore of “Down, Down”, nicely seguing into “Johnny Be Goode”. The dance-floor was full and the crowd were happy.

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Another memorable gig.

Future gigs at Long Street Blues Club:

• Saturday 28th December Pink Torpedoes
• Saturday 25th January Kirk Fletcher (Fabulous Thunderbirds)
• Sunday 26th January Billy Bremner’s Rockpiles
• Saturday 7th March Ian Parker Band
• Saturday 4th April Mike Zito Band
• Saturday 18th April Mark Flanagan Band
• Saturday 30th May Antonio Forcione Quartet

© 2017-2019 Devizine (Andy Fawthrop/Nick Padmore)
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Great Night at The Cellar Bar, for Devizes Open Doors

Images nicked from Nick Padmore, cos we love him, and his new lens!

Local musicians, George Wilding, Vince Bell and the Celtic Roots Collective united for a Devizes Open Doors Christmas fundraiser down in that Cellar Bar on Friday night, dragging me kicking and screaming from my outings on Friday nights embargo; least I still made it to work notwithstanding the inclination to slip away quietly before Mr Wilding done his thang! Trust in me then, to produce half-a-review, yet despite what they say about assumption, given the high standard of every past appearance of George I’ve witnessed, I know a supposition of the finale is justified.

Upon my arrival Mirko and Pete were bearing the cobblestone dais, since a split between the four-piece 10p Mixup, the duo now forms The Celtic Roots Collective to deliver what it says on the tin; a jubilant, toe-tapping assortment of Irish folk. And a grand job they make of it. If you missed this, bookmark Feb 23rd, aptly at the Southgate.

Under the impression sixteen-year-old environmental campaigner, Joe Brindle was to make a quick speech, again an assumption he kicked the evening affair off while I still had my hands in the kitchen sink! But before I’d made it to the bar, our often-underrated singer-songwriter Vince Bell tuned. I believe Vince favours it this way, there’s no pretence in his performance, yet his songs hold you spellbound by their accomplished guitar melodies, intelligent lyrics and unbridled delivery of them. Often emotionally poignant subjects, some locally witty, you can never tire of either; let’s hope he really is never leaving Devizes!

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And that’s me done, over and out. Guessing if George Wilding gave a bad performance, I’m the Queen of Sheba. Safe in knowledge, I had to slip out through fear of the fury of old ladies when they didn’t receive their pint of semi-skimmed. A massive well done to the organisers, Mirko and the Devizes Labour Party, including Steve Osborne manning the door. I believe between £200 and £240 was raised for homeless charity Devizes Open Door, with the promise of more such gigs in the pipeline.

As crazy as it sounds upon sharing news of this event, I was subject to one of those pathetic Facebook mini witch-hunts, as if the mere utter of Labour is a swear word in Tory Town; get over yourselves! Devizine, I should point out, is here to promote all events regardless of the political viewpoint of the organisers, and I will not adhere to insular remarks against this ethos. It came to ahead when I was asked why similar Conservative Party events have not been promoted. Upon my response, to notify me of any such events as I was unaware any existed, being left unanswered, I think proves my point at how pitiable this outcry was.

Ironically, I suspect there are no such events, in fact, seems to me the current Government have done nothing to reduce poverty and any of us are at real risk of losing our homes; put that in your pipe when considering this forthcoming election. In which case, we must and will uphold the brilliant work of Angie Carpenter and all the volunteers at Devizes Open Door. I’ve seen first-hand how worthy this charity is, and we’ve raised funds from events at the Cellar Bar ourselves earlier this year.

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All fair in love and war; while local candidate Rachael Schneider Ross and members of Devizes Labour organised and attended, nothing politically motivated took shape throughout the evening, save Rachael’s reminder to me that this gig was organised before this badly-timed election was called. I’d like to remind people, Open Doors is a worthy charity, and aside national affairs, one which known local Conservatives also take an active role and support. If anyone plans to hold a local fundraising event, it is valid (unless it’s for Boris Johnson’s Dom Perignon fund,) welcomed and promoted freely here, but if I’m not made aware of them do not tighten your collar at me! It’s all getting really rather silly now, the premise of the review should be the music, perhaps the venue, a few excuses as to why I couldn’t stay, and that should be it, so let’s keep it that way, please; negative political responses will be deleted, don’t waste your time.

Here’s looking forward then, to a possible series of such events, in which I encourage them to consider holding on Saturday, that is, if they want to see me up dancing! I cut a rug like a carpet layer on a four-day week; just saying!

© 2017-2019 Devizine (Darren Worrow)
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Ruzz Guitar’s Blues Revue at the Southgate

Hibernation, like a bear, saving motivation and funds for Christmas, spent too much at the Lantern Parade? Ah, a bit of all three meant it was only to be a whistle stop at the Southgate Saturday night. When I should’ve been at the Sham’s Assembly Hall for the Female of the Species, and I should’ve been in Trow-Vegas for Sheer’s gig too. Without cloning technology, the pressure usually melts my enthusiasm entirely, and opt to I slob on the sofa cuddling a packet of digestives, chocolate ones, naturally. Yet if just a pint at the dependable local couldn’t persuade me,after reviewing the forthcoming live album from Ruzz Guitar’s Blues Revue I simply couldn’t resist.

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And for all the thoroughly deserved lovely things I had to say about it, I propped this gig on a pedestal, but was far away from disappointment. The band started with Hold It, and blasted Baby Please Come Home, virtually replicating this live album. Best thing at the Southgate is the communal feel, beneficial to meet and greet the artists; I was a handshake away from Ruzz Evans and the band, which I did, and with it he explained they often begin with that formula and mix it up thereafter. The advantage though was not our quick chat, but the close inspection of Ruzz handling that guitar, as it’s something spectacular and I watched in awe.

Unsure if I got the ball rolling fittingly, as I mumbled, “you make that look so easy,” at the suited Bristolian caked in perspiration. Clearly, and as I expressed in our album review, blasting a lengthy and vigorous rock n roll chef-d’oeuvre like this takes stamina! I knew what I meant though, they did make it look like child’s play, the band equally as proficient as the front man.

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So, a high-energy blast of traditional rock n roll blended with acute blues blessed the trusty Southgate, a never-ending foundation of great, free, live music in Devizes. Here’s the twist; it’s the uniqueness of Ruzz and crew, amidst the conventional rock n roll cliché of Elvis or Buddy tributes, passé eighties rockabilly four-pieces, and nostalgic but substandard fifties cover bands, Ruzz simply doesn’t come off like that. Mostly fresh, original works; if there were covers, they were rarities, and delivered with the youthful energy and passion of an era of yore.

I can’t keep on this glorious new find, I’m not even a rocker! But when stripped back to the roots, as authentically as this, all pop genres combine and there’s no need to pigeonhole. Funny, in reflection, and considering diverse fifties artists like Buddy Holly, how close mod’s and rocker’s tastes were, yet at the time, reason to fight. Look, just read our album review, will you, before I waffle on a tangent? Which, incidentally, is released February but available for pre-order today. There’re also two previous studio albums, and Ruzz returns this way in March at the Sports Club, (see poster) if not before.

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© 2017-2019 Devizine (Darren Worrow)
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REVIEW – Thompson Smurthwaite @ The Southgate and Ian O’Regan @ The White Bear, Devizes – Sunday 17th November

The Afternoon After The Night Before

Andy Fawthrop

After the utter chaos, madness and mayhem of the previous night at The Southgate featuring the totally bonkers 7-piece Back Wood Redeemers (see the review by esteemed colleague Mr Worrow), I thought I’d start my musical Sunday afternoon back at the same venue to see if there was anything left standing. Surprisingly all previous traces had been removed, and occupying the red carpet of musical fame was the small, lonesome figure of Mr Thompson Smurthwaite.

I’d last seen Thompson play a few weeks back at Long Street Blues Club, supporting local legend Jon Amor. On that occasion he’d played a wonderful set, if anything slightly over-awed by the size of the crowd and the great warmth of the reception to his playing. But I’d been impressed by what I’d heard, and was looking forward to hearing him in slightly more intimate surroundings.

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And I was not disappointed. Thompson has a lovely laid-back, casual, self-deprecating style of talking to his audience, as if chatting to just a few friends. And indeed he was among friends this afternoon. Guitar, voice and harmonica were all employed to great effect to deliver a wonderful set of self-penned smoky-sounding blues. His material is often personal, and reflects his experience of life, both on the canals and elsewhere. His playing style is relaxed, unfussy and genuine. Most songs are slow, rolling, rambling numbers – and all delivered with a thin, reedy, drawling vocal. And the crowd received his sets with warmth and genuine appreciation.

It’s a great tribute to the Southgate that Dave & Deb continue to provide such a diverse range of free musical entertainment every weekend. You really couldn’t get a greater contrast between last night’s rollicking 7-piece band and this afternoon’s laid-back solo blues artist. And yet both worked so well in the pub, and provided superb entertainment.

Then back down into town to The White Bear for their latest Sunday Session. Big shout-out to Georgie & Marc too, who’ve just celebrated their first year of being in Devizes, and who have already made a difference in terms of pub dining, craft beer and musical entertainment.

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This afternoon’s offering was the return of the very versatile, and very talented, Ian O’Regan. Ian had impressed so much on his first visit a couple of months ago that they got him back again. This time, although I’ve heard Ian many times, was probably one of his very best performances. Newly-refreshed (or tired) from his recent trip to Nashville, Ian was on top of his game. As usual, he reeled out number after number from across the musical spectrum, hardly pausing for breath. Ian is a chatty, friendly soul, but once he picks up his guitar, he’s off and running. Again we got two sets of perfectly-crafted, superbly-delivered music. Great versions of John Martyn’s “May You Never”, Fleetwood Mac’s “Oh Well”, Joe Jackson’s “Is She Really Going Out With Him” and even Deep Purple’s “Soldier of Fortune” were interspersed with the occasional O’Regan original. His playing, and his vocals, as ever, were absolutely spot-on. The crowd loved it, and dispersed into the late-afternoon murk of Devizes, with smiles on their faces. Great gig.

Future gigs at The Southgate:

• Friday 22nd Nov The Idle Silence, The Leathers, Mighty Magic Animals
• Sat 23rd Nov Jamie R Hawkins
• Friday 29th Nov Duskers
• Sat 30th Nov Ruzz Guitar’s Blues Review

Future Sunday Sessions at The White Bear:

• 15th December Phil Jinder Dewhirst
• 22nd December Vince Bell

© 2017-2019 Devizine (Andy Fawthrop)
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Back Wood Redeemers Squash into the Southgate

Yet another blinding night’s entertainment at the Southgate, as Frome’s Back Wood Redeemers came, saw and kicked ass….

 

His banjo to one side for a beer break, Flounder Murray perched on the step as I defined the live music scene in Devizes as thriving. As most Saturday nights we were spoiled for choice; People Like Us, I explained, popular locally, playing the Three Crowns, and there’s Britpop trio Billy Green 3 heading the Crown, rock n roll at the Rotary’s sixties-themed Presidents Night at the Cons Club, an Elvis tribute at the Cavalier and a gin and bourbon festival at the Corn Exchange. Not even touching upon various village gigs, such as Splat the Rat who played the Cross Keys in Rowde. I really need a clone, or five!

The area’s population is approximately 31,000, I’ve researched now, but returned the question on the night with a blank stare. Inevitable if you’ve not heard of Frome’s Back Wood Redeemers, this one passed you by. Alas, you missed out on what was a no-brainer for me, since Flounder last appeared here as part of the band The Boot Hill All Stars and blew the roof off with an original blend of grinding, upbeat folk and gypsy ska. It was one sweaty night. Though a quieter Saturday at the trusty Southgate didn’t damped the atmosphere, just rather more intimately contained.

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An altogether unusual seven-piece band squeezed into the tight space, I expected no less then crusty beards, the circus attire of vintage suits, bowler hats, clown trousers and stripy tights and anything goes. Armed with an electric guitar, harmonica and drums, nothing unusual there I’ll grant you, but throw in a banjo, two, yes two double basses, a pink electric mandolin made to look like a mini guitar, and a fellow propped in the alcove with a trombone, might just invoke an appropriate image as to how bonkers it was; might.

Described as “songs of dark country, twisted blues & religious fervour,” BWR did what it said on the tin. The mood on my entry was melodically paced; on asking Flounder the difference between them and the Boot Hills he expressed the hunt for vintage blues or country songs, even gospel and the ethos of twisting them into this west country folk. We talked of ska and how it developed in a similar manner as rock n roll, those rhythm and blues rarities very much standard radio airplay across the Americas. Yet Flounder pronounced the need to cover artists such as Tom Waits and Nick Cave too, and with his archetypical gritty vocals these artists are apt.

Flounder though did not front all the tunes, the band clearly a collective as the double-bass man in tights straddled off his instrument to parade around like Bez of the Happy Monday’s, singing fervently with an expressive dance routine to boot. The second half promised to be dirtier, faster and grittier, and did just this. Through the promised murky country tunes, those Somerset folks threw everything at this original blend. Think of a Wurzels-Levellers combo as a Northern Soul band at the Hacienda’s Madchester era trying their hand at jump-blues, you might come somewhere near! Yet whatever pigeonholes you care to throw at it, in the jest of this band who daren’t take themselves seriously, it’s lively, crazy and highly entertaining.

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Danceable too, once a Nick Cave song finished, the Train to Skaville riff teased the audience, and Flounder bounced into Toots & The Maytals’ 54-46, only for a melody of Tainted Love and the Cure’s Love Cats to follow. Yet aside the crowd-pleasers, it’s the proficient general skulduggery of instrumentation and upbeat sound which fuses the frenzy of the Back-Wood Redeemers and makes them so appealing. The finale Bound to Glory being the icing on the cake, and perhaps more apt for the band’s description than those known pop tunes; but either way, all were executed sublimely and originally. It was, in short, a crazy, crazy night Kiss fans wouldn’t dream of.

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As it’s been said, hats, and many of them, off to the Southgate, who, while the others tend to provide us with safe options of tributes and locally renowned acts, and there’s nought up with that, The Southgate strive to hunt for something different, and bring alternatives to town. With the attitude of providing free live music every weekend, of course, there is also plenty room for our local favourites too and while these make the best and most crowded nights here, when The Back Wood Redeemers are back around this zone, you’d be a fool to miss them.

© 2017-2019 Devizine (Darren Worrow)
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Live Album at the Louisiana with Ruzz Guitar’s Blues Revue

A cheetah can achieve motorway speeds, but not long enough to get off the slip road; worthless trivia, unless you’re an antelope. I like to think cheetahs listen to rock n roll; no, hear me out. Akin to this feline fact, those RnB and rock n roll classics are one short burst of energy. Fortunately for the artists the 78rpm record lasted a maximum of five minutes, and for radio play they’d cut it to little over three, any longer they surely risk congestive heart failure.

As the era passed to late sixties, psychedelia stretched recorded music to live and extended dimensions Little Richard could never maintain. Mellowing tendency matured rock, but arguably robbed its dynamism. Ah, come the eighties twelve inch single and the mega-mix, prompting the question; why didn’t Glenn Close choose the Jive Bunny to boil?

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Image by 
Jerry Tremaine Photography

Rare then it is, to hear a frenzied traditional rock n roll sound encompass ten minutes; welcome to Ruzz Evans’ world. Embodiment of Johnny B Goode, Ruzz can pick guitar like he’s ringing a bell, for an astounding period too. Due for release on 10th February, but available for pre-order from December 1st, I’ve been adoring this album recorded live at the Louisiana in Ruzz’s hometown of Bristol.

Forgive me for sustaining the rock n roll pigeonhole, for Ruzz has the quiff and is photographed in a teddy boy drape jacket. With backing from an incredible band including drummer Mike Hoddinott and upright bassist Joe Allen, the panache of Ruzz Guitar’s Blues Revue straddles rock and its namesake blues. Since 2016, when they added an awesome horn trio to the roster, we can add big band jazz to their style. That’s my thoughts while absorbed in this, of what Miles Davis did to jazz, or Pink Floyd to prog rock, Ruzz does to traditional rhythm and blues come rock n roll; the result is breath-taking.

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Bearing in mind his voice isn’t growling Tennessean, yet neither was Gene Vincent’s, rather quirky Bristolian, the vocals are sporadic, instruments reign. There’s an amusing conclusion to “Under Your Spell,” where 10 minutes of detonating electric blues is broken by a genuinely surprised thank you from Ruzz in said accent. This often amuses me, pondering, no, thank you, mate, I just clapped, you’ve just held me spellbound for ten minutes, the pleasure is all mine!

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In this instance I’m not even there, merely listening on my headphones, but still entranced. While they’re Bristol based Ruzz and his Guitar’s Blues Revue are no strangers here, and you can catch them at the Southgate (Nov 30th), White Swan Trowbridge (tonight 9th Nov) at the R&B bar in March at Devizes Sports Club. I’m quivering, ashamed after hearing this that I’ve not caught them live yet; an offence I will rectify, you would too if you hear this.

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Live at the Louisiana explodes from the off; the two, Hold It and Baby Please Come Home, for starters envelope all I’ve said, lively jump blues come big band rock n roll. Catchy, you’ll be lindy hopping before your first sip. Yet if Movin On groovily notches to allegro moderato, Back Home to Stay boogie-woogies again, and Sleepwalk is as dreamy as it suggests. The last two tunes, Sweet as Honey and the aforementioned Under You Spell embrace all we’ve so far said, making this release, I reckon, a treasure; fantastic!

With two self-released studios albums already under their big rockabilly buckles, and opening for Dr Feelgood, The BlockHeads, Kirk Fletcher and Bill Kirchen and Darrel Higham, they’re stamping an authority of quality worldwide. Ruzz has been honoured by being officially endorsed by Gretsch Guitars, and that’s what I perceive of him, the kind of obsessive guy who will turn any conversation to his labour of love, but when it’s this proficient, you cannot help but take heed. I’m off to find out what they can do in the studio, but with such a formula I think this live album captures the spirit perfectly.

© 2017-2019 Devizine (Darren Worrow)
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REVIEW – Big Dez Blues Band @ Long Street Blues Club, Devizes – Saturday 2nd November 2019

Nearly Got My Mojo Working

Andy Fawthrop

Your intrepid reporter had been on the sick/ injured list for most of the past week, and only received his clearance to enter the field of play at the 11th hour after a very late fitness check. Having felt ill, and having suffered the misery of watching England fail to win the RU World Cup, I was feeling pretty low. So what sort of music did I need to fit my mood? Of course there was only one place to head for, and that was Long Street Blues Club.

Not as large an audience as some gigs, but still a very respectable showing. Playing support were acoustic blues guitar duo Mojo Hand, who entertained with a whole string of classic blues covers, including Crossroads, Smokestack Lightnin’, Let’s Work Together, Little Red Rooster, Walkin’ Blues and the eponymous Got My Mojo Working. This was all classic blues stuff from across the spectrum from Chicago right down to the Delta, played straight-up, undiluted and with little fuss and not much chat. Good set from a great pair of musicians.

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The main act were Paris-based Big Dez Blues Band, an extremely tight, competent blues outfit. Of course it was a big notch up on the volume front from the support act, but all the better for that. A great four-piece of drums, bass and twin guitars, this was full-fat, leaded R&B. Both vocals and lead-guitar parts were shared, adding more depth and dimension to the set, which consisted of both originals and covers, again delivered with minimal inter-song chat. The accent was on letting the music do all the talking, and it spoke well. The sound was clean and uncluttered, and the audience certainly warmed to it. The joint was certainly jumping.

Unfortunately, lack of match fitness (and alcohol) on my part led to major fatigue and I didn’t quite make it to the end of the gig, and I had to retire from the field of play. However I certainly felt I’d had my money’s-worth, and wandered off happily to my bed.

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Upcoming gigs at Long Street Blues Club are:

• Friday 8th Nov Ian Siegal Unplugged
• Saturday 30th Nov Gerry Jablonski Band
• Saturday 21st December John Coughlan’s Quo (support from George Wilding)
• Saturday 28th December Pink Torpedoes

© 2017-2019 Devizine (Andy Fawthrop)
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The Queen of Alabaster and a Princess

Double-whammy night as I flipped between Alabaster Queen at the Southgate and Lottie J at the Crown, in search of the perfect evening’s entertainment.

Southgate, ah Southgate; hasn’t failed me yet. While the always excellent Long Street Blues Club will understandably ease the quantity of pedestrians hunting live music on a Saturday night in the Vizes, we’re seated seasonally between mid-autumn and the big C, and weather none too clement, it was a quiet start at the Southgate.

Gave me opportunity to become acquainted with an Alabaster Queen from Manchester, prior to her performance. Enthusiastic about her second visit to our gypsy canal favourite watering hole, claiming she thought she was eccentric until she turned up here. I asked her what’s in a tag, and she described her pale complexion attributed to this translucent form of gypsum namesake. The informative explanation which followed delved into marble imitation, statues being immersed in a bath and gradually heated is a process demanding great care; if the temperature is not measured, the stone acquires a dead-white, chalky presence. Yet the patterns created are diverse, relating back to a previous question when I asked what genre we were to expect, and she replied “a little bit of this, and a little bit of that.”

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Solo, the unique Alabaster Queen treated us to a series of elated covers, acoustic cabaret style with an air of positivity, confidence and tambourine. Off the starting block with Sympathy for the Devil and marching into Jolene, this queen delivered distinctively and fervently. Unsure if a song she called Jasper was her own writing, but this one wowed with passion. After a trip to bar, I heard a melody of Sweet Dreams and You Spin me Round (like a Record) flowing interesting into Bob Marley’s Pimper’s Paradise, an interesting choice noted when she surprisingly sang the toasted Damien Marley version, and made a stunning job of it.

With an abrasive voice characteristically resolute, Alabaster Queen is not about to whisk through an X-Factor final, yet made great work of Born to be Wild, and appeared to love every minute of her performance. The Floorshow was confident, the songs flourishing and therefore, this Queen deserves her crown.

I confess though, I sneaked out at this point, double-booked and on a mission to see Lottie J at The Crown. I passed a few groups either heading home early, or more than likely, heading in the direction of the Southgate, so I hope the audience picked up in the second half. Conflicting performance here, where at just 15 years old, Lottie’s voice is as smooth and silky as, well, smooth silk. The only similar aspect being her desire and passion. Chosen to take the keyboard out of the equation, Lottie used her laptop to provide the backbeat and concentrated on her vocals.

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I cannot fault her voice; it’s perfected at such a young age it’s the envy of all others. My issue is with the surroundings, convinced the Crown had upped its previous rep as a rowdy cattle market of twenty-somethings, was quashed. I felt like a pensioner on a Club 18-30, my stubble too grey to be trendy here, amidst these trimmed beard perfectionists.

I’m not attempting to gripe grumpy old man style, The Crown is lively as always, we need this in Devizes, every town does. But I couldn’t help ponder if a plain ol’ disco would’ve been more apt, being Lottie sang so beautifully, profligate over a crowd hardly noticing her presence through chatter and noise. Likewise, Lottie needs to be pitched into an establishment where punters are appreciative and listen. There then is my dilemma, Lottie, in my opinion needs a session band who will take heed of this intelligent and imminent talent, who can cater for her sound and style, then she would be off the scale amazing. Yet, youth is on her side, and I wait in anticipation of her progress.

Outside my reservations were confirmed, as a young fellow angered at his unsolicited elimination and friends demanded he be allowed to return, despite the accusation he puked over the seats. There was an amicable conclusion without kerfuffle, and the chap wobbled away. I felt need of a scratch of the foresaid stubble, fine and dandy for the adolescent, unfortunately not my cuppa. If it wasn’t for Lottie, I’d rushed back to the Southgate, even if the pub Terrier attacked my shoelace!

Such a shame, with a tired Lottie J after a flight from her holiday, she performed immaculately, comparable with the Alabaster Queen, who in all honesty while she’s a well above average pub circuit act, Lottie I’m convinced is worthy of stardom, and time will tell, but really, The Crown is not the venue she should play.

For want of a grand Saturday, I received a mish-mash, to be honest. A great live music pub with a fairly great act, and a raucous glitzy bar with an extreme talent. To combine the two elements, one heck of a night would’ve been possible, c’est la vie.

© 2017-2019 Devizine (Darren Worrow)
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Our Sunday Live Music Stroll Around Devizes, Relay!

Andy’s usual Sunday stroll around Devizes, hunting live music, took a different turn this weekend, as I interfered! In order to save time, treat this article as a roundup of all that happened to us both; a kind of music relay race!

Andy spent the early afternoon down our trusty Southgate, I met up with him on my maiden voyage to the White Bear. There is no apparent reason for my never having been to the White Bear, and now I realise neither was there an excuse. I immediately got my feet under the table; proper gorgeous pub, and what is more, George Wilding, sat in the alcove, doing his thing. But before that, here’s Andy’s start, before he handed the baton to me. Double-whammy, you lucky, lucky people!

REVIEW – Paul Cowley @ The Southgate, and George Wilding @ The White Bear, Devizes – Sunday 27th October 2019

Fantastic Afternoon’s Entertainment

Andy Fawthrop

Sunday afternoons have been a happy hunting ground recently, and this week was no exception.

First up to the Southgate to see bluesman Paul Cowley. Originally from Birmingham, Paul now resides in France. He was paying the UK a visit with a few dates, so would have been a shame to miss him. What we got was a singer, a songwriter and a guitarist playing acoustic fingerstyle and slide guitar. Playing a mixture of his own compositions from his recent album “Just What I Know” and a number of Delta blues covers (from such luminaries as Lightnin Hopkins, Mississippi John Hurt, Robert Johnson, Big Bill Broonzy, Son House and the Memphis Jug Band), Paul served up the perfect afternoon of laid-back, moody and melodic blues. There was always a nice driving rhythm from the stomp-box and guitar, accompanied by a gravel-voiced lyric. And there was a good crowd to appreciate some fine entertainment.

Nice vibe, nice atmosphere, nice way to spend a Sunday afternoon.

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But there was still more to come. Next on to The White Bear to listen to the incomparable George Wilding. George will probably be familiar to Devizes audiences, but I personally never tire of listening to the guy. Every show is completely different, since George tends to feed on the atmosphere in the room and requests from the audience for his next song, rather than relying on anything as mundane and organised as a written set-list. And I think he’s getting better as he goes along. He’ll have a go at just about any song (whether or not he knows all the words), and there’s no style he won’t cover – pop, rock, blues, easy listening. His rapport with the audience is genuine, and would be a great lesson to many other performers. His wry, sardonic and self-deprecating humour goes an awfully long way towards winning people over.

On this occasion it was also great to hear him singing a few of his own songs, mostly in response to requests from the audience, which he often puts in the background in favour of covers. Personally, I think he should be more confident in his own material, and serve up more of it.

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Suffice to say, long before the end of his set, he had the whole pub singing along, and the calls for an encore were fully deserved.

Another great atmosphere and superb, great-value entertainment.

Future Gigs at The Southgate:

• Friday 1st November John E. Vistic
• Saturday 2nd November Alabaster Queen
• Sunday 3rd November Kent Duchaine
• Friday 8th November Triple JD Rock Band
• Saturday 9th November Jamie Willians & The Roots Collective
• Sunday 10th November Phil Cooper & The Slight Band

Future Sunday Sessions at The White Bear:

• 10th November Wade Merritt
• 17th November Ian O’Regan
• 15th December Phil Jinder Dewhirst
• 22nd December Vince Bell

Yep, agree with Andy’s words, yet I expect no less from George Wilding. His charisma and charm, coupled with passion and natural ability will satisfy an audience no end. I feel the confidence point is part of George’s appeal, almost a hallmark. George plays on this bashfulness, always with an excuse why this particular performance may not be up to his usual, then knocks it out of the park! While he nods appreciation to other’s songs, he wished he written, many anticipate the moment he’ll perform his originals.

 
Audience participation, isn’t it? He never shies to a request, even if he doesn’t know it. A question was fired at him, what’s his guilty pleasure? He confessed a liking for the song-writing of Abba, even if he deplored the production, expanding he never dared play one, as it was uncool. Dancing Queen fell forth, he owned it as well as other spoofy adaptations he’ll willing crowd please with. No other so apt this specific Sunday than Swing Low Sweet Chariot; the audience yelled along.

Devizes in the Round @ The Cavalier Community Hall

I thought I’d complete the evening with a journey to the Cavy, where Dean held a “Devizes in the Round;” a country music play-off between a selection of his favourites, all in aid of Lupus UK. The event only come to my attention hours beforehand. Melon twister as to how I missed it, gave Dean the usual spill about ensuring we’re alerted, he told me he had; shucks, many apologies to him.

 
Never an easy task, a niche, country, a Sunday night in Devizes too. Sadly, turnout was not great. Something crossed off my perpetually increasing to-do-list, to see how Dean had transformed the just adequate pub function room, into a club; but he has, and it’s impressive. There’s a secondary bar in the hall, and the stage is ample.

 
Here’s a Devizes gem you may’ve missed, and if country music is not your thing, although it’s Dean favourite, it’s still only a small section of all that goes on here. The Family Club ethos is that of the Northern working clubs, where variety is blessed by a pragmatic atmosphere. Tribute acts abound, Dean informs me the UB40 one, Johnny 2 Bad went down particularly well.

 
Do yourself a favour and keep an eye for future events at the Cavy, it’s a community-fuelled pub, as it ever was, and striving to provide diversity, and very often for a worthy cause.

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All said and done, our heroine Tamsin Quin appeared. Playing to a slight crowd in her hometown, now she’s booked throughout the southwest and beyond, is a little shameful, Devizes. Nevertheless, Tamsin gave a stunning performance, as ever. I also welcomed a chat about her progress, and how a trip to Nashville inspired her.

 

This Nashville subject arose again when shuffling my chair across to meet another two acts, Josh Beddis and Danny McMahon, they told me of their customary pilgrimages and how well they’re received there. Both tremendously gifted fledgling acoustic performers in this field, blasts the erroneous stereotype country is for an older crowd. These guys treated us to a spectacularly sentimental set of originals, as country music will, alternating songs between them. Such, I was informed, was the nature of this “round” idea!

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In the same light, Tamsin stepped forth after the break with another of Dean’s favourites, Zenne. Zenne’s talent knows no bounds, a matured confidence saw a worthy corporation with Tamsin. Country music may not be my favourite, but I was satisfied, and held spellbound by the music and lyrics of all these acts.

 

If we’re spoiled for choice on a Friday and Saturday in town for live music, I think we’ve proved it continues till Sunday too. Sometimes it needs a little support though, understandably being Monday looms, I’m guilty too, but hats off to the Southgate, White Bear and Cavalier for extending the weekend; bit less drizzly on Sunday too, wasn’t it?!

© 2017-2019 Devizine (Darren Worrow and Andy Fawthrop)
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REVIEW – Cutsmith @ The White Bear, Devizes – Sunday 20th October 2019

Not Everyone’s Cup Of Tea

Andy Fawthrop

Cutsmith derives his moniker from being the Wordsmith from the Cut (canal). Aka Josh Alej Bowes, he describes his music as “imagine Rag ‘n’ Bone Man, Jamie T, John Martyn and Lauryn Hill jamming by a fire pit on the towpath”. Fittingly perhaps, he had played a gig the previous night at The Barge at Honeystreet, a place with which he was intimately acquainted, having been brought up in the area immediately around the pub.

I’d not seen him before, so thought I’d give him a look-see. Overall, I think I’d describe my experience as a mixed bag. On the positive side there were some soulful, heartfelt lyrics with stories based in personal experience (as you might expect from a singer/ songwriter). There were some nice spoken parts, almost dub-style, over the top of the guitar, which added some welcome texture. I was even minded of a slowed-down Arctic Monkeys at times.

On the less positive side, I felt his set lacked any particularly stand-out songs. Quite a few seemed to merge together at times. The only one I specifically remember was in fact a cover of Gershwin’s “Summertime”, which lacked the song’s normal haunting quality. Cutsmith is not the strongest singer I’ve ever heard, and there was nothing particularly outstanding in his strumming guitar style either. And – it maybe me (don’t judge) – I found his in-between song patter a little grating at times. Whilst friendly and outwardly engaging, some of it felt a little forced. Just my opinion of course, and I realise that he’s probably crossed me off his Christmas card list, but others might find him more to their liking than I did.

Competent and engaging, but not particularly outstanding. But, as they say, you can’t like all of the people all of the time, and Cutsmith wasn’t really my cup of tea.

Future Sunday Sessions at The White Bear:

• 27th October George Wilding
• 10th November Wade Merritt
• 17th November Ian O’Regan
• 15th December Phil Jinder Dewhirst
• 22nd December Vince Bell

© 2017-2019 Devizine (Andy Fawthrop)
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REVIEW – Phil King @ White Bear, Devizes – Sunday 13th October

Sheltered From The Storm

Andy Fawthrop

Well the weather had been pretty wet all weekend, and Sunday afternoon was no exception. Good excuse then to hunker down in the White Bear with a pint, and listen to one of the best singer/ songwriters in the South West.

Phil King hails from Bristol, and is now (despite his still-youthful looks) a veteran of the SW live music scene, having played pubs and clubs all over the region, together with festivals, and stints with touring musical theatre productions of “Jane Eyre” and “To Kill A Mockingbird”. So this guy definitely knows his way around a song and a guitar.

And I’ll declare an interest here – I’ve been listening to Phil for several years now, and I’m a complete fan. There was no way I was going to miss this one.

His latest album is The Wreckage, and he was keen to showcase several numbers from that record, but thoughtfully mixed in with several numbers from his back catalogue (The War I Cannot Win, Do Not Surrender, Black Wind Blowing and When Will I Ever Learn), and some beautifully-reworked covers (Merle Haggard’s Sick, Sober & Sorry, and even If I Only Had a Brain from The Wizard of Oz). His opening gambit was Dylan’s “Shelter From The Storm”, a comment on the weather outside perhaps. And thereafter we were treated to two sets of incredibly beautiful songs, each one tenderly and carefully delivered. Phil’s voice is smouldering and smoky, distinctive and an instrument of great subtlety, switching effortlessly from a haunting, gentle whisper through to a full-throated howl of pain. His guitar-playing was careful, intricate and beautifully crafted. There were no loops, no stomps, no gimmicks – just the man, his guitar and the very occasional use of harmonica.

The whole performance was simply mesmerising, and there were times in the crowded pub when you could have heard the dropping of the proverbial pin. The audience was an interesting mixture of people who had never seen/ heard him before, together with obvious fans sitting mouthing the words to the songs. It made for a great and appreciative atmosphere.

“Superb”, “amazing”, “sublime” and “extraordinarily good” were phrases I heard around the place. Not my words, but the comments of people around the room. To be honest, it’s actually difficult to define what a singer/ songwriter could possibly do to give a better performance.

Absolutely fantastic afternoon of class entertainment.

There are more Sunday Sessions to come at The White Bear, so watch their Facebook page and, of course, here on Devizine.

© 2017-2019 Devizine (Andy Fawthrop)
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Train to Skaville, Called at The Foresters Arms

If Devizes’ thriving live music scene lacks one thing, in my humble opinion, it’s ska. I got to get over my grumpy, staying-in head-state for fear Celebrity X-Factor is the best mainstream telly can thrust upon me, drive to the Sham, if only for a pint. Ska will force my hand if nothing else will.

The Foresters Arms is a new one for me, but it’s immediately attractive, in a humble way. Functional, even for the eight-piece ska-cover maestros known as Train to Skaville. They fit comfortably; Devizes needs something like this, a reasonably sized pub-venue for a brass section to bounce, and a landlord wearing a Fred Perry and cherry Doc Martins. Proof was in the pudding; we are missing out.

It’s a welcoming and friendly community spirited pub, with ample space to skank rainy blues away. Amidst bustling crowd of young and old, male and female, black and white, there was a point when the landlord was up having a jig himself, for jolly example. And a band, if whose appeal seems to fizzle east of Bromham, are welcomed with open arms here. I can’t drum this point any further, Train to Skaville are brilliant.

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If doing this ska show on Boot Boy Radio has taught me one thing, it’s that this division is far from an aging retrospective minority who can’t shake their Two-Tone youth culture, rather an international burgeoning scene where bands under a “Ska-Family” banner aspire to create new and original tangents. The foundation of which, though, is that classic period where the Windrush generation gifted us this offbeat sound for us to exploit to the max, and Train to Skaville embrace this. They are not out to be the next best thing, rather to supply an audience with the benchmarks they know and love, and to get them off their seats. They do this, with bells on.

Propping the foyer of the Foresters during the break, I laughed that although it was raining, it was nicer to be huddled inside, rather than the last time I caught this act, on a drizzly St George’s Playing Field supporting Neville Staple. Jules of the band remarked happily that they could play Specials covers too, which were crossed out of a setlist prior to Neville wanting to understandably do them. Train to Skaville did just that this time; Ghost Town, Rat Race, Gangsters, you name them, they covered them with unique panache, a cut above the average ska covers band. Alongside typical Madness and Bad Manners floor-fillers.

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But it doesn’t stop there, their repertories know no bounds, as they break it down to reggae anthems, owning Bob Marely’s “Is This Love,” Marica Griffith’s “Feel Like Jumping,” and Tim’s heart-warming rendition of Ken Boothe’s “Everything I Own,” a tribute to his mum who he recently lost. There were tears, but veneration as the band played through. Our respect and condolences go out to Tim and his family.

I find though, even greater than knocking out known ska classics, or bouncing to boss reggae, when a ska band can produce ska versions of pop songs. Sometimes amusing, sometimes out of admiration of another genre, but for a ska-fan, often better than the original. Train to Skaville also have a line which branches out here, as a skanking Echo Beach rang out towards the end of the first half of the show.

A great night, great surroundings, and sure sign for me that Devizes needs to skank it up a bit!

© 2017-2019 Devizine (Darren Worrow)
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