For A Lifetime, Luke Gittins

Newlywed, what lengths would you want your partner to go to with their wedding speech and gift? A six track EP of the most beautifully self-penned sentimental love songs?! Well, sorry, but honestly, unless youโ€™re luckily now married to twenty-five year old Ed Sheeran-endorsed Chippenham singer-songwriter Luke Gittins, I think youโ€™re asking a bit much!

Congratulations to the couple, wishing them all the best of health and happiness on their journey together. But, yeah, cheers Luke; thankfully Iโ€™m already happily married, but youโ€™ve set the bar quite high with this! Will every bride-to-be now be expecting their partner to break out the acoustic guitar and deliver vocals smooth enough to charm the pants off a donkey?! Because, if so, this might not end well! Certainly nothing as breathtakingly close to For A Lifetime.ย ย 

If thereโ€™s a reason why Ed Sheeran praised Luke, invited him on stage at the O2 Arena and to open his Berlin show, itโ€™s not hidden within this EP, itโ€™s on show in the opening bars. For all I know, his wife might prefer drum & bass, but if it was me, Iโ€™d be bowled out for six! This is David Gray losing his Roland Groovebox, this is Noah Kahan playing Vermont. Itโ€™s rich with textures, divine in delivery, but the sincerity of the prose in the song-writing is kingpin.

An honest breath of fresh air, each song is a meticulously crafted expression, simply but effectively. The pulsating yet subtle beat of the opening title track took me to Iโ€™m on Fire, and could easily cool Springsteenโ€™s desire. It also serves as an epilogue to the EPโ€™s narrative, talking of their first kiss and the change it made within him.

The second song concerns itself with the sensations of love and how unbelievable it can feel to find your soulmate, wrapped in a title of a wedding vow. Whereas the third is more metaphorical, using the unpredictable English weather to suggest their relationship will overcome the odds.

The fourth is akin to Billy Joelโ€™s Just The Way You Are, whereas Home expresses the place of memories, and though perhaps a cliche theme, Luke knocks it out of the park like a delicacy savoured, and lends the listener to be far too engulfed in the beauty of the EP to be concerned about any overused subject. These are classic sentiments expressed before, but Luke revisits them with the talent to make it fresh sounding; thatโ€™s the lucidity here. It ends as smooth as the intro, with a brimful of everlasting sentiment. And with that, this is a timeless work.

Playing guitar and writing since the age of eight, Lukeโ€™s popularity blossomed during the lockdown, sharing covers on TikTok. This is his second release since his debut, Waited A Lifetime in 2023. The personal tenderness of For A Lifetime reflects, with any song on it clasping the potential to rival John Legendโ€™s first dance song, All of Me. Now, get on and do the dishes, Luke!

Website


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DOCA Awarded National Lottery Grant

Congratulations to Devizes Outdoor Celebratory Arts, who announced yesterday that they’ve been awarded a substantial National Lottery Project Grant from Arts Council Englandโ€ฆ. This isโ€ฆ

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Talking in Code at The Southgate, Devizes

I’ve got this Jetpack app on my phone which allows me to make adjustments to the site. There’s a new feature on it notifying me of articles published on this day in previous years. It revealed that on this day last year I fondly reviewed Talk in Code’s single launch gig at The Vic in Swindon. Some things never change; last night I dropped into the Southgate where Talk in Code smashed it againโ€ฆ

Some stage banter included drummer Jambo claiming he had a โ€œlot to do back here,โ€ reminded me of the year they played the Fulltone Festival where he temporarily mislaid his drumsticks!ย 

At the Vic Talk in Code play their homeground, whereas The Southgate is usually affiliated with blues or folk aficionados, and the Fulltone is an orchestral event. Although these three gigs vastly contrast, Talk in Code look equally comfy at either. If they were a creature from the Harry Potter universe they’d surely be the Occamy, a serpentine with choranaptyxic wings, allowing it the magical ability to grow or shrink to fit the exact size of the space it is in.

Just how the Occamy doesn’t change appearance, only size, neither does Talk in Code change their strictly original set, only to fit, yet still manage to thrill any crowd no matter the diversity of their bookings.

The essence of pop is imitable and “catchy,” not to be niche, or these days of sampling, even wholly original. A factor of non-commerciality is to be a cult. Talk in Code balances this with a popular fanbase, โ€œthe Talkersโ€ and this unique yet universal synth indie style which, with multi-era influences any age can reflect off, appeals to a wide range. That’s the secret of Talk in Code and it never fails to entertain.

If Talk in Code time travelled back to the eighties, there’s little doubt in my mind they’d be a classic band akin to Duran Duran, Level 42 or perhaps Ah-Ha, and they’d be playing a stadium by now. Such is detrimental changes to the music industry they thrive locally, only sporadically reaching further afield. Amidst their fanbase they are that accomplished, and deserved, as they chant their songs back to them as if they really were pop stars. For in which case quantumly, they are.

Goody bags and Lego sets of the band among their merch suggest prime and strategic marketing, still you’ve got to be in the club to know it’s true; Talk in Code will thrill not just you, but your whole family young and old. I looked around at the people dancing at The Gate, as I often do to settle my appraisal as more than personal opinion, and it proves it, each and every time. And that’s why, yeah, I bash on about Talk in Code a lot, but maybe not too much!

I’ve actually a mission at the popular Three Crowns to highlight an act we’ve not mentioned before; the next review I’ll work on. But I could never allow myself to miss a Talk in Code gig at my local. Live music at The Southgate has been such a staple for so long now, it risks folk taking it for granted, but nights like this prove it still has what it takes to be that squeeze box of quality, especially in hosting original acts like Talk in Code.

The guys took a first half of their earlier and more obscure tunes, still rocking the Gate, and a second half whereby they celebrate this continued dedication to creating danceable indie-pop anthems. Safe in knowledge The Southgate was appeased, and I was so familiar the guys would carry out orders uncompromisingly,  I headed off early to see what was occurring at The Three Crowns. Had I not been on a promise, I’d have stayed with Talk in Code, because pop demands an affliction for the familiar, at least it does when it’s as perfected as Talk in Code.

As for the Southgate, worthy gigs abound there every weekend. Keep in the loop via our event calendar, and pop down there. I endeavour to list them as they come in, though Facebook shares of their chalkboard can be more sporadic these days, and I forget to take a snap of it when Iโ€™m there!!ย ย 


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XTCโ€™s Colin Moulding Wants AI Slop, Bad

Swindonite and founder member of XTC Colin Moulding released a new single last week, Want It Bad (The Pep Talks and Playing Fields of Old England). Itโ€™s previewing a three-track CD single being released via Burning Shed. This is Moulding’s second single in five years, following 2021โ€™s The Hardest Battle, but is it simply a smooth, rose-tinted specs wishful motivation, or is Colin really making plans for Nigel?!

In this single, Moulding continues to explore the distinctly English pop sensibility trademark of XTC, through qualities of melody, rhythm, variety, idiosyncratic subject matter and a bucketload of nostalgia. It began as a song of sport and camaraderie, but soon took on a broader meaning. Colin explained, โ€œalthough this song started life as a sporting pep talk, it was clear that it could easily be thought of as a mantra for one’s own life ambitions whatever they may be. If you want something in this life you have to really want it. And if you really want it, youโ€™ll get it; that was my mantra.โ€

And, like Paul McCartneyโ€™s Wings, it is a lovely song of motivation from a mature, experienced professional, seemingly themed ambiguously, with meaning that could be interpreted by the listener. Itโ€™s the accompanying video which unfortunately feels like a cringeworthy political allegory, and this causes any imagination the listener might have conjured, to collapse within itself.

Colin was born in Swindon in 1955 to a GWR worker and a laundrette wife and lived in Penhill. They were in every essence working class. Through jam sessions he met Andy Partridge around about 1972, introduced him to Terry Chambers and they formed the band Helium Kidz, which changed name to XTC. Through their angular guitar riffs considered pop in an era of punk and new wave, and an abrupt ending due to contractual disagreements with Virgin, they achieved only sporadic commercial success, but attracted a considerable cult following.ย 

Thereโ€™s therefore every reason for Colin to write a song about wanting it bad. But what is it he wants so bad? The video begins with Great British sporting achievements and more randomly, the Moon landing. Yet it wanders off onto some kind of patriotic kickback to an England of yore, with Colin handshaking a wealthy dummy, driving through the fields in a psychedelic dressed Morris Minor, is adorned with images of Lord Kitchener and spitfires, housewives marching village streets wearing gasmasks, and toy soldiers on a bandstand. The irony is, the video might feel like an Orphism collage influenced by Aardmanโ€™s Sledgehammer, but appears to be prompted rather than created by Thomas Walsh, who is renowned for using AI slop. This is suspiciously AI, and I cannot abide by that.

Iโ€™ve no issue with patriotism, and rose tinted spec nostalgia, provided itโ€™s divisive and supports equality, and the content here, while glorifying war, isnโ€™t suggesting anything more. Except, similar cringeworthy AI creations are predominately used for far-right propaganda, causing the video to feel uneasily related to such politically motivated imagery; which is a shame. Particularly due to XTCโ€™s most known hit โ€œMaking Plans for Nigel,โ€ recently being used, for and against, the rise of Reform and fascism in England.

You can want something bad, you could strive to reach that goal, but, I quiver, as a professional musician, should you sacrilegiously destroy any further creativity with AI? And if you do, how in the good name of England’s green and pleasant land is that nostalgic in any shape or form?!

Nice song, shame about the video! Want It Bad is available on CD from the 18th September, exclusively via Burning Shed.


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Henge Frontman Matthew C. Whitaker Solo Tour Comes to Frome

Featured Image: Antony Barkworth-Knight Despite intentionally making his tricks go wrong, Tommy Cooper was actually a skilled magician and member of The Magic Circle. SpongeBob SquarePants creator Stephen Hillenburg was a marine biologist, and Benny Hill really was a milkman. In order to deride an art effectively you must first master it. It therefore standsโ€ฆ

Ruby Darbyshire: God is Offline

Wiltshire singer-songwriter Ruby Darbyshire, youโ€™re most likely familiar with, unless you joined Devizine family readerโ€™s circle today, has a new song on YouTube, one sheโ€™s been playing at recent gigs. Here the track has a subtle piano added, and those wonderful brush drum strokes texturing it with that smooth jazzy ambience, yet with poignant narrativeโ€ฆ

Blood, Sweat and Tears; Burn the Midnight Oilโ€™s New Single

Pleasantly surprised in July when an awesome new single from Devizesโ€™ rootsy Americana with a gothic twist collective, Burn the Midnight Oil revealed a more carefree and commercially viable style to their previously darker themed and rawer material. It was enough for James Threlfall to pick it up for BBC Introducing. With a new singleโ€ฆ

Blood, Sweat and Tears; Burn the Midnight Oilโ€™s New Single

Pleasantly surprised in July when an awesome new single from Devizesโ€™ rootsy Americana with a gothic twist collective, Burn the Midnight Oil revealed a more carefree and commercially viable style to their previously darker themed and rawer material. It was enough for James Threlfall to pick it up for BBC Introducing. With a new single out on Friday 28th August called Blood, Sweat & Tears you might be fooled into assuming by the title theyโ€™ve turned back to the sombre moods of before. Think againโ€ฆ..

Though frontgirl Chrissy mightโ€™ve elucidated, least hinted something darker might be in the pipeline, for now Blood, Sweat & Tears follows neatly on from Slow Burn with an incredible upbeat driving vibe, verging on Shania Twain sassy, yet retaining the cool rock riff of Fleetwood Mac. Itโ€™s immediately compulsive, with a danceable and anthemic combo. I find myself contemplating if itโ€™s better than Slow Burn, or not, but with a hook razor-sharpened, itโ€™s undoubtedly on par, and proves it wasnโ€™t pot luck in July.

With this divine product of Potterne’s Badger Set blessing my ears I also find myself reflecting back to an interview we did with the band last November. Guitarist John Lane spoke of achieving such a hook as these last two singles, and expressed the importance of the sound. โ€œFirst thing people take in is rhythm,โ€ he suggested, โ€œthen melody, last of all, lyrics. So if you hook the first bit, you donโ€™t get the second one, then they come back for the lyrics.โ€

In this I sensed a healthy division between John and Chrissyโ€™s perspectives. Knowing how much thought and creativity Chrissy loads into her writing, drawing inspiration from personal and often emotional experiences, and exporting them into relatable and poignant lyrics, there was a non-confrontational difference. I supposed of this stalemate at the time, โ€œa good blend of opinion is surely necessary to compose the elements of a song professionally.โ€ And that is precisely what they put in, making this song work; the dynamics of pop, a conscious composition where both arguments meet in harmony.

Chrissy taglines the song thus; โ€œsome dreams begin as little more than a whisper, an idea that refuses to let go, a vision that quietly demands more of you until ignoring it is no longer an option.โ€ Ah, yes, I can reflect the notion; any inventive mind will tell, thatโ€™s the creative juices flowing and the desire to express them. Blood, Sweat & Tears concerns itself with the acceptance of that call, and the feeling of unlocking your potential. As Chrissy says, โ€œbreaking through self-imposed limitations and pursuing a future worth fighting for.โ€

An expressive tenet full of contemplation and self-analysis, it remains positively angled, like Jimmy Cliff on his hard road to travel, but with steadfast faith he canโ€™t turn back because his mind is set. Chrissy views her theme similarly, as a meaningful journey of courage and determination against odds stacked not in your favour. Such concepts are not so uncommon in music, and an acoustic singer-songwriter will expose similar thoughts abound. But here, with Burn the Midnight Oil the prose is perfectly packaged by the sound of her exceptionally accomplished and unified band, complementing her natural vocal balance, and that harmoniousness is what makes Blood Sweat & Tears so complete and engaging.

Hereโ€™s their LinkTree, new single is out next Friday 28th August 2026, but you can pre-save it and listen to the last one. I suggest you do. Perks of the job; this one is stuck in my head already!


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Large It Norm, in Trowbridge!

Yes, we’ve got to praise Trowbridgeโ€™s Old Town Hall like we should, because Fatboy Slim is going to be right there, but not right now;โ€ฆ

Emergency Alert: Wessex Water Hosepipe Ban!

Surprised your mobile didn’t sound the apocalyptic alarm to notify you about Wessex Water’s hosepipe ban?! Then, you’re a gullible idiot! But being 22,239 votersโ€ฆ

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Donovan or Donoless, Fulltone Festival is a Cake Tray!

Images by Gail Foster

Regretfully I must report that due to a personal issue Jason Donovan is unable to sing at Devizes’ Fulltone Festival this afternoon. But all in attendance yesterday will be aware, if Jason was a cherry on the cake, Fulltone is not one big cake. Fulltone is an industrial sized tray of cherry bakewells and each individual cake has its own cherryโ€ฆ..

Saturday at Fulltone ’26

If a tray of bakewells required one chief cherry, it would be the fellow with the most familiar parietal lobe in Devizes, Anthony Brown, conductor of the FullTone Orchestra, delicately or furiously waving his baton around for hours, as the mood of the music requires! Or it could also be his wife, Jemma, who miraculously finds time off from promoting and marketing this grand show to sing at it too. But a tray of bakewells does not have a chief cherry, each individual cherried cake must be credited and praised for what is one of the most magnificent shows this side of Barnard’s Star.ย 

Saturday at Fulltone ’26

There’s one violinist who reminds me of Chris Kamara, but unfamiliar with all the names of this seventy-piece orchestra, each and everyone of them are cherries! And their combined efforts is what makes Fulltone so tasty. To them, and every volunteer, well done and thank you, for, from start to finish, Saturday was totally and unequivocally magical. 

Saturday at Fulltone ’26

Social media posting expected today, or thoughtless clickbait headlines, casting opinions on Fulltone whether or not they attended! The move to Park Farm I suspect will be under scrutiny, particularly by those who once makeshift their own free party by pitching up by the exterior fence. Transport issues with the times of the shuttle bus might rightfully be criticised, and for an event dedicated to its town, its regularity might need evaluating for future years; teething troubles. But with the campsite option, the Fulltone Festival 26 is more accessible to a wider audience, and folk from afar communally rubbed shoulders with dedicated Devizons for a series of showstoppers back-to-back, heralding a new chapter for Fulltone.

Saturday at Fulltone ’26

Social media can be toxic, Park Farm is where you must be to assess this. And should you require an example, let’s take the grand finale of Saturday night. That iconic stage, like a giant sky-reaching gothic church window, barely shaded partygoers from the heatwave, as Two-Tone tribute Mostly Madness did what it said on their tin. With emphasis on the trombone player rather than the singer, it was an incredibly lively show of second gen ska, and went down a treat. Then the orchestra came out, glittered up, with a rendition of Fatboy Slim’s Right Here, Right Now, but rather than the repetitive sample which mightโ€™ve been acceptable in the nineties, a young guy, conveniently called Guy I believe, interpreted a rap over it; and it was sublime.

Saturday at Fulltone ’26

The stage was set for a number of club classics, each with a different singer, as Devizes-own smiley BBC legend James Threlfall prepared his decks for a “large” mix continuing the club classic theme. What was earlier a stage wonderfully reciting the classical themes of John Williamsโ€™ Star Wars was now a pumping house festival, where the exhausted orchestra took a hydration break. But this was not the grand finale, only near to it in timings.

Saturday at Fulltone ’26

Now the orchestra came back out. James remained on the decks providing the beat, the orchestra played the melodies over it, Rozella came out too, glittering, and they did a few more vocal club classics, using Guy to rap Snapโ€™s Rhythm is a Dancer. Then, a singer from the orchestra backed her with her most memorable hit Everybodyโ€™s Free. This was my personal favourite thing ever to happen at a FullTone Festival, as sparks of the fondest memories flooded my neurons, aided by a Muck & Dunder Bajan rum punch, and we danced like there was no tomorrow, even though there was and FullTone continues today!

Saturday at Fulltone ’26

For an Uncle Albert perspective, back in the day, โ€œwhen I was in the rave,โ€ house, jungle, techno and all other subgenres were virtually the same shebang, or at least their roots were bundled together. The only divide was songs for cheesy clubbers, aching for the commercialisation of rave culture, and those for the โ€œhardcoreโ€ free party people illegally raving in some field or other. Then there were those songs which transcended that boundary, that appeased whatever side of the fence you sat on, and in 1991, Rozellaโ€™s uplifting piano-breaking anthem was โ€œthe one.โ€

Saturday at Fulltone ’26

But, looking at the faces of those dancing to it last night, my personal significance mattered not a stitch, as for many 1991 is a page in a history book. Still, I couldnโ€™t have imagined this โ€œthrowaway musicโ€ would ever become classed as โ€œclassics,โ€ as they relished every second of it as much as me, and the few other matured ravers!

Saturday at Fulltone ’26

For those younger, 1991 was not a live music era, it was governed by DJ culture. I didn’t know (much care) what Rozalla looked like, but as she sang on that stage, she looked and performed as beautifully as I could’ve ever imagined. In some vague similarity, The Wurzels seemingly did too!

Saturday at Fulltone ’26

Imagine, if you will, the most unlikely break between sections of the Proms, but, as we’re West Country, the glove fitted with danceable jollity. Professionally accomplished, where age didn’t seem to come into it, and I am a Cider Drinker encouraged a bra to be thrown in their general direction, the Wurzels were expectantly brilliant!

Saturday at Fulltone ’26

The Kaiser Chief’s Ruby Ruby perhaps not as apt as other pop hits they’ve covered, and the encore Combined Harvester had the techno remix backing, which would’ve been acceptable in 1992, but I take into consideration their ages and if it had to be the last song, they were likely completely knackered by the end of it. They put in the shift, with hilarious banter and skilled scrumpy & western, as those bumpkin legends were the making of it. 

Saturday at Fulltone ’26

There were parts I regret I missed, such as the orchestra playing a Queen set; it sounded smashing though, as I rushed carefully back across the dual carriageway, assuming the last thing folk want to see driving home is a milkman as roadkill. Too conveniently located to home, I nipped back for my dinner and a spray of Lynx!

But, John Williams, the whole Star Wars catalogue, made me remember why we were there, for the grandness of this orchestra, for the experience of this conglomerative of excellence, for the acoustics of ye gods running through you, and for the institution the FullTone Festival has become; and Iโ€™m not even a cherry bakewell kinda guy, Iโ€™m more brownie!!


Chloe Hepburnโ€™s Lullaby

New single from Swindon soul diva Chloe Hepburn, under the rebranding CHLร–VER out last week, is worthy of your attention in my honest opinion. For if Oliva Dean is bringing back a retrospective soul sound to the upcoming generation, and Lola Young breathes some English rawness into the melting pot, Chloe is a bridge in-betweenโ€ฆ.

Lullaby is as it sounds, a gentle breeze of piano-based nu-soul with deep reflections of timeless soul. But, if a lullaby is a soothing song to regulate emotions, thereโ€™s irony in the subject, an underlying analogy of accepting the consequences of your past actions.ย 

Chloe describes the vocal arrangement of this collaboration with Manon Molyneux and mastered by Shivan Mistry as a โ€œchefโ€™s kiss,โ€ and Iโ€™ve a tendency to agree. Radio play dependent, perhaps, but once that subtle hook gets into you, itโ€™s the perfect pop grower.

On the last single, Situations, we reviewed in March last year, I said โ€œChloe is destined for greater things. Itโ€™s a gorgeous single, oozing with potential and only trickling with the necessities to produce something groundbreaking.โ€ With Lullaby I believe weโ€™re there.

LinkTree


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Letโ€™s Go Swimming with Poppy Rose

Two years ago we fondly reviewed Iโ€™m Ready Now, a debut EP from Bathโ€™s Poppy Rose. I praised her unique take, her thoughtful prose and intelligent metaphors, but it was a collection of songs each with separate thoughts. Poppyโ€™s new EP, Letโ€™s Go Swimming is on another level, has a singular theme throughout, and a certain sound that relates, whilst also massively improving on uniqueness, prose and metaphorโ€ฆ..

The cover suggests Poppy likes swimming, especially when she was younger, therefore the writings are whimsical reflections on childhood, and the sound interprets the emotions and innocence of a visit to the swimming baths, perhaps with hidden metaphors, perhaps not! Nothing is forced upon you here, that option is left entirely up to the listener; all you need is some goggles.

The running order presents a timelined narrative. The opening tune is motivational, upbeat joyful pop, the excitement when the suggestion of a trip to the pool is accepted. The second is a playful rap duet featuring Moritz Finn Kleffmann (Finn, Prince of Whales,) and amusingly reflects on the joys of being in the pool. Itโ€™s lots of splishing, sploshing fun, returning you to a blissful childhood state of purity.

Now Poppy has reverted you to a childlike state, you’re a kid again, and enjoying the moment. But do you remember how it was, mates, showing off, diving in, and youโ€™ve not conquered that fear of taking the first leap? The third tune of four calms the excitement with a moody ambient reflection of overcoming your fears; Dive represents doubt in your abilities, and peer pressure, sublimely. You loved it after you took that first plunge, didnโ€™t you? And that is precisely what you must do with this EP, trust in Poppy!

Once the opening excitement has waned by the realisation you didnโ€™t break any water speed records, as you imagined you would have, the acceptance of a good time regardless, and the fact you gave it your best, thereโ€™s a sleepy finale; young Poppy is tired, and wants to go home, and the music perfectly reflects the mood and sentiment, to the point a cascade of afterthoughts will waterslide through your mind, of those wonderful days of being taken swimming as a child, or taking your own children swimming.ย ย 

It is, in a word, joyful, but brilliantly encompassing too. A wonderful take on a simple everyday activity, rolled into a running concept, a diary entry, and delivered with a simple sound of early electronica meets acoustic work, which exquisitely matches the theme. What I love about this is a child would relish with incorruptibility at its lucidity and playful imagination, while an adult would do likewise, just nostalgically. And in this, I cannot compare it to anything else other than the mighty whimsical rapper, Gecko.

Pass me my water-wings, I really fancy a quick dip myself after listening to that!

Link-Tree


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 distributed them freely throughout the audience! Ruby Darbyshire has that effect, seemingly wherever she goesโ€ฆโ€ฆ

Iโ€™m thrilled Ruby is playing RowdeFest on 30th May. On 21st June she supports Chantel McGregor at Long Street Blues Club, a music appreciation society where attendees gaze upon acts in respectful silence. But, I’ve witnessed Ruby captivate regulars of the noisiest pubs into muted awe!

At Devizesโ€™ Three Crowns, number one pub for cover bands knocking decibels across a raucous crowd, Ruby crouches, packing away her bagpipes after a sublime Sunday set of mellowed and breezy originals and covers, professionally smiling, greeting either familiar faces or new fans desperate to express their delight and gratitude.

However long it takes for the crowd to wane, I’m determined to catch up with Ruby. Whilst I’ve known her gregariousness for a couple of years, she also maintains an enigmatic charm, rarely talking backstory, life and what inspires her. I wanted to discover Ruby’s motivations, solve riddles behind how she’s so mind-bogglingly talented at just nineteen. Oh, and if we’ve been heaven sent, or how it comes to be we have this remarkable singer-songwriter on our local circuit.

Icebreaker first. Ruby has two EPs, and a few separate songs, like Caller Unknown, a soulful debut single co-composed with Justin Haywood, and with help from Tim Burgess of the Charlatans. Produced by Freddie Cowan of The Vaccines, it was played on BBC6. But her forthcoming is called God is Offline, which Ruby recently posted a demo ofโ€ฆ.online!

I asked Ruby if she had a release date. โ€œNo date yet,โ€ she replied, โ€œbut weโ€™ve planned for the end of the summer.โ€

โ€œIt was inspired by our recent trip to Egypt,โ€ Ruby explained, โ€œwhere we narrowly escaped Dubai’s missile attack by a few hours. When we got to our apartment, we could see down on the street. There were loads of prayer mats, because the mosque was so filled people had to spill out onto the road. And so that inspired it.โ€

Itโ€™s deeper meaning, I presumed, was not to seek faith online, but to look either spiritually or in the real world. Ruby elucidated, โ€œmore just the fact that everyone is the same, whether they believe in a different God or they are from a different part of the world, they’re all the same. We’re all just trying to live our lives. To say, why are we bombing each other, then bowing to God? It’s just saying that God isn’t looking down on us, and he’s not actually looking after us. Or that you cannot connect with him.โ€

Thereโ€™s characters in her narratives lost or searching for a light, others dubious of their own answers or consequences. But, if thereโ€™s a sparkle in Rubyโ€™s eyes, they are not naรฏve stars. Rather theyโ€™re symbolic of precociousness, one who modestly acknowledges, and is confidently content with, their calling.

Ruby is well-travelled. Across the UK, into Egypt and over in India, she is adjoined to her music, therefore itโ€™s not just us who loves her performances, itโ€™s infectious wherever they trek. To discover why is surely to delve deeper into Rubyโ€™s background and roots.

โ€œMy mum’s Filipino,โ€ Ruby said, โ€œMy dad’s English, but lived in Scotland for a long time and I was born in Scotland.โ€ If youโ€™ve seen Ruby busking with bagpipes, or at a Burns Night, the latter part mightโ€™ve been obvious, but how and why has she settled on the Kennet & Avon?

โ€œI was homeschooled. So we moved down to Cambridge, which was said to be the best place to be homeschooled,โ€ Ruby continued. โ€œAnd then, during COVID, we needed a change. So we moved, because we had some friends here, we moved over with the boats from one side of the country to the other side. It took us about a year to move the boats.โ€

I know the reality differs, but I supposed life on the canal can behold a certain perception of idyllic tranquillity, so I asked Ruby if she felt that has an influence on her songwriting. โ€œSomeone said to me that I have a lot of songs which are connected to the sea and water, which I would say yes, I’ve got a few of them,โ€ she reacted. โ€œI don’t know. I guess it does. Everything influences songwriting, whether you live in a city or in the countryside. And I guess it does show up in my songwriting.โ€

A common question which somewhat stumbled Ruby, was particular artists she would cite as influences, because as she explained,  โ€œI get a lot of influence from different places. I think, lyrically, Mumford and Sons, made me fall in love with music, and their lyrics are beautiful. Artists I like, Nina Simone for her vocalsโ€ฆ. and you’ve put me on the spot!โ€ This though proves her natural professionalism, an understanding that most musicians could write an extensive essay on their influences, but the objective here is to be brief.

On cover choices for a live set though, Ruby mused, โ€œI hear a good song and think about what I can do with it rather than, oh, let’s play it exactly like them. I try and put my own slant on it.โ€

But, we really should focus on songwriting. Does Ruby have a template or system for writing, or do they more simply sporadically or randomly evolve? โ€œIt’s really difficult, songwriting,โ€ she confessed, but explained she โ€œwas inspired by the title, God Is Offline. Crowned Lightbringer, I was inspired by a riff. Insomnia, I was inspired by a metaphor I found online. It just comes, like there’s loads of ways of writing and I guess it just depends on each song, because each song is unique and individual.โ€

While her fanbase is perpetually expanding with each gig, I asked Ruby if she preferred to play to a majority aware of her, or to new audiences, particularly in a foreign country.

โ€œI think it’s nice to know that I have support,โ€ she expressed, but the preference  did not allow geographical boundaries. โ€œFor example,โ€ Ruby expanded, โ€œthere were so many people that knew me from other gigs here, and they’ve come back, which reflects on the quality. It shows me that I’m appreciated. We did some house parties in Egypt where all of our friends came and people that had come to loads of gigs, and they were the most supportive and most enjoyable parties or concerts that I’ve ever done, because it was all people who supported me.โ€ Which returns us neatly to our opening line: Ruby Darbyshire has that effect, seemingly wherever she goesโ€ฆ.

Future reflections seemed vaguer, for Rubyโ€™s proficiency is folk, self-disciplined, not scholarly, and I always felt she was comfortable there. Dabbling experiments with breakbeats over her piping, perhaps to modernise its perception, I omitted, but possibilities of forming a band I did mention. โ€œWas this like a year ago?โ€ Ruby causally inquired, but pondered โ€œit’s always a thought,โ€ noting some particular gigs where, โ€œit would be good to have some more musicians, to play and accompany me.โ€

The โ€˜what comes nextโ€™ section was dominated by her enrolment on an online music course. โ€œIโ€™ll do an undergrad starting September,โ€ she told me, and furthered proposals to continue writing and โ€œexperiencing different music,โ€  mostly through planned travelling back to Egypt โ€œnext winter, so, experience the Arabic music, beautiful stuff.โ€

My hopes for this broad-horizons, free spirited prodigy might be proficient backing and a renowned producer, and I often marvel at the possibilities when pondering this imagining. This led us onto talk about the music industry today. Ruby explained how the shift relied heavily now, not on schooled certification or headhunted raw talent, rather on an artistโ€™s ability to self-promote and build an online presence. From monumental beginnings like The Edinburgh Fringe Festival to opening for us at The Wiltshire Music Awards, if Rubyโ€™s journey would one day make as equally a fascinating biography as some musical legends, I envision a day people would be engrossed by it.

But while Rubyโ€™s roots, travelling, and gigs and festivals, to song-writing on her narrowboat, are all narratives in the natural progression of her skills as a multi-instrumental musician, thereโ€™s one defining, and perhaps incredulous element to solving the riddle behind how she’s so mind-bogglingly talented, which is that Ruby has been playing music since she was three and a half, and busking by four. Dammit! Thatโ€™s the kind of age Iโ€™d have considered acquiring the skillset to bite my own toenails an achievement!!

Ruby Darbyshire


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Jol Rose For Tomorrow

New single from Swindonโ€™s finest Americana singer-songwriter Jol Rose, the kind of artist whoโ€™ll finish a song and leave a jammed pub in such aweโ€ฆ

Keep reading

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Harmony Asia Can Do This

Itโ€™s a question Iโ€™ve asked Chippenham singer-songwriter Harmony Asia on each rare occasion I catch her for a chat; if sheโ€™s planning to capture a slice of her wonderful performances on record. I guess I will have to find a new request now, but judging by her debut single released today, I Could Do This, it will probably be, when is the next one coming out?!

Yeah, itโ€™s as moreish as Maltesers, deliciously soulful and simply sublime. Whilst I had high expectations it would be no less, the anticipation didnโ€™t falter my delight upon hearing it. The presumption was Harmony Asia can do this, do this with distinction, and she did. I Could Do This is jazzy piano and feathering drum neo soul, and with Harmonyโ€™s soothing vocals causally tingling the coolest feelgood romance theme, itโ€™s commercially viable contemporary pop; top marks from me!

Thereโ€™s technical mastery which seems to come naturally to Harmony; the defined range of emotional depth, and raw passion akin to soul legends, yet retaining the coolness of artists like Sade or Sharon Woolf and Macy Gray. And while this single is on that level too, itโ€™s written with equal skill. Listen to it, youโ€™ll hear what I mean and your ears will love you forevermoreโ€ฆ. ย 


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 by its cover, because while this Wiltshire collective’s debut single How it Feels might pertain such elements, I was pleasantly surprised to find it also jumping with feelgood soul….

Taken from an upcoming album of the same name, How it Feels is brass-blowing, high energy, sunny side of the street music, and I’d wager we all need a bit of that these days.

Piano-driven rock, gripping onto early Springsteen, or Elton John even, uptempo yet melodic, with an instant and irresistible hook. Yet when I listened, I was filled with imaginations of later new wave mod, when it became the staple pop of the eighties; this wouldn’t look out of place on a Style Council album. I’ll tell you how How it Feels feels; it feels alive and kicking!

Bluebeard and the Desperate Hours are quite the expert collective. Dave Turner is the bluebearded frontman pianist, Helen Robertson plays cello and adds those soulful backing vocals with Phil Cooper, who is also on bass.

All backed by guitarist Rich Godfrey and drummer Coby Franklin-Turner. The brass section knocking the energy into this song is provided by trumpeter and flugel horn player John Hare.

Shame I missed them at 7 Hills last weekend now I’ve heard this cracking single, but made up they’ll be at our newly opened The Fold this Friday, 27th March, at The Lamb in Devizes, with JP Oldfield in support. It’s free, hope to see you there?!


Kate X: Swindonโ€™s Best Kept Secret

Youโ€™re young, stars in your eyes, and you live in Swindon; you are not alone, but you are, unfortunately, up against Kate X! Kate is independently producing contemporary pop RnB of international quality, and sheโ€™s riding it. Kate X should, and I hope and strongly predict she will be, a global success storyโ€ฆ..

James Threlfall spins her tunes on BBC Introducing, comparing her with Sabrina Carpenter and Zara Larson, and I respect his professional judgement. Her singles No Tears and Touch have amassed over nine thousand streams on Spotify and her latest, fifth single, For One Night had over a thousand plays in the four days after its recent release.ย ย 

Itโ€™s easy to understand why once youโ€™ve listened. Every element to a viable contemporary pop song is evident in Kate Xโ€™s tunes. Theyโ€™re sassy without being coarse, her mezzo-soprano vocals perfectly fit pop, and Kate has a natural flair for bringing acute hooks to the bridge. For One Night, in particular, has that driving RnB bassline, but as a collection, all of Kate Xโ€™s singles to date make for an impressive portfolio.

Iโ€™ve been hooked on Touch since Peggy-Sue Ford introduced it to me on her Donโ€™t Stop the Music show on Swindon 105.5 last year, and it hasnโ€™t left my head yet! For One Night clearly shows a natural progression, with a familiar and timeless clandestine lover theme, akin to Dusty Springfieldโ€™s popular cover choice Breakfast in Bed, but a contemporary soul feel more Beyonce than Kylie.   

She has 670 monthly listeners on Spotify, which for a local indie artist is impressive. She might suggest she can be the object of her desireโ€™s โ€œbest kept secret,โ€ but in my opinion, she should no longer be secret to mainstream media and a worldwide fanbase.  

Okay, so there are occasions, and more often than not, when an aspiring wannabe’s judgement obscures the probable reality that theyโ€™re the needle in the haystack and unlikely to progress to stardom in the competitive music business. And someone has the unfortunate task of tying their feet back to the floor. It’s sad, but a common stipulation, and often manipulated by television talent shows for ratings. But when I listen to Kate X’s tunes, compare them to what the mainstream is putting out, and consider she’s independently creating and marketing, this is clearly not the case here. Kate has something really rather special, which is on par with the mainstream commercial output.

All it takes is for word to spread, and maybe some crossed fingers and toes, but Kate X seems determined, and unquestionably has the potential to be the next big pop star.

Kate, your songs are simply brilliant, remain steadfast to your goal, mentally prepare for setbacks, obviously, but I reckon, judging on this latest single, youโ€™ve got it in the pocket girl! And we wish you all best of luck with this positively facing journey.ย Follow her journey on Instagram, TikTok, or Facebook.


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Book Review: Dave McKenna’s Death Wish

It was back in March last year when I last mentioned Devizes author Dave McKenna,ย reviewing his debut, The Killer & The Catalyst. He’s returned with another breakneck thriller novelette, Death Wishโ€ฆ As a writer myself I can be particularly critical of books when reviewing; apologies in advance, though Iโ€™ve nothing bad to say about thisโ€ฆ

My Reflection on the Fate of Carnivals

It’s Saturday morning on the 13th July 1985, and there’s a dilemma brewing in my household I’m indifferent with. I’m twelve, aware I should do what my mum tells me, but I’m easily persuaded by my older brother, who is adamant he doesn’t want to go to our town carnival, because Live Aid is beingโ€ฆ

Chandra Likely To Go Boom!

Buzzwords, like โ€œturbo,โ€ or โ€œsonicโ€ 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 Chandraโ€™s releases just plain indie-pop; theyโ€™re turbo-charged sonic boom spearheaded empowerments of synergy indie-pop songs which prolifically arrive with an explosive boom! And, coincidentally, Boom is the new oneโ€ฆ..

Seriously, thereโ€™s a glorious feelgood summer energy to this. You’d have to be having a really bad day to find fault with it. Love the bongo intro, and the subtle, tongue-in-cheek doowop backing, and the guitar riff bridge sits perfectly amidst the positive vibes the subject evokes in the singer.ย ย 

โ€œThis song is a bit of a departure from the norm,โ€ lovable showman Chandra says, โ€œover the past two and half years we’ve never once written a song about love. We’ve always written about topics such as inclusivity, tolerance, compassion, faith and self confidence, but the one thing that ties it all together is we want to write songs that are upbeat, hopeful and empowering. We hope that this song does exactly that.โ€

Observation double underlined, and box triple ticked.

โ€œBoom is a very spiritual song about love,โ€ Bristolโ€™s power indie-pop virtuoso continues, โ€œsoul-mates and the miracle of finding that special someone in a vast universe full of empty space. It may take a moment; it may take a lifetime, but when you find that special person who makes you whole, the explosion is as powerful as the Big Bang. And yes… sometimes it’s really scary to open yourself up to the possibility of being hurt, especially if you’ve experienced something bad previously; something is coming, everything will be alright.โ€

And thatโ€™s about as reassuring as the nature of the song too!ย  Boom launches into the universe on Friday 20th March. Thereโ€™s a BOOM Single Launch Party on Saturday 28th March, at The Queen’s Head in Box. Doors 7.30pm.

Find all stuff you need to know about Chandra HERE


Only The Brave Burn The Midnight Oil

Hurrah, at last! Only The Brave is the debut song from Burn The Midnight Oilโ€™s revised lineup; something Iโ€™ve been anticipating since watching them rehearse at Devizesโ€™ HK Studios, just before last yearโ€™s Awards. But if my expectations of a recording from this new Devizes based phenomenon was perched on the summit of the highest mountain, gaining a sneaky preview before its release on Friday (13th March) far from disappointed, in fact Iโ€™m now soaring above cloudsโ€ฆ.

I know pressing a CD is a financial risk for any upcoming band against bunging it on streaming platforms, but Iโ€™d urge them to go for it. In the relatively short time Burn The Midnight Oil have been gigging under this current format, theyโ€™ve become the kind of band youโ€™d see live and make haste for their merch stand in hope to return home grasping a piece of what you just experienced. Based on this first of a few singles coming out of Martin Spencerโ€™s Badger Set Studio in Potterne, a compilation album would be a real keepsake.

Itโ€™s hasty and gearing, a rich and refreshing design on a timeless formula; the folk-rock-blues combo conveying enduring, moreish and matured pop, with that driving beat, with that irresistible rolling guitar riff, and with the smooth-as-velvet female vocals soothing a biting narrative. Causal listening itโ€™s feelgood, but in depth itโ€™s fighting against the odds and rising above adversities.

Itโ€™s the song for the comeback scene of an epic movie. Youโ€™re on the edge of your seat, identifying with the character, either relating your own experiences, or more simply distinguishing their plight is their drive, but you cannot sympathise, because like Tina Turner, Gloria Gaynor, or Natasha Bedingfield, sheโ€™s weaponised it, risen above it regardless, and taken control of her own destiny; Alanis Morissette of Devizes.

Yet the most marvellous thing about Only the Brave is, Chrissy โ€œSteenโ€ Chapman can equally hold the vocal power of any of the aforementioned female big hitters, kick the meaning behind the song into touch, and her backing band accompanies her with such tight precision, itโ€™s something to behold. In essence, it has the perfect combination for the memorable and relevant tune you wonโ€™t mind having stuck in your head!

I cannot wait to hear the others, but for now, pre-save this beauty HERE. Find them rootin and tootin their thing live by following them on Facebook, HERE.ย Attend CapFest as seen below, for their next Devizes show.


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An Endless Summer with Braydon-Leeโ€™s New Single

If, inspired by the likes of Ed Sheeran and James Arthur, the majority of Gen Z loves a good power ballad, the beginnings of the next generation, Alpha, seem to be following suit. And if thatโ€™s the thing, fifteen-year-old Calne singer-songwriter Braydon Lee was already in the forefront locally, but in my unprofessional opinion, his second single newly released, Endless Summer, provides the truckload of potential necessary to make this a nationwide phenomenonโ€ฆโ€ฆ

Oi kids, we had heartbreakingly emotional roller-coaster power ballads in the eighties too, you know; practically invented โ€˜em?! Just with a lot more guitars and hairspray! Yet, Iโ€™ve been reconditioned by gigging with my daughter, where Noah Kahan at the O2 impressed me on a Springsteen level, into appreciating these soulful melodic beats, derived, debatably, of folktronica and contemporary RnB. If Iโ€™ve acclaimed anyone on the local scene for adopting this in a manner marketable on an international level, it has to be Swindonโ€™s Brandon Clarke, aka Weather. It just so happens, Brandon has produced this track, and together, Braydon and Brandon, their dedication illuminates on this ingenious and poignantly buoyant love song.

This is an absolutely wonderful tune, a hefty guitar riff bassline drifting you along a crestfallen narrative with euphoric backing and Braydonโ€™s eloquent vocals shining through. Braydon has penned a sublime anthem to pluck any heartstring, and he delivers it with the passion and emotion of a professional singer twenty years further down their line.

Itโ€™s this bucketload of unpatronising top marks from me, which though I thought Iโ€™d seen him before, searched my own blog and came up trumps, (I caught the end of his superb appearance at last yearโ€™s FullTone Festival) I predict one day soon, no one will need to search for Braydon Lee; theyโ€™ll all know him, love him, and have brought his merch from the O2 shop!

โ€œIt was my YouTube cover of Sam Barber’s Straight and Narrow that started getting me attention,โ€ Braydon explained. Now, I’m just a two-bit blogger not wishing to put stars in anyone’s eyes, but while running off a quick cover will gain attention, Braydon needs to concentrate on carving an original style, with the noticeable hook, and herein lies the groundbreaking moment, Endless Summer accomplishes this. 

You can pen a thousand good songs, but finding that awakening hook is key. An Endless Summer, working outdoors through the night, I like this idea, although this is metaphorically akin to the Summer of โ€˜69 when Bryan wished the season would go on forever, so Braydon might romantically hook his duck, I reckon. And on those levels this works, and will gain more than the attention of his heart’s desire. The first geezer I’m sending this review to will be Mr Threlfeall at BBC Introducing, hoping Braydon is already on his radar.

It comes with a professionally shot video created by Swindon’s 1988 Media, and as a package this has impressed me. I urge you to pay it some attention, or at least pass this message onto your offspring; Braydon is one to watchโ€ฆ.

LinkTree Facebook Instagram


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Chandra Finds Heaven on Earth

Usually I just write what I think, but if I had a point-scoring system this new single from Bristol-based indie-pop outfit Chandra would tick every box. Itโ€™s called Heaven on Earth; if Belinda Carlise made it, Chandra rocked it!

Punchy, tick. Find that perfect hook, tick. Subtly righteous narrative, tick. Balance pithy narrative with equal amount of carefree fun, tick. Rock out, double-tick! Itโ€™s got the no worries in the face of adversity attitude of Three Little Birds, the youthful carefree tenet of Supergrassโ€™s Alright, the drive of Crash by The Primitives, and the punch of The Beastie Boys fighting for their right to party. Yet, itโ€™s august, styled, and definitively Chandra.

Weโ€™ve not heard from Chandra since 2024 when we fondly reviewed his debut EP Lifted, so itโ€™s great to feature him again, as thereโ€™s nothing to criticise about this cracking single, which means my work here is done! Itโ€™s raining outside, who cares, plug this blast of indie-punk-pop onto your playlist and cease your worrying!

Listen HERE


Fulltone โ€˜26 to Ignite Wiltshire with an Epic Weekend of Live Music

Now in its seventh year, and at its new and better venue, Park Farm on the edge of Devizes, itโ€™s full steam ahead for The Fulltone Festival โ€˜26. From the 11thโ€“12th July Fulltone is set to ignite Wiltshire with an epic weekend of live musicโ€ฆ..

Promising a โ€œspectacular, joy-filled weekend of live music which brings together orchestral power, iconic artists and a true summer festival atmosphere in the heart of the Wiltshire countryside,โ€ The Fulltone Festival is a uniquely magnificent show. Presented by The Fulltone Orchestra, the festival features a fifty-piece live orchestra, major guest performers, celebrated tribute acts and genre-spanning concerts, from cinematic classical masterpieces and symphonic rock to dance anthems, Motown classics and sing-along crowd favourites.

Designed as a family-friendly, inclusive festival, Fulltone โ€™26 offers free entry for children under 14, accessible ticket pricing, on-site camping and a relaxed, welcoming environment that encourages audiences of all ages to experience live music together. The event arena is packed full of great food and drink stalls, as well as allowing picnics. Thereโ€™sย parking on site and a shuttle bus taking people from the town to the event. Itโ€™s exceptionally well organised, with Event Director Tanya Earley at the helm of the eventโ€™s operations again.

Image: Gail Foster

The weekend begins for campers on Friday evening with a campsite DJ warming them up. Saturday and Sunday are packed with unmissable performances across the weekend. Audiences can enjoy an electrifying programme including orchestral performances of Holstโ€™s The Planets paired with the Star Wars Suite and Symphonic Queen, featuring Ricardo Afonso who is back by popular demand, as featured in The Voice.

The guests this year are particularly special. West Country legends The Wurzels gives Fulltone the key to their combine harvester, and Jemma virtually yelped down the phone at me at the thought international pop icon Jason Donovan headlining a huge Sunday night eighties spectacular finale; thereโ€™s going to be too many broken hearts in Devizes that weekend (okay, youโ€™ve got to be of a certain age to get that gag!)

Thereโ€™s also some ska madness with nutty boys tribute Mainly Madness, and Seriously Collins, celebrating the music of Phil Collins and Genesis. Special guests are expected with a Best of Motown show, and everybody will officially be free to feel good when Devizesโ€™ very own BBC Introducing DJ James Threlfall teams with nineties singer Rozalla, for some dance anthem floorfillers. Even the poster has more colourful zap and zest to it than ever before, and conveys Fulltone 26 will be one youโ€™ll never forget!  

Conductor and founder Anthony Brown said, โ€œFulltone is all about the thrill of live music and the magic that happens when people experience it together. For 2026, weโ€™re bringing an extraordinary mix of sounds and styles to Park Farm, from breathtaking orchestralย moments to songs people know and love. Our aim is simple: for everyone who comes to feel uplifted, connected and part of something special.โ€

Tickets are on sale now. Early Bird tickets are available until 28 February 2026. Weekend and day tickets are on sale now, with under-14s attending free when accompanied by a paying adult. Weekend passes offer the best value.

You can find full details and tickets here: www.fto.org.uk/events and theyโ€™re Especially for You; see what I did there?!


Awesome! Talk in Code Immortalised as Lego Minifigures!


Ah, let’s talk about Talk in Code one more time this year, because we’re secret Talkers here, and everything has been awesome this year for them, but now they’re being immortalised as Lego minifigures!

Surely, the piece of resistance of local merch, it doesn’t get better than this! Lego minifigures have become something of a collectors item over the years, and the finest local indie popsters have a Lego inspired fan reward scheme they’re calling TICBRIX; genuine awesomeness!

Now open, all you’ve got to do is attend their gigs, which is a pleasure in itself, collect stamps on a loyalty card, and collect the band figures. Pick up the cards at the merch desk at any show, get it stamped, and after every two Talk in Code shows, you can claim your FREE minifigure and badge from the merch desk.

With four members in the band, it’s going to take you eight shows to complete your collection, but thatโ€™s not all. At the halfway point, youโ€™ll be eligible for a bespoke, Lego stage set for them to all play on, complete with a bass guitar, extra guitar, drumsticks and even a Sneddsโ€™ luxury beard upgrade!

Personally, I feel inclined to hotfoot it up the loft to find my bricks and build a spaceship for them to gig on because they’re out of this world! Spaceship!!!!

Some early 2026 performances from the guys include 17th Jan at The Kings Arms in Amesbury and also at Devizes Winter of Festive Ales at The Corn Exchange on 28th February. On the 28th of March, there’s a Talkers Show by personal invite only at The Hop in Swindon. Join the Talkers WhatsApp group to get in on that and be in the know of other gigs by texting โ€˜add meโ€™ with your first name to 07725 138077. All welcome unless you’re from the planet Duplo!


Pet Shop Boys, Actually with Talk in Code at the Tree House

Having to unfortunately miss Devizesโ€™ blues extravaganza on Friday, I crossed the borderline on Saturday to get my prescribed dosage of Talk in Codeโ€ฆwith a Pet Shop Boys tribute thrown in for good measureโ€ฆ..

Two classic tracks into their set at Frome’s little sister venue to the Cheese & Grain, The Tree House, Pet Shop Boys, Actually from Shropshire hailed their support act as better than them. Self-deprecating isn’t unheard of, rare for music acts, but the bottom line is, I’ve heard far worse tributes than The Pet Shop Boys, Actually, actually.ย 

For Talk in Code, though, it was an accolade fully deserved, as they did what they do as fantastic as ever, and thrilled more than their fanbase at the modest venue. The other attendees, there for classic pop they cherish, found Talk in Code fitted like a glove, despite their songs being original, because they have a timeless universal appeal, and their uniqueย synth-pop spin on indie provides it with a defining eighties feel.

Itโ€™s an ideal opportunity to reopen the perpetual debate I have with myself over the worth of tribute acts, even cover bands too, against those producing original music. Like any tribute act, the value of their performance hinges predominantly on the individual and their association with the act theyโ€™re attributing. Whether a tribute act is good is far more subjective than an original act; based upon personal reflection. โ€œItโ€™s comfort music,โ€ Talk in Code guitarist Snedds expressed to me outside the venue; agreed, personally Iโ€™m impartial to The Pet Shop Boys, therefore passably comforted.

They broke through in the middle of electronica. I brought and loved my 7โ€ of West End Girls in 85, others did too as it hit number one, and the duo walked away with awards. Though the Pet Shop Boys created their own take on electronica, much like Madness did with Two-Tone, were hugely successful with it, and again like Madness, they continued the template way past the trend fizzling the competition out. Such a practice causes division, you attain a fan following, whereas mild observers tend to consider if the uniformed style gets repetitive, especially over decades. Iโ€™m of that mindset, hence my impartiality.

So here at this rather snazzy tree house, carpeted and significantly more congenial, hospitable than the big cheese, but smaller and rather more conventional than Fromeโ€™s hipster and counterculture reputation, being situated within a housing estate fashioned sports bar, The Vine Tree, a fair crowd of Pet Shop Boys diehards gathered amidst regulars and โ€œTalkersโ€ for a cracking night in a nice, welcoming and universal pub.

Often to miss the support act is unfortunate, for this gig it wouldโ€™ve been sacrilege. Talk in Code were on fire as ever, blasting out their cheerful tunes, frontman Chris wiggling moves in his Adidas uniform and rightfully boasting of their success at The Wiltshire Music Awards, outside our county! Itโ€™s a lively show I will never tire of, and if I have to witness tribute acts too, if by some miracle I make eighty, will someone please wheel me over to a tribute act show to Talk in Code?!

As for The Pet Shop Boys, Actually, prior I considered if The Pet Shop Boys is quite a simple act to make a tribute from, compared to other eighties acts; call up a proficient keyboardist, buy him a BOY cap, don a tuxedo and white scarf and play musical statues! Although they tended to lightheartedly play their accomplishment down, they made a brilliant job out of it. As those pop classics came through adept and nimble, I paused to consider if my opinion of the Pet Shop Boys isnโ€™t a smidgen harsh; through the splendour of this tribute I saw them in a refined light, and that is a true sign of a proficient tribute act, and their worth. 

Interestingly, they adopted a female singer too, to soften the vocals to match Neil Tennantโ€™s camp tones, and to play the incredibly tricky part of Dusty Springfield for What Have I Done to Deserve This? Likely the trickiest part of the show. To my approval, Pet Shop Boys, Actually covered a Beloved track too, a kind of raverโ€™s answer to The Pet Shop Boys, and they thumped out the newer, technologically progressed tunes after a workout of eighties classics, and returned to the hits for an outstanding finale; someone get me one of those jackets that looks like I got stuck in a carwash!

If you go to see a tribute act with expectations of precisely recreating the magnitude of the original act, youโ€™re an idiot and will be let down in most cases! If you go to see a tribute act open-mindedly, with your priority on having fun, nine times out of ten you will, especially if you hold a passion for the act being attributed. Use your noddle, donโ€™t see Pet Shop Boys Actually if you’re hoping for a tribute to Slipknot, but do if you like The Pet Shop Boys, and youโ€™ll find theyโ€™re really rather good!


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Brian on FullTone Festival

Our regular historian and Visiting Research Fellow of The Regional History Centre, UWE Bristol, Brian Edwards takes some time to sketch the FullTone Orchestra aheadโ€ฆ

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One Of Us; New Single From Lady Nade

Featured Image by Giulia Spadafora

Ooo, a handclap uncomplicated chorus is the hook in Lady Ladeโ€™s latest offering of soulful pop. Itโ€™s timelessly cool and snappy, but holds a deeper narrativeโ€ฆ..

Released at the end of November, One of Us is an uplifting song of hope against the odds. Raised by her grandparents, Bristolโ€™s sublime songstress Lady Nade often references losing them in her songwriting. Speaking about after their passing, she explained, “at times these years felt more like survival trying to navigate chaos. โ€˜One Of Usโ€™ was written from that time when I didnโ€™t always feel safe. I was trying to make sense of grief, and find what it meant to belong.โ€

โ€œOne of Us is about trying to free myself from the toxic cycles and patterns that I now know only encouraged me to feel negative emotions and in turn held me back from trying to become a better version of myself,โ€ Lady Nade continued. But its beauty lies, not in the personal reflection, but the interpersonal effect, the value of others identifying with the words. โ€œThis is not just my anthem song,โ€ she said, โ€œit is for anyone who has ever had to rebuild themselves from the inside out, or is still on that journey of aiming to become the best version of themselves.โ€

I donโ€™t exaggerate nor flatter, even if she did give me a wonderful hug when she played at the Devizes Arts Festival! Lady Nade isnโ€™t comparable to other singers on the southwest circuit, her extraordinarily deep vocal range rather puts her on par with Nina Simone, of whom she often pays a respectable homage to. She takes this soulful new single around the UK, then is debuting it in Kansas and Canada; we wish her luck, but on the strength of this single, I think itโ€™s in the pocket!ย 

Streaming Options HERE


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Mantonfest Magic Multiplies

Mantonfest, the longstanding gem on Marlborough’s event calendar, finalised for another fantastic year last night, with metal-driven mayhem, as the sounds of AC/DC ripped acrossโ€ฆ

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Love is for Life (Not Only for Christmas Time) Says Hannah Collins

And so it begins, the build-up, the tension; come all ye faithful round yon virgins and three kings of orient are, spreading joy to the world while shepherds wash their socks and Batman smells. In which, in order to spread warm emotions of peace and unity for the one day, itโ€™s obligatory to rush around like headless chickens for two months, verbally abuse drivers in traffic jams, inevitably cause accidents because weโ€™re too consumed by what little Johnny wants this year to concentrate on our driving!

Or, how weโ€™re still hungover from the work-do where we accidentally got off with the agency temp in sales who puked down her blouse before half four, and Gary fancied her, and now heโ€™s going to be pissed with you. And ram B&M on black Friday, fight  to the death anyone who might grab the last Labubu doll, and Grannyโ€™s ditched us for some โ€œgentleman friend,โ€ whoโ€™s whisked her off to The Maldives, and well, if mum undercooks the pigs in blankets again Iโ€™m off down the pub, where did they put the batteries, and who lost the end to the bloody sellotape?!

A pastiche of the RSPCA slogan about puppies as pressies, Bristol-based vocalist, musician and producer, Hannah Collins has nailed it in her new Christmas song with a spin, Love is for Life (Not Only for Christmas Time.) The simple premise; if we can be nice to each other on Christmas Day, why canโ€™t we for the rest of the year? How smug, bar humbug, great song, though!!

For if it sounds like the basis of a bitter anti-Christmas punk song, itโ€™s subtle, ironically uplifting, and contains a simple piano riff with seasonal jingly bells.ย Released on the 28th of November, Hannah says, โ€œin a materialistic world, love is the greatest gift we can give.โ€

Produced and mixed by Tim Oliver (Sinead Oโ€™Connor/Robert Plant) at Peter Gabrielโ€™s Realworld Studios in Box, Wiltshire, featuring John Baggot (Massive Attack/Portishead/Robert Plant) on keys, and Eric Okafo on bass, it has a Motown lite sound and is reminiscent of a Mariah Carey singalongโ€ฆ..argh, Iโ€™m caught by the catchy hook, and Iโ€™m putting my decorations up now!!

It will be available to stream on all platforms from 28th November 2025. There will also be an original music video released on YouTube on 21st November, created by Olivia Kennedy from OK! Animations. 

Hannah is new to us, but tis said her, โ€œinquisitive mind, creative spirit and interest in philosophy are overarching themes in her work; a golden thread flowing through her art, which is particularly resonant with the message of peace and goodwill at Christmas.โ€ The press release asks, โ€œcan we keep the peace, love and charity going all year long, and not just at Christmas time?!โ€ Have they not heard of dry January, winters of discontent, and seasonal affective disorder, damn your spritely song, Hannah?!!

โ€œI will honour Christmas in my heart, and try to keep it all the year. I will live in the Past, the Present, and the Future. The Spirits of all Three shall strive within me. I will not shut out the lessons that they teach,โ€ Dickens wrote, โ€œfeel the magic in the atmosphere, I wonder why itโ€™s only this time of year,โ€ Hannah wrote similarly, and maybe her song has a lesson too, a seasonal catchy pop lesson I happen to love!


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George Wilding Feeding His Head

Featured Image: Helen Polarpix As if itโ€™s not hot enough, Aveburyโ€™s finest musical export George Wilding is bounding back with another new single, Feed Yourโ€ฆ

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A Positive Week After Wiltshire Music Awards

All Images By Helen Polarpix

Best part of a week since Stone Circle Music Eventsโ€™ Wiltshire Music Awards and Iโ€™m still at one thousand feet about what we achieved, and dealing with a cascade of feedback. While some of it has been appreciated constructive criticism, that crazy playground called social media is such that some comments have become unfair, misinformed or even blatantly untrue. I prefer to remain positive, thanks all the same! And here we are, beginning to see positive after effects of the whole grand shebangโ€ฆโ€ฆ

Iโ€™ve loved seeing winning and runner-up acts, if not just posting pictures and videos of themselves proudly grasping their trophies, but using their win as an accolade on gig posters and bios. If thatโ€™s not a positive outcome in a time when the whole hospitality industry is at its knees, I frankly don’t know what is. Try proving me wrong on this, I double-dare you and might even throw in a Twix for first prize!

There was also the whole โ€œconventionโ€ side to the event too, which saw networking between musicians and venues, radio stations and promoters, and the general get-together of folk usually individually dispatched to their respective gigs on a weekend. I have already seen gig posters with added support acts who didnโ€™t know each other before last Saturday, and radio plays for bands featured.

From my good friend Charlotte reuniting with Lifetime Achievement winner Peter Lamb, the producer who took her hopeful nineties girl band under his professional direction, to Fantasy Radio DJ, Mark Lister, who mentioned the awards on Scott Mills Radio 2 morning show, the attention the awards are seeing is phenomenal and the after effects are beginning to flourish.     

If Sunday’s piece was a reflection on the night as a whole and a statement of the issues we unfortunately faced. Let today be about our fantastic acts who performed, for that’s where sparks flew and obviously the nature of what we were celebrating.

Ruby Darbyshire

In order of appearance. Go on, admit it, you didn’t know the sublime Miss Ruby Darbyshire would be present, did you? I managed to not let the cat out of the bag about our opening special guest, despite my excitement!

At eighteen, Ruby is as her name suggests, a gemstone on our circuit. A multi-instrumentalist with bagpipes under her championship belt, a singer-songwriter with an exceptionally soulful voice which puts expression into her diligently crafted writing. Originally the plan was for Ruby to blow a tune of her own choice from her bagpipes and scoot off to another gig in Bradford-on-Avon, returning later in the evening. But we couldn’t let her go without at least another song, her magnum opus to date, Crowded Lightbringer, and then she played a second. It was the best opening ever, even if I was blindly operating the curtains like a bell ringer!


The Britpop Boys

Hey, honestly, I was a raver in the nineties and viewed Britpop as regressive, but I now see its worth and respect the succeeding generation who see them as classics. Being such, we see a lot of cover bands performing Britpop anthems, with varying degrees of skill. The Britpop Boys have been on my must-see list for donkeys but our paths hadnโ€™t crossed before. Iโ€™m glad thatโ€™s sorted and sound, for they were off the scale brilliant and totally โ€˜avinโ€™ it are kid.

I was sitting on the stageโ€™s sideline in awe of The Britpop Boys, it couldโ€™ve been Madchester in 1996. The sound and appearance held me spellbound, and I felt I should write to The Oxford Dictionary to redefine the word โ€œcoolโ€ as โ€œsee Britpop Boys!โ€ Yeah, they did Wonderwall, of course they did, but if itโ€™s a cliche cover choice for most, itโ€™s because itโ€™s a beautiful crowdpleaser, and had to be done given only three songs. The ultimate thing about this was, they knocked it out of the Corn Exchange and into the stratosphere; Iโ€™ve never heard it done with such attention to detail and precision to honour the original.


Burn The Midnight Oil

If Iโ€™ve seen one new band begin wobbly and develop over time Iโ€™ve seen a hundred. But Burn the Midnight Oil is one of my most favourite newcomers to the Wiltshire music scene, for the simple reason that it feels like theyโ€™ve been here forever, as their ability to deliver crisp blues-rock originals and stamp covers with their own divinity is something to behold. Like mobile phones, you think, how did we ever survive without Burn the Midnight Oil?!

Itโ€™s as if they honed their skills over decades and perfected the harmony of a classic rock band in their eighties which toured since their twenties, even if they might have, they did so individually, but that seam never shows. Their perfect performance proved this, it was nothing short of brilliant, fresh and invigorating, showing us what theyโ€™ve been working on, a beguiling harder rock sound; they look the part, they sound it too, I have high hopes for them.


Matchbox Mutiny

Ben was great as a soloist, Pat was too, together itโ€™s a magical connection to charm the pants off a donkey. This cover act could easily work anywhere, from crusty cider festival to wedding reception, itโ€™s got universal appeal. Their set was amazing, Ben might have accidentally hit me on the head with his guitar but they were awesome, and Iโ€™ve had worse on my rock n roll journey!!

It mightโ€™ve knocked some sense into me, but I know what I liked anyway, and Matchbox Mutiny are high on that list.


George Wilding

George went next, and yeah, this is where we had technical sound issues. Professional till the end, George worked through it, and as a stalwart spirit on our circuit, George is modestly legendary, for his back catalogue of sublime originals and new songs flourishing to his entertaining interactive solo covers show. See our mention of the warm up gig from Friday at the Three Crowns, if you donโ€™t already understand why we love Mr Wilding!


Lucas Hardy

With various issues arising the evening was in need of a reset. I apologise, I announced an interval, thinking Lucas could prepare and we could hold a team talk. Just like George Wilding, Lucas is professional and motivated to the core. He came out like a boxer for a championship belt fight, psyched up for it and couldnโ€™t wait for the bell! Therefore I attempted to recall the interval idea as quickly as possible, because Lucas Hardy was like a greyhound out of the trap! And what an outstanding performance, rinsed with sheer brilliance, Lucas is no stranger to award winning, itโ€™s easy to see why.


Nothing Rhymes With Orange

As it was it was impossible to estimate how much time the award giving and other acts would take, I apologise if we wrongly assumed time was against us and lengthy speeches were deemed something unpredictable enough to encourage people to keep them short if at all. The original plan therefore was that our Devizes homegrown heroes, the teenage band which shook the rafters of this market town and deployed their exceptional talent to Bristol to further the phenomenon of Nothing Rhymes With Orange, were to play out until the end.

We finished earlier than expected, the barriers broke down, and there to help create a needed frenzy of excitement, ready and eager, was this successful Devizes export, for a hometown return like no other. Nothing Rhymes With Orange were mindblowingly fantastic before they left for Uni, now itโ€™s a monster.

I was ecstatic to see the guys again, and they threw everything into their solid performance, as they always do. They return to Devizes for the Arts Festival, something we wouldโ€™ve been singing from the highest tree about anyway, but after last Saturday, itโ€™s surely unmissable.

Iโ€™ve given my thanks already, Iโ€™d like to do it again, to all our performing acts, for you made the ceremony, you furnished it with your brilliance, and that was what the night was always supposed to be about; cheers!


Bonnie Weather: New Single From Swindon’s RnB Star, Weather

You might think it’s a laryngologist’s dream come true, this Lewis Capaldi-led decade’s penchant for the blue-eyed soul singersโ€™ melismatic strain to cause Mick Hucknall to issue a health and safety warning, but to Swindon’s Brandon Clarke, aka Weather, it appears to be a natural and phenomenal giftโ€ฆ..

This short and to the point new single from Weather, Bonnie, Be Mine, remains a prime example. Awash in contemporaneous RnB silkiness, Brandon’s vocal range is impressively evocative and weaponises a defence against any criticism of contemporary pop. If Alex Warren is the millennial solitary Bieber from across the pond, Weather is more the Solomon Burke of Swindon, which I believe is a deserved higher rewarding accolade by a country mile!

Yet, despite the sombre emotional outpouring of a hopeful romance, there’s a subtle carefree attitude in Weather’s tenet which awards his sound with a nonchalant sunny side of the street feel, and it’s positively contagious.

This was displayed with panache at Swindon Shuffle, where he blasted the Tuppenny with his prerecorded tracks and toasted merrily over them, enticing the crowd. If it might sound overtly conceited and is something I’d usually turn away from, to a generation where hip hop is an ancestral baseplate it’s acceptable, but with Weather’s delivery it was so confident and indulgently cheerful it affixes a compulsory smile and an irresistible urge to stay to watch.

Even the cover to Bonnie, Be Mine displays an irony of Weather, if his sound is refreshingly modern nu-soul slash indie, with AI it conveys the retrospection of a Donald McGill postcard. So, if you’re reaching that far back before I make a comparison, Brandon, rather than eighties blue-eyed soul boys like George Michael, or even Motown/Stax artists like Wilson Pickett, with this humorous element could we go as far as someone he’d probably have to Google, like Louis Jordan and his Tympany Five?!ย  You might think it’s audacious of me, but considering the whimsical merriment of rap trios like A Tribe Called Quest and De La Soul are forty years old, why not?!

Whatever the weather, it’s a great single and being Weather is prolifically pushing out professionally clasped greatness, we look forward to hearing more.


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You’re So Cruel; New Single From George Wilding

Nothing cruel about our George Wilding; with his perfect match and another local legend of local music, Jolyon Dixon, they’re knocking out great singles like it’s child’s play…..

You’re So Cruel is out today and is a prime example. It’s an upbeat two minute blast of feelgood indie-pop, seemingly unfazed by the cruelty of the subject in the song, just you know, pointing it out, getting it off his chest! In subject it’s more akin to George’s earlier songs than the previous recent ones. Yet George seems to have captured the rule of not overthinking and keeping it to a simple hook. Yeah, rocks!

Add it to your playlist, even if you’re the cruel person in the song!!

Yesterdayโ€™s Tomorrow; Debut Album From Ursa Way and its Launch at the Tuppenny

If the eonian motivation of youths picking up guitars and forming bands has hit Gen Z enough that they’re two to a penny, I’m in the right place to discover one new to us, The Tuppennyโ€ฆ.ย 

An adept drummer pinched from Bristol, with the remaining homegrown members formed aย  youthful and hopeful Swindon indie-rock four-piece called Ursa Way, and they’ve ploughed two years into their debut album Yesterdayโ€™s Tomorrow, launched on the night in question. Now was the time to show it off, and they did in an exceptionally accomplished and entertaining way.

If an early start to a Friday evening one weekend before the celebrated Swindon Shuffle was risky, especially being Thursdays are usually the favoured live music nights for The Tuppenny, seems the band are risk-takers, as diving straight in with a twelve track album is ambitious.

Generous to a loyal fanbase when the archetypal EP usually appears first, for the same fiver pricetag, but equally generous are the young punks and an assortment of others who’ve gathered to see them, as they applauded their efforts as if a new wave of hysteria was imminent, which it could well be. Though, this is Old Town, the epicentre of Swindon’s nightlife, where they’ve ingeniously adopted road closure blockades to create Swindon-fashioned alfresco dining areas!

Ursa Way played out their album, but unlike the shameless enterprise of a legend, I predict it was the bulk of their repertoire, and that’s acceptable for an upcoming band. More importantly they did it with bells on; the composition tight, the delivery confident. They seemed most comfortable with a melodic pace rather than thrashing it out, but at perkier tunes they still held it harmoniously.

In a roundabout way they confessed many of their songs were sporadic and spontaneous muses rather than poignantly planned thought processes, which was both amusing and honest, perhaps ironic too I figured after listening to the album. But not as amusing as complimenting Swindon, only to then ironically knock it in a song called Shit Town of Swindon!

While not the poetry of Keats, many of their co-written songs rise above the mocking of their hometown, which if only a standout track for its satirical title, others convey more concentrated narratives. Thereโ€™s a sense of irony throughout though, if Yesterdayโ€™s Tomorrow is surely today, the title track is the penultimate one, and depicts a hungover hope of new horizons of a romantic interlude, in a Britpop style.

The album kicks off with Southbound, an evenly-paced contemporary punk-pop attitude sourced from millennial indie bands like Busted and McFly. Though this album flows brilliantly, itโ€™s onto something decidedly more traditional punk two tracks in, then the aforementioned Shit Town of Swindon continues the style, Britpop influences gradually building. This one has to be anthemic in good time, particularly for their Swindonite fanbase.

Chasing the Sun four tunes in really picks up the pace, again with a comment on their hometown, but with optimism riding the narrative; thereโ€™s a clever and simple hook equal to the previous one here, proving these boys know how to construct a pop song with energy and enthusiasm.

A ballad, Just a Game follows, balancing the pace, and again proving something, that Ursa Way are no one trick pony. Noahโ€™s Nosey Neighbour takes an almost prog-rock style to Britpop, creativity abound here too, this rocks with surprising substance, and weโ€™re only halfway through this twelve-tracks-strong brilliant debut album.

With adroit contrasts in riffs, mainstream rock influences, perfectly placed hooks and intelligent lyrics, thereโ€™s promise in this album that Ursa Way are destined to create something much more memorable, but right now the potential signs are all encompassed in Yesterdayโ€™s Tomorrow. It ends with Another, a monstrously clever drifting Britpop tune seemingly about jealousy, dripping with edge and emotion.

They played this album out at The Tuppenny on Friday, reflecting the feeling weโ€™ll be hearing more of this young band in the future, and the gig felt like a groundbreaking moment for them, in respect of that notion.ย 

LinkTree to Ursa Way

I love the Tuppenny, a hospitable tavern with universal appeal. Thursdays are the live music nights usually, but as I said, itโ€™s Swindon Shuffle next weekend, see my recommendations here, Iโ€™m certain some were at the Tuppenny!


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Milton Jones; Deadpan in Devizes

Mock the Weekโ€™s recurring panellist and Radio 4 comedian Milton Jones stood on the stage of Devizes Corn Exchange on Friday, with the setter, โ€œitโ€™sโ€ฆ

Letโ€™s Go Swimming with Poppy Rose

Two years ago we fondly reviewed Iโ€™m Ready Now, a debut EP from Bathโ€™s Poppy Rose. I praised her unique take, her thoughtful prose andโ€ฆ

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Recommendations for when Swindon gets Shuffling

Swindon’s annual colossal fundraising event The Shuffle is a testament to local live music, which raises funds for Prospect Hospice. If you’re ever going to spend a weekend in Swindon, believe me, the 11th-14th September is the oneโ€ฆ..

An entirely free stroller festival centred in Old Town; saunter the eight venues at your leisure and discover a wealth of talent, mostly ฤบocally sourced. Pop some cash in the buckets and help raise some funds as Old Town comes alive with the sound of music!

As usual I’m going to be the judge and jury for this piece, and recommend those who I personally know who will deliver great sets to amaze you. But in no way is it an exhaustive list, for there will be many others and sometimes you have to put your little toe into the waters and find acts unbeknown to you, for the surprise element; an event of exploration! Whatever you do discover you can rest assured, every act is cherrypicked by the Shuffle Team, of Ed Dyer, a promoter who knows his stuff, Jamie Hill of Swindon Link, Kelly Adams, Paul โ€˜Pajโ€™ Jellings, Avril Jellings, Linda Gulliford, and Paul Gemmill, all equally as aware of what makes Wiltshire rock.

Thereโ€™s a printed program, online too; I’m working off that. Given the fantasy scenario of having the whole weekend to attend and choose between the huge lineup, hereโ€™s how I would tackle the mammoth task of maximising my experience…….


Without further ado, then, Thursday 11th of September belongs to The Tuppenny on Devizes Road, and the Hop, literally a hop across the road. A clash already, 7:15 at the Hop, Bathโ€™s spacey indie outfit Aqaba kick off proceedings, while Swindon soul singer Chloe Hepburn is at the Tuppenny at half past; tricky disco to begin, but Chloe has been on my must-see list for a while!

8pm at the Hop, Sebastain and Me is a deffo, but youโ€™ve only a quarter of an hour to drink up and catch the amazing Joli Soul at the Tuppenny. Again, I would be wearing out the traffic lights or flipping a coin. Iโ€™m unaware of all the headliners from there at both fantastic venues, yet the Tuppeny seems more funky soul and jazz while the Hop is indie, so it would be whether I packed my jazz hat or not!


Friday 12th September again is at The Hop, The Vic aptly on Victoria Road, and the Castle on Prospect Hill. Easy picking to begin with, itโ€™s our favourite Marlboroughโ€™s goth duo Deadlight Dance, on at 7:15 at the Castle.

In fact, Iโ€™d feel inclined to stay at the Castle unless Iโ€™m feeling like Dora the Explorer (which is surprisingly common for me!) as after a new one on me, Loophole, the amazing mod/new wave/britop cover band, whoโ€™ve just begun recording originals, Static Moves is on at 8:45, followed by Black Hats, new to me but promising something skanking, and SN Dubstation, who as the name suggest is Swindonโ€™s premier contemporary reggae export. The Hop is mostly folk on Friday, the Vic is indie-punk-rock and the Castle is alternative and reggae. If I was to fancy venturing off to The Vic, it would be at 10pm for Viduals, an emerging indie rock band who play it hard!


Saturday 13th then, when reality checks in, for this is the only day Iโ€™m likely to be able to make it up to Swindon for realz! You can get a bus from Devizes, you know, they run late now!

All guns blazing, The Tuppenny and the Pulpit rule the daytime, from 2pm until dinnertime, and The Hop, The Castle and the Beehive on Prospect Hill take the evening shift.

The great Jim Blair starts at the Pulpit, a new venue to me, but hey, Chippenham singer-songwriter Harmony Asia plays at 3:15 and thatโ€™s simply unmissable in my honest opinion. Oh but oh, Iโ€™ve heard so much good stuff about Swindonโ€™s pop star Kate X, who is on at The Tuppenny at 3:30, and seriously recommend her too!

Shedric and David Corringan at the Pulpit are two Iโ€™d love to see, and Swindonโ€™s answer to Dylan, the incredible Jol Rose is a must-see at 5:30, but dammit, at the Tuppenny has Emma Doupe at 5pm, followed by the freshest indie-pop fellow I simply must touch base with, Weather at 5:45pm. Ed Dyer, what are you putting me through here, or has Swindon got free cloning booths on every street corner now? Weโ€™re a little behind the times in Devizes!!

Saturday evening, and right, and Iโ€™ve made my mind up about how to attack this, though itโ€™s always subject to change. Bit of cheese, sir? At the Castle from 7:15 with Calneโ€™s comedy rock band The Real Cheesemakers is tempting, Gromit, but thereโ€™s a young Melksham band called Between the Lines on at 7pm at The Hop. I cannot lie, these winners of Take the Stage I wanted to play the Music Awards, for while they weren’t nominated, they should have been and I wanted folk to know why. Iโ€™m heading that way and will report on my findings, hopefully bring them to Devizes by hook or by crook!

The Hop continues with lots worth exploring, Iโ€™ve heard particularly good electronica things about The Crystal Wolf Project, there at 9:15, and Iโ€™ve seen headliners Trunk who will ram the place with devoted fans. But look, The Beehive might be my final Saturday resting place. Dulcet Tones at 8pm, then Bristolโ€™s Hannah-Rose Platt; look, just read my album review HERE and youโ€™ll understand this is without doubt a must. And, double-whammy, she is preceded by one of my all time favourite Swindon bands ever, the dark twisted country of Concrete Prairie. Always a must, especially at the Beehive at 9:30pm; save me a quarter of an inch to squeeze into, somewhere near the Tardis.

After that Iโ€™m anyoneโ€™s cheap date! Maybe Iโ€™d check out the Castle, as itโ€™s downhill and looking like hard rock underfoot with Lucky Number Seven coming the most personally recommended, at 9:30pm and followed by Modern Evils.


Then thereโ€™s Sunday 14th September, doesnโ€™t Swindon Shuffle know when to stop?! Wowzers it gets better; The Pulpit, Tuppenny and Beehive are up for your attention. Daytime, 1pm at the Tuppeny for Plummie Racket, stay there for Sienna Wileman and youโ€™ll be glad you did. But pop across to the Pulpit for 2:15 where Devizes is represented by our most excellent blues crooner and kazoo blasting JP Oldfield. I love this guy; Devizes man-hug!

Itโ€™s a Chippenham takeover from then at The Pulpit, Mexican Dave Iโ€™d recommend at 3pm, but M3G is a must and one of my personal favourite singer-songwriters on the local scene right now. Just prior to M3G though, be very tempted to nip back to the Tuppenny at 3:15 when Richard Wileman and Amy Fry do their thing, and thatโ€™s worth its weight in gold. 

Across to the Beehive for the finale to what looks like another unforgettable Shuffle, 6pm, Canuteโ€™s Plastic Army is unmissable, and so too is Joe Kelly & the Royal Pharmacy at 7:30pm.

No forgoing the fringe events, a Shuffle quiz night at the Beehive on Wednesday 10th, the Shuffle Community Ceilidh with The Cowshed Ceilidh Collective Saturday night at Eastcott Community Centre from 7pm, and open vinyl DJ sessions at The Prospect Hospice Book & Music Shop on Victoria Road, each day midday till 4pm.

Then, youโ€™ve only got to wait until the end of January for the Shuffleโ€™s winter version Swinterfest! Swindon Shuffle is a whoโ€™s who of local music, a convention and an institution, a fundraiser like no other, and you wonโ€™t even have to navigate the Magic Roundabout, pinky promise!

Info about Swindon Shuffle and full line-up HERE


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Black Rat Monday at The British Lion; Not Just For Lions and Rats!

There was a geographical population imbalance this bank holiday Monday in Devizes which risked the entire town conically sloping into the back of Morrisons; no one seemed the slightest concerned! It’s Black Rat Monday at The British Lion, the stuff of Dorothy House fundraising burgers, potent beverages and contemporary folkloreโ€ฆ.

Recorded here for prosperity, as itโ€™s dubious that other accounts of the event would be recited with much precision when passed through the generations, that once upon a time in ye olde Devizes, natives satirically dubbed their annual street festival โ€˜Black Rat Monday.โ€™

The name derived from a scrumpy brand popular at a bar run by CAMRA award-winning and stalwart Devizes freehouse, The British Lion. Contractual matters one year caused a breakup between the carnival committee and the pub. Being โ€˜Black Rat Mondayโ€™ was a folk eponym, ergo in the public domain, and the committee likely never appreciated it anyway, The British Lion adopted the name for an occasion of their own making, and the rest is history.

It’s a fable of self-reliance, apolitical empowerment, and mass consumption of scrumpy, though other drink options are available! Leading to a meek event of anti-consumerism, save the Black Rat Monday t-shirt and drink, community-driven subversion, and a crowded beer garden full of merriment, whilst it would seem the elaborate original festival has fallen by the wayside due to arts funding cuts.

This particular year saw the event blossom to bursting point, attracting townsfolk en masse, under the simple premise, it’s now as much of a โ€œDevizes thingโ€ as raking barrels of contraband brandy out of the Crammer or annually lobbing confetti at each other in a peculiar frenzy.

Reasoning why roots to the pub itself, because while other taverns change according to trends, else end up as antique shops or housing estates, the simplest of systematics of The British Lion stand firm, equable and imperishable. And Devizions love โ€˜gurtโ€™ tradition. If it’s not brokenโ€ฆ..

But what helps, and always does, is acquiring the most suitable entertainment; usually locally sourced, not this time, but equally as welcomed. Long-standing and living legend landlord Mike Dearing revealed his heuristic thinking was to provide an act weโ€™ve likely not seen before on our circuit.

For the universal audience the conventional is best, therefore, primarily a function party band, Bristol’s The 789s made a perfect choice. They were lively, proficient, exceptionally accomplished and seemingly pleased to be there. With a vast repertoire spanning every corner of classic singalong pop, they joyfully delivered them all, for sweaty hours, and until Sweet Caroline finalised the cumulation, by which time the crowds were chanting it back to them and dancing on whatever small patch of sun-bleached grass they could suitably fit into.

A punk cover band planned to follow, which duty-bound as Dad’s taxi, I had to miss unfortunately. But The 789โ€™s had roused the audience to a conclusion that there was little doubt anyone could now falter this year’s Black Rat Monday; I’d go out on a limb to suggest it was the best one to date.

There was Parklife, there was Red, Red, Wine, The Proclaimersโ€™ marching song, I’m Gonna Be, and every crowd-pleaser sublimely covered by both male and female vocalists, but only one of them sporting butterfly sunglasses. I don’t want to get all decimal on you after such a strenuous scrumpy surfeit, but The 789’s truly turned it up to ten, at least. For which they were rewarded a gallant cheer of Devizes-fashioned appreciation as they sauntered through the crowds back to the pub, akin to newlywed couple they had undoubtedly performed for many times before!

This respectful display of gratitude, and the whole shebang in general genuinely makes me honoured to document what happens in our lovely, lovely town. For you can bicker on Facebook pages all you want, you can thrash out the rights or wrongdoings of graffiting flags on mini-roundabouts, or pin the blame on someone for a road closure, but Steve Dewar’s brilliant popup youth cafe had kids enjoying a climbing wall on the Green, the sun was shining, and humble folk in the British Lion were laughing and singing, for we all live under that same sun, and that captures the true Devizes spirit, right here in The British, surely?!


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Tidy: Talk in Code at The Vic with Riviera Arcade and Flora Flora

It was only ever supposed to be a single launch gig but it could’ve been for a gold-crested gatefold triple LP, because Talk in Code were larging it last night at their hometown premier venue, Swindon’s Victoria. The crowd was ecstatic and the atmosphere was highly flammableโ€ฆ..strike a light!

If witnessing a great band on their own turf adds a communal elevation to the thrill of seeing them at all, Talk in Code certainly pulled out all the stops, even if the je-ne-sais quoi of these masters of indie-pop perform with sublime quality anywhere they happen to appear.

If this crossing the friend barrier themed quintessential grower, More Than Friends sits perfectly into their eighties vibe discography, we were leaked forthcoming singles might venture somewhere slightly different, but right here, now, at The Vic, Talk in Code was rewarded equal rapturous praise in throwing it out there as they were marching triumphantly through their beloved anthems.

Tunes which, like the best memorable pop, have universal and timeless appeal. At a Talk in Code gig you could mute the sound and still comprehend that the individual takes what they want from their style by observing the diversity of the demographic present. Here, this tight group of musicians evoke memories of everything gorgeous about eighties pop from Ah-Ha to Simple Minds, for me. One generation younger, especially when they backtracked to Oxygen, might wallow in nineties indie, and likewise youth will recognise their own contemporary influences.

If homeliness provides confidence to experiment, we were treated to something I’ve never seen Talk in Code do before; as the band Twix breaked, dynamic Adidas- sponsored frontman Chris Stevens proved he was no one trick pony, and blessed the Vic with an immaculate acoustic number, an original he called We Remain.

If appreciation was a pair of knickers, Talk in Code would have a visible panty line, as devotee โ€œTalkersโ€ in blue sunglasses and merch amassed between Vic regulars, equally relishing their vibrant, danceable and electric hoedown! And all took home a CD embossed goodie bag akin to a toddler’s birthday party, save a slice of squashed sponge cake!

Yet if there’s an honourable family-fashioned ambience surrounding this band, where Talkers would follow them to the four corners of the globe, else create Lego fan-videos or shower them with deserved fondness, the mood for a quality evening was pre-set by two awesome support acts TiC cherrypicked.

Gloucestershire soloist, songwriter and model Flora Flora opened the gig with acoustic splendour. New to me, I’m now keenly following her socials. Not because she took control of my phone from my intoxicated sausage fingers to ensure I did, though she did, but because I’ve since come to realise there’s subsequent levels to her talent than the perfection of her rocking performance last night!

An inspiring Gen Z Swifty wordsmith, crafting evocative songs praised and played by our hero James Threlfall on BBC Introducing. A new one drops on streaming platforms on 29th August but is available now on Bandcamp, Need to Say; it’s far more ethereal than Flora Flora’s edgier performance, and you’ll be foolish not to bookmark it as a favourite; fill your ankle-length boots.

Penultimate act, Bristol-Swindon longstanding five-piece rockers Riviera Arcade, I must confess, I preconceived to be a fair, hard rock band; they certainly came out like one. It only took near to the completion of the first song for me to come to complex reasoning why they’re punching well above that weight. Multi-layered precision with captivating guitar riffs set me contemplating subtle nods to eighties mod or punk, sometimes skanking, but still, it heralded heavier rock. They’ve a 2022 album Gone By Ten on stream, so you can hear what I’m waffling about.

An interesting and certainly unique style which, while I was thinking The Police or Costello, they finalised their set of beguiling originals with an apt and superbly delivered cover of The Stonesโ€™ Paint it Black, a perfect summary to their ethos. I returned home as a newfound fan, a bit wobbly on my feet and Notra-Dame bells ringing in my ears fan, but deffo a fan!

Talk in Code was officially on the best form I’ve ever had the pleasure to witness, but it was the combination of acts, venue and atmosphere which famed this fantastic night too; The Vic is renowned for doing so, historically. Owner Darren Simons assured me, though the venue is up for grabs, it’s only going to someone prepared to continue in his shoes, so this flagship to Wiltshire live music should thankfully continue to reign; dodge magic roundabouts and onwards to The Shuffle!


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Talk in Code Announces New Single; More Than Friends

Atmospherically anthemic and reinforced with that infectious rhythmic groove weโ€™ve come to love Talk in Code for, More Than Friends is chockfull of it, and itโ€™s their latest single, to be released on Friday 22nd August 2025 via Regent Street Recordsโ€ฆ.

Even if youโ€™re accounted for now, happily married and matured like a fine wine, the recollections of a blossoming relationship and the eagerness versus apprehension it provokes will never be pushed down a dark alley of your memory lane; successful or epic fail, they live inside the mind forever, Iโ€™m afraid! Frontman, Chris Stevens said of the single, โ€œweโ€™ve all been there, in a situation waiting for the other to make the first move, to validate our feelings, or save face!โ€

I could tell you a few stories, but will save you the agony! Especially as the earliest would be set in the eighties, about getting hot under the collar over girls in rah-rah skirts, leg warmers and dippy-boppers! But thatโ€™s the beauty of this songโ€™s simple premise; if youโ€™re older the irresistible eighties feel to the sound assists you in extracting the emotions needed to savour a memory or two, and youโ€™ll stare back up at your Morten Harket or Kim Wilde poster, should the blu-tac not have dried out, praying theyโ€™ll bless you with a cure to your longing!! Billy Joel, you charlatan, it isnโ€™t that easy to tell her about it!

Whereas if youโ€™re younger and, as gen z generally are, far more practical to be praying to Smash Hits pullout posters, you might relate the songโ€™s narrative to a newfound emotion, sharable on TikTok. But the eighties vibe still functions as a mechanism, because, letโ€™s face it, musical innovators of the eighties are the catalysts to contemporary pop. I was careful here not to suggest eighties music was better, though with my rose-tinted specs on, the thought was! 

And thatโ€™s what makes Talk in Code so universally engaging; it bridges a needed gap between eighties new wave electronica and nineties indie pop. In goes the synths, guitars riffs, the immortal choruses and rousing hooks, and what it exhausts is fresh and pumping, modern yet as timeless as Chris’s Adidas jackets, like someone slipped a rocket between the bum cheeks of Tony Hadley, and whip, zoom heโ€™s top of the download chart faster than you could cry Oasis.

For the reflective mood to the bandโ€™s artistry, which this track seems to strengthen, More Than Friends might be considered typical for the bandโ€™s direction, but as ever, they are growers, and after a listen or three youโ€™ll find the quintessential is challenged with each new release, because this band are tight, theyโ€™re professional, and bounded by great PR, management, and a truly loyal fanbase. A base which will be singing this back to them, in blue sunglasses, at their numerous live performances within the next month!

The single’s launch party is at the Vic, Swindon, on Friday 22nd August. Tickets HERE

Another cracker, Talk in Code. For everyone else, pre-save it HERE!


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Female of the Species Return for the Last Time

โ€œMore deadlier than the maleโ€ is my usual corny pun for this, but if supergroup Female of the Species returns to Melksham this September, it looks like the last time Iโ€™ll be able to use itโ€ฆ.

September 2017, when Devizine had merely eight articles published, I previewed a charity fundraising event in Melksham, The Female of the Species, and Iโ€™ve loved it and supported it since. A supergroup composed of the frontwomen of various local bands, they were already in their second year, but after ten years they announced this one will be their lastโ€ฆ.

Julie Moreton from Trowbridgeโ€™s ska and reggae covers band Train to Skaville, formed the supergroup Female of the Species with Nicky Davis from Warminster-based The Reason, Glastonburyโ€™s Julia Greenland from Soulville Express, Fromeโ€™s Claire Perry from Big Mammaโ€™s Banned, and solo artist Charmaigne Andrews, for an annual fundraiser at the Melksham Assembly Rooms; it became a much-loved institution and has raised over an estimated ยฃ25-30K for various local charities chosen annually.

Itโ€™s an incredible amount, but Julie revealed she wasnโ€™t sure of the grand total over the combined years. โ€œWe’ve never really kept a total of what we’ve raised,โ€ she modestly told me, โ€œwe sang a few songs, and someone’s life got a little better is how we think about it.โ€

Their tenth and final time performing the fundraiser as The Female of the Species will be at The Melksham Assembly Hall on Saturday 13th September 2025, and will be raising for Voices, a Bath-based charity supporting survivors and overcomers of domestic abuse and violence to recover and thrive. Tickets usually sell out quickly, you can grab yours HERE.

And youโ€™ll be glad you did, the accumulation of five talented singers from different bands, coming together for a sizzling melting pot of all popโ€™s subgenres, from rock, soul and reggae, blended with some filthy banter is something to behold, a whole lot of fun and dancing. Thereโ€™s always a quality support act too, the likes of Plan of Action, Becky Lawrence and Dylan Smith have all warmed up the audience in previous years, but the girls have called inย Laura Jayne, their first ever support act, who has carved out her own career as a vocalist.

With only months to raise hundreds of thousands of pounds or face potential closure due to the building it leased being beyond economical repair, in 2024 Female of the Species raised funds for Trowbridge preschool Rainbow Early Years. 2013 was for Alzheimerโ€™s Support, and previous years theyโ€™ve supported Mind, Young Melksham, Wiltshire Air Ambulance, and one very close to our hearts here at Devizine, Carmelaโ€™s Stand Up to Muscular Dystrophy.

They received a Civic Award in 2019, a letter from the Queen Consort, and thanks from the Chartered Institute of Fundraising. For a couple of years, with a misinformed council, they made the move to Seend Community Hall, but in 2024 they headlined Melkshamโ€™s Christmas light switch on and are now back at the Assembly Hall. Although, where and why did it all begin?

โ€œI started The Female of the Species because I didn’t like the way women were perceived on the local music scene,โ€ Julie Moreton told us. โ€œOut with Train to Skaville, at a couple of local festivals I noticed I was the only female on the stage, so I went into the green room and asked โ€˜anyone got any girls in the band?โ€™ The reply was, โ€˜we don’t have girls in our band because theyโ€™re unreliable, always gotta find a babysitter!โ€™ At another  festival I asked the same question, this time the reply was, ‘we get a few girlie’s in when we want some backing lyrics done!โ€™ It bugged me for about a year, then I decided to do something about it, spoke to my co-founder Julia Greenland, we booked the Civic Hall, without really knowing what we were doing!โ€

They only ever planned the gig as a one-off in 2014, but went on for ten years. Julie concluded, โ€œthe rest is history,โ€ until hilarious force of nature Claire โ€œBig Mammaโ€ Perry had to butt in with her welcomed thoughts too!

โ€œI joined this crazy bunch after their first year of performing,โ€ Claire  informed me, โ€œwith, I have to admit, some apprehension!!โ€ and continued to explain her reasoning; being โ€œbadly burntโ€ by another woman in a band; I didnโ€™t dare delve deeper! 

โ€œBut after Jules and Julia convinced me,โ€ she continued, โ€œI thought Iโ€™d be mad not to, โ€˜cos it’ll be fun!  I have to say….I’ve never looked back, well, maybe once or twice, to tell the drummer he’s too frigginโ€™ loud, or asleep, or pissed!โ€

โ€œIt’s been hard work every year, to get the time needed to rehearse, as all the band have their own commitments be it musically, or with their own families and lives, but what a privilege itโ€™s been every year to raise not only awareness of our chosen charities, but of course the money  that has helped them all, in whatever way they chose to put it to use.โ€ 

โ€œI think, if I may speak on behalf of all of us, what being in the Female of the Species has done for us, is to firmly secure the respect, admiration, and amazing friendships we have made amongst us all. Every year, we come out, smiling, (teeth & tits!!) to our trusty, and loyal audiences, professional to a fault, to put on, what we hope- will be a great show…but often hiding, or certainly masking, our own sometimes sad or heartbreaking dilemmas!โ€

Claire described how every year one of the members had issues in their personal lives, โ€œwhether that be, broken hearts, broken limbs!โ€ and here I recollected the year Nicky Davis hobbled out with a broken leg, and stunned the audience standing for her solo, but Claire reflected back three years past, when she lost her mum the night before the show.

โ€œTen years at the top of our game, we hope we can raise the rafters on this, our big celebration of music, friendship, and helping decent people, working to help others in chronically under funded charities, and get the place bouncing!! For me, itโ€™s been a blast, boosted my confidence and morale, and it’s made me proud of what a bunch of musos from the West can do, when we put our collective skills in the pot. Over the last ten years we have been The Female of the Species band, we have raised somewhere in the region of 30K for some very deserving people. It’s been a slog, it’s been a grin, but most of all…it’s been a pleasure!โ€

The pleasure has been ours, as we turn the final page, The Female of the Species will become an historical landmark on Wiltshireโ€™s music scene, and I still didnโ€™t get any of their phone numbers. For one last time youโ€™re invited to help them raise the roof of the Melksham Assembly Hall on Saturday 13th September 2025, but you need a ticket from HERE.


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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.โ€ฆ

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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 spiritedโ€ฆ

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Just a Mirrorball; Auralcandy New Single With Sienna Wileman

If weโ€™ve had a keen eye on Swindonโ€™s Sienna Wilemanโ€™s natural progression as an upcoming singer-songwriter since being introduced to her self-penned songs via her father Richard Wileman some years ago, her songs have always reflected her dadโ€™s penchant for combining curious and experimental soundscapes with acoustic vibes. Working with the more rhythm-driven Auralcandy this single is a change of directionโ€ฆ.

Just a Mirrorball released yesterday, with a pop sound of nineties nu-cool, as if Sophie Ellis Bextor was on the Madchester scene with Deee-Lite. It’s an instant love from me, and couldn’t go any other way really. Itโ€™s sassy, Maroon 5, danceable, but Auralcandy requests no one ask them for the โ€œboringโ€ backstory on this interesting collaboration, and to stop them if they ever try to tell it! Weโ€™ll just have to see it for what it is, a working combination made in heaven.

Sienna shows her versatility as a recording artist here, from acoustic folk to musical theatre, now this is decidedly pop, the timeless variety.

โ€œSienna is an absolute joy to work with, an obvious talent but with a complete nonchalance that comes with being one of those pesky kids Scooby Doo warned me about,โ€ they said, โ€œthe middle vocal is all Sienna’s invention. And, to me, reeks of 1960s pop Franรงoise Hardy, Brigitte Bardot et al; effortlessly cool.โ€

And it is so! So much so, it needs wider attention, it deserves to chart, and put them both on the map, but they’re both modest with their talent, so allow me to plug it!


No Alarms No Devizes, Aptly in Devizes!

If I’ve been galavanting recently, gorging on other local townโ€™s live music scenes, what better way to return to Devizes than a visit to the liveliest watering hole, The Three Crowns, to see a band with our town’s name all over it, No Alarms And No Devizes? How apt!

Iโ€™ll confess, while I know most of the members of this five-piece as individual musicians in their own rights or as members of various other groups, I was yet to see them in this setup, despite them forming the best part of a year ago. Naughty of me, I accept, but Iโ€™m overly glad to finally tick them off my must-see list, and on the strength of last nightโ€™s performance, it wonโ€™t be the last.

Aware of their talents as individuals my only pre-gig apprehension being it can sometimes be a case whereby groups formed of members whoโ€™ve met at open mics sadly donโ€™t equate to the sum of their counterparts. This minor angst I quashed before arriving; I could hear them from the carpark as they rang out Steve Harley & the Cockney Rebelโ€™s Make Me Smile with gusto. โ€œCome up and see me,โ€ the song suggests, yeah, Iโ€™m nearly there, and already glad I did. Again, how apt!

But itโ€™s not just in the word-playing a Radiohead songโ€™s band name to give it a local spin, nor the coincidental meaning of the song they were covering when I arrived which makes me happy to report that they know exactly what buttons to press, rather on the tightness of the band and their comradeship too. Frontman Tom Harris, known for also fronting extreme-metal band Kinasis and a stalwart locally as a blues solo artist, is a force to be reckoned with. His lively vocal range knows no bounds, and thereโ€™s joyful connotations within his energy and often amusing facial expressions which rub off on the audience.     

If, as it suggests, โ€˜extreme-metalโ€™ is too extreme for me, itโ€™s in his lighter fashions which makes me smile, and during lockdown the few funky tunes he created really brought Tomโ€™s natural talent to entertain to my attention. With No Alarms No Devizesโ€™ varied range of cover choices in their arsenal, Tom is free to explore his funky side or whatever fancies his tickle, and I loved this about the No Alarms And No Devizes show the most.

Tom is backed by proficient guitarist Pat Ward, once modest about his abilities, today moving through the audience whilst strumming, like a pro! Bassist Jonny Jam, whoโ€™ll you see blessing his skills in many local bands. A new drummer, Nick Wood, who sure found his feet and sticks last night. And with the additional Matt Pryor on keys, the lineup gives them the scope to nail a vast range of pop songs into their repertoire, and they do them all with impressive confidence and showmanship.

Keyed in to precisely what the varied crowd at the Three Crowns want, they ventured through anything and everything from Nina Simone and the Beatles to the obligatory Radiohead, the Proclaimersโ€™ crowd-pleaser, and eighties pop such as my personally most welcomed Men at Workโ€™s Down Under, with a gradual fade from melodic to a frenzy. They slipped in a few great originals too, but whatever direction they took themselves into they did so with flow, precision and enthusiasm, making for a universally highly entertaining night I cannot fault. Even their break was no longer than a wee-stop!

I do ponder if the bandโ€™s name implies itโ€™s just a bunch of guys from Devizes when they arrive at other townโ€™s venues. They played Swindonโ€™s Rolleston recently, they played HoneyFest at the Barge and Salisburyโ€™s Coach & Horses, among others, but Matt assured me theyโ€™re welcomed wherever they play, leaving me only to assure venues outside Devizes, they may be announcing theyโ€™re guys from Devizes within their very name, and banter between towns might be a thing, but once No Alarms And No Devizes are in full swing, youโ€™d be glad you booked them!

Another wonderful night at the Three Crowns, then. It never fails to please. With the Brewery Shop opening next door, seeing visitors stopping into the pub, the live music and gourmet burgers, The Three Crowns is surely a testament to what a pub can achieve if they put their heads into what punters want, particularly in these uncertain times. It was as busy as ever in there, hospitable and lively, with a varied age demographic out to party and nothing baleful.

We clashed events with the wonderful Facebook page dedicated to promoting local live music, Bird is the Word, which had to happen at some point! Go give them a like if you do Facebook, theyโ€™re doing good things over there, with higher quality photos and video streams than my tiddly tries of getting into focus while dancing and balancing a cider!


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Radium on Liddington Hill

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

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Hannah Rose Plattโ€™s Fragile Creatures

If Whitney Houston set a benchmark for female vocalists many did before her too, but while others were influenced by them, they never felt obliged to attain a sound precisely mimicking them, as, it seems to me, many modern female singers striving for pop success do with Whitneyโ€™s. And when they do, it sounds, well, manufactured and impassive. A Liverpudlian now residing in Bristol, Hannah Rose Platt releases a concept album tomorrow, Fragile Creatures, of which Iโ€™d compare more to like of Kate Bush, whereby Hannah can weave beautiful tapestries, adapting her voice to reflect the sentiment of her narrative, mood and style of the track; and thereโ€™s a lot going on in Fragile Creaturesโ€ฆ.

It is undoubtedly a concept album, anatomising the complex relationship between women and medicine throughout history. It explores how antiquated myths and misconceptions in the pursuit of science have impacted female health, while creating countless injustices and inequalities. If this comes across sounding more akin to a poignant lecture, Hannah Rose Platt shifts between a collection of musical influences to imprint her wisdom, causing Fragile Creatures to be an altering and compelling journey of prowess and refinement.

It opens introductorily with a spoken word sample of Helen Andelinโ€™s Fascinating Womanhood, a controversial sixties manual encouraging women to uphold their conventional marital role. Ataraxia is as calming as the meaning of its Greek philosophical title, ambiently floating over an acoustic guitar riff and drumbeat, musically reflecting on Diazepam-flavoured tranquillity, as if conformity to the sample will land us all in a world to make Aldous Huxley quiver. In this, Hannahโ€™s voice is bitter, eerie, to convey the point.

But by the second tune, Curious Mixture, a drifting acoustic vibe, Hannahโ€™s voice is as silky and smooth as Kylie, which shifts to a sharper more indie-punk feel as the songs progress. Thereโ€™s a definite Bristol trip hop scene there too, causing me to consider Portishead as an influence. By the fourth tune weโ€™re blessed with the most gorgeous ballad to Mary Magdalene, reminding me of Daisy Chapmanโ€™s folk angle. Itโ€™s at this conjunction I realise Hannah is reciting her deepest thoughts and observations on the theme, historically, and theyโ€™re gender ecumenical rather than bitter stabs of feminist vendetta. I didnโ€™t feel under attack as a guy listening to this, provided I ponder the meanings Hannah so poignantly expresses.

This is eleven tracks strong, melding myths of pseudoscience, superstition and patriarchy with medicine and chronicles of the resilient and defiant women who unyieldingly fought for equality and autonomy. At times itโ€™s Kate Bush vocalising for Massive Attack, as is the tune The Yellow Wallpaper, at others, such as La Grande Hysterie, itโ€™s a contemporary Alanis Morissetteโ€™s Jagged Little Pill covered by Siouxsie and the Banshees. It ends playfully like musical theatre, but penultimately is horrific and beautiful in equal measure.

The album is a themed anthology. Each song has its own narrative, weaving into each other. From the tale of Anne Greene, accused of infanticide under the Concealment of Birth of Bastards Act, and pardoned after being revived from hanging to reflections on the health gap that lingers to this day. Thereโ€™s so much more I still need to discover exploring its sheer brilliance as a concept and how the music compliments it.

Hannah explains the concept, โ€œThis record is both an offering and a tribute to female pioneers in medicine; and an endeavour to honour, and give voice to, the unsung heroines in the history of our health. What struck me most during the research and creation of this album was the deeply ingrained, sinister nature of myth and misconception surrounding womenโ€™s health, and the harmful, cyclical dismissal of experiences; decade after decade, century after century, often reinforced by outdated and dangerous practices. My hope is that listeners will not only be intrigued by these stories but also inspired to dig deeper and empowered to challenge the systems that have long ignored or misrepresented womenโ€™s voices, as this dismissal remains so prevalent today.โ€

At this I could agreeably sigh, like any poignant art which usually preaches to the converted those who really need to take heed of its message will likely overlook it. Nevertheless, if others cite Fragile Creatures as the work of an upcoming artist, Iโ€™d favour to compare the depth and production of this fantastic album to Dark Side of the Moon. And with that the right audience might spare its lesson a thought. A high but deserved accolade, in considering it took Pink Floyd seven albums to accomplish this magnum opus, when this is Hannah Rose Plattโ€™s second; what comes next will be astounding because Fragile Creatures is a sublime keeper.

The advance single Curious Mixture is out now. Full album is released tomorrow (April 25th) via Xtra Mile Recordings and mastered at Abbey Road, with production and playing from Ed Harcourt. Launch party is Friday 25th at Rough Trade, Bristol.


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Whereโ€™s the Music on Sunday in Swindon? Fran Daisy at The Plough

Sometimes I believe we donโ€™t know how lucky we are in Devizes. Sunday afternoon live music is a thing here, and weโ€™re often spoiled for choice. This Sunday Phil Cooper played the White Bear, and it was the celebrated Jon Amor Trio monthly residency at the Southgate. But the meter was running on Dadโ€™s taxi and I was left with a few hours to kill in Swindon; at least this means I might find something new to me, which I did, and was pleasantly surprisedโ€ฆ.

More sporadically the trend seems to be in Old Town. The usual circuit pubs like the Vic, Beehive and Castle were mostly having quiz nights (which my general knowledge level doesnโ€™t permit me to engage in,) or nought; the place was relatively void of entertainment; shocking! I scanned social media, assuming there had to be something going on in a town this size on such a sunny afternoon. I guess itโ€™s a case of knowledge of the scene, of which I thought I had some, but being I could only find one happening, it had to be this.

On a pastel-pink cloud poster, Fran Daisy was advertised to be singing at the Plough on Devizes Road. As I know neither, and she looked like one of these singers who karaoke with a PA and phone, which isnโ€™t usually my cuppa, but I shrugged at the notion it was this or nothing, and took a chance.

The surprise element is far stronger than knowing the venue and the act, and was certainly true last Sunday. Starter for ten, The Plough is a humbling pub, simple L-shape plan with a low rising stage area, friendly staff and regulars, and comfy too; I felt quite at home there. Though itโ€™s slightly off Old Townโ€™s main drag, there are three pubs on that corner of Devizes Road and Newport Street, The Wheatsheaf and Royal Oak, and The Steam Railway is a lively sports bar a stone’s throw away. The Plough holds its own against this competition, hosting regular music nights on Saturdays with a variety of local acts on the circuit; I must add them to our event calendar.

But the biggest surprise was Fran herself, while, yeah I was right, she was singing pop covers over a karaoke app from her phone, she delivered them with crystal clear precision, gusto and were vocally powerful and confident. An era-spanning repertoire of sing-a-long classics, I arrived an hour into her set, where I recognised the contemporary tune but after a trio of Abba songs forgot what it was! Because Fran Daisy has the skill to adapt her voice to suit the cover, and she nailed Abba, in fact, she nailed them all. She asked for requests, gave the audience options, and joyfully put in the overtime. 

An encore involved a song from Greace, in which she explained she performed it with a theatre group some years ago, to the hail of her entourage who obviously appeared in it too. It was clear through the diversity of her song choices and her lively, amusing audience banter alone, although Fran told me she had only been doing this on the local circuit for a year, that she had musical theatre experience.

It never ceases to amaze me when I discover a DIY singer on the circuit, seemingly content to do the rounds, promote and cart their own kit around, that is as an amazing performer as Fran is, that which should be fronting a popular function band, at the very least. But Fran explained she was a full-time nurse when I put this to her, so as a sideline perhaps this is a big enough bite for the additional workload, and dammit, we donโ€™t need to be convincing nurses to follow the star! All said and done, though, Fran has the proficiency and potential to go much further, should she wish to, and the gorgeous voice to mimic divas and legends.

There are a few Iโ€™ve found in a similar position, our Kate Mills for one, who also works in the acoustic duo Sour Apple, and has stolen the voice of Alison Moyet! For the customary pubs without a reputation for hosting regular progressive or risque bands, who want their punters entertained, the karaoke-style singer is an affordable option. But when youโ€™ve got the skills of someone like Kate or Fran, this is a guaranteed chicken dinner. Therefore Iโ€™m warming to the option, and judge accordingly on if it does what it says on the tin, and Fran goes above and beyond to create that engrossing entertainment. 

A landlord would need to know the tried and tested, or take a leap of faith, but if you want your whole pub up singing along, Fran Daisy is a perfect option.

Follow her Facebook page, or deliberately injure yourself, cross your fingers and hope Fran Daisy is your appointed nurse!!


Serenโ€™s New Single; Worm

Thereโ€™s a cold remote ambience of burrowing doubt in the opening of Westburyโ€™s singer-songwriter Serenโ€™s debut song, in which, as the title suggests, she usesโ€ฆ

The date is set for Imberbus 2026 !

We are pleased to start 2026 by announcing that this year, we are planning to run the Imberbus service on Saturday 15th August 2026 whenโ€ฆ

Bits of Elation; Chatting with The Belladonna Treatment

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

Bits of Elation is fifteen seconds under a three-minute-hero which doesnโ€™t come up for air, compensates for those missing seconds with a dynamic and retrospective Ramones-fashioned riff and the feelgood vibe of pop-punk this side of the millennium.

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

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

Understanding thereโ€™s a number of local grassroots venues where The Belladonna Treatment would fit like a glove, I was surprised to note they hadnโ€™t yet ventured to Trowbridgeโ€™s Pump, Bradford-on-Avonโ€™s Three Horseshoes or even Chippenhamโ€™s Old Road Tavern. I pondered on bands which seem to get stuck in certain fanbase circuits, despite being fully deserved to be showcased across the county and beyond. โ€œIt all depends on what everyone wants to do,โ€ Ian began, โ€œthings like this pop up and itโ€™s nice to do them, but we do want to expand and do other gigs.โ€

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

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

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

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

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

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


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Don’t Click on Illegal Rave Rage-Bait!

The biggest risk for any media reporting negatively on illegal raves is that, in their youth, their fifty-plus target audience probably attended illegal raves themselves!โ€ฆ

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. Itโ€™s a new craftโ€ฆ

Harmony Asia Can Do This

Itโ€™s a question Iโ€™ve asked Chippenham singer-songwriter Harmony Asia on each rare occasion I catch her for a chat; if sheโ€™s planning to capture aโ€ฆ

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Situationships With Chloe Hepburn

A second single from Swindon Diva Chloe Hepburn, Situationships was released this week. With a deep rolling bassline, finger-click rhythm and silky soulful vocals, this is the definite RnB sound of now, with nods to nineties RnB like Macy Gray and Mary J. Bligeโ€ฆ.

Though this is fresh, I believe itโ€™s fair to compare Chloe to such RnB queens, for the elements are composed accordingly; the poignant relationship prose of passionate writing, and the sensual tone expressed simply both rinse out those sombre amatory vibes commonly associated with the genre, especially with female vocalists.

Chloe Iโ€™ve just discovered, but itโ€™s an immediate like from me. Soul is not the typical style we find much of here, therefore when it does youโ€™ve got to take it on the hip and make the most of it! Itโ€™s been six months since her last single On The Run, which takes a slightly more ballard approach, and followed by a five track EP called 7 Months, tending towards a pop sound, and that RnB style reliant on and spliced with dancehall, and even house. But, when youโ€™ve finished listening to the moreish Situationships, youโ€™re duty bound by your ears to delve deeper into Chloeโ€™s back catalogue.

But more importantly, now we know of Chloe Hepburn we look forward to hearing what she will do next, as I believe this emerging soul artist has not yet reached her peak, and we need to be there when she does. Situationships filled me with the confidence Chloe is destined for greater things. Itโ€™s a gorgeous single, oozing with potential and only trickling with the necessities to produce something groundbreaking.

Linktree Here


Favourite Waste of Time: Chatting with Owen Paul Ahead a Devizes 80s Gig

July 1986, Madonna was asking her papa not to preach, Chris De Burgh was fantasising about a lady in red, and they were the only two things preventing a feelgood summer cover called My Favourite Waste of Time reaching the top of the charts. It was recorded by Owen Paul, who arrives in Devizes for a โ€œtribute to the eightiesโ€ gig at the Corn Exchange on Friday 21st March. I caught up with him ahead of this, and we chatted merrily about the hit, his origins and influences, mullets and all things eighties, oh and what to expect from the showโ€ฆ.

After clearing up uncertainty over his two forenames, Owen is his, Paul derived from a younger brotherโ€™s name, we moved onto the way I envisioned this meeting. I imagined weโ€™d be dancing on some tropical beach in white sleeveless t-shirts and sporting mullets, as was the video to his pop smash.

โ€œYeah,โ€ he laughed, explaining about a gig last Saturday in Exeter with Radio 1 DJ Pat Sharp, โ€œit was the battle of the guy that used to be the world champion of the mullet people!โ€

A tropical theme was so eighties too, I said, from Wham to Blacklace, we all wanted to go on holiday, we all wanted to be on that beach in the My Favourite Waste of Time video. โ€œYou’re absolutely right,โ€ Owen responded, pointing out the gig last weekend was in a theatre called Tropicana. โ€œIt was one of the strangest shows I’ve ever done. Club Tropicana, just for the event, right? ย The show started at 2pm and run โ€˜till 8pm. I said to my manager, โ€˜weโ€™re gonna play in the afternoon?โ€™ She was like, โ€˜yeah. You do the thing in the afternoon, people come dressed in eighties clothes and they forget their lives for five minutes.โ€™ Apparently, itโ€™s a thing; adults like to go to a show between 2 and 6pm, so they can get back to watch Casualty!โ€

I assured Owen I must be the exception to that rule, but Owen was still giggling, โ€œor Strictly!โ€

But were the contents of the show like what we can expect to see in Devizes on the 21st, I had to ask. For the record, while tagged with the idiom โ€œone-hit-wonder,โ€ Owen is a prolific recording artist who is still releasing new original material; will he be playing these? โ€œEven though I still do songs, when it’s an eighties show like in Devizes, it’ll be full on eighties-tastic, girl singers, dancers, and weโ€™ll sing Bowie, U2, Deacon Blue, Crowded House and more.โ€

Time to drop my million-dollar question which had been floating around my excuse for a brain since knowing I was to chat with Owen. That the term one-hit-wonder, which Owen was bequeathed at the time, must be quite disparaging for an artist with a wealth of other works. I asked him how he felt about it at the time, and how he feels about the label now.

Not to blow my own trumpet, he replied, โ€œif I think of all the interviews I’ve done in recent times, that is the best question I’ve ever had! No one has ever asked that of me because they’re always scared. And youโ€™ve asked, so thatโ€™s fine. Iโ€™ve got to tell you the truthful answer, right? And I mean this with all my heart. I know a million acts whoโ€™ve never had a hit. And I have. That ahead gave me the doorway to be here forty years later, playing festivals all over the world. So I don’t think it’s disparaging at all. I think it’s a complete opposite. I think I’ve had a hit, when I know people more talented than me,โ€ Owen exampled a mildly successful Scottish band called The Blue Nile, โ€œthey had โ€˜Tinseltown in the Rain,โ€™ the closest thing to them having a hit, (reached No. 87 on the singles chart in 1984) Theyโ€™re an incredible act, but I had a smash that went global. They never had. So I don’t think of it as disparaging at all.โ€

In this I think Owen misunderstood my question, that it wasnโ€™t the having a one-hit-wonder which I thought might be disparaging, rather being labelled a one-hit-wonder which could be, but hey, it was a calculated and flattering response anyway!

Being Iโ€™m walking Owen down memory lane, I wanted to take him further back, being aside My Favourite Waste of Time being an acoustic guitar-led feelgood anthem delineating eighties pop, Wikipedia claims it was the Sex Pistols which first inspired him.

โ€œThe basic story is this, and this is completely true,โ€ Owen elucidated, โ€œwe had a basement, which makes us sound posh, but it was a council flat. My brother and his mates from school used to come back to our house, and they used to rehearse and make an absolute racket of a noise! And this is like 1975-76ish. I was too young; I wasn’t allowed to go downstairs. I used to sit upstairs and listen to what they were doing, and they would play singles of whatever was going on, and they played the Damned, The Clash, The Strangers, and then played the Sex Pistolโ€™s Anarchy in the UK, and I’m upstairs going, what, the, hell, is, that?!โ€

โ€œAnd I’m going off the back of the seventies when it was prog rock and all the stuff where you had to be a virtuoso and play for ten hours. And it really changed me, and the guys who’s downstairs in our basement, turns out to be Simple Minds; you wanna write that down?!!โ€

Noted in awe, Owen, thank you. His brother Brian was the Simple Minds drummer, and guitarist Charlie Burchill, he informed me, โ€œwould come upstairs to my room, ’cause I was not allowed down there, and I had a guitar. My dad was publican, and when people couldnโ€™t pay their bill, you make them get on and perform.โ€ Owen told how Charlie showed him an E chord, an A chord and a D chord, โ€œand he said that’s all you need, and I said โ€˜thanks!โ€™โ€

We talked of the 3-chord simplicity of eighties pop, Owen extended this by getting technical on learning structures from the likes of The Velevt Underground. โ€œAnd then,โ€ he explained, โ€œoff the back of that, I started to make my own noise.โ€

On his first band, Venigmas, Owen explained how at just sixteen they left Glasgow for London, and he told his mum, โ€œI don’t think we’ll be back.โ€ Owen spoke of the changing scene, the new romantics, but was adamant he was a โ€œrock guy.โ€

โ€œBecause everyone thinks you’re an overnight sensation. I was eight years or more in the industry before I got signed to Sony. They signed me as a rock act, and then I stupidly made a pop record! And that became my real problem. Because I saw myself as a Bowie guy, I thought you could do anything. I thought you could do funk, you could do rock, soul, and pop; that’s what I thought. How naive was I?!โ€

Owen recorded two songs for Sony, the one we all know was nominated for a Brit award. He spoke fondly of recording it and how they immediately knew it was a hit, then suggested โ€œbut at the same time, in my heart I went oh-no. I’m in trouble here.โ€

I speculated aloud, asking him if it was because the music industry will typecast him as pop, and he replied, โ€œyou’re absolutely right; that’s what happened. So the record comes out, it’s a worldwide smash. It got me on Smash Hit’s cover, on Saturday morning, telly; I’m shiny, bubble-gum pop guy. That’s where I am, right? Now, the record label wants ten more tracks which sounds like thatโ€ฆ. but Iโ€™m a rock guy!! You can see the problem?!โ€

If all sounds weighty, I must point out Owen finished this sentence with a giggle, recalling his moment in the spotlight playfully. But we compared it to his freedom now to write, and his new song Fly With Me, which I observed reminded me of Cat Stevens or George Harrison. Again, he found my question about it, โ€œinteresting. I don’t get it asked much. I think ultimately, I’m a Celt, Scottish and folk music is everything to us. I’ve always been like that, every song I hear in my head, when I’m doing new tracks sounds like a folk song. But when you’re in the eighties and you’ve got a record deal, they donโ€™t want that, you turn that into a pop song.โ€

Owen continued to explain how, with his guitarist Howard, decided to produce a folk album after an acoustic gig, but clarified, โ€œfolk is the fifth of it all.โ€ This seemed like a convenient time to move away from the roots and back to idea he was coming to Devizes to do an eighties show, and people will lap that up. โ€œI love that about eighties shows,โ€ he revealed, โ€œI didn’t do them for a long time, nearly twenty years. I pretended that I wasn’t Owen Paul or sang that song. And then, I did a thing on telly called Watchdog, Rouge Traders. They were investigating this company with security cameras and asked me to walk in at the end and sing (and he did sing it for me!) youโ€™re mineโ€ฆ!โ€

โ€œI thought, hang on a minute. Is this because I didn’t pay my tax bill?!  Are they actually chasing me?! I double checked, and it turned out that it was the BBC, and it was fantastic and really funny! The next day, my phone was exploding. My website was exploding with pictures going โ€˜oh my God, Owen Paul isn’t dead,โ€™ can you do this show?!โ€

Owen recalled with joy, how it felt to now do retro festivals where, โ€œthe most amazing thing occurred to me. After me not wanting to be Owen Paul, that guy, that song. I get to the beginning of the song, and obviously it’s not like there’s an intro, it just goes bang, you know? And then suddenly, I’ve got 20,000 people singing that back at me.โ€

Regardless of how you might feel about the commercialisation of it, I try to imagine that and offer to Owen that it is truly is the testament to his work. โ€œYeah,โ€ he responded so positively, โ€œI think I grew up as well. You know, I’ve been doing this for a while now and I’ve realised if you’re the wrong side of forty-five, so youโ€™re an eighties kid and you’ve got two kids, a mortgage, bills and you’ve got all your rubbish; you want five minutes away from it all.โ€

Which is, in turn, the best advert for the upcoming show! We continued for some considerable time, I was enthralled he spoke about Howard Jones on first name terms, being asked to do a number of celebrity shows, like Strictly. We talked about dance music, Britpop, and the changes these brought, and even from the effect of streaming services on the industry, to the youth of today identifying with the songs of the eighties. It was becoming clear one of us needed to break the chat through fear of day becoming night, and maybe back again.

It was a wonderful conversation which knew no natural end, because though I was honoured and slightly in awe of Owen Paul, we chatted like old school friends at a reunion. If the nineties saw me shun the commercialisation of the pop of my youth, Owen caused me to rethink it again, and it was a pleasure.

Owen Paul brings his eighties show to the Corn Exchange on Friday 21st March. Tickets are aptly ยฃ19.80, because itโ€™s promised youโ€™ll be transported back to the 1980s! Have I got time to grow a mullet?


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Chandra Likely To Go Boom!

Buzzwords, like โ€œturbo,โ€ or โ€œsonicโ€ are cliche, overused trends which gain popularity because they sound impressive, even if they are empty of meaning. I avoidโ€ฆ

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Just a Little New Single From Sam Bishopย 

โ€œThis song speaks to anyone who’s ever felt like they weren’t quite enough for someone, yet still held out hope for just a hint of validation,โ€ Sam Bishop explained to me about his latest release, Just a Little which is out today, 7th Februaryโ€ฆ.

The immediate hook to this song is in the simplicity of the riff, it glides with a summer breeze echoing in feelgood ambience. Refreshingly vehement and not overworked, Just a Little caused me to think of Natasha Bedingfieldโ€™s Unwritten, and further back to how Madonna secured her queen of pop title with the Latino hook in La Isla Bonita, or am I going too far back for you now?! Noah Kahan brought back fervency, this goes along similar lines, though Sam likened it to Coldplay and Bastille, stating, โ€œI hope people can connect to it.โ€ย 

Itโ€™s certainly miles beyond his beginnings in Devizes School boy band 98 Reasons and the duo Larkin with fellow member Finley Trusler, in commercial viability. It shows a maturity, but if weโ€™ve followed this natural progression I could argue his previous songs were growers, whereas this was an instant like, and swift appeal is whatโ€™s needed in the fast-paced industry.

Sam scribed this beauty whilst travelling the States over summer and produced it once home. โ€œThis song is for everyone whoโ€™s ever felt like they were giving their all but still wondering if itโ€™s enough,โ€ he expressed, โ€œI wanted to create something that felt vulnerable, yet comforting, that also feels personal.โ€ Yeah, Sam, I think youโ€™ve captured that!

Just a Little is out across streaming platforms from 7th February. Check it out HERE; it’s already top ten on UK iTunes – deservedly.

Harder to Breathe; New Single from Talk in Code

Itโ€™s been a fantastic summer for Wiltshireโ€™s indie-pop favourites Talk in Code. I think Iโ€™ve caught them live at least four times, and only once blagged a lift home from guitarist Snedds, of which is customary to drunkenly chew his ears off on as many random subjects the journey time will allow; I guess that officially makes me a โ€œtalker?!โ€

But hey, nights drawing in, back to recorded sound, and Talk in Code have a new single, Harder to Breathe, out this Friday, 4th October 2024; it is still 2024, right?!

Again this one follows the irresistible building template of the band, bridging the gap between 80โ€™s new wave electronica and 90โ€™s indie pop. This one, I believe, really harnesses the bandโ€™s objectives of creating timeless pop with dynamic eighties synth and guitar combos. The effect is akin to iconic producers like Peter F Wolf or Narada Walden; Harder to Breathe evokes blissful recollections of songs from the peak of the era, from Go West to Madonna, and weโ€™ll never stop dancing to them; try to stop me, I double-dare you!

Harder to Breathe is another universally exemplary precedent of this original timeless anthem ethos Talk In Code are achieving. The sound reaches that blinkered emotion of ones infatuation suffocating the object of their desires, at least in a pop-tastic fashion, as is the theme. At least I think it does, it’s been a long time since anyone was infatuated with me, but once upon a long time ago, believe it or not, some did; funny old world, isn’t it?! No one was even paying them!!

Frontman Chris Stevens said of the single, โ€œwe want to evoke the feelings you have when you meet people that have a huge impact on your life; being overwhelmed, lust, falling in loveโ€ฆthe song addresses if it is simply instinctual to gamble with matters of the heart.โ€

A versatile force live, able to suit a variety of festivals and venues, itโ€™s been a great summer, but the fun doesnโ€™t stop, this tune matches the gusto of their performances, in the comfort of your own home; give it a listen, just don’t try to stop me from dancing!

Pre-Save this beauty HERE. Return Friday in diddy-boppers and rah-rah skirt, I know I will!


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Only The Brave Burn The Midnight Oil

Hurrah, at last! Only The Brave is the debut song from Burn The Midnight Oilโ€™s revised lineup; something Iโ€™ve been anticipating since watching them rehearseโ€ฆ

Dulcet Tones Rock Back to Bassett!

You’re a teenage Tom Cruise, at least you wish you were, but stay with me on this! Your parents are away, you’re home alone withโ€ฆ

Jazz Orchestras and Senegalese Kora to Musical Bingo; New Autumn-Winter Program at Wiltshire Music Centre

Seems like an age since I last visited Bradford-on-Avonโ€™s wonderful Wiltshire Music Centre, though Iโ€™ve been listing their vast range of events on our calendar. Maybe itโ€™s a good time for you to check out whatโ€™s going on there as theyโ€™ve just released their autumn-winter programโ€ฆ.

From contemporary and folk to jazz and classical, thereโ€™s a massive variety. I’d go out on a limb to suggest you’ll not find such diversity in any local music venue. The season begins with some Northumbrian pipe folk with Kathryn Tickell & The Darkening on Wednesday 2nd October. Pupils of The Yehudi Menuhin School, a global leader in music education, present a varied showcase of talent and skill from their young musicians on Sunday 6th.

While Friday 11th gets choral with innovative and creative vocal ensemble The Marian Consort, telling the story of Renaissance art through sound, renowned Pink Floyd tribute All Floyd recreates the Division Bell album on the Saturday at St Margaret’s Hall, while Syrian โ€œQueen of the Qananโ€ Maya Youssef returns to the centre.

BBC Folk Musicians of the Year Andy Cutting and Sam Sweeney group with Rob Harbron on Wednesday 16th for some freeform folk under the guise Leveret. Food critic and MasterChef judge Jay Rayner arrives Saturday 19th as a pianist with a penchant for jazzy โ€˜80s pop; who knew?!

Catherine at the Music Centre really wanted me to highlight the Charity Musical Bingo night on Wednesday 23rd October. โ€œItโ€™s very new for us,โ€ she told us, but if, like me, youโ€™re thinking โ€˜bingo, really?โ€™ note, she explained the spin on it, โ€œweโ€™re planning it to be glitzy and fun, with an added fancy dress competition, live music from quirky covers band FLQ, plus food from Feast Brothers. Itโ€™s a fundraiser for the Centre; instead of numbers on a bingo card, we play snippets of pop songs from the 50s onwards and if they are on your card, you mark them off until you win.โ€ย  That’s my kinda bingo!

Bringing together an electrifying seven-piece band of influential Senegalese musicians and vocalists, master kora player and singer Seckou Keita could have you swaying to the beat of his latest album, Homeland, on Friday 25th October, while The Urban Folk Quartet mix Celtic tune forms, traditional song and cross-genre influences like Afrobeat, Bluegrass, funk and rock, on Saturday 26th.

Kasai Masai at Wiltshire Music Centre, December 2023

October ends with the classical, a lunchtime concert from Italian string musicians Trio Chagall, and weโ€™ve only mentioned the first month. November sees Sir Stephen Hough, The Bristol Ensemble, both Trowbridge and Bath Symphony Orchestras, and Bachโ€™s Brandenburg Concertos with Orchestra of the Age of Enlightenment. For folk thereโ€™s Calan and Manran, thereโ€™s a homage to Simon & Garfunkel, and a big weekend of jazz.

And weโ€™ve not yet covered all the family events like Voices for Life where 200 children from local primary schools sing with BBC Young Chorister of the Year, Belinda Gifford-Guy, or youth projects like Wiltshire England Youth Orchestra and Wiltshire Youth Jazz Orchestra.

Weโ€™ve not touched upon the sterling work of the Zone Club at the centre, offering Monthly creative sessions for learning disabled young adults. Thereโ€™s probably more amazing work going on at Wiltshire Music Centre I donโ€™t even know about, but you cannot deny, itโ€™s a fantastic place with a heart of gold. And you need no other reason to pick up some tickets and support their fundraisers, safe in the knowledge youโ€™re supporting a rather special organisation pushing boundaries in local arts and music.

For full program details, and to book tickets, see HERE.


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Fulltone Confirmed For 2025 in Devizes

The Fulltone Orchestra has confirmed today that their annual festival will take place on The Green in Devizes from 25th โ€“ 27th July 2025โ€ฆ.

โ€œItโ€™s hard to believe that exactly one month ago, we were on The Green setting up for what we thought might be the last Fulltone Festival,โ€ they said today.

โ€œFulltone is run by a small group of volunteers and is funded solely by ticket sales plus a few generous local sponsors. Ticket sales hadnโ€™t been great leading up to this yearโ€™s festival, and we really thought that it might have run its course.โ€

Image Gail Foster

A last minute rush on ticket sales for the festival this July, the smooth running of the event, and overwhelmingly positive feedback have been the benefactors which caused the organisers to make a u-turn on not holding a Fulltone Festival next year.

I reasoned based on rumours about camping possibilities it may be relocated outside the central town, but organiser Jemma Brown confirmed it will remain on the Green due to popular demand, and the Rowdy Cow site could become a camping area with a shuttle bus operating to and fro.

Jemma also explained they’ve dropped the word โ€œfestivalโ€ from the title of the event, and from next summer it will be known more simply as Fulltone โ€˜25. I like this, it’s a unique event and on the reputation it has amassed over the years it needs no more explanation than this.

Image: Gail Foster

Acts are already being considered and booked, and Jemma also mentioned the possibility of fringe events happening in town venues. All exciting developments, and we wish them all the best with these early planning stages for what has become a jewel in the Devizes event calendar.

Fulltone โ€™25 will take place on The Green from 25th โ€“ 27th July 2025. Early bird tickets will go on sale at 9 am Saturday 24th August 2024.


Get ‘Lifted’ by Chandra

Chandra, Hindu God of the Moon, with his own NASA X-ray observatory named after him, and also frontman of a self-named friendly Bristol-based four-piece pop-punk band Iโ€™ve recently been introduced to; busy guy, I have to tell you about themโ€ฆ..

This band has been together since April and knocked out five singles already. The latest, Lifted is as the same suggests. Itโ€™s feel-good factors and amusing hooks immediately warm to you, but at the same time itโ€™s an intelligently crafted grower, simply infectious! Chandra has put six tracks into an EP, titled Lifted too.

Chandra explained, โ€œI spent a while trying to figure out my sound and what I wanted to write about. So the first few songs are very much me finding my way. Lighters To The Sky was a eureka moment and the song where things suddenly clicked.โ€ You can hear this as this track is on the EP, alongside Pretty, Smile and I’ll Be There, perhaps rawer by nature, prototypes, but this upbeat sound with hints to carefree merriment has been perfected sublimely. Lifted is so commercially viable Iโ€™m going tingly, an elevating and uplifting anthem.

โ€œI spent 2023 releasing singles in order to put a band together because literally nobody was interested in being in an originals band when I first started looking for people,โ€ Chandra told us, so band members are from Bristol, Patchway, Trowbridge and Chandra himself is from Berkeley. โ€œWe’re a bit all over the place but Bristol is our common ground and where we play the most.โ€

Only geographically all over the place, I might add, Chandra sounds polished. We chatted about the desire of local circuit venues wanting cover bands, a frustrating reality for bands trying to produce original material. โ€œBristol is basically a hive of musicians who mostly play for two or three different covers bands,โ€ he expressed, โ€œand that’s fine of course, but playing covers just doesn’t give me that buzz. Originals is a tough slog but I get so much satisfaction  from the reactions. It means a thousand times more to me.โ€

This led me to name-drop Trowbridgeโ€™s Pump as a venue dedicated to original music and also promoting upcoming artists too. As I suspected theyโ€™re on this, and play there on Friday 4th October with Ben Waller & The Tell Tale Signs. Closer by date, they support Laissez Faire at the Thunderbolt this Thursday.ย 

The elevation to the latest single Lifted is bursting with potential, Smile (No Fox Gibbon) marks a milestone, thereโ€™s contemporary pop-punk goodness of Blink 182 or Green Day, yet melded subtly with English charm, whereas Lifted is defined, idiosyncratically melodious and my new favourite thing. Iโ€™m unsure where the final song Overload fits chronologically, but it is a moralistic acoustic chicken nugget, a gorgeous committed sound, displaying a more mellifluous side to Chandra.

The scope here is encouraging, but the compelling steadfast template theyโ€™ve created is simply irresistible already. If Chandra isn’t headlining by autumn I call for a national inquiry into why not!


What else is happening?!

Rowdefest 26 Lineup Reveal!

Drizzly Sundayโ€ฆagain. Iโ€™ve just finished designing the poster, so allow me to reveal the lineup for Rowdefest this coming May, might cheer us up aโ€ฆ

Keep reading

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Sing Another Love Song with Rosie Jay

Second impressive single from young Salisbury singer-songwriter Rosie Jay is released today. Sing Another Love Song; a sound of the summerโ€ฆ..

Her debut breakup track I Don’t Give a Damn, had an interesting hook, this has too, but is far more optimistic, and eternally beguiling. It is, technically, the better of the two, revealing a potential for eminence in its confident and outstanding delivery.ย 

If it hints of connotations the infatuation of the theme is one-sided on the part of the author, itโ€™s open-ended for interpretation; maybe the love interest simply doesnโ€™t share their passion for a good love song?! Thatโ€™s their issue! 

For thatโ€™s what this is, breezy and cool, acoustic and pop-folky, with the perfect flowery scent of Kirsty MacColl in both theme, musically and vocally. Such is the magic of local producer Jolyon Dixon, to filter the inner superlative of an upcoming artist and nurture it to the forefront. And in such youโ€™ll hear a similarity with Rosie to his duo Illingworth with John Smith, should youโ€™ve caught them on our live music circuit. Then again, the whole gypsy-esque vibe, there’s hints of Irish, and I’m awarding the Corrs as another comparison; as with MacColl, these are high accolades indeed!

Here this now, itโ€™ll brighten up your day. Yet, gorgeous as this song is, with the blossoming potential it displays, I believe itโ€™ll be rudimentary in a short period of time, and the best of Rosie Jay is yet to come. You need to be here to hear it when it does. 


what else is occurring?!

Devizes Issues Wants You!

Dubiously biased and ruled with an iron fist, the mighty admin of the once popular Devizes Facebook group, Devizes Issues, is using the iconic Greatโ€ฆ

Keep reading

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Talk in Code & Laissez Faire at The Southgate, Devizes

Gallivanting through festival season omits crucial visits to my local watering hole; I’ve missed it sooo much, and now feel thoroughly refreshedโ€ฆ with a hint of hangover!

With Ian dispatched on the 49 to My Dadโ€™s Festival in Swindon, and a double-whammy of FullTone and Scooter Rally pending next weekend, leaves me a free Saturday to enjoy a cider or five down my favourestmost tavern The Southgate.

They’ve ciders leftover from Beer Festival for three quid a pint, my favourite poison, and being my favourestmost indie popsters Talk In Code are doing their thang there, it’s a no-brainer; favourites all round.

Hardly been an age since giving Chris, Snedds, Titch, and Jambo some deserved attention on Devizine, being Minety was only a fortnight ago, but they’re a band I never tire of seeing. Plus I was interested to see how this would play out, being while the Gate is renowned for hosting original acts such as Talk in Code will insist on doing, there’s a common epoch to appease the blues aficionados of Devizes, else provide quirky alternatives like folk or jazz. Talk in Code is decidedly matured pop with indie roots, using subtle backing tracks to create ambience, so I worried the unusual fit might fail to create a sensation. I stand corrected and should never have doubted.

Such is their ability and universal appeal, to slot as neatly into something like FullTone and another such different shape like The Southgate. With two forty-five minute sets, a longer shift than usual, Talk in Code decided to warm the crowd by dipping into their more indie-rock back catalogue, and deliver the newer songs of a more eighties pop rock vibe towards the finale. Arguably, this could’ve been reversed as an audience younger than the Southgate regulars attended to begin with,ย  to even out later. On the other hand the later songs infuses the party and rouses the crowd better, so by the beginning of the second half any concerns I might have had were quashed, and Talk in Code brought the house down with a jumping frenzy from a more diverse demographic than usual in the pub.

Such humbling merriment is, after all, what the Southgate vibe has always been about, and achieves as a standard; one damn fine reason among others why it’s my favourite pub.

It’s a world apart from standing on a stage with the audience at some distance away, to cram yourself into the Gate’s legendary alcove and literally have an audience so close to kiss you! It can be daunting, it might expose tricks you can hide on stage, but when played right, it’s the communal relationship creating an atmosphere you cannot attain with an audience standing twenty feet away from the stage. Talk in Code are utterly flexible on this. They need not adapt to suit the surrounding, but rather, what they deliver guarantees to work on any level of location and set.

And the sum of it all did produce another memorable gig at the trusty Southgate. Kicked off with an impressive support set by Bristol indie-rock trio Laissez Faire, a new one to me who could’ve easily taken a headline slot, and regularly does elsewhere. With a harder rock edge than Talk in Code, they had an acute sense of balance in bringing frenzied bridges and even-paced melodies. Their original compositions taking a hint of grunge, were confidently delivered and adroit, with attention to wider appeal than simply thrashing something out, I detected equally proportioned nods to the punker side of eighties mod rock as well, which is always a win for me.

Yet another top night’s entertainment for free, that you’d gladly buy a ticket for, at the dependable Southgate; they never fail to please. Laissez Faire, an introduction to a name to keep a keen eye on, followed by a band we’ve tracked the progress of for many years, and with a building mass of followers dubbed Talkers, on a local level at the very least, provide such a universal sound it’s impossible to ignore their success. Talk in Code by name, but there’s no cryptic mystery as to why they’re one of the very best bands on the circuit.


Six:Teen Edition; Devizes Music Academyโ€™s Historic Pop Blast Showcase!ย ย 

Images Used With Permission of Gail Foster

Last night at Devizes Corn Exchange I, and a packed house, witnessed the retelling of the six wives of Henry VIII, in an unique, contemporary and dazzling way. It was as if Andrew Lloyd Webber was directing Little Mix in a musical of Horrible Historiesโ€ฆ.

Without hindsight I admit, I was apprehensive it would be my cuppa. It was mostly the fact young Jess Self starred in it which drew me to it. Truly a natural born star, I’ve witnessed firsthand the range of dramatics she handles with sublime ease, yet I was concerned her talent may upstage the other students appearing in Devizes Music Academy’s inaugural showcase.

I wasn’t wrong about Jess’s talent, playing the part of Jane Seymour, her solo ballad much in the musical style she’s accustomed brought the house down, but I hadn’t predicted how exceptionally close to that pedestal the other cast members would attain. It was a bonded girl band, to all intents and purposes, akin to the non-uniformed Spice Girls, where each girl’s contrasting characteristics and personalities have the freedom to be played out, but the ingenious part was that both the individuality of each performer, and the characters of the wives of Henry VIII intertwined so wonderfully if the concept is difficult to imagine, it simply worked wonders through their dedication.

Image: Gail Foster

I mean, yeah, Devizes most prestigious stage, the quality of light and sound engineering, and the clever design of the dresses to mesh Tudor styles with contemporary fashion, all benefitted, but the magic truly was in the performance, as they boomed onto the stage brewing with both with the joy of performing and confidence of an established pop band on tour. Backed by the precise choreography of the remaining students, the six wives came out in a force of unison, as did they finalise the show with two additional numbers.

With just enough narrative to inform and not prevent it turning into a full blown play, rather a pastiche of a pop party, they jostled each other for the spotlight with amusing Gen Z banter and staged a song-off battle brimming with historic facts. It was uniquely brilliant.

Image: Gail Foster

Each took a solo pitch in the chronological order of the King’s wives. I tried to keep track of this despite mostly staring out of the classroom window during history lessons! Katherine of Aragon first, played enthusiastically and skilfully with the egotistical diva of Miley Cyrus, by Ruby Phipps, and you’d be forgiven to assume her astute and amusing quips and side-eye glances at the others would be a comical showstopper, much too was the confidence in her vocals.

Amelie Smith as Anne Boleyn followed. A contrasting but equally engaging performance, with the Cockney-pseudo-rap-singing fashion of Kate Nash. It was clear each modern pop sub-genre would be inclusive with each solo, and each performer’s personal attributes would be encased within their characters; the casting was defined with excellence.

Image: Gail Foster

Jane Seymour next, her family-orientated persona perfect for Jess Self to light up the stage with the aforementioned breathtaking musical ballad. Truly a star, but the others, I now know, are too.

It then all went all Europop for Anne of Cleves, adapting her Germanic roots in the House of La Marck as a tekno club intro was a stroke of humorous genius. Played with gusto and inimitable panache, the exceptionally talented Kelsey Husband took no prisoners in a neo-soul blast akin to Missy Elliot come attitude of P!nk in a period drama; wowzers, it was as cool as a cucumber!

Image: Gail Foster

Mia Jepson as Catherine Howard implemented a more punky, indie fusion, as if lead in a Republica style band. The result was spellbinding and contrasting, and performed with confidence, as if singing like a rock legend was child’s play to Mia!

Image: Gail Foster

The final wife Kateryn Parr, played with a certain brilliance by Lisa Grime returned the vibe superbly back to a soulful ballad, and through beautiful vocals the harsh realities of their fates begun to reside over the folly and excitement of fame, exactly the downside of Henry VIII’s wives and contemporary pop stars might equally face. And that was where the unique spin resided. I said from concept to production the idea was a stroke of genius, didn’t I?!

Sure, we’ve seen modern makeovers of biblical or historical stories in musicals, from the Romeo and Juliet adaptation West Side Story to Rice’s Jesus Christ Superstar, but nothing I know of which reflects a Gen Z pop concert to the letter, in so much as it was more a pop concert than play, and this conveyed the preference of the generation, and breathed zest and joy into a head-chopping historic referenced narrative.

Image: Gail Foster

A mahoosive congratulations to director and mentor Jemma Brown, and all the awesome students of Devizes Music Academy. It was absolutely fantastic, enough to take on tour, or perhaps, if you all became presenters of the History Channel, they’d move it to MTV and actually get viewers!!

While thereโ€™s many great local options for schools of performing arts, judged from the quality of this show alone, Devizes Music Academy shows real potential in creating current programs which would really engage the youth of today. 


Trending….

Who Broke into Joyrobberโ€™s Car?!

Poor Joyrobber, got his car broken into, on his birthday too, but avenged them in song! Requiem for my Car Window is this mysterious characterโ€™sโ€ฆ

Lady Nade; Sober!

Dry January, anyone? Well, Lady Nade just plunged into an outdoor 4ยฐC eucalyptus sauna for a social media reel. But whilst I’d require a stiffโ€ฆ

Ha! Let’s Laugh at Hunt Supporters!

Christmas has come early for foxes and normal humans with any slither of compassion remaining, as the government announced the righteous move to ban trailโ€ฆ

Rooks; New Single From M3G

Chippenham folk singer-songwriter, M3G (because she likes a backward โ€œEโ€) has a new single out tomorrow, Friday 19th December. Put your jingly bell cheesy tunesโ€ฆ

Never Changing the Rules With Atari Pilot

Swindonโ€™s sonic indie popsters Atari Pilot are a prolific bunch, and have a new single out called The Rules Never Changeโ€ฆ.

And, they donโ€™t. Thereโ€™s a definite uniformed methodology to Atari Pilot which builds with each new single. Yearning vocals, never without a repetitive chorus to hook you, neatly packaged in retrospective new wave electronica. It may not be as commercially viable as, say, Talk in Code, but itโ€™s irresistibly beguiling and universal to be pop you need to hear. 

Love it! I donโ€™t want these rules to change!

LinkTree


Trending……

Burning the Midday Oil at The Muck

Highest season of goodwill praises must go to Chrissy Chapman today, who raised over ยฃ500 (at the last count) for His Grace Childrenโ€™s Centre inโ€ฆ

St John’s Choir Christmas Concert in Devizes

Join the St Johnโ€™s Choir and talented soloists for a heart-warming evening of festive favourites, carols, and candlelit Christmas atmosphere this Friday 12 th Decemberโ€ฆ

For Now, Anyway; Gus White’s Debut Album

Featured Image: Barbora Mrazkova My apologies, for Marlboroughโ€™s singer-songwriter Gus Whiteโ€™s debut album For Now, Anyway has been sitting on the backburner, and itโ€™s moreโ€ฆ

Something Of Nothing; New Single From Talk in Code

Swindon indie popsters Talk in Code return tomorrow (1st March) with a new single, Something Of Nothing โ€ฆ..hold tight to your Deely-Boppers, things are about to get eighties around hereโ€ฆ.

Every time Talk in Code releases a single I find myself pondering deeper into what makes good pop, and if the word pop is a suitable term to use to describe a song at all. Wikipedia defines โ€˜popโ€™ as a โ€œgenre of popular music,โ€ a rather incontrovertible statement, being it defines โ€˜genreโ€™ as โ€œa conventional category that identifies pieces of music as belonging to a shared tradition or set of conventions.โ€ Find me โ€˜shared conventionsโ€™ between Elvisโ€™s Heartbreak Hotel and Doja Catโ€™s Agora Hills, other than both were commercially produced? If they weren’t โ€˜popโ€™ they would hardly fall into the same category. Theyโ€™re styles apart, separated by time and influences, ergo โ€˜popular,โ€™ at the time, and that’s an epoch, not a genre.

Iโ€™d argue pop is only a genre when thinking outside its own sphere, ie; classical, jazz, folk. Ergo, everything else is pop, making pop a blanket term. Not all pop songs are popular, even if the intention was; singles flop, or, era depending, they become timeworn. Ah, but we were discussing โ€˜good popโ€™ and for that there’s two distinct categories.

Category one is throwaway, only encapsulating briefly, fitting with a current trend. Think of those songs you bought back when, but you’re now horrified you liked them, compared with those songs you consider classics, and will still drag you down to the dancefloor today. I bet you thought of more classics than the once trendy ones, because the latter you block from your mind, until some radio DJ spins it and you think, did I really like that shite?! Therefore, good pop breaks the very rule of pop, itโ€™s not trending, rather itโ€™s timeless. Ask yourself why tribute acts are big business, or a current act feels the need to sample an eighties electronica riff, it’s nostalgia.

Talk in Code often cite The Killers and The 1975 as influences, and certainly their root lies in another ambiguous genre, indie. Indie to me implies nineties dance-indie or Britpop, but whenever I hear a new TIC single I’m contemplating eighties electronica pop, more with every release.

Something Of Nothing is no exception, it accentuates the euphoria of an eighties dancefloor filler, and wouldn’t sound out of place on a chart hits compilation of 1986. By the opening bars I thought Ah-Ha were making a comeback, I thought Roxette might sing. The fact that when I addressed this eighties influence with the band they were agreeable, despite citing nineties influences themselves; itโ€™s what you want to hear, meaning one thing, that their sound is timelessly classic, ergo, good pop.

If it was so, that this tune was on a mid eighties hits album, I’m assured it would be a smash and Bruno Brookes would be introducing them on Top of the Pops. Equally with a nineties one. Talk in Code cherrypicks from era-spanning memorable and timeless pop songs, garnishing them with contemporary freshness.   

Subject is equally perennial for any good pop, they blurb this one as, โ€œtaking things at face value, over analysing and the scene of one person wanting more than the other from a relationship.โ€ Woody Guthire wrote this lyric, โ€œand it’s hard and it’s hard, ain’t it hard, To love one that never did love you?โ€ in 1941, again, recurring themes are so because theyโ€™re eternally popular subject matter, ergo good pop!

The song will be available via Regent Street Records on all streaming platforms from tomorrow, 1st March. Recorded with Sam Winfield at Studio 91, Newbury. Talk in Code take their dynamic show on the road,ย  7th July โ€“ Minety Festival, 20th July โ€“ Southgate Inn, Devizes, 27th July โ€“ Fulltone Festival, Devizes, 2nd August โ€“ The Three Horseshoes, Bradford On Avon, 3rd August โ€“ The Castle Inn, Swindon and 26th August โ€“ Box Rocks, Box. The act which can neatly slip into these diverse events, can equally thrill an audience at say, FullTone, or the Three Horseshoes, proves my waffling point, I think!

Pre-save it HERE!


Trending…….

Butane Skies Not Releasing a Christmas Song!

No, I didnโ€™t imagine for a second they would, but upcoming Take the Stage winners, alt-rock emo four-piece, Butane Skies have released their second song,โ€ฆ

One Of Us; New Single From Lady Nade

Featured Image by Giulia Spadafora Ooo, a handclap uncomplicated chorus is the hook in Lady Ladeโ€™s latest offering of soulful pop. Itโ€™s timelessly cool andโ€ฆ

Large Unlicensed Music Event Alert!

On the first day of advent, a time of peace and joy to the world et al, Devizes Police report on a โ€œlarge unlicenced musicโ€ฆ

Winter Festival/Christmas/Whatever!

This is why I love you, my readers, see?! At the beginning of the week I put out an article highlighting DOCAโ€™s Winter Festival, andโ€ฆ

Devizes Winter Festival This Friday and More!

Whoโ€™s ready for walking in the winter wonderland?! Devizes sets to magically transform into a winter wonderland this Friday when The Winter Festival and Lanternโ€ฆ

Snow White Delight: Panto at The Wharf

Treated to a sneaky dress rehearsal of this year’s pantomime at Devizesโ€™ one and only Wharf Theatre last night, if forced to sum it upโ€ฆ

Snakebite Tune From The Dirty Smooth

Snotty nose, change of weather, otherwise Iโ€™d have dragged my sorry ass down to Underground, formerly Level III in Swindon for last weekendโ€™s Children in Need fundraiser with our heroes Talk in Code, and these Malmesbury guys, The Dirty Smooth. Instead I stayed in, feeling sorry for myself; man flu, the struggle is realโ€ฆ.

Rub salt into the wound, why donโ€™t you, Dirty Smooth, and put out a buzzing new single?!ย 

Itโ€™s a rare find, a single from The Dirty Smooth, last one was all out Guns n Roses fashioned power rock Black Jack City, last March. A welcomed return then, and Snakebite has a more pop feel, the like Talk in Code are putting out, and their punchy Seed The Spark. Snakebite is tempting, with this archetypal smooth bridge for the band, and it just rolls, slick, give a whirl, do yourself a favourโ€ฆ..


Trending…..

Chatting With Burn The Midnight Oil

Itโ€™s nice to hear when our features attract attention. Salisburyโ€™s Radio Odstock ย picked up on our interview with Devizes band Burn the Midnight Oil andโ€ฆ

Full Time for Full-Tone Festival 2023, Hereโ€™s to Next Year!

All images ยฉGail Foster

It may be a wrap for another successful Full-Tone Festival in Devizes this bank holiday weekend, but talking to conductor Anthony Brown, seems like itโ€™s full steam ahead for next year, with a few changes. With such a busy weekend in general, the one possibility I believe we can leak is it may not be on the same date, other than this youโ€™ll have to wait to see!

And it was a busy weekend, alas I didnโ€™t get the full-on Full-Tone experience I shouldโ€™ve done and looking through Gail Fosterโ€™s awesome snaps today I see what I missed, including the wonderful Becky Lawrence who we absolutely love here at Devizine Towers. Fortunately, we do have some coverage, as our equally wonderful writer Helen Edwards dropped in on the Saturday, and then I made haste for the Green on Sunday, as soon as I washed the dishes, as is my part of the bargain with the very patient and understanding Mrs Devizineโ€ฆโ€ฆ

Becky Lawrence ยฉGail Foster

Full-Tone Festival: Saturday: Helen Edwards

Day one at the festival was fantastic. When I arrived the magnificent Full-Tone Orchestra was in full swing with Jemma Brown (one of the key organisers of the festival) at the microphone – and what an incredible voice she has!

ยฉGail Foster

The vibes were chilled, and family focused, the food and drink options were varied and reasonably priced and the tunes were banging.  Perhaps thatโ€™s the wrong word for the earlier afternoon classical proms and TV & movie music but by the end of the evening the dance anthems were pumping out. The crowd in front of the huge Glastonbury-esque stage was thronging, glow sticks in hand with face glitter and fairy-light flower headbands adorned. Those festival goers not dancing were sat in their camping chairs chilling with mates or queuing for food, all bopping their heads to the music. All except those of school age. They were hanging with their friends, the older ones walking laps around the site enjoying the freedom and festival atmosphere.

I left before the end and saw that the entertainment and enjoyment on The Green had spread past the impenetrable, black sheeted fencing. There were many set up on the opposite side of the road with their blankets laid and tents erected enjoying the music from afar.

Pete Lamb’s Heartbeats @ Fulltone Festival 2023 – Day One ยฉGail Foster

I got talking to people in the food and drinks queues to ask their thoughts about Devizesโ€™ only two-day bank holiday festival.  I spoke to a couple who live locally and, also, a few who had travelled from neighbouring Calne, Trowbridge and Westbury to attend. Hereโ€™s a few of their comments:

โ€˜I donโ€™t enjoy the bigger festivals; thereโ€™s too many people and I feel overwhelmed. This is my second year here.  Itโ€™s got such a safe atmosphere and amazing and varied musicโ€™.

โ€˜Itโ€™s brilliant! I canโ€™t wait to get to the front and dance!โ€™

โ€˜Itโ€™s such a welcoming festival, everyoneโ€™s so friendly.โ€™

Fulltone Festival 2023 – Day One ยฉGail Foster

The sound engineers got the balance spot on; the orchestra was majestic throughout, yet the singersโ€™ voices were clear (and brilliant). If youโ€™ve never heard a 50-piece orchestra playing modern music from the movies and TV through to dance anthems, then youโ€™ve got to get to get yourself a ticket to Full-Toneโ€™s next festival.

The people who put their efforts and passion into its success have given Devizes an annual festival to be proud of. Itโ€™s become an event that brings our community together, gives a phenomenal orchestral experience and makes the โ€˜what to do over bank holidayโ€™ decision even harder!

The sound is unforgettable, the vibes are perfectly chilled and itโ€™s a great value for money weekend.

Fulltone Festival 2023 – Day One ยฉGail Foster

Full-Tone Festival: Sunday: Darren Worrow

Day two of the Full-Tone Festival here in Devizes, and I’m afraid they’ve got me rocking up this time around, the big bad editor to cast my beady eye on matters; itโ€™s Sunday and Iโ€™m grouchy, God dammit!

Allow me thus, to summarise the magic with a story, as I annoyingly tend to do (what? Itโ€™s an age thing, you donโ€™t gotta read it!) An anecdote which sees me front and centre absorbing those overwhelming acoustics, bumping into a friend Georgie Devon, who was looking stunning in black dress and glitter, causing me to wonder if she was up there singing on that magnificent stage, and I was right, she was, but I had no idea she could sing!

Fulltone Festival 2023 Day Two ยฉGail Foster

For Chris, Snedds, Titch and Jambo, aka the southwest’s champion indie-pop band, Talk in Code, they’ve arrived semi-fresh from the Victorious festival in Southsea, they’re no stranger to a stage, and naturally, they rocked it. For a smidgen over half-hour, they stole the stage, wowing an audience perhaps unaccustomed to festivals, least hoping for classic singalong covers, with their irresistible originals. Talk in Code donโ€™t do covers, they’re an originals band, but both their catchy songs and energetic stage presence holds said audience spellbound, as if they got what they wanted. What Iโ€™m suggesting is you might well be induced into some John Hughes eighties soundtrack, for Talk in Code rinse in the retrospective charm of the era so much I find I liken them to bands like Simple Minds, rather than something contemporary.

Talk in Code @ Fulltone Festival 2023 Day Two ยฉGail Foster

Apt then, for them to be placed prior to a set by the orchestra and guest singers of eighties classic pop, which was both โ€œradโ€ and โ€œwicked,โ€ in the eighties slang meanings of the words! Unlike you lucky lot, I had to work this morning, and had Heartโ€™s Alone, perpetually looped in my head, a particularly adroitly performed cover amidst the many wonderful renditions of a very best of Now, Thatโ€™s why I Call Music compilation; utterly brilliant, Full-Tone. I loved that song, and all the big-haired soft rock chicks; how would Heart get me alone? Well, they only had to ask!

Fulltone Festival 2023 Day Two ยฉGail Foster

Back to knowing those Talk in Code guys to seal my overall angle on this piece. It was a no-brainer their set would be this electric, but for the occasional and amateur singers, such as Georgie, the opportunity to deliver a song here on this now iconic stage for the town, amidst a full orchestra, is golden, not to mention the cherry on the cake as to why Full-Tone is so Devizes, and so magical.

Even when star in the making, Jess Self, gets up there, the thrill on her face says what I’m trying to convey, and this young star is accustomed to the stage. The ensemble of these musicians and performers is a monumental occasion for our humble market town. For those not from Devizes, or who hasnโ€™t been to a Full-Tone, imagine, if you will, The Proms, mix it with Pete Tongโ€™s Heritage Orchestra, add a spice of community festival, and stir in a pot of village fete.

Jess Self @ Fulltone Festival 2023 Day Two ยฉGail Foster

Then some keyboard warrior goes on Facebook clutching at straws to find any minor issues to whinge about the event. โ€œThe least the orchestra could have done was to prevent the rain and stop the traffic,โ€ I joked with chief organiser Jemma Brown, as the rant included the grass was wet and there was noise from the road!

The Full-Tone Orchestra can musically pull a rabbit from a hat, but they’re not gods! Just a collection of talented individuals, a majority of which are local, and the coming together on this scale, the logistics in organising it, the opportunities it provides, the attention to detail, from first aid to side stalls and from portaloos to one man standing conducting a variety packed programme for a full weekend is bonkers amazeballs, and to nitpick unavoidable paltry I can only imagine is based on pathetic jealousy.

โ€œHere’s a man who needs his bed!โ€ I guesstimated to conductor Anthony Brown as he approached to greet me. I had one question for him, as we stood next to this impressive stage surrounded by a mass of crowds clearly enjoying themselves without an inkling or care of online rants. The stage has become iconic, the event has become ingrained in just a few short years in our town’s culture, as I predicted after the inaugural one. The million-dollar question for him; where do you take this next?

Fulltone Festival 2023 Day Two ยฉGail Foster

Anthony elucidated it would continue annually but was keen to express there would be some changes. Yet what is important right now, Full-Tone this year was an extension of its previous success rate, it was spectacular on a level apt for a mass audience to enjoy and was a cherry on top of the cake already baked through previous years.

Unlike DOCA events it gets no arts grant, so it must put a price on it, and as we said prior, comparatively it’s reasonable. It is what it is, and I’m not going to suggest it’s everyone’s cuppa, even, but plonk yourself in the middle of it, witness those having fun or stand in awe of the talent and the acoustics they breath into it, and you cannot put a justified complaint in, impossible! Full-Tone works, and Full-Tone is enjoyed by the masses, masses which wouldn’t usually consider an orchestral occasion or festival, for this it is magical, and as Anthony hinted, here to stay; wonderful.

Fulltone Festival 2023 Day Two ยฉGail Foster

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The Lost Trades Float on New Single

Iโ€™ve got some gorgeous vocal harmonies currently floating into my ears, as The Lost Trades release their first single since the replacement of Tamsin Quinโ€ฆ

Barrelhouse are Open for Business with New Album

Rolling out a Barrelhouse of fun, you can have blues on the run, tomorrow (7th November) when Marlborough’s finest groovy vintage blues virtuosos Barrelhouse releaseโ€ฆ

Ruzz Guitar Swings With The Dirty Boogie

Bristolโ€™s regular Johnny B Goode, Ruzz Guitar Blues Revue goes full on swing with a new single, a take on The Brian Setzer Orchestraโ€™s 1998โ€ฆ

Joyrobber Didn’t Want Your Stupid Job Anyway

A second track from local anonymous songwriter Joyrobber has mysteriously appeared online, and heโ€™s bitter about not getting his dream jobโ€ฆ.. If this mysterious dudeโ€™sโ€ฆ

Simply the Best, CrownFest!

If last year I trundled off the 49 at Bishops Cannings in a blazing heatwave alone, this time things were different; the bus was heaving with revellers, mostly unprepared for the torrential rain forecast, enough to warrant me query out loud if anyone onboard wasnโ€™t going to CrownFest, and if not, did they have a pac-a-mac I could borrow?!

Attendance figures made for a vast improvement to last yearโ€™s inaugural festival at this wonderful village watering hole, which although was a thoroughly smashing occasion, due to a date clash with Devizes carnival could have been better attended. In fact, the unavoidably unpredictable British summer time climate could possibly be my only whinge this time around, as the rationale maintained “might as well make the most of it,โ€ rang through the beer garden of the Crown, and everyone, it seemed, had a fantastic time.

And to add importantly, downpours were sporadic and at better times the sun poked his head around the gloomy clouds to say hi. Dapper in country attire, Capโ€™n Rastyโ€™s Skiffle City Rockers were already underway, with highly entertaining skiffle variations of classic pop covers, a few traditional folk singalongs thrown in for authenticity. New to me this one, they were utterly proficient with an air of timeless cool.

Nonchalant was the vibe in general, though, in the face of adversity; a possible landslide to the next village, or trench-foot at the very least. Lesser in sidestalls, perhaps due to the forecast, the arrangement of tables and chairs which last year caused an elongated divide between the stage and bar had been realigned and by design everything was tickety-boo.

But it has to be awarded, the medal of honour for service and total dedication to the cause, to all the young staff at the Crown who worked tirelessly under mounting pressure to serve everyone their poison and tucker with a smile. Basically, gen z staff retained decorum, ironed every trivial issue, and restlessly served their elders, generation x, who generally fell drunkenly into marshland and partied like they were sixteen again and never saw Abba or Tina Turner!

And for want of a better nutshell there it is. Anyone there, lucky enough to have seen the originals of any of these triple billed tribute acts in their prime, would’ve been in the minority, for all intents and purposes, I couldn’t pick a more skilled one between them. This retrospective appeal is why tribute acts are a welcomed trend, and after every new one I witness I’m convinced of their worth and place in live entertainment that bit more.

If three succeeding tributes was a good move by music organiser Tunnel Rat Studio’s Eddie Prestidge, I call allowing all acts an extended ninety minute set a risk which also paid off. Band changes were fewer and swiftly operated; birthday boy Fantasy Radio DJ Marc Anthony was there anyway.

Personal favourite goes without saying, taking the finale, The Marley Experience was everything I could have wanted and more, truly a dedicated and precise homage to Bob Marley and the Wailers of the highest quality and sublimely executed entertainment. They marched through the classic discography, and saved time for a few lesser known tracks, like Soul Rebel. I know my reggae, and this was irie dread-I to the highest heights.

On the other hand, despite Abba not being my cuppa, I was converted by the Abba All Stars even in the most torrential section of the day; imagining how beguiling the Swedish innovators of pop would have been in their heyday was made easy with these confident young band looking and sounding every bit the partโ€ฆWaterloo, or portaloo, it didn’t matter now, we were soaked to the skin, and we didn’t care, and this was mostly thankful to the Abba All Stars. Quote me on this at your own risk, as it’s something I’d never thought I’d say; “I loved this Abba tribute!”

Nestled between though was my most negative preconception, having seen in the past the kind of Tina Turner tribute to put you off of Tina Turner tributes for life, and forgoing the wealth and power of a voice like Tina’s is near impossible to effectively pull off, but Kinisha Morgan-Williams did, with bells on. The Tina Turner tribute known as Simply the Best was indeed as advertised. It was nothing short of phenomenally accurate, even on those soulful ballads, Kinisha absolutely rinsed it and wowed the crowd. Particularly memorable was Kinisha’s Nutbush duet with Eddy Armani; what a dynamic show blessed in realism and excitement.

But, simply the best part of CrownFest was this insatiably friendly festive vibe with an air of enthusiasm and unification from staff, volunteers, punters to performers there was the underlying notion this is the start of an annual landmark in local feelgood festivals in which the villagers welcome revellers and assign themselves to good times. After the success of this weekend, we hope CrownFest will continue; you should consider yourself extremely unfortunate if you miss next year’s.

The sum of all these parts meant CrownFest was nothing short of the kind of superb spirit drizzle couldn’t dampen. Though if locally sourced acts were shorter in billing, those Junkyard Dogs can bark up enough wattage for three bands, with their irresistible electric blues covers. Oh yes, the Dogs did their thing and rocked the show prior to this plethora of tributes and is always an unmissable hoedown. Leon Daye Band unfortunately I arrived too late for, could still taste the toothpaste, soz.

Time to summarise, if I have to accept it’s all over for another year. On our doorstep, a small pub-run festival only in its second year which packs far more punch than this definition, and far beyond the average of its kind. We could debate musically it’s geared towards generation x, against the notion the eighties produced timeless acts legendarily to all, but as, proudly, I’m of that era, CrownFest 2023 was an awesome all-rounder, with or without an umbrella.


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Devizes Chamber Choir Christmas Concert

Itโ€™s not Christmas until the choir sings, and Devizes Chamber Choir intend to do precisely this by announcing their Christmas Concert, as they have doneโ€ฆ

Steatopygous go Septic

If you believe AI, TikTok and the rest of it all suppress Gen Zโ€™s outlets to convey anger and rage, resulting in a generation ofโ€ฆ

The Wurzels To Play At FullTone 2026!

If Devizesโ€™ celebrated FullTone Festival is to relocate to Whistley Roadโ€™s Park Farm for next summerโ€™s extravaganza, what better way to give it the rusticโ€ฆ

DOCAโ€™s Young Urban Digitals

In association with PF Events, Devizes Outdoor Celebratory Arts introduces a Young Urban Digitals course in video mapping and projection mapping for sixteen to twentyโ€ฆ

Jol Roseโ€™s Ragged Stories

Thereโ€™s albums Iโ€™ll go in blind and either be pleasantly surprised, or not. Then thereโ€™s ones which I know Iโ€™m going to love before theโ€ฆ

We’ve Found You, Danni W!

Right you lot, listen up; I’m fully aware this debut album, Lost to be Found, from Swindon’s Danni W has been out, what, a fortnight nearly now? Reason why I’ve not mentioned it prior, aside from being a busy boy, is I had to listen to it a few times because it’s undoubtedly feelgood pop and best defined as a “growerโ€ฆ..”

Meaning that, as all the best pop does, it becomes more appealing the more you listen. This is why commercial radio stations are passed dollar by record companies to keep the same current tunes on a loop until you’re forced to like them, otherwise you run the risk of spontaneous human combustion!

Though, while this album justifies why Danni should be on said loop, she really doesn’t need her songs to forcibly thrust down your throat; you should like this because there’s nothing to dislike about it.

Another valid reason why I’ve avoided its appraisal until now, and perhaps also why it’s uniquely beguiling is twofold. Firstly, unusually for pop it’s incomparable. Every wannabe pop star cites a major influence and strives to sound akin, but while I’m sure Danni has hers, I’m unable to pinpoint a definite phrase like Swindon’s answer to Whitney, or Kylie or Janet, or anyone really. It is, Danni and solely one of a kind. My only hope here is one day not too far away I’ll review someone else with the line, so-and-so’s answer to Danni W!

If I had to cite a clear influence it might well vocally be Maria Carey, though this could stem from how I came to discover Danni when she sent a Christmas song, All I Dream Of, for our christmassy podcast. My notion of the โ€œgrowerโ€ idea certainly weighed in with this one. I was hooked after a few listens; there was something strictly All I Want For Christmas about it …but away with this yule talk, itโ€™s summer and I donโ€™t wish to mention the C word again!  

Second reason is the sheer joy in her voice, confident in the spotlight but with a genuine enthusiasm you simply cannot fake. Her music sounds mainstream but is impossible also to slot into an era, timeless pop which will enthuse all ages, without the need, if feels, to go with the status quo and add trending riffs or retrospective gimmicks. It proficiently rides a generalised sound, and Danni laps up every second of it.

No spoilers here today, but at times Danni handles some tough subject matter too, topics not usually covered in pop, much less with the clarity and precision here. To start with, the opener, If I Tell You Truth, has a blues edge with an easy listening rolling piano riff akin to the crooners of the fifties, but as with all tunes on offer here, thereโ€™s freshness about this sound which delights.

With a guise of Paula Abdul eighties pop, the second tune bounces on a financially hard times theme, the third similarly but with a โ€œfinding yourselfโ€ concept. Yet by the fourth tune in, one which is reflected in an enchanting piano ballad of lesser tempo, Who Am I, you know you’re in good hands, and this one is sublimely executed leaving you dripping for more from these wonderful three minute heroes.

Back to the upbeat, Ignorance is Bliss is where we find the unusual content in contemporary pop, a political-social commentary wrapped in an almighty crashing and building pop tune, this works possibly the best tune for the balance between upbeat pop and these lounge jazz blues ballads. Tricky subject matter seems to build from here, social media and digital romance and fears of being the odd one out get Danniโ€™s makeover, melancholy apologetic notes over a piano lounge jazz ballad, followed by a confidence builder and I find myself contemplating Gabrielle as a new influence to possibly cite, but maybe I should have just asked Danni rather than clutching at straws, because her sound is stylised and distinctive.

It ends kind of like our Christmas number, bouncy and jolly, an overall take on the whole album, even if the subject sometimes isnโ€™t. Though this one is on impending love, and well, that could go either way! One thing is for sure, Danni W has put a lot of work into this, it shows, and sheโ€™s seemingly lapping up every minute of it. That joy is felt across this universally-appealing album, and damn, if it doesnโ€™t rub off on you equally to the beguiling nature of the sound too!

If you were ever lost, as your album title suggests, Danni W, I, for one, am glad I found you!

LinkTree to Danni W


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Vince Bell in the 21st Century!

Unlike Buck Rogers, who made it to the 25th century six hundred years early, Devizesโ€™ most modest acoustic virtuoso arrives at the 21st just shortโ€ฆ

Deadlight Dance New Single: Gloss

You go cover yourself in hormone messing phthalates, toxic formaldehyde, or even I Can’t Believe It’s Not Body Butter, if you wish, but it’s allโ€ฆ

Things to Do During Halloween Half Term

The spookiest of half terms is nearly upon us again; kids excited, parents not quite so much! But hey, as well as Halloween, here’s whatโ€ฆ

CrownFest is Back!

Yay! You read it right. After a two year break, CrownFest is back at the Crown in Bishop’s Cannings. So put a big tick ontoโ€ฆ

Nothing Rhymes With Orange have Butterflies

If Lidl Shoes, April’s blast from our aspiring homegrown four-piece indie-punkers, Nothing Rhymes With Orange certainty raised the rafters with energetic enthusiasm, I held subtle solicitude, despite the amusing name, it did only a smidgen to progress the band any further than their mind-blowing debut EP Midsummer. By contrast today’s new single, Butterflies, is a Neil Armstrong sized leap in the maturing direction they need to be heading to attain a mass appeal.

With an infatuation theme, the band express a continuation of narrative relating to Lidl Shoes, yet while maintaining their archetypal jab of youthfulness, Butterflies ventures into a pensive mood, it’s dreamier, swapping guitar distortion and resounding choruses for a softer emotional sound. Don’t run off with Coldplay connotations, it remains punchy enough to warrant influences they cite, like Arctic Monkeys, The Killers and The Wombats, and it lies equally as beguiling as their most celebrated tune to-date, Manipulation.

If the chorus of Manipulation is hailed back at them by fans, Butterflies is clearly in the making to evoke the same effect. It’s instantly loveable, their best work so far, proving as I said since day dot, Nothing Rhymes With Orange are going places.

Nothing Rhymes With Orange Image: Gail Foster

With this interesting development, I wonder how their predominantly teenage fanbase have responded to this, as they will mature in-line with the band, and should, in theory, relate. Idolised acts of teenage years always rely on this familiarity with the path their fanbase are personally on, and their songs become stories of their own life. Butterflies identifies definitively, calls out to them, it’s an anthem, I tell you!

Frontman guitarist Elijah Easton, drummer Lui Venables, guitarist Fin Anderson-Farquhar and bassist Sam Briggs have cracked it again, furthering a natural development in their sound, and in conglomeration have penned another standout masterpiece; you’d be a fool to yourself for failing to make it down to the mainstage of Devizes Street Festival on Sunday by 2:30pm, where we should join in celebration at the remarkable achievement this young Devizes-based band has made, amidst the selection of international acts on show.

Nothing Rhymes With Orange. Image: Gail Foster

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Six Reasons to Rock in Market Lavington

Alright yeah, itโ€™s a play on band names and thereโ€™s only really two reasons to rock on Friday 17th October at Market Lavington Community Hall;โ€ฆ

Oh Danny Boy!

Oh Danny Boy, oh, Danny Boy, they loved your boyish Eton looks so, but when ye was voted in, an all democracy wasnโ€™t quite dying,โ€ฆ

Female of the Species Announce 2023 Date!

For eight years on the trot, minus the lockdown year no one needs reminding of, local all-female supergroup, The Female of the Species have performed a one-off gig raising funds for various local charities; 2023 is no different as they announce this year’s will be on 21st October at Seend Community Hallโ€ฆ.

It’s an amalgamation made in heaven. Five frontwomen of various local bands join in celebration, which is the sum of all their individual talent and a whole lot more. Nicky Davis from People Like Us and The Reason, Julia Greenland from Soulville Express & Delta Swing, Claire Perry from Big Mamma’s Banned & The Misfitz, Charmaigne Andrews from Siren, and Julie Moreton from Train to Skaville and Jules & The Odd Men make the line up, and if you’ve seen these any of these girls in action solo or with their own bands, you’ll know they’re all 100% dynamite; imagine this times five, forget the maths, the result is greater than 500%, an atomic detonation of wonderful!

I’ll see your examples of legends upstaging each other when on the same stage at the same time, as it’s fair to wonder how on earth something so right like Mike Jagger and David Bowie recording Dancing in the Street could’ve gone so utterly wrong, but raise you my assurance this is not the same ballpark here. The girls of Female of the Species work together in unison, back each other’s solos with such gusto, skill and friendship, it’s a sight to behold.

From Teen Talk to Young Melksham, and even once for Carmelaโ€™s Fight Against Muscular Dystrophy, Female of the Species must have raised tens of thousands of pounds by now, and received a civic award three years ago. Last year was a Halloween theme, this time the girls cover “the MTV years.” And will raise funds for Alzheimers Support.

I mean, yeah, it’s an assortment of sing-a-long covers, but with the adjoining of so much talent, it’s the unmissable cover show bursting with energy and fun you must see for yourself; the likes you only know if you know. Because of this ever growing need to know basis, it will sell out super fast, so….

Tickets are HERE.

The  Female of the Species throw absolutely everything they have at this annual event. With great support acts and on stage banter, it’s something to behold. Here at Devizine we congratulate and thank the girls and all involved in this annual event which has become as special on our local event calendar as Christmas day!


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A Quick Shuffle to Swindon

Milkman hours with grandkids visiting it was inevitable a five hour day shift was all I was physically able to put into this year’s Swindonโ€ฆ

Swindon Branch of Your Party is Growing

Following the excitement and success of the first meeting of โ€˜Your Partyโ€™ in Swindon, a second meeting has been arranged for 18th September 7.30 -โ€ฆ

No Rest For JP Oldfield, New Single Out Today

It’s been six months since Devizes-based young blues crooner JP Oldfield released his poignant kazoo-blowing debut EP Bouffon. He’s made numerous appearances across the circuitโ€ฆ

DOCA’s Early Lantern Workshops

Is it too early for the C word?! Of course not, Grinch! With DOCA’S Winter Festival confirmed for Friday 28th November this year, there willโ€ฆ

Song of the Week: Talk in Code

You canโ€™t stay on the sunny side of the street; youโ€™ve got to cross over at some point. But if the blurb Iโ€™m sent for Talk in Codeโ€™s latest single Hindsight suggests theyโ€™re showing โ€œa darker side,โ€ donโ€™t run off with the notion theyโ€™ve come over all Radiohead.….

Taken from their second album, The Big Screen our single of the week is out on Friday 31st March, but you know how it goes, you can pre-save on the streaming platforms. And do, because yeah, so itโ€™s perhaps a clichรฉ theme of biblical teachings; penitent, should-have-known-better sentiments returned unto you with a cold, hard slap in the chops, but wake up, weโ€™ve all been there, and Talk in Code project it with finesse, as ever, and of course itโ€™s cradled in the uniformed indie-pop synth style. A chic instantly recognisable and beguiling, every Talk in Code single is ageless and unhindered from pigeonholing, itโ€™s darn good pop, dammit!

Atmospheric thumper describes it best on the publicity, anthemic soundscape with swirling synths, shimmering guitars and soaring vocals. Recorded with Sam Winfield at Studio 91, Newbury (Amber Run, The Amazons, Fickle Friends) and out on Regent Street Records, continuously ascending, Talk in Code go from strength-to-strength and Hindsight exhibits precisely this.

https://www.facebook.com/talkincode/videos/1350060825774735/

Pre-save it HERE, and you’ll wake up Friday singing a new song!


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I See Orangeโ€ฆ.And Doll Guts!

There was a time not so long ago when I See Orange was the most exciting new band in Swindon. Their latest offering released atโ€ฆ

Talk in Code Down The Gate!

What, again?! Another article about Talk in Code?! Haven’t they had enough Devizine-styled publicity?! Are their heads swelling?!ย  Didn’t that crazy toothless editor catch themโ€ฆ

Recommendations for when Swindon gets Shuffling

Swindon’s annual colossal fundraising event The Shuffle is a testament to local live music, which raises funds for Prospect Hospice. If you’re ever going toโ€ฆ

Live at Esquires: Belated Christmas Pressie from Gaz Brookfield

Featured Photo credit: Jus Carroll

Itโ€™s been far too long since Bristol-based singer-songwriter Gaz Brookfield has had a mention on our pages, so hereโ€™s a belated Christmas present from this amazing performer, a name-your-price download of a live album youโ€™ll be sorry to have missed out on otherwise.

Of course, I only say belated because Iโ€™ve failed to mention it between munching on Quality Street until only toffee pennies and empty wrappers remain, and putting batteries in things, for Gaz released this Christmas Eve. Itโ€™s recorded live at Esquires in Bedford, back in November as part of a tour whereby his Patreon page members chose the setlist. So, expect a mixture of the best songs old and new, but be safe in the knowledge theyโ€™re accomplished acoustically. Without backing from The Company of Thieves, here is Gaz, warts, and all, as he apologises for a sore throat but, as you could imagine if youโ€™ve seen this character before, still manages to pull a blinder.

I honestly didnโ€™t expect to pick up on tracks Iโ€™d recall, but was reminded of one particularly adroitly written chef-d’oeuvre, The Tale of Gunner Haines, a true story of a solider assigned to Somersetโ€™s Brean Down Fort, who was reprimanded for reporting in late from an unauthorised leave, due to a flat tyre on his bicycle, and promptly took 5,000 lbs of gunpowder and blew himself and the barracks to smithereens.

If this comes across rather Ralph McTell or Eric Bogle, historical narratives are a scarcity in Gazโ€™s repertoire, rather drawing influences from everyday observations and personal reflections. And to argue these subjects are clichรฉ, Iโ€™d nod, but allow me thus, Gaz does it so incredibly well, the thoughts and observations of many others pale by comparison. So, as every good live album should, thereโ€™s abridged chat, confidently amusing and relative, and then thereโ€™s these ingenious prose pieces of aging and his youth, of medical issues, his affection for the ordinary from maps to gardening, and much to deliberate on the matter of being a musician on the road, self-deemed a “land pirate,” and particularly amusing when character assassinating drunks at his gigs.

Within it, Gaz states he follows a serious song with a โ€œsillyโ€ one, but the lines between sentimental and amusing are blurred, you take what you want from each, for if a good sign for the performer who uses the tenet of personal reflection as topic is that you come away from listening thinking you know the person, Gaz will seem like your best mate. This open fellow is a lively Billy Bragg at his peak, a West Country Springsteen of storytelling, with the carefree attitude to pigeonholing of James Taylor and the coolness of Leonard Cohen. The sum of these parts is a highly entertaining show.

If this live recording shouldnโ€™t be treated as comprehensive, but a teaser for you to explore more of his discography, I guarantee youโ€™ll come away from it wanting more.


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A Busy Week For Lunch Box Buddy!

It was great to bump into Lunch Box Buddy in Devizes today. Last week was hectic for him; first BBC Wiltshire stopped by his standโ€ฆ

Wither; Debut Single From Butane Skies

Whilst dispersing highly flammable hydrocarbon gases into the atmosphere is not advisory,  Butane Skies is a name increasingly exploding on local circuits. The young andโ€ฆ

Illingworth Celebrate Their 100th Gig!

Salisbury-based acoustic rock duo John Illingworth Smith and Jolyon Dixon play The High Post Golf Club, between Amesbury and Salisbury this Friday 2nd December, and celebrate that it’s their 100 gig.

Although the duo had been collaborating musically for over three decades, gigs dried out proir to 2019, and they stopped, as Jolyon vaguely explained, “for one reason or another!”

He told of how around the Christmas peroid of that year, “John and I were chatting about how we missed doing gigs, wondering if we should maybe get a set together and have go at performing again as a duo.”

We wasn’t certain if anyone would want to listen,” Jolyon continued, “if we could actually get any gigs at all, or even how to get the songs working with just the two of us playing.” Today it’s still a wonder to us how they manage such a gorgeous sound as a duo, but they do! At Bishop’s Cannings’ CrownFest this summer they stole the stage following two heavy rocks bands, and to see Illingworth stamp their mark on a cover as technical as Pink Floyd’s Wish You Were Here, or The Beatles’ Hey Jude, is something really special.

To maintain a pub circuit, Illingworth have mastered the cover scene with a plethora of memorable and sing-along rock classics, but neither are they strangers to creating originals, knocking out two breathtaking albums to date. This is where their relationship with Salisbury’s Tunnel Rat studio producer, Eddie Prestidge, comes in handy.

Our good friend Eddie encouraged us to give it a try,” Jolyon said, “offered to become our manager and handle the bookings. So, we gladly accepted and sure enough we got our first booking in February 2020, with several more following soon after. Of course, early in March the lockdowns started and we couldn’t go out and play. We were gutted, but, undeterred we used the time to make a new album of original songs and we did gigs whenever the restrictions allowed.”

Well, this weekend will be our 100th gig, So we would just like to say thank you so so much to all the excellent venues that have booked us, the weddings, parties, festivals, celebrations and absolutely everyone who has come to see us along the way! It’s been an absolute blast getting to this point. We still love doing what we do, and hope to make it to our 200th gig!”

With the trajectory these guys are flying on, I estimate that’ll be around spring! What more of an apt venue name, then, for their 100th gig than the High Post?! But seriously, these guys could bring joy to punters and provide a cracking night to any pub. I’d wager they could even raise the morale of the Queen Vic in Eastenders given half a chance!

Congratulations to John, Jolyon and Eddie, and hope to catch you again soon, guys.


Talk in Code: The Big Screen

Talk in Code’s second album has been out a while, overdue to mention it……

January 2019, and I find myself making several eighties cultural references in reviewing Resolve, the debut album by Wiltshireโ€™s own Talk in Code. A band which turned my aged preconceptions of the โ€œindieโ€ pigeonhole on its head.

For me, wedged in the nineties, imaginings of that somewhat depressing outlook of the riot-grrrl, the post-gothic period of indie my rave fixation required an abhorrence of by default. Though it was hardly mods and rockers in that era, as in we didnโ€™t fight, โ€œraversโ€ and โ€œindie kidsโ€ simply didnโ€™t recognise each other until the remerging of the crossover, through the likes of the Chemical Brothers and Prodigy, yet, reflecting, it was always there with Madchester and the progressive Primal Screamโ€™s Screamadelica.

So, whoโ€™s up to debate it, does any of it matter now? I likely chewed the ears off of guitarist Alastair Sneddon on the most memorable occasion of a road trip with the band last March! Weโ€™re in a period where the trend is to cast-off that nineties flavour in favour of citing influences like U2 and Simple Minds, and Iโ€™m game for that, even if the band tend to name more modern inspirations.

The point is, Talk in Code build on this ethos, their sound ever strives towards it, ergo, everything after Resolve increasingly adds to this method, of its standout single Oxygen and its gorgeous dreamy emotions akin to a John Hughes soundtrack, and gradually onward. Yet somehow this panache isnโ€™t regressive, forgive the eighties references, itโ€™s retaining freshness in the contemporary, just allowing a serious nod toward early to mid-eighties feelgood pop.

It’s a fashion which Talk in Code hooked me onto bands like Longcoats, Daydream Runaways and Atari Pilot too, and a scene has developed to the point Swindonโ€™s pop darlings are now Talk in Code; they played the Coleview Music Festival this weekend, entertained crowds during the interval of the Wildcats ice-hockey game at the Link, and generally, the excitement is consistently blossoming for them, and deservedly so.

Back on our outing to Portsmouth they stressed the importance of both gigs and recording, and since their connection to Regent Street Records, there was a keenness in the band to grab wider appeal in anticipation of the forthcoming album, The Big Screen. The release of it was pushed back to accommodate this collaboration but has been up-for-grabs since last month. Having already reviewed many of the tracks of singles Iโ€™ve been biding my time, apologies to Talk in Code, but here it isโ€ฆ.

To begin, The Big Screen has had nearly as many singles coming off it as Jackoโ€™s Bad, yet the comparisons end there. The opening title-track though, is exclusive, and it rings as the perfect intro as all the shaping Iโ€™ve described above. Illogical chronologically follows, their last single released, which I defined at the time as summing up โ€œtheir undeviating style, upbeat and optimistic,โ€ and suggested it was more danceable than the previous singles.

One of my personal favs follows, Talk Like That, came out back in January 2020, of which I suggested would โ€œblow your diddy-boppers off!โ€ Track four is Hindsight, an album track, perhaps, least one I havenโ€™t heard of, but again, listening to it everything just falling so neatly into place. Talk in Code are so stylised, this flows as an album rather than a collection of singles, and nothing here will disappoint.

April 2020โ€™s single Courage (Leave it Behind) is followed by a cooling new song, Someone Elseโ€™s Shoes, which takes on the Wham boys at their earlier best. This is a drifter, but yeah, I said Wham, I donโ€™t know about you, but it got me reminiscing the greatness of Everything She Wants, a hidden gem of their discography often obscured by later hits.

But Save It returns to paced euphoric, and one canโ€™t go wrong towards the finale, as the last three tracks are recently celebrated singles. The Molly Ringwald moment of Young Loves Dream, autumn during lockdownโ€™s neon song Secret and ending on the summery Taste the Sun, dripping in fun, and sunshineโ€ฆ. club tropicanaโ€™s drinks are free, yโ€™ know? And in that, a certain moreish finesse weโ€™ve come to accept as standard from Talk in Code shines on.

In all, despite reviewing the singles as and when they were released, itโ€™s worth revisiting as together in the compilation of The Big Screen, you can hear what Iโ€™ve been waffling on about with each and every single review, about the tightness of the band to create this uniformed joyous chic of universal pop appeal. Honest, in a Tardis, feels like you could pull out a Smash Hits poster of Talk in Code and blu-tac it to your wall, and your dad will approve. Whatever did happen to Terrence Trent Dโ€™Arby?!

Get the album here, s’ only seven quid.


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FullTone Festival 2026: A New Home

It’s been a wonderful summer’s weekend, in which I endeavoured to at least poke my nose into the fabulous FullTone Festival, despite being invited toโ€ฆ

Opera Meets House at Devizes Full Tone Festival

Featured image above by Gail Foster

It has been undeniably a variety music show at the Full Tone Festival this bank holiday weekend on the Green in Devizes, of tremendous proportions and matchless quality.

The stage I’ve previous dubbed “like something out of the Jetsons,” was once again erected, deckchair city assembled around it, with a bustling collection of food and drinks stalls beyond, and the sun with his hat on, shining down on all the shiny happy people.

It is a remarkable achievement and something to be truly proud of, to have here in our humble market town. The Full-Tone Orchestra taking their show to prestigious venues like Bath Abbey and Marlborough College, returned home, looking even more professional than ever. Conductor Anthony Brown waving his hands around like manual control of the world’s air traffic; it was, in a word, magical.

Highlights came thick and fast, Dominic Irving thrilled, heading a Tchaikovsky concerto on piano, for an opening of obligatory classical elements. The stage emptied as Will Foulstone took control of the keys, solo. Full Tone platforms young talent, like TikTok trumpeter Oli Parker, on Sunday, to an audience majority unlikely to know what TikTok is. Similarly, Will performed some videogame themes among Coldplay and contemporary pop, which is better in reality than it sounds to my generation bought up on ZX Spectrums or Mega Drives!

Will’s finale was an astounding cover of Elton John’s I’m Still Standing, and the orchestra realigned for a concentration of movie scores, largely dependent on the western themes of the late Ennio Morricone; liked this.

Then, BBC Introducing DJ skateboarder, James Threlfall took to digital wheels of steel and blasted the zone, and across the road to the chippy, with a set of contemporary and commercial high-energy house; lights came on blazing like the Green was the Ministry of Sound. Here is where I need to revert to my reviewing template, which resides on two major contributories. One is, did the event appease me personally, the second, more importantly is, did it do what it said “on the tin,” i.e., was it everything it posed to be. For the latter, the Full Tone Festival 2022 hit top marks, without a doubt. I watched the joy on hundreds of faces, as they danced the night away to James and the following Full-Tone Orchestra set of “nineties smash hits.”

The grand finale of Saturday night was certainly intrenched with nostalgia, perfected by an orchestra where no penny was left unexpended, no rehearsal was spent playing tiddlywinks, where the professionalism is first rate and the atmosphere was nothing short of sublime. The Full-Tone Festival was superb last year, this time around comes the typical stigma of a sequel, the โ€œhow can we ever top that” enquiry, and I’ve a duty to be honest, based upon the imperative Saturday evening, I’m not completely certain they did, on personal reflection, you understand?

Image: Gail Foster

Song choice at this conjunction was the only thing which let it down, for me. Started off okay, the Britpop beginning I can tolerate, but as it progressed to the pop hits of S Club 7, Britney Spears and Cher’s I Believe, et al, these, for me, were the excruciating pop slush of a generation below; I detested them at the time, and retain said detestation.

It was a far cry from the club anthems of last year’s, because that’s the point where creatively, electronic music technology truly challenged the orchestra. But, sigh, it’s all subjective, I told you about the hundreds of faces, didnโ€™t I? They matter, it did what it said on the tin, with high gloss, it just wasn’t my cuppa.

Image: Gail Foster

I’m sorry I couldn’t make it to Sunday’s extension, we don’t all have bank holidays y’ know? But I can rest assured with the years of rock n roll experience of Pete Lamb’s Heartbeats, Kirsty Clinch’s angelic country vocals, and the fact Jonathan Antoine has been done BGT, it’d have been alright on the night.

Image: Gail Foster

Feedback on the orchestra’s big band showcase has been fantastic, with particular praise of vocalist Will Sexton. On opera, spellbinding local soprano who could turn even me to opera, Chloe Jordan, said, “it was my dream to sing ‘Song to the Moon ‘Resulka with an orchestra. Thank you so much to The Full Tone Orchestra for allowing that dream to come true!” And that, in a nutshell, is the kingpin to assessing this spectacular; if dreams come true there, you can’t argue how special an occasion it was.

Image: Gail Foster

Though the headcount was slightly lesser-so than last year’s, trouble to many events this, as a sad reflection on economic issues, here’s hoping this awesome weekend on the Green will be enough to convince Full Tone to make this a permanent fixture on our event calendar. Devizes loves you Full Tone, that much is certain.


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Devizes Dilemma: FullTone or Scooter Rally?!

Contemplated headlining this โ€œClash of the Titans,โ€ but that evokes the idea of a dramatic power struggle with fierce consequences rather than proof Devizes canโ€ฆ

Goodbye to The Beanery but Hollychocs Lives On

Popular award-winning artisan chocolate business Hollychocs has announced that its Beanery Cafรฉ will close on Saturday 23rd August, marking exactly two years since its openingโ€ฆ

Richie Triangle; Imposter Syndrome

Coming around to Devizineโ€™s fifth birthday has got me reminiscing on how all this started in the first place, who is really to blame?! It wasnโ€™t Richie Triangleโ€™s fault, really, for he cannot help who comes to see him play, but as for our mainstay support of local live music, a hefty portion transpired from a rare occasion the better half and I dropped into the Black Swan and was surprised and blown away to hear some live music in town, this good.

Here’s the thing, there is and always was a lively music scene in Devizes, I know this now, but I went from the raver-clubber into parenthood and neither of them warrant the angle to have gone searching for a band in a pub, not that it was something I disliked, far from it. At the time my local rant column for Index;Wiltshire was becoming tiresome and heavily edited, it was time to spin it around, reflect on what was good about living in Devizes. Richie Triangleโ€™s residency at the Black Swan was the catalyst, and I ventured off to find Tamsin Quin, and the rest erupted from there.

Times move on, landlords of pubs do, and so did Richie, now residing on the Kent coast, yet, I still think we owe it to him to mention his latest album, Imposter Syndrome, released this week. Itโ€™s a far cry from the acoustic young man belting out Irish folk songs and pop covers in the same format. Richie is a force to be reckoned with, an intricately weaver of wordplay and original compositions, and if David Gray coined the term folktronica, Richie has epitomised it.

Here’s your for instance; twelve songs blending acoustic goodness into pop, with echo-delays of dub, an acapella intro with oddities of voice synthesisers, followed by The Tide, a modish-come-country angle, much in the flavour Elvis Costello, or what Jon Amor achieved with Red Telephone. From there thereโ€™s really no pigeonholing, Trying to Get Home rolls with a slither of old eighties soul-disco, and Richieโ€™s not afraid to add a rap.

It gets a deeper melting pot track by track, Hope in your Eyes, definitely electric blues rock, while Sign of Times, hints of electronica of yore. From there oneโ€™s ear settles on this wavering style, but thereโ€™s surprises again towards the ends, nothing is off the cards as folky goes rap and a non-compliance theme and jazzy piano bridge. Itโ€™s systematic, purposely blending and experimental, the finale characteristic of Adrian Sherwoodโ€™s On U Sound, who while Iโ€™m unsure if this is produced by them, Richie has worked with them in the past.

All I do know is, even if you recall attending Richieโ€™s regular gigs at the Black Swan as he camped out the back of the Devizes pub, or not, hereโ€™s a upcoming marvel, who once graced our town with his presence, and proved himself as a inimitable talent then, this album is a pleasure to listen to; itโ€™s long overdue you checked in on him again.


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Park Farm; Mantonfest Came to Devizes!

The first Park Farm Festival happened Saturday, it was fabulouso, and in some way Mantonfest came to Devizes; conveniently for me as I had toโ€ฆ

Ann Liu Cannon’s Clever Rabbits

Ann Liu Cannon is the Marlborough success story I hadn’t heard of until yesterday; thanks to local promoter and frontman of the Vooz, Lee Mathewsโ€ฆ

Live in Pewsey, at the First Oak-Fest

Amidst another packed summer weekend’s schedule laid that lovable large village Pewseyโ€™s turn to shine; always a law unto itself, things went off; if itโ€™sโ€ฆ

Talk In Code Return to Swindon for a Homecoming Show & Album Release

We love โ€˜em here at Devizine, and Swindon-based indie pop quartet, Talk In Code are set to return to The Victoria in Old Town Swindon on Saturday 23rd September for a massive homecoming celebration show following a packed summer of festival appearances at Lechlade Festival, Minety Festival, Home Farm Festival, Taunton Pride, Box Rocks, Great West Fest and many Foodies Festivals all over the UKโ€ฆ..

The band have spent the summer playing to packed audiences across Wiltshire and all over the UK, supporting esteemed names such as Jesus Jones, Cast, Scouting For Girls, My Life Story, Blue and The Feeling.

Talk In Code, recently signed to London based Regent Street Records, released their instantly danceable, upbeat single โ€œIllogicalโ€ in June of this year, playing a headline set at Pimms In The Park at Lydiard Park on release day.

Image: Helen’s PolarPix

The gig at The Victoria on 23rd September will also see the release of the bands new single โ€œThe Big Screenโ€ and also their third album of the same name which will be available to purchase on CD on the night.

Chris Stevens, lead vocalist said โ€œSwindon is our home, and it feels so right to be returning to The Victoria, which is one of our favourite venues to play.. Darren and Violet from The Victoria have been incredibly supportive of Talk In Code over the years and we cannot think of a better place to showcase our new album than The Vic! We are proud to be Swindon!โ€

Join Talk In Code for what promises to be an incredible night of live music, with support from Riveria Arcade and Tom Moore.

Tickets are just ยฃ6.00 in advance from https://www.seetickets.com/event/talk-in-code-riviera-arcade-tom-moore/the-vic/2319587 Listen to Talk In Code here.

Ah, my road trip with Talk in Code!

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IDLES’ at Block Party

With their only UK shows of the year quickly approaching, the 1st and 2nd August will see IDLESโ€™ and music festival Block Party take overโ€ฆ

Thoughts About George Ezra at Trowbridgeโ€™s Civic

Yes, I did, thank you; and what a brilliant show it was last night when George Ezra came to Trowbridge!

Consider the punks, who spat at conformity, consumerism and societyโ€™s esteem of pop culture, are now near, if not pension age, when digestating the derisions and jeers from a few when I told them โ€œIโ€™m going to see George Ezra.โ€ Marketed commercialisation, yeah, I get that; if for the pre-gig meal we frequented the golden arches, I was more than disappointed my โ€œItalian Stackโ€ was just a cheeseburger with rocket salad and pesto sauce. I mean, who puts a pasta sauce on a burger, adding insult to injury what with the broken milk shake machine, my only guilty pleasure from Ronald?

For them though, I bid they take heed of my anecdote more than those who attended George Ezra at Trowbridgeโ€™s Civic Centre yesterday, which, like many of my yarns, begins with me spending a penny. Upon my return to the hall, in which we were instructed in this record-breaking heatwave to โ€œsqueeze in as tight as possible,โ€ a few had gathered behind my teenage girl posse. With my customary irony I nudged in front, โ€œmake way, responsible adult coming through!โ€ only to note Iโ€™d obscured the view of a young girl behind me.

The expression of anticipation at seeing George Ezra drained from her face, unacknowledging now sheโ€™d only see the back of a podgy middle-aged parent in a Batman t-shirt. But before she could completely well-up, I promised to stand aside as soon as he came on stage, but if I moved now someone not so willing might push in. Though she doubted my conviction, I did retreat from my position, her parents expressed their gratitude. The space my belly once occupied ample for her to sing and dance her heart out, which she did, and her expression of sheer joy made my night.

Because, while George and his band mayโ€™ve only blasted a job-and-finish half-hour set at us, damn it the guy puts some umph in. Honestly, heโ€™s like the geek of a Saturday supermarket job who really puts his all into shelf-staking. Professionally executing the placid and sincere pop star persona, the guy convinced me heโ€™s the genuine article, finding time to box-in his every known popular tune. Sure, playing through his new album The Gold Rush Kid, was a pointless marketing exercise, being the ticket price included a copy of it, but there was everything there youโ€™d expect from an upcoming musician and none of the bravado of celebrity; passion, drive, and even some narrative of backstory.

But for his best efforts, I owe it to the little girl in front of me, and every other screaming teenager or child, to express what a superb evening it was, her mien said it all. For it was never about anti-corporatism critics, rather the rare opportunity for youths to see a popstar in the flesh, in Trowbridge, which would otherwise cost the parents something quite unaffordable in tickets and travel costs.

Doubtless this was The Civicโ€™s finest half-hour, though structured without encore, for less than a purple one, we got our moneyโ€™s worth in George and his bandโ€™s dynamic performance; worth the hassle of fastest-finger first ticket booking system, which sold out in seconds of going online, queuing in the heat only to be squashed in like sardines, but perhaps not the no drinks policy profiteering attitude, which saw the bar closed and only bottled water they sold allowed. Maybe laws have changed without my knowledge, but I assumed not providing free drinking water was unlawful, and even if not, itโ€™s safety and basic etiquette poorly overlooked by The Civic.

Yet we owe it to Marlboroughโ€™s music shop, Sound Knowledge for this most excellent show. Must be best part of quarter-of-a-century Roger has been the best purveyor of records around these backwaters, and stayed afloat through this technology-changing era by hosting these fantastic album marketing gigs. Usually based in the shop itself or in the club opposite, itโ€™s bought many an upcoming act to Marlborough, including Ezra in 2014. The only other time a band has been too big to fit in was when they shifted Ragโ€™Nโ€™Bone Man to the College campus, but George was too bigger name, even for this venue, causing the organisers to add a matinee at the Civic.

But usually, thereโ€™s a post-gig meet-and-greet opportunity, something though we took our CDs we had to accept wouldโ€™ve sadly been unviable due to the vast number of attendees. And that, in a nutshell, whitewashes any niggly criticisms, because maybe restrictions have to be set in order to pull off an event of this magnitude, perhaps you do have to shout orders at the crowd and search childrenโ€™s bags in this day and age. Even though this isnโ€™t what Iโ€™m used to, I was happy in the knowledge that for many there, this was not just a golden opportunity, but a first-time concert which will live in their memories forever.

It got me thinking of my first ever gig, about the same age as my daughter and her friends now. To set the bar high, it was Bruce Springsteen, and, George, sorry mate, but through rose-tinted specs, while you werenโ€™t quite that good, you were totally amazing. Proof of this goes along the lines of me mumbling the words to Shotgun all day today, the profound effect is unimaginable for those younger, if it got this grumpy old git inspired!               


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Indecisionโ€™s Final Incursion of Devizes Corn Exchange

The grand finale of popular local covers band, Indecision stormed Devizes Corn Exchange last night, Saturday 21st May, for one last hoorah. A hugely successful turnout in the-hard-to-fill Ceres Hall……

From Seend Beer Festival to Potterne Cricket Clubโ€™s, Indecision has been a firm favourite for many-a-year now, playing across the south west from Bromhamโ€™s long lost Owl community centre to as far away as Portsmouth, the six-piece Potterne-based band have demanded many to the dancefloor, but last night the time was nigh to say farewells.

Keyboardist Martin Spencer, who also owns Potterne’s Badger Set studio, gave me a never-say-never shrug when I asked him if it was really the end, but for now, he assured me it was.

They came out all guns firing, kicking off with Otis Redding’s Hard to Handle, and preceded to knock out every timeless classic you could name, weaving from Johnny be Goode to The Cult’s She Sells Sanctuary as if they were recorded in one session! There were nuggets of phone torch waving, particularly adroit was The Stereophonics’ Dakota.

Here is, essentially, a function covers band, but if you had them at your function it’d make it night to remember. Proof of this was evident in the huge crowd, with such a wide demographic, it seemed like everyone who had ever attended a function or event where they had played descended upon Devizes’ Market Place, and in knowing what was coming, flooded the dancefloor in anticipation. That’s one mighty accolade.

Yes, they smashed the predictable, and clichรฉ covers apexes at Wonderwall, a point lovers of original compositions will no doubt sigh at, but for a covers band, it sure was accomplished, and they stood confident and experienced, raising funds for the Fatboys Charity and Wiltshire Rescue.

For me personally, my impressed expression didn’t falter, at times though I felt this collective had the skill and ability to create some tunes of their own, but in this consider they know their audience and give them what they want; they came here to dance the night away to the tunes they love, and who am I to deny them their enjoyment?

But I confess, I slipped out for a short while, for a pint down the Gate, because my focus and first love is the creativity of an original act, and there’s only so much disco swinging classics I can handle, no matter how skilfully handled. This, coupled with the fact I knew no one there, astonished as to how they can ram such a vast venue and not see one recognisable mug of town’s usual live music aficionados.

The audience reaction was upstanding, as if the Beatles were on stage, ergo my dilemma is to rate this highly upon the tenet just because it wasn’t wholly my cuppa, Indecision do what they say on their tin. Disgruntled at what appeared to me to be a village-fashioned clique with some audience members, upon trying to take an empty seat for the temporary moment I wished to sit, as this was so danceable, I was waved off with a warning the seat was reserved, despite the fact no one was obviously sitting on it, as if I was going to take the chair with me; bit weird and uncalled for, an eighties cheesy nightclubber come of age?! No, kind sir, I didn’t look at your girl!

Still I intended to return, but when I did the band had finished and a DJ was spinning Tiffany and other terrible pop mush, but they liked it, and that’s what’s important here, sadly I winced and escaped! Which was a shame, Indecision certainly tore the house down, were professional and beguiling, and I hope raised some serious wonga for the charity. Ah, the fault isn’t there’s, it’s all me! A massive congratulations to Indecision for staging a vibrant evening, of which the delight of their audience reviewed itself.


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Clock Radio Turf Out The Maniacs

The first full album by Wiltshireโ€™s finest purveyors of psychedelic indie shenanigans, Clock Radio, was knocked out to an unsuspecting world last week. Itโ€™s calledโ€ฆ

The Dark Horizon of Sam Bishop

Oh, for the rolling years since Devizes Sixth Form-Hardenhuish collaborated boy band 98 Reasons, time cannot stand still, we know this, we still see the bassist of which, Finely, on the local circuit with cousin Harvey as the Truzzy Boys, and as frontman of astounding mod-rock covers band The Roughcut Rebels. And occasionally we hear from his partner in the duo spin-off Larkin, Sam Bishop, itโ€™s good to hear from him again with an awesome new EP, Dark Horizons; out now……

While still studying music over in Winchester, his unique brand of pop, while momentously contemporary, didnโ€™t agree with me personally one occasion, a couple of years ago, and he took it on the chin; I have to be honest. If something definably โ€œpopโ€ doesnโ€™t agree with my grumpy aging expectations it doesnโ€™t make it bad, just means Iโ€™m too old! He rebuked any past criticism with a sublime last EP homing more auditory on my cabbaged ears, but hereโ€™s a young singer and musician who just keeps getting better.

Honestly, cast off any doubts, Dark Horizons is another massive progression, enriched with euphoric soundscapes, some often dark in subject, as the EP title suggests, yet all uplifting. It plods open with digital notes, Same Stars, and Iโ€™m nodding approval; love it. Thereโ€™s contemporary pop on offer here, bleached with William Orbit or Moby style soundscapes.

Yet the second track, Playing in Shadows transcends the previous for retrospective influences, think eighties electronica, especially on the intro, virtually Kraftwerk! Yet again, nothing is passรฉ no matter how far the basslines and synth-pop arch back for recollections, as the vocals roll with repetitive elegance, stirringly upbeat and ultramodern, Years And Years fashion.

Clearly thereโ€™s vast experiments washing like waves onto the beachy mind of Sam Bishop, yet by the third tune out of four, Stay Close, we hear the accustomed acoustic croon of Sam, a floating love-song which builds with a subtle aforementioned ambience, but essentially retains the guitar riff over chanting backing vocals. Itโ€™s the standout track you mightโ€™ve been suspecting when you clicked on the link, if aware of Samโ€™s past work, but herein lies the point; the EP in general a massive advance forward, looking headlong rather than rearward.

To confirm this progression, here’s Sam a few years ago with a drumstick up his nose, of which he’ll kill me for posting!

The finale, Backroads has a piano riff, building into current pop with elegance, like a lot of Samโ€™s themes it relies on lifeโ€™s directional decisions, yet it delves deeper into trialling and investigation both musically and lyrically, which intertwine in such a way Iโ€™ve not felt so connected to Samโ€™s solo work than this wonderful EP previously. And before you suggest, thatโ€™s cos you is, like, getting old, brah, Iโ€™ll have you know I get my teenage daughter DJ on car journeys, so I may not have the gen Z patois of a roadman but I know my Cardi B from my Ariana Grande, and this is as a blend akin to what The Weeknd and The Kid Laroi are putting out; sick, apparently!

ALBUM LINK HERE


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Thieves Debut EP

Adam Woodhouse, Rory Coleman-Smith, Jo Deacon and Matt Hughes, aka Thieves, the wonderful local folk vocal harmony quartet of uplifting bluegrass into country-blues has aโ€ฆ

A Gecko in Trowbridge Town Hall

It’s always a warm greeting as you enter Trowbridge Town Hall, even if, like me on this occasion, you’re running late…..

Prior to my arrival I digested the fact I’d likely forgone the supposed support act, Gavin Osborn, but was dammed if I’d miss Gecko, as since reviewing his sublime second album Climbing Frame back in October 2020, I’ve been aching with the understandable desire to see him pull it off live.

Mellowed piano song oozed from the humble hall ahead, oh no, I figured, Gecko has already begun. Such it is that Gavin recently resigned event coordination at the hall to the capable hands of then sound engineer, Kieran Moore, I assumed he was billed as a kind of farewell to his previous position, unmindful I’d emerge from the Hall a Gavin Osborn fan too. Even by the evening’s culmination I was also dubious of suggestions the two were collaborative, or if it was just banter between them.

But it seems a tag-touring-team is a reality, and given I’d mistaken Gavin for Gecko in the vestibule, who could be more apt to work with for the reptilian-named poet-esque singer? For luckily, Gavin was still on the subtle stage, virtually stripped bare of instrumentation save a banjo, microphone, music stand and randomly placed hardback chair.

Yet a guy looking remarkably like photos I’d used of Gecko accompanied him on a piano, tucked away by a side door. After the song I’d made my stealth entrance to was over, the pianist sat behind me. Uncertain glances behind affirmed, if there was a gecko in the room it was undeniably him, giggling at Gavin’s witty prose. I suppose this, coupled with their styles so similar I mistook the pair, should’ve been damming evidence this was more than a headliner and support act thrown in for sentiment, but what can I defend myself with, naivety caused by surviving on powernaps?!

In this, is the delight of the communal venue too. If there’s a stage green room it’s unused every time I visit; awaiting performers merge into the audience. This is no venue for egotistical celebs, and with barely raised stage and modest lighting, it’s a non-gimmick venue which bases solely on performance rather than dazzling affects. Professionalism and proficiency given, if you can hold an audience spellbound with such minimal affects and props.

Both did with bells on, and while I suspected the case with Gecko, Gavin was the surprise element. Akin to Gecko, Gavin is more storyteller than singer, though splices of prominent points were executed through great folky vocals, and highly amusing prose. Unlike Gecko, Gavin’s baseplate is folk, who through exceptionally crafted verse reminded me of the sentimentality of our own folk hero, Jamie R Hawkins.

Perhaps more akin to Beans on Toast, lacking Ozzie tinge, through observational narratives he weaved through subjects with spellbinding accuracy, hinging on familiarisation; I identified with many, particularly the amusing banjo led ditty of an aged fellow sneaking out to gigs while his wife seemed blissfully unaware in her slumber! But with heart-melting twists, Gavin wraps them up amusingly, either echoing retrospective contemplation or hinting at his political stance.

Time for Gecko’s opening song; could be anything less than the hilarious start of his album, Can’t Know all the Songs, which counteracts those who shout requests. Virtually unplugged he executed highlights of the album acoustically, and gave us unheard of tunes too, passing off his lack of backing as witty repartee. Such as pausing the song to switch from singing to kazoo during an amusing and uplifting tale of the Tamworth Two pigs, Butch and Sundance, who escaped their fate at a Malmsbury abattoir in 1998.

On this note it’s appropriate to highlight the major reason Gecko is so utterly entertaining, for not through particular quality of musician, though he is a natural, rather his choice of content and subject is so original, and his method of metaphorically weaving it into a more general point. Who writes a song from the POV of escaping pigs, or a dog sent into space? But better still, who can bend such narrative into a point you identify with? It’s Jonathan Livingston Seagull, in song.

It’s a classic formula attributed to authors rather than songwriters, and Gecko reigns as either, acting with pseudo-confidence, encouraging audience participation to save him hiring a gospel choir, planning out a clichรฉ encore by hiding behind the piano, even submitting profit margin differences between buying his CD here and streaming his music.

I think I put too much emphasis on hip hop in my album review, as his rap-fashion tendency contradicts his indie-pop overall, making it his unique style, part nerdy, part too cool for skool, but through stripped back live performance it is clear his devotion is with the latter, indie-pop acoustic goodness. A fashion with ageless attraction. But whatever pigeonhole you opt for, it’s undeniably entertaining.

If I’ve an only criticism the show was too short, the comeback is both Gavin and Gecko can suck you into their stories so time passes unnoticed, coupled with my late arrival of which I’ve only myself to blame!

Another wonderful evening at Trowbridge Town Hall, building a reputation for introducing a variety of interesting and upcoming acts, affordably; you need to be putting future dates in your diary.


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You; Lucas Hardy Teams With Rosie Jay

One of Salisburyโ€™s most celebrated acoustic folk-rock singer-songwriters Lucas Hardy teams up with the Wiltshire cityโ€™s upcoming talent who’s name is on everyoneโ€™s lips, Rosieโ€ฆ

Bands At The Bridge

Organised by Kingston Media – to raise money for Dorothy House and Wiltshire Air Ambulance – the 3rd of May saw Bands At The Bridgeโ€ฆ

Phil Cooper is Playing Solitaire

Trowbridge singer-songwriter and one third of The Lost Trades, Phil Cooper has actually been doing more than playing solitaire, heโ€™s released a new solo albumโ€ฆ

Swindonโ€™s New Tribute to the Blockheads; Dury Duty

On the eve of a new tribute act fronted by Swindonโ€™s Mark Colton, he tells me โ€œDury seems to be a forgotten genius and the blockheads are an amazing band still. We just want to remind people of what a great showman he was, and what great songs there areโ€ฆโ€ฆโ€

I find myself pondering on Duryโ€™s virtuosity, influence and why itโ€™s popularly considered underrated. True, the meandering and wishy-washy narrative of Matt Whitecrossโ€™ 2010 biopic, Sex & Drugs & Rock n Roll, didnโ€™t do much justice, but his funeral, a decade prior to the film, saw a handful of celebrities, keen on honouring the mysterious persona of Ian Dury. From Mo Mowlam and Robbie Williams to Madness, the latter of whom occupied a similar place in the nation’s heart as Ian Dury and the Blockheads did a few short years prior.

A posthumous national treasure, in death he achieved what his dark and edgy character prevented him from accomplishing, a Times obituary praised the singer’s โ€œSwiftian satirical streakโ€ and acknowledged his โ€œlasting place in the corpus of the English popular song.โ€ If The Blockheadsโ€™ pseudo-fusion of jazz into punk didnโ€™t wash with the atypical punk movement, it certainly scored them some hits, and anyway, when did punk itself ever adhere to โ€œfit in?โ€

Ian Dury

To take onboard recent trends in British unpremeditated, often jokey street rap, the kind The Streets, Lily Allen and Kate Nash rinsed, Dury popularised that poetic verse, to consider post-punkโ€™s more jazzy moments, The Blockheads reigned supreme, but perhaps the synthesis doesnโ€™t pigeonhole them for a majority to realise the strength of their influence on pop.  

Swindonโ€™s newly formed six-piece Dury Duty is dedicated to the songs and performance of legendary band leader and raconteur Ian Dury, rather than recent Blockheads reformation. This combo of experienced musicians strives to recreate the sound and feel of a genuine Ian Dury concert, drawing from material found within his solo output, his work with The Kilburns, The Blockheads as well as other side projects.

โ€œI have decided to follow my heart and do the projects I have always wanted to do,โ€ Mark explained, โ€œincluding this one. The initial set features the sort of set around the time Do it Yourself would have been released, lots of songs from New Boots.โ€

Mark Colton

Colton leads in Thin Lizzy tribute, The Lizzy Legacy, temporarily fronted ska covers band The Skandals, continues in the punk cover band Rotten Aces, and has been gigging solo for a while with a repertoire of two-tone and punk covers. He basically has his fingers in so many pies, itโ€™s tricky to keep up! I asked him if the concentration was solely on Dury Duty now, or if the other original and tribute acts are still in motion.  

โ€œThe solo stuff will continue,โ€ he informed, โ€œI have a few projects still on the go. My original material band CREDO is recording our 5th album, Rotten Aces are gigging again from April, after getting a new guitarist. I have a Marillion Tribute too, called Marquee Square Heroes, and the Lizzy Legacy are still active, but less so due to others commitments and of course, Dury Duty. Each band is a different challenge, but they all keep me on my toes!โ€

Along with the expected big hitters, such as ‘Sex and Drugs and Rock and Roll’, ‘Reasons To be Cheerful (Pt.3)’, ‘Hit Me With Your Rhythm Stick’, and ‘What A Waste’ forming the backbone of any set, Dury Duty promise โ€œlesser known but equally entertaining nuggets to whet the appetite of any long-time Ian Dury aficionado.โ€

Mark is joined by Jono Judge – Saxophones, Percussion and Vocals, Michael York – Piano, Keyboards, Guitar and Vocals, Brian Barnes – Guitars and Vocals, Rob McGregor – Drums and Vocals and Ken Wynne – Bass Guitar and Vocals. A self-confessed โ€œtalented band of brothersโ€ keen on not only entertaining those familiar with the extensive cannon of this great performer and wordsmith, but to bring new fans to the man. โ€œIan Dury is sorely missed and his sharp, witty and often cutting observations on the mundane and absurd through his lyrics and poetic verse are carried forward by this.โ€

Opening gig is at Swindonโ€™s premier venue, Old Townโ€™s Victoria on Friday June 3rd, but are the band ready to roll, should a nearer booking come their way, I asked Mark. โ€œI suspect we would do something if it came up for Dury Duty, but that’s what we are working towards at the moment. We will be looking to get out and get this working, the songs are a pleasure to play.โ€ Got to wish them all the best with the project, being it innovative and crucial for a tribute act find a sustainably eminent niche which doesnโ€™t fall into clichรฉ, and for the reasons of Ian Duryโ€™s elapsed stimulus makes this project exciting local music news.


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No Alarms No Devizes, Aptly in Devizes!

If I’ve been galavanting recently, gorging on other local townโ€™s live music scenes, what better way to return to Devizes than a visit to theโ€ฆ

Wiltshire Music Awards Website Goes Live

Last month we were pleased to announce our involvement with the new Wiltshire Music Awards in conjunction with Wiltshire Events UK, details of which areโ€ฆ

Soupchick in the Park

And there was me thinking nothing good comes out of a Monday! Today local bistro Soupchick, popular in the Devizesโ€™ Shambles opened their second branch,โ€ฆ

Three Crowns and Some People, Like Us

Red level weather warning, they said, only make essential journeys they said, but fail to define the terms of what is essential. Is helping an elderly relative essential, getting to work, or a doctor’s appointment? What about People Like Us playing the Three Crowns, Devizes?!

To those hunting original live music, perhaps not, for this local trio covers is their game, fully aware what will rouse a standard pub crowd, and they do precisely this with such uniqueness and deliver it with such passion, for everyone else it is, totally essential!

To catch Nicky, back on two legs after an injury which I might add, failed to prevent her performing, and behind that faithful scarlet keyboard, Dean at the strings, switching lead to bass guitars, and now skinheaded Pip, (shaved his head fundraising for our Carmela, but seems to like it,) who, even not best postured for delivering vocals, slouched over a cajon, still somehow manages to professionaly grace the moment, is, in the words of the great Yogi Bear, smarter than the average pub covers group.

Putting a finger on why opens a Pandora’s Box, aforementioned drive, skill and professionalism evident in many a covers band. Still, People Like Us submits all these qualities as if a sponge cake, then they add icing. Observing the demographic of the crowd at the Three Crowns holds a clue, every landlord desires a cross section of punter and the repertoire of this trio truly caters for them all.

Short notes I make to jog my gradually degrading memory mystify me this morning, as one simply read, “new song” adding my daughter’s name; she knows it! Silly to have thought it useful at the time, but relevant to my point. Expect a few contemporary among their plethora of pop hits, but an also era-spanning setlist to leave you guessing.

Yep, walked in to an Oasis cover, Adele’s Rolling in the Deep, Snow Patrol’s Chasing Cars, and The Stereophonics’ Dakota particularly adroitly enacted modern indie tearjerkers followed, with eighties electronica power pop such as Together in Electric Dreams, or even The Police’s Every Little Thing She Does is Magic, blended with this balanced collection. Yet with similar dedication Metallica’s Nothing Else Matters got the breathtaking PLus makeover.

Yet I believe, for People Like Us, no decade within the crowd’s indivdual most cherished era is as off the cards as genres are. They will take you back to the seventies with ELO, Fleetwood Mac, even a possible Abba(?!) covers, and with similar assertion slip in nineties britpop and indie anthems too. Tonight saw plenty of this, wonderful was Take Your Mama, by the Scissor Sisters, but particularly captivating was their rendition of the Cranberries’ Zombie, with perhaps a little too “lite” on riotous version of the Kaiser Chiefs’ classic, but Nicky wowed with authority upon covering Alanis Morissette’s You Oughta Know.

Bottom line is, it makes zero odds what the tune they’re covering is pigeonholed as, they add their stamp, and with banter between songs often verging on near tiffs, they represent reality, comfortable being what’s written on their tin; people, just like us.

Zero multiplied by anything is zero, and that should be a landlord’s percentage of doubt in considering booking this trio, if they wish their punters to return home satisfied they had a fantastic night, for that’s precisely how I’m certain the crowd at the Three Crowns last night feel this morning, perhaps with a shadowing hangover!


Talk in Code; Young Loves Dreamers

Set to release their new single โ€˜Young Loves Dreamโ€™ on Friday 11th February across all digital platforms, Talk in Code are rinsing their inimitable and uniformed sound with anthemic pop goodness; itโ€™s to be expectedโ€ฆโ€ฆ

Coincidently, three years and one day ago Devizine reviewed this Swindon indie-pop four-pieceโ€™s album, Resolve, with the retrospective angle of eighties power-pop rock, yet subtle nods to indie shifts through the heady nineties. Though as the band progress through four further singles weโ€™ve seen the latter dwindle and this take on a classic eighties sound coming through more and more.

Though Talk in Code is no tribute, this is progressive, refreshingly contemporary and exclusively perfected, a hi-fidelity ambience where instruments simply meld as flawlessly as those eightiesโ€™ gods of pop. An era of one-hit-wonders, accepted, but those who succeeded beyond this point did so by creating a defining sound, so no youth would confuse their Spandau Ballet with their Human League, and this is precisely where Talk in Code now stand; nowadays we compare their singles with their previous singles rather than cite influences, because their uniqueness is peerless. ย 

The reason why, I consider, the band strive with matchless momentum on the local circuit, having headlined three of Wiltshireโ€™s largest music events last year, the big named bookings of pop-fused Mfor at Lydiard Park, the memorable rock for cancer Concert At The Kings and Swindonโ€™s homegrown talent showcase, the Shuffle. Also, it is why Talk in Code have shared billings with Scouting For Girls, Sophie Ellis-Bextor, Craig David, SAS Band, 10cc and Lindisfarne, why devotees are dubbed โ€œtalkersโ€ and theyโ€™ve accumulated 180,000 Spotify streams, or added to over 700 Spotify playlists.

So, this new single, โ€˜Young Loves Dreamโ€™ is of no exception, it gloriously follows the formula, which is, as suggested, key to their brilliance. It booms straight in, breaks when it needs to and reaches an undefinable bridge, flowing nicely with steady BPMs, and a bright, uplifting vibe. As suggested by the title, itโ€™s romantically themed, exploring the hopefulness of youth; an ode to the potentials of initial infatuation, prior to the twists and turns life throws at you. In that, the mood of the enriching instrumentation reflects the vocals sublimely, and will have you pondering that butterfly moment of early romance, you know the kind of emotion which will make you hug the pillow in their absence, as their scent lingers, or, oh, was that just me?!

Anyway, where was I? Oh yeah, all the previous singles weโ€™ve fondly reviewed can be found on this here Spotify link, and with this progressive new track, will make up part of โ€˜The Big Screen,โ€™ Talk in Codeโ€™s second album, due on Friday 15th April, playing the launch at Swindonโ€™s Level 3, Swindon, on Saturday April 16th 2022.

Just prior, Iโ€™m hopeful we can set up an interview with Chris and the band, one crucial question will be whatโ€™s in a name, as Talk in Codeโ€™s style is never cryptic, you need not untangle painstaking poetic wordplay, it is good, honest pop kept simple, and they do it so well itโ€™s mainstream in the making. Loveโ€™s Young Dream takes this pattern and truly celebrates it, projecting positive evolution for this radical band.


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Family Easter Holiday Events

Devizine isn’t only about music and gigs for grownups, y’know? It’s about events for everyone. This Easter we’ve lots of things to do over theโ€ฆ

The Life of Brian, in Rowde

So, itโ€™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 Iโ€™m dubious to continue past summery wanders up the hill to Devizes, coupled with my newfound knowledge itโ€™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 (thatโ€™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 Iโ€™m not here on chance, or for a roast potato; the Rowde landmark opens itself back up for a live music event, and Iโ€™ve not heard of the billed โ€œLife of Brian Band.โ€ 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, Iโ€™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 Temptationsโ€™ 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 theyโ€™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; hereโ€™s hoping for more.

Arguably the noughties where underrepresented, but I donโ€™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 Policeโ€™s Roxanne and Message in a Bottle, and some memorable moments with the Whoโ€™s Squeeze Box and Tom Pettyโ€™s Learning to Fly. What they did they do with charm, professionalism and enjoyment, and one canโ€™t ask for more than this.

A blessing to know the Cross Keys is on top form, and Iโ€™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!


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Situationships With Chloe Hepburn

A second single from Swindon Diva Chloe Hepburn, Situationships was released this week. With a deep rolling bassline, finger-click rhythm and silky soulful vocals, thisโ€ฆ

Devizes to Host New County-Wide Music Awards

I’m delighted to announce Devizine will be actively assisting to organise a new county-wide music awards administration, in conjunction with Wiltshire Music Events UK. Theโ€ฆ

Ruby, Sunday at the Gate

It’s a rarity that I should drag myself off the sofa on a Sunday these days, one usually reserved for the monthly Jon Amor Trioโ€ฆ

๐€ ๐๐ข๐ ๐ก๐ญ ๐จ๐Ÿ ๐Œ๐ฎ๐ฌ๐ข๐œ ๐š๐ง๐ ๐Œ๐ž๐š๐ง๐ข๐ง๐ : ๐…๐ฎ๐ฅ๐ฅ๐ญ๐จ๐ง๐ž ๐Ž๐ซ๐œ๐ก๐ž๐ฌ๐ญ๐ซ๐š ๐š๐ญ ๐“๐ž๐ฐ๐ค๐ž๐ฌ๐›๐ฎ๐ซ๐ฒ ๐€๐›๐›๐ž๐ฒ

Review by Pip Aldridge Last week, I had the privilege of seeing the Fulltone Orchestra perform at the beautiful Tewkesbury Abbey beneath the Peace Dovesโ€ฆ

The Evolution of Kirsty Clinch

“The only thing disappointing about Kirsty Clinchโ€™s Evolution is, it ends.”

Itโ€™s a generation X thing, Iโ€™m suggesting, which levels me to downloading an album as the last port of call to actually โ€œowningโ€ 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 donโ€™t get with streaming, and in review today is exactly the sort of album to be such a cherished keepsake.

Nevertheless, Wiltshireโ€™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 couldโ€™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 doesnโ€™t require pigeonholing, because whatever the angle of your personal taste, youโ€™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 Iโ€™ve held in high anticipation, since she mentioned it to me quite a while ago. If itโ€™s taken time, itโ€™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, Kirstyโ€™s talent, her picture-perfect balance, in such a way, itโ€™s impossible not to love.

Around and Aroundโ€™s modest drum makes this song an irresistible introduction, if the astute song writing, complimented by Kirstyโ€™s rich and warming voice, doesnโ€™t, oh but it does. Waterโ€™s Running Low continues the quality, confirming youโ€™re in for a beautiful journey, ten tracks strong.

Fit The Shoe, the single weโ€™ve fondly mentioned prior, is hauntingly divine, like William Orbitโ€™s production of Madonnaโ€™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 itโ€™s always been in your life.

Previously thereโ€™s always been an obviously and well played out taste of countryโ€™s female giants clearly influenced in Kirstyโ€™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 Clinchโ€™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 genreโ€™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 thatโ€™s itโ€™s worth, in a nutshell, you feel as if youโ€™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, youโ€™ll remain convinced this album, is Kirsty indeed evolving into a shooting star you cannot ignore.


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Hells Bells! AC/DC tribute in Devizes

With our roads being the state theyโ€™re in, is it any wonder on the 5th April Hells Bells, rated as the UKโ€™s top AC/DC tribute,โ€ฆ

Cracked Machine at The Southgate

If many space-rock acts have more band member changes than most other musicians change their socks, Hawkwind are the exemplar of the tendency. There mightโ€ฆ

Geckoโ€™s Big Picture

In 1998 a pair of pigs escaped while being unloaded off a lorry at an abattoir in Malmesbury and were on the run for aโ€ฆ

Park Farm; New Music Festival in Devizes

A new music festival is coming to Devizes this July. Organisers of the long-running Marlborough based festival MantonFest are shifting west across the downs andโ€ฆ

Results of Salisbury Music Awards

All images: ยฉ๏ธ JS Terry Photography An awards ceremony to celebrate the outstanding musical talent within the city, aptly titled The 2024 Salisbury Music Awards,โ€ฆ

Scott Laveneโ€™s Milk City Sweethearts

Weโ€™ve had a spate of comical albums coming in for review, what with Death of Guitar Pop, Mr B the Gentleman Rhymer and now this, which is by far the darkest, consequently most poignant. Songwriter and raconteur Scott Lavene returns this Friday (17th September) with Milk City Sweethearts, an album of new material…..

Thereโ€™s intelligent and thought-provoking arch-beat poetry chatted here, an amphetamine-induced self-evaluation of an ordinary Essex boy, delivered passionately with a witty edge you cannot ignore. Something of an oddity at times, random prose seemingly slotted erratically fall into place with a running theme of this hopeless romantic, as the album progresses.

Behind a variation of backbeats, often being post-punk, as is Scottโ€™s roots, yet fluctuating through new romantic electronica and eighties mod revival, are honest and blunt chronicles of love, loss, coming of age, in effect making for a memorable kind of album, border-crossing Ian Dury with Sleaford Mods; a Mike Skinner of The Streets in the Bowie or Jam era, or a psychedelic Gecko.

Humbly wry, the observations of his imprudent past come back to haunt him, as he retells heartfelt autobiography. The Ballad of Lynsey being the particularly touching example, telling of a potential everlasting love, but lasting only year due to differences, with the revealing chorus, โ€œI choose amphetamines over you.โ€  

If Iโ€™ve made this sound despondent and somewhat depressing, while yeah there is that, Scottโ€™s witty charisma teeters atop at even the gloomiest synopsises with clever wordplay and metaphors. And besides, not every track is quite so melancholic. In fact, it begins very much with the aforementioned mod revival style. Upbeat opening tune, Nigel, is especially comical, expressing the strangeness of individualโ€™s choice of โ€œkicks.โ€ Likewise, The First-Time reels off an amusing list of first experiences with the annotation, โ€œone day thereโ€™ll be a last.โ€ Itโ€™s all very Essex lad Talking Heads, Phil Daniels chatting on Blurโ€™s Parklife, etc.

Art-pop carries over when the mod revival moves over for a new wave electronica feel as the album progresses, by the third tune, The Earth Donโ€™t Spin, itโ€™s very much more Stephan Tintin Duffy than Weller. For all the credentials and comparisons mentioned, thereโ€™s no clichรฉ, everything here is uniquely composed and written originally, and Milk City Sweethearts isa listener, not the sort of long-player you can pause and pick up again, youโ€™ll be impelled to digest it one sitting.

A master storyteller astutely aware of when and how to evoke the correct emotions, and find unusual thoughts to everyday scenarios. The farewell to deceased finale, Say Hello to Zeus, is as Bowie, simply inimitable and inducing. Whereas halfway through gives us the laugh-out-loud Walk Away is Essex humour at its very best.

Closest youโ€™ll get to see him to here is Bathโ€™s Komedia on the 12th December, for now this masterful album, out via Nothing Fancy Records, is interesting, to say the least, an essential item for enthusiasts of the quirky and unusual, making the world seem that much smaller, and amusing, for lonely hearts.

I’m quite happy, thank you, but loved it nonetheless, cos it ain’t always been that way. And that’s it, right there, I figure it’s not only my association Scott is from my motherland, but there’s something I think anyone with a heart will identify with here, and that’s something really rather special.


WIN 2 tickets HERE

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Static Moves at The Three Crowns Devizes

Bussing into Devizes Saturday evening, a gaggle (I believe is the appropriate collective noun) of twenty-something girls from Bath already on-board, disembark at The Marketโ€ฆ

The Emporium in Devizes to Close

If Devizes boasts an abundance of independent gift shops of unique and exquisite or often novelty items in the face of a national pandemic ofโ€ฆ

Everything You Are, Onika Venus

You remember being given some coursework, when back in higher education, with various objectives and your task was to choose one to complete? Not really wanting to do it, you go to the student at the top of the class, and ask them what theyโ€™ve done. They reply, โ€œah, not much,โ€ and this gives you the cue to do absolutely nothing. Then, on the day of handing it in, theyโ€™ve unexpectedly produced the single-most awesome project, covering all the objectives in one ingenious combination, and you stand there with zilch, except a jaw hanging and an implausible excuse, which you made up on the bus coming in?!

Iโ€™d imagine Onika Venus to be just like that. Now Bristol-based, Jamaican-born Onika plays Trowbridge Town Hall on September 18th, so, given reggae is cited as an influence, I thought Iโ€™d check out her debut solo album, Everything You Are, which was released back in March.

The title track was chosen as Songsmithโ€™s Song of the Year 2020, and itโ€™s easy to hear why. Iโ€™ve not been this blown away by a female vocalist since discovering Minneapolisโ€™s Mayyadda.

Immediately this pushed my buttons, but if this opening title tune is decidedly acoustic blues, with a distant harmonica resounding in the background, thereโ€™s a truckload more going on than the first impressions here.

The premise from the beginning is as simple as, Onika Venus has the prevailing soulful voice to carry whatever genre is thrown into the melting pot, and drizzle it over you like hot sauce. It only leaves you pondering how far she will take it. The second tune I pigeonholed as RnB pop, a contemporary Macy Gray or Erykah Badu, aiming for chart success. When Iโ€™m Broken carries this concept to a higher height, and is simply, the model formula of popular music every song should aim for.

Yet, three songs in and here comes the Caribbean influence. Friday Love has a clear mento feel, itโ€™s immediately beguiling, a good-time chugging song in the face the despondent romance theme. This will occur again towards the middle the album with Whoโ€™s Been loving You. Again, with Shotgun thereโ€™s similar appeal, perhaps the most definable as โ€œroots reggae,โ€ and, for me, theyโ€™re the favoured sections.

But it swaps back to the mainstay for track four, steady soul with an orchestrated ambience; Everything has its Season, is the ideal equilibrium to bless that heavenly voice and compose this euphoric moment of bliss. After a surprising modern dancehall intro, weโ€™re back to an acoustic guitar riff for the poignant The Storm, using sax to mitigate jazz. I Need You, though, has kick-ass funk, Ike & Tina Turner in their prime.

With only three tunes to go, just when you think influences have been exhausted, thereโ€™s a duet with a male voice, supplied by husband, Mark, Mary, sounds classic Americana, as if Joe Cocker just walked into the studio and said, why donโ€™t you try this?!

To keep you guessing what the last couple of tunes will hold, yeah, folk is strapped onto soul, Reaper Man aches of Aretha Franklin, but by this point you just know Onika Venus can carry this off with bells on. Raising the bar of comparisons is justified, believe me. For when itโ€™s funky Iโ€™d give you Randy Crawford, Chaka Khan, and when it levels with acoustic and folk, her voice dishes out notions of reggae heroines, of Phyllis Dillon or Marcia Griffiths, and the gospel finale, yeah, Aretha will be justified, if not Sister Rosetta Tharpe; it is this magnificent.

Yet, unlike all these aforementioned legends, the style here is not monocultured, neither does it jerk from genre to genre without consistency and flow. Onika Venus gives volumes to the eclecticism, and it moulds efficaciously into one melting pot, beautifully. Prior to this solo launch, in a band called Slyde, her voice customised their breakbeat, techno and house style, to great effect, and I can well believe it. The flexibility of her skill is captured here, Iโ€™d imagine as comprehensively as she chooses personally, and just as the student who bursts in effortlessly, with the homework complete and to an exceptional standard, Onika Venus makes this look easy!


Win 2 free tickets here!

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Mental Rot; New I See Orange Single

Hold on tight, the new single from I See Orange, Mental Rot embodies everything I love about this Swindon grunge trio, and takes no prisonersโ€ฆ..โ€ฆ

RowdeFest 2025!

Okay, I canโ€™t keep the secret any longer or Iโ€™ll pop! While all the hard work is being organised by a lovely committee, because theyโ€ฆ

Events This Weekend; January Into February!

If weโ€™re nearly out of the prolonged gloom of January, note itโ€™s still winter but weโ€™ve climatised and are ready to party. February this yearโ€ฆ

Longcoats Get Dancing

Opps, near-on delayed a month due to the amount of work involved with promoting our Juliaโ€™s House album, other stuff going on, and generally slacking off in my garden with my belly hanging over my khaki shorts, Iโ€™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, Bathโ€™s indie-pop favs, Longcoats have an official new bassist, Will Vickery. The band claim he was โ€œa stray man we found on the street and august-rush style he could just hear the music and play it.โ€ Proof in the pudding, Iโ€™ll double-bet ya youโ€™ll going to love their new belter, โ€œGet Dancing,โ€ which is, incidentally just what we all need right now.

Will Vickery

Probably why itโ€™s blossoming attention and airtime from the likes of BBC Bristol, Target, Soho Radio, Sheppey FM, New Yorkโ€™s New Visions Radio Network, and even Australiaโ€™s Valley FM, and seeing them bookings at Moles, Brightonโ€™s Pipeline, and supporting The Rift at Swindonโ€™s Rolleston.

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

Itโ€™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 Iโ€™ve yet to explore. But rest assured, this one is a keeper, and perhaps true to the word; I should get dancing if Iโ€™m ever going to work off this belly hanging over my khaki shorts!


OUT NOW! Various Artists 4 Julia’s House

As a nipper Iโ€™d spend days, entire school holidays, making mixtapes as if I worked for Now, Thatโ€™s What I Call Music! In the era before hi-fi, Iโ€™d sit holding a microphone to the radioโ€™s speaker, adventurously attempting to anticipate when Tony Blackburn was going to talk over the tune, and just when In the Air Tonight peaked with Philโ€™s crashing drums, my dad would shout up the stairs that my tea was ready; eternally caught on tape, at least until my Walkman screwed up the cassette.

Crude to look back, even when I advanced to tape-to-tape, I discovered if I pressed the pause button very slowly on the recording cassette deck, it would slide into the next song, and with a second of grinding squeal Howard Jones glided into Yazoo!! Always the DJ, just never with the tech! Rest assured; this doesnโ€™t happen on this, our Various Artists compilation album, 4 Juliaโ€™s House. And oh, have I got some news about that?!

Huh? Yes, I have, and here it isโ€ฆ. ย 

We did it! Thanks once again to all our fabulous contributing artists, our third instalment of detailed sleeve notes will follow shortly, but for now, I couldnโ€™t wait another day, therefore, Iโ€™ve released it half a day early, this afternoon!

Now all that needs to happen is to get promoting it, and you can help by sharing news of this on your social media pages, thank you. Bloggers and media please get in touch, and help me raise some funds for Juliaโ€™s House.

Iโ€™ve embedded a player, in which you should be able to get a full try before you buy, I believe you get three listens before itโ€™ll default and tell you to buy it. I hope you enjoy, it has been a mission and half, but one Iโ€™d gladly do again.

Please note: there are many artists giving it, โ€œoh no, I was going to send you a track!โ€ Fear not, there is still time, as Iโ€™ll causally start collecting tunes for a volume 2, and when the time is ready and we have enough songs, we will do it. It might be for another charity, Iโ€™d personally like to do another raising funds for The Devizes & District Opportunity Centre, but thatโ€™s unconfirmed as of yet.

You know, sometimes I think I could raise more money with less effort by trekking down through the Market Place in a bath of cold baked beans, but I wanted to bring you a treasured item comprising of so many great artists weโ€™ve featured, or will be featuring in the near future on Devizine. Never before has all these artists been on one huge album like this, and look, even if you donโ€™t care for a particular tune, thereโ€™s 46 of them, check my maths as I pride myself on being exceptionally rubbish at it, but I make that 22p a track, and all for such a worthy cause!


Click for info on Julia’s House

โ€œWe are so grateful to Devizine and all of the local artists who are taking part in the charity album to raise funds for Juliaโ€™s House. We donโ€™t receive any government funding for the care we give to families in Wiltshire, so the support we receive from our local community is so important.โ€

Claudia Hickin, Community Fundraiser at Juliaโ€™s House

Andy J Williams; Buy all his $tuff!

Iโ€™m sure itโ€™ll shock you to hear, I made a technical hitch, best described as a cock-up. It seldom happens, blame my masculinity; the wife often reminds me men cannot multi-task. We featured the indie-pop Bristol-based singer-songwriter Andy J Williams last month, as part of our Song of the Day feature, and I promised to review the whole album โ€œBuy all the $tuff,โ€ which was released at the beginning of February.

Musicians you wait for like buses, then two come along at the same time, and accidently I mind-merged them. Even joked in our Song of the Day post not to confuse Andy J Williams with his namesake senior easy listening giant, then mixed him up with someone else, whose name is nothing remotely similar. The only parallel is theyโ€™re both from Bristol, though many are, but being as the other artistโ€™s album involved in this cock-up isnโ€™t released until next week, both got put on the backburner. My virtual to-do-list saved the day; acts as my brain.

Extend a short story longer, hereโ€™s an apology to Andy, and a belated review of โ€œBuy all the $tuff,โ€ which is very worthy of not being missed out. To begin with his cohesive band firmly behind him, thereโ€™s a Britpop feel, I sensed, vocally, a similarity with Trowbridgeโ€™s finest, Phil Cooper, if Phil was aiming for pop. But thereโ€™s a lot going on here, influences are wide but mould into each other exceptionally well; a tad tongue-in-cheek at times too. Itโ€™s indie on the outer crust, but with a dynamite mantle blending of layers which incorporates funk, new wave post-punk, art-pop, and contemporary electric bluesy-folk, all with equal measure and passion.

Reminisces flood my neurons upon initial listening, of how eighties electronica fused funk into pop, a kind of โ€œfunk-lite,โ€ avoiding the substantial seventies untainted funk vibe, and through post-punk new wave, rewrote the club-pop formula. Bands like Duran Duran and Roxette spring to mind, Iโ€™d even go as far as Michael Jackson meets Huey Lewis, but while Iโ€™m aware thereโ€™s a bizarre subgenre called โ€œfunk metal,โ€ pleased to report Andy doesnโ€™t get that heavy! This is more like musical cubism, with a skilful composition akin to King Tubbyโ€™s mixing board, and it comes out the other end as extraordinarily unique beguiling pop.

Donโ€™t take the opening Britpop track as red, the next, Post Nup, opens up this funk riff, but no matter where it takes you, lyrically this well-crafted too, written with thoughtful prose. Thereโ€™s topical subject matter amidst the archetypical romance, including the referendum and social media, but no theme distracts from the overall musical presentation. Night Terrors, for example, works opposite to Jon Amor, who uses Elvis Costello pop to create a more frivolous blues, Andy maintains pop by adding elements of electric blues. Then, piano solo, layered with subtle percussion. Andy rinses a fine ballad, undoubtedly the most evoking track on the album, Stay.

Buy This $tuff reaches an apex immediately after, Something to Believe in is masterfully danceable, bathed with handclaps and a funky riff, it is to Andy what Superstition is to Stevie Wonder. From here on, the album takes to this upbeat terpsichore concept. Itโ€™s highly entertaining.

Ballads follow, Celia and Now Sheโ€™s Gone are particularly adroit, but you know Andy isnโ€™t going to end this with melancholy. Be Mine returns to rock as itโ€™s mainstay. Radicalised equally comes in hard, with an electronica feel. And Your Truth Hits Everyone is anthemic, concluding thereโ€™s a need to ponder what the Beatles would sound like if still around today, with Britpop, new wave electronica, and clubland techno at their disposal. Through this, I might provide a suggestion.


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Eighties Mod Revival Lost Gem: The Direct Hits

If I waffle positively here, and yes, I do waffle, about retrospection and a trend in sounds trying to be authentically from a time of yore, this one doesnโ€™t need to try. The Broadway Recording Sessions thrusts you rearward into the eightyโ€™s mod revival scene, whether you want to go there or not.

Battersea trio, The Direct Hits may only be remembered by the connoisseur of mod, having one-shot at charting in โ€™82, when TV presenter Dan Treacy released their song, Modesty Blaise on his Whamm! imprint. The music press hailed this as not just another Jam, crash-bang-wallop mod revivalist tune, and their explosive live shows avowed them pioneers of a โ€œBattersea Beat.โ€

Whamm were financially struggling to fund an album, so the band pooled their limited resources and booked the cheapest studio time they could find, Tootingโ€™s Broadway Sounds. By the afternoon they had knocked out nine songs, the other three on this album were recorded a fortnight later. It would be two years later when they re-recorded some of these songs for their debut album โ€œBlow Up.โ€

Now remastered, these lost recordings have surfaced finally, and, with warts and all, show the uncooked spirit of a hopeful mod garage band. Iโ€™ve had this playing for a few weeks since itโ€™s late February release, and it heralds the hallmarks of a post-punk return to the basics, which sixties groups like The Kinks and The Small Faces mastered. To expect this yardstick is pushing it, but through all its rawness thereโ€™s some beguilingly adroit songs to make you wonder why they wasnโ€™t as their namesake suggests, direct hits!

Perhaps it was that bit too retrospective for the progressive eighties. Because, elements capture neo-psychedelia, rather than soulful eighties mod assigned via The Spencer Davis Group and into bands like The Merton Parkas. That era where the beatnik style was teetering on influencing the pop sound, but Merseybeat was still riding the high ground. Thereโ€™s a delicate balance here, avoiding things getting too clichรฉ Mamas & Papas, these upbeat three-minute-heroes never fails to kick ass.

Consistently high-spirted and energetic garage sound, yet psychedelically enhanced; think if Syd Barrettโ€™s days spent at Pink Floyd wouldโ€™ve been spent with The Who instead, and you get the idea. Thereโ€™s even a bike song, just like on Relics. Lyrically thereโ€™s unassuming stories with clear narratives and characters to challenge the Beatles.

A polished rerecording of a track from the album.

Overall, though, youโ€™ve got twelve mind-blowing rarities which perfectly capture a raw moment of youthful optimism for an inspiring band, in an era where everyone felt encouraged to pick up an instrument and give it bash; and theyโ€™re good, really good. In a funny kind of way, I see similarities to the now; the forgone passing of DJ culture in a rave new world and tasteless manufactured pop, to an imminent inclination of online DIY indie, I see hopefuls taking to a guitar and giving it a go. Perhaps then, thereโ€™s no time like the present for this to resurface.

Buy The Broadway Recording Sessions Here


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Discovering Swindon Story Shed

With Dad’s taxi on call in Swindon and a few hours to kill whilst her majesty is at the flicks, it was fortunate local authorโ€ฆ

Song of the Day 27: Emily Capell

We are the mods, we are the mods, we are, we are, okay, you get the gist. Imagine Kate Nash is Doctor Who’s assistant, and they tracked back to Carnaby Street in 1963. If she dressed and performed without raising suspicion that they’re time travellers, you’ve got a general picture of the fantastic Emily Capell.

On one hand, this is fab retrospective meddling, on the other it’s lively and fresh fun, with a beehive hairdo.

There’s nothing here not to like, unless you’re a ret-con rocker and if so, I’ll see you on Brighton beach, pal. All I ask is you aim for the face, so you don’t crease my suit.

And, that’s my song for the day. Very good. Carry on….. oh yeah, nearly forgot to mention, Emily has a live stream coming up Friday 12th March, here; groovy.


Song of the Day 21: Andy J Williams

Ever just float around your favourite social media site with no objective in mind, to unexpectedly find something which pounces on you as utterly brilliant, and wonder why you’ve not heard about it before?

Took a second of watching this to establish it’s one of those rare occasions, and not just a pointless scrolling exercise for your index finger. You know the kind, where you only see your mate’s unappealing dinner, a wonky, windup political opinion, or video of a young prankster posing as a magician hoaxing eye candy on a Florida beach.

Took a further second to confirm it’s not to be confused with senior easy listening giant, Andy Williams, rather an indie-pop Bristol-based singer-songwriter namesake, but with an added middle J, a penchant for a funky riff and eye for a beguiling tune.

Check this cracking danceable video out, where one could ponder if the middle J stands for “Jacko!”

Not that I’m usually one to allow a cracking video convince me, even with dancing stormtroopers. So, you should note, he’s on his third album “Buy all the $tuff,” of which you can, here. I’m reckoning I need a window to review this fully in the near future. For now it came as big as a nice surprise as spotting an unidentified circular yellow object in the sky this morning, for a near halfhour! Amazing.

And that’s my song for the day. Very good. Carry on…..


Song of the Day 20: Darling Boy

Self-taught multi-instrumentalist, singer and actor, Darling Boy, aka Alexander Gold adds reminisces about his game childhood with this video for his new single “Tea Drinkers of the World.” An unusual move for this brand of indie-pop, but a colourful and entertaining 16-bit retro game fashioned video; enjoy.

And that’s my song for the day. Stream it here. Facebook here. Very good. Carry on….


Song of the Day 17: Diana Leoport

What’s Spanish for “diva?” Oh, Google translate aptly says it’s “diva!”

Super sassy Spanish vocalised RnB-pop doesn’t come sexier than Mexican singer Diana Leoport’s debut single. Aching with masses of Latino promise there’s elements of Shakira and Gloria Estefan in this smooth tune. My glasses have steamed up!

Out on all platforms here.

And that’s my song for the day. Very good. Carry on….


Song of the Day 12: Darla Jade

Even portions of expressive contemporary pop, the ambience of post-goth and downtempo electric blues of trip hop makes this Staffordshire singer, Darla Jade really someone to watch. With a haunting uniqueness about her voice and style, there’s shards of Evanescence fused with Beth Orton. It’s somehow individually chartable but would also appease alternative rock or goth aficionados alike.

Subscribe to her YouTube channel, hear her own stamp on Radiohead’s Creep, and realise, her talent is so very special.

And that’s my song for the day. Very good. Carry on….


Song of the Day 1: Atari Pilot

Irregularly I share a music video to our Facebook page with the status “song of the day,” or week, or whenever, as if it’s a daily occurrence. When the reality is it’s a big, fat fib on my part, it’s only when I happen to find such a video and can be arsed to share it. What-cha gonna do, sue me?

So, just in case your lawyer says you have a case, I thought I’d streamline this sporadic idea for 2021, make it an actual feature on the site rather than a Facebook post, and show off that I know what long words like “sporadic” mean.

Little more gone into it than this, you should be used to it by now. I’m not going to review them, just embed them here for your own appraisal and entertainment purposes. Potentially, it’ll be a groundbreakingily breif post, a simple but effective phenomenon, and something I can do without missing the Simpsons.

The challenge is consistency; whether I actually stick to the idea or, like others, it’ll be a flash in the pan. Who knows, this could be the start of something beautiful, this could be the thing they’re talking about in decades to come. A holographic Ken Bruce could be asking “what was the very first Devizine Song of the Day” in a Pop Master 200 years from now.

And you can answer it with who I bestow this honour, Atari Pilot. They’ll be revelling in the triumph of the hour if it wasn’t lockdown, I bet.

History in the making then, the only issue I foresee is I over-waffle any old crap, which is, incidentally, not what’s happening now and rarely does here; I had to explain myself, didn’t I?

Okay, I get message; here it is then, enjoy the tune, enjoy the rest of your evening. Good job, carry on.


  • I See Orange Pining For Apollo

    If spring saw Swindonโ€™s premier rock trio I See Orange breaking new ground on a US tour, autumn brings with it their first full length album, Pining For Apollo; prepareโ€ฆ

    I See Orange come at you loud and proud. Itโ€™s driving rock versus edgy grunge, but unafraid to test the boundaries of either subgenre as they form foundations into commercial rooms fit for The Cranberries or The Cardigans. Yet they never abandon their idiosyncratic image of dolls and gore, nor their distorted power chords and dark focussed themes of apathy and alienation with sassy overtones. Pining For Apollo was released yesterday, and proves this, professionally.

    I See Orange match with a chemistry every band must envy. Formed in 2022 when frontgirl Giselle, originally a folk-pop singer-songwriter moved here from Mexico, and an impromptu rehearsal session with Cameron and Charlie established potential magic. Inspired by nineties and millennial alt-rock, they add their own unique post-grunge flavour.

    Recorded at Western Audio Studios, produced, mixed and mastered by Claire Sutton, rolling drums kick us into Pining For Apollo, a minute until the full force of I See Orange hits you in the face, and shakes your bones. Thirteen solid tracks of dynamite follow, and, unlike the rising and falling template of grunge, I See Orange rarely comes up for air. Velvet Scars is a downtempo exception to this rule, leisurely it rolls out like the penultimate moodsetter on a setlist.  

    Thereโ€™s all the recent singles weโ€™ve previously fondly reviewed, Mental Rot, La Bruja, and my personal fave, the playful anthem Doll Guts. With them and between them the songs are stylised, carving a definitive methodology. The band say โ€œIt is the introduction of our music and our band to the world. Thereโ€™s nothing we love more than making music together and these songs are a compilation of our passion, effort, hope and pining for our dreams to materialise and become our reality.โ€

    Feebleness is a prime example. Three tunes in, it breathes fresh air into I See Orange while retaining their common theme of doubt, debility and inferiority complex. Then the haunting La Bruja follows, subtly confident when hexed. The album as a whole is dark mien, erotic at times, it contrasts winsome with macabre and through adroit unification musically it swathes them all into an electric blast of sublime and fulfilling rock.

    If the eleventh and twelfth tracks project with grunge fury, the finale offers something more delicate indie-folk with commercial viability. Nice, but I want I See Orange breaking new audiences gradually by not losing their edge, rather than falling through a mercantile pothole, because this album is a fantastic showcase to be savoured by a majority. ย ย ย ย 

    Stream & Download โ€˜Pining For Apolloโ€™ by I See Orange.


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  • DOCA Awarded National Lottery Grant

    Congratulations to Devizes Outdoor Celebratory Arts, who announced yesterday that they’ve been awarded a substantial National Lottery Project Grant from Arts Council Englandโ€ฆ.

    This is amazing news for everyone in Devizes, on the day of their carnival, which in recent years required Devizes Town Council to subside it after years of Arts Council cuts prevented DOCA’s most elaborate free events from going ahead.

    Could we see a return of the beloved street festival? DOCA say they will launch โ€˜A Season of Discovery,โ€™ a brand-new summer and autumn programme of festivals, live music, workshops and performance across Devizes and the surrounding area.

    When I think back over the years at all the fantastic events DOCA has produced for us, this news gives me hope we can recapture the spirit of them once more. Carnival, today, tomorrow, who knows?!


  • Chippenham MP Sarah Gibson Reflects on Shayne Hambakachere Case

    Looking at the evidence presented by the media on the Shayne Hambakachere case in Chippenham, unless there is something weโ€™re not being told Iโ€™m of the opinion there has been a serious miscarriage of justice. I spoke to Chippenham MP Sarah Gibson about this terrible outcomeโ€ฆ..

    Shayne Hambakachere was a 16-year-old aspiring bricklayer and a pupil at Hardenhuish School, who tragically died after being fatally stabbed on 31st of January 2026. Shane had met the attacker in an alleyway near London Road, to settle a dispute over stolen cannabis.

    Unarmed at the time, Shane sadly passed away the following day at Southmead Hospital in Bristol. A 16-year-old boy, 15 at the time of the incident, cannot be named for legal reasons.  He stood trial at Bristol Crown Court. The court heard that the defendant filmed the confrontation on his mobile phone, capturing footage of Shayne trying to back away when the weapon was produced.

    Yet, at the trial on the 20th August, the jury found the defendant not guilty of both murder and manslaughter. The defendant argued that he acted in self-defence, claiming he brandished the knife to scare Shayne away because he feared he was about to be attacked.

    I asked Sarah Gibson if she felt an inquiry to the trial should be opened. โ€œShayneโ€™s death was an appalling tragedy which has had a profound impact on his family, friends and the wider Chippenham community,โ€ Sarah explained. โ€œI appreciate that the outcome of the trial has caused considerable confusion and concern locally.โ€

    โ€œI met with Shayneโ€™s family following his death and have remained in contact with them. When I met with the family, I made a commitment that I would not make public comments about Shayne, or pursue action specifically in his name, without an express request from them to do so. I believe very strongly that any decision about whether they want me to become involved following the conclusion of the trial must come from Shayneโ€™s family.โ€

    โ€œIf Shayneโ€™s family ask me to support them, raise questions on their behalf or help them seek further information from the relevant authorities, I will of course do everything appropriate within my role as their Member of Parliament to assist them.โ€

    โ€œFor the same reason, I am not currently calling for a public inquiry into Shayneโ€™s case. Any such step would need careful consideration and, above all, I would want to understand and respect the wishes of his family rather than make that call on their behalf.โ€

    This is completely understandable, and my heart goes out to Shayneโ€™s family at this terrible time. I also respect the court decision, if there may have been evidence not disclosed to the public. But, Sarah reflects my wider sentiments about the wider implications, in her last paragraph to me. โ€œThat being said,โ€ she continued, โ€œthere are wider issues raised by this case which require serious attention. I was particularly concerned by what was said during the trial about the influence of gang culture, county lines and social media content involving knives, guns and drugs on young people.โ€

    โ€œI am actively working with organisations across the constituency on harmful online content and its impact, particularly on boys and young men. We need to understand how children can become exposed to this material, how we intervene before that exposure escalates, and what more schools, families, social media companies, communities and government can do to protect young people.โ€

    Stopping to consider when Nigel Farage used the phrase โ€œpure cold rageโ€ in June, to describe how he thought the public should react to police actions during the Henry Nowak case, who was similarly stabbed in Southampton, the lines I cannot help reading between, when considering why Reform are not irresponsibly encouraging the same public outcry with this case.

    Face the basic fact, Shayne was tragically killedโ€ฆ over a bag of plants. Only vengeful people supporting a clear and irrelevant racial narrative want a reaction of “cold hard rage,” to any murder case, but careful consideration of its reasoning should be welcomed, for the purpose of preventing other similar incidents. 

    Plants which could be controlled if decriminalised. Plants which rarely cause any significant damage, and the only damage they might, is surely caused by their legal status, and consequently their connection to harder drugs and other related crime, through the black market theyโ€™ve been assigned into. The war on drugs debate is nonsensical and irrelevant now, as it never worked. You can point the finger at โ€œharmful online content,โ€ or โ€œgang cultureโ€ when the facts are this happened in an alley, not online, and this appears to be two individuals, not gangs.

    Of course, the family of Shayneโ€™s wishes should be respected, but the caseโ€™s wider implications must surely be considered, and acted upon. It may be radical, but I believe it is long overdue to review our laws on recreational cannabis use. For if it was decriminalised, the prices could be fairer, without any need to steal it, and this alleyway confrontation, this senseless murder, would not have happened. Many crimes would not have happened.

    Legalise it, tax it, and spend the profits on drug misuse education, but to continue to fight against it, by tightening the laws of its prohibition clearly isnโ€™t working, as this terrible incident proves. I thank Sarah for her time, but I worry this issue will be brushed under the carpet and shamefully, allowed to reoccur. There’s words, let us see actions, via open and honest debate, not shrouded by the misconceptions of cannabis use.


  • Wiltshire Music Awards Announce Ceremony Lineup, Excruciatingly AIย 

    With an AI-powered poster so excruciating I cannot bring myself to show it here, this yearโ€™s Wiltshire Music Awards announce the lineup for their ceremony. Should we judge a book by its cover?! The event looks great, but the AI epidemic has infected this, and is so cringeworthy it doesnโ€™t invite attention, which is a shame when the tagline reads โ€œinspiring Wiltshireโ€ฆ..โ€

    I canโ€™t look at it for too long at a time; itโ€™s got an Oscar on it! Why has it got an Oscar on it?! Isnโ€™t suggesting itโ€™s the most prestigious awards in the film industry raising expectations somewhat?! Itโ€™s on Saturday 14th November, at The Melksham Assembly Hall, not Hollywood. Oscars may/may not be presented at the ceremony, that is unconfirmed.

    What is confirmed is raising the bar several notches over the marketing; some top local acts, with an odd opening presentation. If you see me there and Iโ€™m sporting a cresting scumbucketed shirt and misted glasses, itโ€™s because thereโ€™s a burlesque chair dance introduction! Begging the question, what burlesque has to do with musicians in Wiltshire winning awards, but when you get to my age you canโ€™t be picky.

    What I do love about it is Talk in Code, 5 Nights at Adyans, Ruby Darbyshire and Fly Yeti Fly are on the roster, and The Syvertones will be entertaining during the break. Some great acts which truly represent the local music scene.

    And thereโ€™s an after party with the Unpredictables, DJ Alex, and some random chap who remains unnamed on the poster! Tickets are ยฃ12.50 from HERE.ย I cannot abide by this AI pandemic any longer. I will joke about it, and encourage organisers not to use it; but while it is unwelcome here, perhaps we should compromise when it’s a great event, supporting local musicians.

    Update: poster changed, due to my whingeing too much time on my hands ramt!


  • Howard Barkerโ€™s Scenes from an Execution Coming to Wharf Theatre

    The Wharf Theatre production presents an electrifying confrontation between artistic truth and political authority, with a content warning! Howard Barkerโ€™s Scenes from an Execution is coming to the Wharf Theatre, Devizes. Gripping psychological drama; theyโ€™ve got it coveredโ€ฆ..

    Directed by Jax Brady, Howard Barkerโ€™s 1984 BBC Radio 3 drama, Scenes from an Execution will be running from 21st to the 26th September. Iโ€™ll be reviewing it here before its release, but itโ€™s okay, Iโ€™ve been executed loads of times before, piece of cake!

    What is the price of telling the truth? What happens when art refuses to serve power?

    In Howard Barker’s provocative drama, audiences are transported to Renaissance Venice in the aftermath of a military victory. Celebrated painter Galactia is commissioned to create a grand work commemorating the state’s triumph. But instead of crafting a monument to glory, she paints the brutal reality of war, exposing bloodshed, suffering, and human cost.

    What follows is an explosive battle between an uncompromising artist and the forces determined to control her vision.

    Part political thriller, part psychological drama, Scenes from an Execution remains one of the most powerful explorations of censorship, creativity, and resistance ever written for the stage. Barker’s razor-sharp dialogue and fearless storytelling challenge audiences to ask whether art exists to comfort, to celebrate, or to confront. This production brings renewed urgency to a play whose themes resonate as strongly today as ever.

    Rich with dark wit, intellectual intensity, and emotional power, Scenes from an Execution invites audiences into a world where beauty and violence collide, and where the act of creation becomes an act of rebellion.

    Critically acclaimed since its premiere in 1990, Barker’s modern classic continues to captivate audiences with its bold examination of art’s role in society and the enduring tension between freedom of expression and political control. This in-house production from The Wharf brings you high-quality drama at its best. With a very adaptable and capable cast of six actors, playing 20 roles, the Wharf brings you gripping psychological drama from well-loved Wiltshire actors.

    According to material from the University of Waterloo’s production archive, Barker wrote the play in part as a response to contemporary politics, particularly Margaret Thatcher’s aggressive response to Argentina during the Falklands War. The historical story allowed him to examine modern concerns about war, nationalism, and the use of art to support political agendas.

    The play also reflects Barker’s wider theatrical philosophy. He was interested in creating drama that challenges audiences rather than reassuring them. Galactia’s refusal to glorify war embodies Barker’s belief that art should provoke thought and reveal difficult truths instead of reinforcing official narratives.

    The Wharf advises us to, โ€œprepare for a theatrical experience that is challenging, unforgettable, and profoundly relevant.โ€ And it comes with a Content Warning: Recommended for ages 14+. Contains mature themes including war, violence, political oppression, misogyny, references to sexual violence, and emotional distress. Viewer discretion is advised.

    Wharf Theatre, Devizes

    21st โ€“ 26th September 7.30pm

    Tickets ยฃ20 including booking fee (discount available for Wharf Members) Booking Link


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  • For A Lifetime, Luke Gittins

    Newlywed, what lengths would you want your partner to go to with their wedding speech and gift? A six track EP of the most beautifully self-penned sentimental love songs?! Well, sorry, but honestly, unless youโ€™re luckily now married to twenty-five year old Ed Sheeran-endorsed Chippenham singer-songwriter Luke Gittins, I think youโ€™re asking a bit much!

    Congratulations to the couple, wishing them all the best of health and happiness on their journey together. But, yeah, cheers Luke; thankfully Iโ€™m already happily married, but youโ€™ve set the bar quite high with this! Will every bride-to-be now be expecting their partner to break out the acoustic guitar and deliver vocals smooth enough to charm the pants off a donkey?! Because, if so, this might not end well! Certainly nothing as breathtakingly close to For A Lifetime.ย ย 

    If thereโ€™s a reason why Ed Sheeran praised Luke, invited him on stage at the O2 Arena and to open his Berlin show, itโ€™s not hidden within this EP, itโ€™s on show in the opening bars. For all I know, his wife might prefer drum & bass, but if it was me, Iโ€™d be bowled out for six! This is David Gray losing his Roland Groovebox, this is Noah Kahan playing Vermont. Itโ€™s rich with textures, divine in delivery, but the sincerity of the prose in the song-writing is kingpin.

    An honest breath of fresh air, each song is a meticulously crafted expression, simply but effectively. The pulsating yet subtle beat of the opening title track took me to Iโ€™m on Fire, and could easily cool Springsteenโ€™s desire. It also serves as an epilogue to the EPโ€™s narrative, talking of their first kiss and the change it made within him.

    The second song concerns itself with the sensations of love and how unbelievable it can feel to find your soulmate, wrapped in a title of a wedding vow. Whereas the third is more metaphorical, using the unpredictable English weather to suggest their relationship will overcome the odds.

    The fourth is akin to Billy Joelโ€™s Just The Way You Are, whereas Home expresses the place of memories, and though perhaps a cliche theme, Luke knocks it out of the park like a delicacy savoured, and lends the listener to be far too engulfed in the beauty of the EP to be concerned about any overused subject. These are classic sentiments expressed before, but Luke revisits them with the talent to make it fresh sounding; thatโ€™s the lucidity here. It ends as smooth as the intro, with a brimful of everlasting sentiment. And with that, this is a timeless work.

    Playing guitar and writing since the age of eight, Lukeโ€™s popularity blossomed during the lockdown, sharing covers on TikTok. This is his second release since his debut, Waited A Lifetime in 2023. The personal tenderness of For A Lifetime reflects, with any song on it clasping the potential to rival John Legendโ€™s first dance song, All of Me. Now, get on and do the dishes, Luke!

    Website


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  • Radiant by Kirsty A Wilmott: Local Author Book Review

    While The Hebrew Bible depicts women in composite roles, from submissive domestic positions in a patriarchal society to powerful figures of leadership excelling moral courage, and in Abigailโ€™s case, political peace-making, there are few exceptions from the rule that, being it was written and compiled by a male scribal elite, the Hebrew Bible is narrated from a male perspective. There remains only one exception, an Egyptian slave called Hagar in theย Book of Genesis, where expression of any femininity derives from a character not linked to nobility. And herein lies the genius of local author Kirsty A Wilmottโ€ฆ..

    Iโ€™m glad to find Kirstyโ€™s latest novel, Radiant popped through my letterbox, as we promised to review more local authorsโ€™ works. It is, essentially, a love story between Israelite Abigail and the future King David, but told through the varying point of views of her handmaidens.

    Let it be known, Iโ€™m far from knowledgeable about biblical passages. Any understanding of it in this review was encouraged by this book, and I would recommend a little research before, or at least during, embarking on its complex and seemingly historically accurate narrative.

    This story begins before the original texts, with Abigail as a child, and charters her life akin to classic novels like David Copperfield or The Count of Monte Cristo, rather than usual briskness of contemporary pulp fiction. Thankfully though itโ€™s not as lengthy, as I was thoroughly locked into this realm of yore, and would never have got this review out there!

    To draw you in, everything from the artefacts to the social and political tenets of the era are meticulously researched, alongside the actual biblical story, and, I suspect, characters and situations from other scriptures are ingeniously intertwined too. It creates a vivid curiosity of the world in biblical times, just with a completely alternative perspective.  

    It is the method which allows the reading to become somehow more modern, not just the concept of telling the tale from a female and enslaved point of view. Through the thoughts and separate lives of the handmaidens, each of them taking turns reciting a chapter, it creates alternative narratives, where their everyday occurrences and concerns might not necessarily be relevant to the actions of the men, where the story would usually be told. And, in turn, the happenings of the men, especially those of superior ranks, as they drink, fight, and treat the women as possessions, are depicted confusing or inconsequential to the lives of those telling this version of the story.

    The handmaidenโ€™s lives, though, are intricately intertwined with their mistress, and they often seem to care more for Abigail, and her relationships with Nabal and later, David, as they do their own lives and interconnections. But living under their roofs and in their employment, itโ€™s understandable. In such, Iโ€™d compare the flow of this book with that of a soap opera, but please, that is meant as a compliment! For it can be no simple task for a writer to infuse all the lives of various soap opera characters into one combining narrative.

    Yet, it is no soap opera in the modern sense, for the patriarchal context is so defined and entrenched, itโ€™s another world. The social roles and everyday depictions so strictly ruled, with an emphasis on betrothment, the divide between the genders is distanced beyond our normal, even modern historical allowances, and none would dare question it.

    Meanwhile, the lives of the men are typically common with the modern world, and biblical battles for wives or other possessions, landgrabs and kingdoms arenโ€™t so dissimilar from blokes today, whether starting wars or punch-ups outside a Wetherspoons!

    Kirsty makes no fantastical attempt to break these boundaries, leaving us with a harsh reality rather than a fairytale ending where the feminine get the upper hand or the slightest hope of their own governance. But they are not depicted as secondary in importance, as they were in most bible texts, and certainly not as intellectually inferior either. They have their own lives, and issues, aside shouldering bouts of the menโ€™s too, Kirsty weaves them as paramount above the bravadoism of their male counter-characters.

    Given the synopsis I wondered to Kirsty if I should hand this project to one of our female writers, but she assured me it was suitable and aimed also for men. Not, I’d suggest, those testosterone-driven guys whose lifeโ€™s objectives is to race in fast cars, drink twenty pints and talk football, for they are the matching modern stereotype of the kings and soldiers in the book! Rather for the considerate fellow who favours walking in the shoes of others to better understand their take on a notion, yeah, Iโ€™d agree!

    For I loved this fascinating and unique read. And in such, the choice of biblical story, where Abigail intervenes between her warring first husband and David, shoulders the blame, and twists Davidโ€™s vengeance into peace by talking him down, through the consideration he would not want the burden of needless bloodshed, and David praised her wisdom, spared Nabal, fell in love and married Abigail, was apt for the writing style. Itโ€™s as if Kirsty used the plot to define the writing style, and that is nothing short of precision sagacity.

    It is within the harsh reality the patriarchal society is ingrained, that David takes other wives, and this becomes a talking point for readers of Radiant, to consider how different the story might be if set in modern times, and if, and how much progress weโ€™ve made on the way to gender equality. Yet it contrasts with the similarities of menโ€™s behaviour when their grievances are not depicted as glorifying, as they are in most biblical stories.

    Radiant by Kirsty A Wilmott is published through Bear Press, is available from Devizes Books, other bookshops, or from her Website HERE.


  • We Were Ready for Some Flocksteady Beats!

    By Ben Romain. Images: ยฉAlice Rose Photography

    Following a stand out long weekend of blues and americana at the Hillbilly Hootenanny, Victoria and I managed to squeeze most of the Saturday of Flocksteady Bleats into a busy weekend of grown-up stuff and birthday dinnersโ€ฆ

    Neither of us would declare an informed opinion on reggae, other than knowing we like some reggae, but not educated enough to know what sort of thing it was in a very wide genre (perils of genre pigeonholes shortly!)

    So, we expected some familiar themes and sounds, we have classic reggae down with some Trojan records box sets Iโ€™ve had decades, most of Bobโ€™s original albums, and a few more here but thatโ€™s all- old school traditional reggae; mellow, principled, full of steady beats, and rhythm and love for music.

    Before I waffle on a little about some wonderful bands, I want to touch on genres, brieflyโ€ฆ

    Obviously, reggae and ska have been infused in popular culture, as well as roots music for generations; original punks I know love reggae, and ska, and vice versa. Thatโ€™s perhaps about identity, attitude, and lifestyle delivered from different angles.

    It occurred to me immediately that the first band we caught, Technicolour Steam Train were reminiscent of The Beat (saw them a few times and love them) or The Selector.. they certainly had the brass and the skanking vibes down; yet they were rubbing shoulders with the lively presence of Da Fuchaman, perhaps a current take on a diverse scene maybe and more traditional laid back grooves of The MCAuff family and The Ligerians..

    In all fairness the Baa team had been clever in all things marketing, the colours and some of the great names on the flyers gave a ready impression of reggae and beat-laden tunes to someone like myself ignorant to the detail or in fact to any of the bands other than sadly not being able to make the Friday for The Intercepteurs, who a good friend of mine was there to see, knowing them as she does very well and I was assured they played a blinder!

    Other than some Google searching which had us tapping our toes, and feeling like this would be educational, we would unavoidably come away with slightly improved knowledge and likely new music to play at home!

    The headline in all of this is to try something different. The line-ups here stretch across broader styles, I imagine deliberately so, and by doing so, broaden our horizons within a comfortable and fun environment. There are kids dancing, there are older couples relaxing in comfy chairs together, there are whatever we are variously dancing (especially Vickie!) or enjoying the spectacle with a cocktail! Itโ€™s a wonderful way to experience music, perhaps the best way.

    Try something different and surprise yourself, at the Baa, if one band is not your thing the next one will be different enoughโ€ฆ perhaps they will be?

    We found ourselves enjoying most of it; meeting many of the musicians, chatting about their sets, and buying CDโ€™s, which I have been listening to all week. Certainly to someone like myself for whom the soundtrack to my life provides the much needed balance to remember all that is good about humans, that life is good, even if the world can be more immediately thought of as bad or difficult..this music has a relaxing and positive impact, which is well suited to our times.

    By the way, we got exactly what we envisaged, armed with the knowledge from our first visit, a different crowd, largely, I think but the same relaxed, safe, fun atmosphere, and great music.

    So, here are some thoughts on the most impactful of the dayโ€™s bands for us:

    Technicolour Steam Train-

    A young looking band, a confident, bouncing, literally frontman delivering great songs, to long time fans of The Beat, like us, his getting the crowd skanking was great.. and they certainly did that!

    Awesome musicians, hard-working brass musicians on one side were holding much of the core sound, something that is a delightful part of this kind of music for me.

    Like my previous opinion stated, seeing live music is different gravy, their enjoyment, and instruments to the fore, which are not a part of, or at least so front and centre of the sound as they were here in many bands. Itโ€™s great seeing how or what they play when you are appreciating the music.

    At times a sort of more modern sounding rhyming, not necessarily so much our thing but impressive none the less, as itโ€™s certainly an amazing skill when the lyrics are delivered with such haste!

    Da Fuchaman & the Fire Blaze Band-

    Lyrics exploring music as a conduit to leaving your troubles behind, and positive thinking can probably resonate and lift most people who experience the huge presence of this amazing collective.

    The larger than life stage presence and energy of its Jamaican born front man and singer, the awesome way he brings his singing troupe to the fore, taking the lead, and ensuring they have a strong voice.. doing their own tracks in the set too.

    Not sure what an expert would call the particular sound but we loved it, uplifting and certainly updated over our limited previous knowledge of reggae, with seriously good vibes.

    Dancing about in the audience, getting them lifting, bouncing, getting us singing a few songs in his set you can only respect. We had the pleasure of a brief chat with him after, and there is another thing about this sweet spot in festival or venue size, you can experience a huge range of bands with different followings, and you can often say โ€˜Hiโ€™, you can talk about the music, you can share appreciation if youโ€™ve had a great time, get your CD signed as a reminder of the first time you saw them.. none of that goodness is available outside the live experience.

    The McAnuff family & the Ligerians โ€“

    This was an astounding headline set from an incredibly accomplished band, The only UK date so it would appear on this tour.

    An incredible ensemble of Jamaican singers, and a French band. Taking to the internet the following day we learned Winston McAnuff visited a session recording of his daughter, Nadia and the Ligerians, who she had been working with, from a spontaneous experience that day. A family tour was envisaged, bringing his son Kush alongside them all to form something truly special from some of the leading lights of Jamaican reggae.

    The band are incredible, a tightness you can readily recognise in any good band who have toured together, the experience and confidence in musicianship was evident, we were completely blown away, danced through much of this set too, and bought CDโ€™s which have barely been off the hi-fi this week!

    Whilst we learn more about reggae, this will be a baseline experience.. this is the sort of reggae we could listen to all the time, itโ€™s so relaxing, the positivity and calmness of the overall sound is amazing.

    So, thereโ€™s the verdict, music is good for you, live music is even better, live music in a field near home is a valuable and exciting addition to regular gigs in permanent venues, and get out there support the amazing humans and try new things, you will likely find if you trust your instinct you will open doors to new things and good people.

    We spoke to and danced with people all over the place, with a common appreciation.

    This week The Baa posted a general open statement inviting enquiries from bands, and who people who follow them and attend festivals want to see, inviting us to drop top picks to consider for next year.

    They were inundated, many of us attendees were finding ourselves returning with more comments excited to see bands we love that would be a good fit for the venue considered; thatโ€™s what a community building momentum looks like, isnโ€™t it?! Itโ€™s a big part of what makes the local scenes what they are, that respect, support, and adulation for the artists and the promoters who work so bloody hard to make our chances to make memories happen.

    I covered my general favourable and appreciative thoughts on The Baa as a place and team well in my recent piece for the Hillbilly Hootenanny, but all the same I would like to say a huge thanks to all of them; you are all hard-working, but appeared very happy! You certainly know how to run a great event, we didnโ€™t come last year, but it seems clear that the Baa has built a solid community, which is growing and we will be back next year.

    When dates and details are available, we will be plotting to see some part of all three events with luck.

    Apart from the one souvenir shot of the authors, all of the amazing pictures of this weekend are used with kind permission from Alice Rose Photography, check her out, the pics from all this yearโ€™s events at the Baa are next level, and as they say โ€˜a picture paints a thousand words.โ€™

    Thank you and โ€˜Happy Giggingโ€™ from Ben & Victoria!


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    Devizes Writers Group Win Silver Award

    Congratulations to Rosalind Ambler and Paul Snook from Devizes Writers Group… At the National Community Radio Awards held in Cardiff on 16th November Together!, theโ€ฆ

    Hansel & Gretel: Panto at the Wharf!

    Images: Chris Watkins Media It was lovely to spend Sunday afternoon at Devizesโ€™ Wharf Theatre, to see how this yearโ€™s pantomime Hansel & Gretel, isโ€ฆ

  • What to Do? September in Wiltshire

    Nearly September, time to sew those name tags onto school uniforms. Still, loads to entertain you throughout the month. Iโ€™ve exhausted our ever-updating event calendar, do please check it out. I promise you, youโ€™ll have never seen so much information on things to do within a reasonable drive from Devizes, all collated and into one place!

    Hereโ€™s some highlights and recommendations. Not this is conclusive, please refer to the calendar for much more!


    Week 1: 1st – 6th

    Step into a glittering royal world with Lucy Worsley at the Forum in Bath on Tuesday 1st, or get jazzy with Linley Hamilton & Eddie Gripper Trio at Jazz Knights, Royal Oak, Swindon (every Tuesday that one.)

    End of the Road Festival starts on Thursday 3rd. Punk powerhouse Boss Cass are at the Ruze in Chippenham, or try Ribble at The Castle, Swindon, with Tamsin Quin in support.

    Friday 3rd: The Strange Days Festival starts over at The Barge on HoneyStreet with Henge and Dom Jolly headlining, preview HERE. GoatFest also kicks off in Goatacre, and the Ley Lines Festival, nr Stonehenge.

    Triple header at The Pump in Trowbridge with Lucky Number 7, Intrusive and Battery Acid. Saint Six at The Ruze. Neil Young โ€˜Harvestโ€™ Celebration Show at Chapel Arts, Bath. Salisburyโ€™s Fayre on the Square has The Tipsy Gypsies. And, The Leveller play Salisbury City Hall; wowzers!!

    Saturday 5th: is Devizes Carnival. Midnight Hour at The Three Crowns and the new season at Long Street Blues Club opens with Lightninโ€™ Willie and the Poorboys: Preview HERE.

    Motorbike ride-in at Wiltshire & Bath Air Ambulance Airbase. Car Park Fiesta at Wiltshire Music Centre, Bradford-on-Avon, Ashton Barn Festival near Trowbridge too.

    Blue Water Giants at The Old Town Hall, Trowbridge. The Pump has Regal Cheer & Mulch & Pebble Daisy. Thereโ€™s a Charity Ball in aid of Breast Cancer Live at The Ruze in Chippenham. The Chippenham Record and Art Fair at the King Alfred Hall.

    Fundraiser Base Connection at Salisbury Arts Centre with Salisbury Live City Stereo, Tides, Things Behind The Sun, Mossy Depths, Love Is Enough, CharmType, Five Nights At Adyans and Rosie Jay playing for the Thomas Thelk Fund.

    Sunday 6th: erm, Kula Shaker at The Cheese & Grain, or The Amazing Bubble Man at PoundArts!


    Week 2: 7th- 13th 

    Two words: Swindon Shuffle. Running from Monday until Sunday the 13th, the best time you will have in Swindon, ever! And helping Prospect Hospice too, we wish The Shuffle a happy 20th Birthday.

    Chippenham Film Festival 2026 runs from Tuesday 8th to Sunday 13th.

    Wednesday 9th, and youโ€™ll find Devizes new town crier Capability Charlotte reading & social, Make Way for Lucia at The Churchill, West Lavington. An amateur production of Pink Mist, presented by arrangement with Concord Theatricals at The Mission Theatre Bath, opens and runs until Saturday 12th.

    Thursday 10th: Trowbridge Comedy Club has Milton Jones at The Civic. Swindonโ€™s Wyvern brings you an evening with one of the worldโ€™s top rugby referees, Nigel Owens MBE, and for a complete contrast the Cheese & Grain in Frome presents Elvana, an Elvis Fronted Nirvana! But hey, Iโ€™d recommend the Bob Marley tribute Legend at Salisbury City Hall. Itโ€™s the Mucky Weekender near Winchester too.

    Friday 11th: Icons of the Sky opens at Longleat, running until 13th. The Jane Austin Festival in Bath. Langford Beer Festival. The Haunting of Hill House opens at Salisbury Playhouse, running until 3rd October.

    Gigs; Steve Knightley at St Peterโ€™s Marlborough. Old Baby Mackerel at Pound Arts. Talk In Code at The Ruze, Chippenham. 

    Saturday 12th is Devizes Heritage Day, lots of open days across the town; until, the dinosaurs come! Jurassic Park open air cinema at Hillworth Park. Also, Devizes Bike Fest.

    Minety Beer & Cider Festival, continues on Sunday. The Hammervilles are at Tuckers in Faulkland.

    Sunday 13th, donโ€™t miss Rachel Sinnetta & Jolyon Dixon at The Three Crowns, Devizes, Proms in Hilworth Park from 2pm with Devizes Town Band, and a charity football match at Devizes FC Vs Lacock FC.

    Wiltshire & Bath Air Ambulance Paws Charity Dog Show, in Oare: preview HERE. Ramsbury Silver Band at Queens Park, Swindon from 15:00-16:30.ย 


    Week 3: 14th- 20th

    Monday 14th, Oexmann Art Award Competition and Exhibition at Wiltshire Museum, Devizes. Tuesday and David Coulthard & Mika Hรคkkinen talk at The Forum, Bath; vrooom!

    125 Years Of Jazz Piano at The Wyvern Theatre, Balls at The Mission Theatre, Bath, and David Essex at The Forum; options!

    Thursday 17th and here we go, Pewsey! The Wheel-beero race!

    Deadlight Dance & Flowers of Sacrifice at The Tuppenny, Tim Holehouse & B-Sydes at The Castle, and George Montague at The Vic, all in Swindon.

    Friday 18th: Rich Hallโ€™s Chin Music at Melksham Assembly Hall. Grassroots Band Night at The Ruze. Sam Grassie at The Old Town Hall in Trowbridge, Pityspeed, Steatopygous, Byford Dolphin Incident and Kride at The Pump. Slagerij at The Vic, Swindon, and Days in the Sun Festival opens in Gloucestershire.

    Saturday 19th sees The Devizes Food & Drink Festival begin, with the free Artisan Producerโ€™s Market at the Market Place. The festival runs until the 27th, all events are listed on our calendar. Itโ€™s also the legendary Pewsey Carnival.

    Ska night with Ya Freshness & the Big Boss Band at The Lamb, Trowbridge, with Luke De-Sciscio & In Silver playing the Pump. The Koolkatz at Melksham Rock n Roll Club, a 

    Celestial Night at The Ruze, and The Reflections, Oscars & Golddiggers Reunion at Venom in Westbury; tidy!

    Simon Brodkin at the Wyvern, Swindon, Hamlet: The Musical at The Mission Theatre, Bath. 

    Sunday 20th and Jazz Deloren is at The Barge, Honeystreet. Highworth Silver Band at Town Gardens, Swindon from 15:00-16:30.


    Week 4: 21st- 30th

    Howard Barkerโ€™s Scenes from an Execution opens on Monday 21st at The Wharf Theatre, Devizes, and runs until September 26th. An exploration of  art clashing with politics and religion set in 16th-century Venice.

    Wicked comedian Mike Rice brings his Cruel Little Man tour to Komedia, Bath on Monday and Swindon Arts Centre on Tuesday. While Tuesdayโ€™s offering at Jazz Knights, Royal Oak, Swindon is Brass Band Bychan, a Sousaphone. 

    Find internationally acclaimed cellist Steven Isserlis CBE at Wiltshire Music Centre, Bradford on Avon on Wednesday 23rd. Joe McCorriston at The Pulpit, Swindon, comedianย Josh Pugh at The Wyvern, Swindon, but over in Bath, Eric Idle talks at Komedia, and Alan Davies is at The Forum.ย 

    Thursday 24th and itโ€™s the opening of Marlborough Literature Festival, with lots going on for bookworms and creatives, until Sunday 27th. 

    Now You See Me, Now You Donโ€™t! at The Mission Theatre, Bath, and Amรฉlie at The Rondo opens on Thursday, running until Saturday. Join two-time Olivier Award-winning actor Trevor Eve in conversation at Salisbury Arts Centre, Thursday, and Cloudbusting, the Kate Bush tribute is at Salisbury City Hall.

    Friday 25th September, Virgil & The Accelerators return to Long Street Blues Club, Devizes after twelve years since they played there. Supported by Devizes-own Burn the Midnight Oil.

    Sketchbook Records presents Fightmilk, Hark! A Shark! Spiderhoney and Shutterspeed at The Pump in Trowbridge. The Lost Trades & Ruby Darbyshire are at The Ruze in Chippenham. Martin Kempโ€™s โ€œBack To The 80s Partyโ€ at King George V Playing Fields, and thereโ€™s comedy at Melksham Assembly Hall with Marcus Brigstocke, Zoe Lyons and Matt Bragg.

    Saturday 26th, is the Colour Rush and Confetti Battle in Devizes, and a Thrive Sustainability Day at St Andrews. 3 Daft Monkeys are at The Barge, Honeystreet. Award-winning folk band from Quebec, Le Vent Du Nord at Wiltshire Music Centre.

    Raving at The Vic in Swindon with  Diversify 26, Swindonโ€™s Multi Genre Dance Event, while rock legends Magnum play Fromeโ€™s Cheese & Grain.

    Sunday 27th sees the ending of The Devizes Food & Drink Festival with the free World Food Day at the Corn Exchange. But thats also the end of our highlights for September, at least on a full stomach!

    But this is just a smidgen of the stuff already listed on our event calendar, so bookmark it and check in, because more is being added all the time, well, nearly all the time!!

  • Kruger Will Nick Your Vote, Johnny Foreigner

    Featured Image: Danny Kruger, and an alien egg he’s fertilising in hope the creature will vote for him

    I’d bet Cheddar Man would’ve had something to say about this. Blonde blue-eyed boyish Nightmare on Elcot Lane star Danny Kruger has gone off on one, again. The High Priest of Deform defecting, Marlborough Mackdaddy published a lengthy rant-type-proposal on his social media accounts, which, basically summarised, suggests he’ll nick Johnny Foreigner’s votes, in the name of democracyโ€ฆ.

    Oh, Danny boy, the pipes, the pipes are calling from glen to glen, and down the mountain side. The summer’s gone and all the roses are falling. It’s you, it’s you who must go, and I must bideโ€ฆ. for a general election. Marlborough posse, you’re not going to stand idly by and allow yourself the default Reform ramification to recklessly ruin you, are you?!

    Send that Eton rifle back to Richmond like an out of date skinless sausage. Cos, he’s tabling โ€œamendments to the Representation of the People Bill;โ€ he began off the hip.

    Reckons he’ll โ€œend Commonwealth voting, restrict postal voting, end foreign language election materials, and crack down on coercive โ€˜family votingโ€™.โ€ Not if the vote doesn’t get you first, or better still, zippy zealot, Judgement Day.

    Tiny tears off the back of Thursday’s Wandsworth by-election where the multicultural London borough crucified Reform’s Josh Stanton, nipping a mere 1.5% of the votes. Basically, 51 cockwombles out of the population of 341,000 thought stopping the boats over saving the NHS was a plan worthy of their cross in a box, which might be their last for some of them; when pigs fly!

    Meanwhile, Danny Dog barks like he’s singing a reggae song, โ€œitโ€™s all designed to restore the principle that we are one nation, speaking a common language, taking part together in one electoral system – a system built on the principle of individual voting and the secret ballot.โ€ย 

    It’s not though, is it? It’s the polar opposite. It’s a destiny of draconian division at the highest order. Don’t come at me with your Orwellian Ministry of Love contradiction Danny. I used postal vote because I worked on the zero hour contract your previous party installed, and I had no idea when I’d be home.

    If you think the inconvenience of my taxpaying labour was a โ€œflagrant abuse of a system,โ€ and propose to โ€œrestrict postal votes to members of the Armed Forces and diplomats serving away from home,โ€ it’s likely because your hands that do dishes can feel soft as your farce, with your mild green Fairy Fantasy; you’ve never worked a day in your fucking sad little life, pal.

    With xenophobia unabashed he continued, pointing out to the knuckle-draggers, โ€œ2.5 million non-British citizens from Nigeria, Pakistan, India and elsewhere – people here on temporary work visas, family visas, student visas, i.e. by definition not fully attached to our country – have the right to vote in Parliamentary and local elections because of their Commonwealth links.โ€

    โ€œThat is wrong,โ€ he reckoned, โ€œand we will insist you must be British (or Irish) to vote in a British election.โ€ When really, it’s only wrong in Reform’s eyes, because anyone with foreign blood joins the few remaining Brits with brain cells, and wouldn’t vote for racist fascists, even if they do sell football shirts. And it burps up this ongoing debate on โ€œwhat it means to be British.โ€

    These people on student visas could be our next doctors and nurses; they can empty our bedpans, but they’ll never get our democratic right!

    He sulked about the Gorton and Denton by-election, blamed mass migration for the supposed lessening of implicit voting rights, and hoped โ€œother parties will support these amendments.โ€ And yeah, he did use the word โ€œdemocracy,โ€ without irony, as in suggesting these amendments are supportive of it; buy the boy a dictionary.

    I mean I could suggest a few other amendments, such as no votes for anyone who doesn’t like cottage pie and Cliff Richard, or anyone who hasn’t painted a roundabout, but True & Fair party’s previous candidate for East Wiltshire, Peter Force Jones, has kindly provided a penny for his thoughts, and whilst clearly not as funny as mine, I think this force of nature is bang on the money.

    Peter said, โ€œWell this is utterly bonkers, and far from democratic as: We are not one single homogeneous nation, we are English, Scottish, Welsh, etc, and though English is the primary (only) language spoken by many, it is not the first language for all.โ€

    โ€œThose who pay their taxes here should have every right to vote in UK elections (both local and national) No taxation without representation informing this viewpoint. The inclusion of Irish citizens but exclusion of ALL others in his rather illogical โ€˜dream enfranchisementโ€™ is simply bizarre.โ€

    The Force, in the flesh!

    โ€œBritish politics is affected by and historically has affected world politics. Matters stretching beyond our isolated islands matter to us, and to those living here, and in the regions affected. The situations in Gaza, Ukraine, Iran, matter to British people, they affect us (as once did Nazi Germanyโ€™s systematic extermination of ethnic groups and aggression) it seems Reform would rather we remained silenced on such matters? Dare we ever bother to consider the resultant shortages of supplies raising our own cost of living, let alone the murder of civilians by warring factions.โ€

    โ€œLabelling so many of the UK electorate who choose to express their democratic voiceย  by post as โ€˜abusing a systemโ€™ simply stinksโ€

    โ€œSince 1998, Electoral Commission records show there have been only nine convictions for postal vote fraud โ€“ a rate of less than one every two years. More than half of all reported cases were about campaigning offences.โ€

    On the family voting claim, Peter said, โ€œKruger seems to utterly ignore the findings of Greater Manchester Police and appears to be whipping things up with zero evidence.โ€ He quoted the GMP: โ€œWeโ€™ve concluded our investigation into alleged โ€˜family votingโ€™ at last monthโ€™s Gorton and Denton by-election, finding no evidence of any intent to influence or refrain any person from voting.โ€

    On voting rights and โ€˜undue influence,โ€™ Peter continued, โ€œInstead of fretting about people not understanding the democracy they are a part of (and who exactly would determine whether a person understands enough of the nuances of our democracy to be โ€˜allowed to voteโ€™ as to be brutally honest there are very very few who understand our archaic democratic system inside out?) maybe parties should concern themselves rather more with Article 21 of the UDHR (universal declaration of human rights) and the following: โ€˜Today, the right to vote faces new challenges, including disinformation campaigns, often facilitated by new technologies and particularly through social media, hate speech and negative discourse targeting marginalised and discriminated-against groups, including LGBTQI+ people, migrants and ethnic and religious minorities, have been weaponised for political gain, further polarising societies.โ€™โ€

    โ€œThe cheek of Reform claiming to desire electoral integrity with questions surrounding ยฃ5m (dodgy) undeclared donations from a Thai based crypto billionaire still unanswered,โ€ he pointed out, โ€œand possible criminal investigations into party donations from a known (convicted) fraudster does little to convince me of their commitment to British democracy.โ€

    I thank Peter for his points. He does go on a bit, understandable when triggered by Kruger, the man from our nightmares (except with words rather than fingers for knives,) and he’s certainly not Binface, so I will invoice him for the penny.ย 

    If you’ve nothing nice to say, naughty Dannyโ€ฆ. The only agreeable thing he did say in his rambling piffle was โ€œwe are one nation.โ€ Although he didn’t divulge if it is under the same groove as Funkadelic, please allow me a little speculation for artistic licence!


Devizineโ€™s Review of 2020; You Canโ€™t Polish a Turd!

On Social and Political Mattersโ€ฆ…

For me the year can be summed up by one Tweet from the Eurosceptic MEP and creator of the Brexit Party, Nigel Farage. A knob-jockey inspired into politics when Enoch Powell visited his private school, of which ignored pleas from an English teacher who wrote to the headmaster encouraging him to reconsider Farageโ€™s appointed prefect position, as he displayed clear signs of fascism. The lovable patriot, conspiring, compulsive liar photographed marching with National Front leader Martin Webster in 1979, who strongly denies his fascist ethos despite guest-speaking at a right-wing populist conference in Germany, hosted by its leader, the granddaughter of Adolf Hitlerโ€™s fiancรฉ; yeah, him.

He tweeted โ€œChristmas is cancelled. Thank you, China.โ€ It magically contains every element of the utter diabolical, infuriating and catastrophic year weโ€™ve most likely ever seen; blind traditionalist propaganda, undeniable xenophobia, unrefuted misinformation, and oh yes, the subject is covid19 related.

And now the end is near, an isolated New Yearโ€™s Eve of a year democracy prevailed against common sense. The bigoted, conceited blue-blooded clown we picked to lead us up our crazy-paved path of economic self-annihilation has presented us with an EU deal so similar to the one some crazy old hag, once prime minster delivered to us two years back itโ€™s uncanny, and highly amusing that Bojo the clown himself mocked and ridiculed it at the time. Iโ€™d wager itโ€™s just the beginning.

You can’t write humour this horrifically real, the love child of Stephen King and Spike Milligan couldn’t.

Still, I will attempt to polish the turd and review the year, as itโ€™s somewhat tradition here on Devizine. The mainstay of the piece, to highlight what weโ€™ve done, covered and accomplished with our friendly website of local entertainment and news and events, yet to holistically interrelate current affairs is unavoidable.

We have even separated the monster paragraphs with an easier, monthly photo montage, for the hard of thinking.

January

You get the impression it has been no walk in the park, but minor are my complaints against what others have suffered. Convenient surely is the pandemic in an era brewing with potential mass hysteria, the need to control a population paramount. An orthornavirae strain of a respiratory contamination first reported as infecting chickens in the twenties in North Dakota, a snip at 10,400km away from China.

Decidedly bizarre then, an entire race could be blamed and no egg fried rice bought, as featured in Farageโ€™s audacious Tweet, being itโ€™s relatively simple to generate in a lab, inconclusively originated at Wuhanโ€™s Huanan Seafood Wholesale Market, rather spread from there, and debatably arrived via live bat or pangolin, mostly used in traditional Chinese medicine, a pseudoscience only the narrowminded minority in China trusts.

Ah, inconsistent pseudoscience, embellished, unfalsifiable claims, void of orderly practices when developing hypotheses and notably causing hoodwinked cohorts. Yet if we consider blaming an ethos, rather than a race, perhaps we could look closer to home for evidence of this trend of blind irrationality. Truth in Science, for example, an English bunch of Darwin-reputing deluded evangelicals who this year thought itโ€™d be a grand and worthy idea to disguise their creationist agenda and pitch their preposterous pseudoscientific theory that homosexuality is a disease of the mind which can be cured with electro-shock treatment to alter the mind inline with the bodyโ€™s gender, rather than change the body to suit the mindโ€™s gender orientation, to schoolchildren!

Yep, these bible-bashing fruit-bats, one lower than flat earth theorists actually wrote to headmasters encouraging their homophobia to be spread to innocent minds, only to be picked up by a local headmaster of the LGBTQ community. Hereโ€™s an article on Devizine which never saw the light of day. Said that Truth in Scienceโ€™s Facebook page is chockful with feedback of praise and appreciation, my comments seemed to instantly disappear, my messages to them unanswered. All I wanted was a fair-sided evaluation for an article, impossible if you zip up.

Justly, no one trusts me to paint an unbiased picture. This isnโ€™t the Beeb, as I said in our 2017 annual review: The chances of impartiality here, equals the chances of Tories sticking to their manifesto. Rattling cages is fun, thereโ€™s no apologies Iโ€™m afraid, if I rattled yours, it just means youโ€™re either mean or misguided.

Herein lies the issue, news travels so fast, we scroll through social media unable to digest and compose them to a greater picture, let alone muster any trust in what we read. Iโ€™m too comfortable to reside against the grain, everyoneโ€™s at it. I reserve my right to shamelessly side with the people rather than tax-avoiding multinationals and malevolent political barons; so now you know.

February

If you choose to support these twats thatโ€™s your own lookout, least someone should raise the alarm; youโ€™d have thought ignoring World Health Organisation advise and not locking down your country until your mates made a packet on horseracing bets is systematic genocide and the government should be put on trial for this, combined with fraud and failure of duty. If not, ask why weโ€™re the worst hit country in the world with this pandemic. Rather the current trend where the old blame the young, the young blame the old, the whites blame the blacks, the thin blame the fat, when none of us paid much attention to restrictions because they were delivered in a confused, nonsensical manner by those who don’t either, and mores to the pity, believe they’re above the calling of oppressive regulations.

If you choose to support these twats, youโ€™re either a twat too, or trust what you read by those standing to profit from our desperation; ergo, twats. Theres no getting away from the fact you reep what you sow; and the harvest of 2020 was a colossal pile of twat.


Onto Devizineโ€ฆ. kind of.

For me what started as a local-based entertainment zine-like blog, changed into the only media I trust, cos I wrote the bollocks! But worser is the general obliteration of controversy, criticism and debate in other media. An argument lost by a conformer is shadowed behind a meme, or followed up with a witch hunt, a torrent of personal abuse and mockery, usually by inept grammar by a knuckle-dragging keyboard warrior with caps-lock stuck on; buy a fucking copy of the Oxford Guide to English Grammar or we’re all going to hell in a beautiful pale green boat.

We’re dangerously close to treating an Orwellian nightmare as a self-help guide, and despite fascists took a knockdown in the USA and common sense prevailed, the monster responded with a childish tantrum; what does this tell you? The simple fact, far right extremism is misled and selfish delinquency which history proves did no good to anyone, ever. Still the charade marches on, one guy finished a Facebook debate sharing a photo of his Boris โ€œget Brexit doneโ€ tea-towel. I pondered when the idiot decided a photo of his tea towel would suffice to satisfy his opinion and convince others, before or after the wave of irony washed over his head in calling them Muppets.

I hate the term, itโ€™s offensive. Offensive to Jim Hensonโ€™s creations; try snowflake or gammon, both judgemental sweeping generalisations but personally inoffensive to any individual, aside Peppa Pig. I wager you wander through Kent’s lorry park mocking the drivers and calling them snowflakes rather than tweeting; see how far you get.

So, the initial lockdown in March saw us bonded and dedicated, to the cause. We ice-skated through it, developed best methods to counteract the restrictions and still abide by them; it was kind of nice, peaceful and environmentally less impacting. But cracks in the ice developed under our feet, the idea covid19 was a flash in pan, akin to when Blitz sufferers asserted itโ€™d all be over by Christmas, waned as we came to terms, we were in it for the duration.

Yet comparisons to WWII end there, lounging on the sofa for three months with Netflix and desperate peasants delivering essential foodstuff, like oysters, truffles and foie gras is hardly equivalent to the trench warfare of Normandy. Hypocritical is me, not only avoiding isolation as, like a nurse, my labour was temporarily clapped as key worker in March, I figured my site would only get hits if I wrote something about Covid19, and my ignorance to what the future resulted in clearly displayed in spoofy, ill-informed articles, Corona Virus and Devizine; Anyone got a Loo Roll? on the impending panic-buying inclination, and later, I Will Not Bleat About Coronavirus, Write it Out a Hundred Timesโ€ฆ

The only thing I maintained in opinion to the subject, was that it should be light-hearted and amusing; fearing if we lose our sense of humour, all is lost. Am I wrong? Probably, itโ€™s been a very serious year.

It was my first pandemic-related mention, hereafter nearly every article paid reference to it, no matter how disparate; itโ€™s the tragedy which occupied the planet. But letโ€™s go back, to oblivious January, when one could shake hands and knew where the pub was. Melksham got a splashpad, Devizes top councillors bleated it wasnโ€™t fair, and they wanted a splashpad too. They planned ripping out the dilapidated brick shithouses on the Green and replacing it with a glorious splashpad, as if they cared about the youth of the town. I reported the feelings of grandeur, Splashpad, Iโ€™m all over it, Pal! A project long swept under the carpet, replaced with the delusion weโ€™ll get an affordable railway station. As I said, convenient surely is the pandemic.

So many projects, so many previews of events, binned. Not realising at the time my usual listing, Half Term Worries Over; things to do with little ones during February half-termโ€ฆ would come to an abrupt halt. Many events previewed, the first being the Mayoral Fundraising Events, dates set for the Imberbus, and Chef Peter Vaughan & Indecisionโ€™s Alzheimerโ€™s Support Chinese New Year celebration, to name but a few, Iโ€™m unaware if they survived or not.

March


On Musicโ€ฆ…

But it was the cold, early days of winter, when local concerns focused more on the tragic fire at Waiblingen Way. In conjunction with the incredible Liz Denbury, who worked tirelessly organising fundraising and ensuring donations of essentials went to the affected folk, we held a bash in commemoration and aid down that there Cellar Bar; remember?

It was in fact an idea by Daydream Runaways, who blew the low roof off the Cellar Bar at the finale. But variety was the order of the evening, with young pianist prodigy Will Foulstone kicking us off, opera with the amazing Chole Jordan, Irish folk with Mirko and Bran of the Celtic Roots Collective and the acoustic goodness of Ben Borrill. Thanks also has to go to the big man Mike Barham who set up the technical bits before heading off to a paid gig. At the time I vowed this will be the future of our events, smaller but more than the first birthday bash; never saw it coming, insert sad-face emoji.

We managed to host another gig, though, after lockdown when shopping was encouraged by In:Devizes, group Devizes Retailers and Independents, a assemblage of businesses set up to promote reopening of town. We rocked up in Brogans and used their garden to have a summer celebration. Mike set up again, and played this time, alongside the awesome Cath and Gouldy, aka, Sound Affects on their way to the Southgate, and Jamie R Hawkins accompanied Tamsin Quin with a breath-taking set. It was lovely to see friends on the local music scene, but it wasnโ€™t the reopening for live music we anticipated.

Before all this live music was the backbone of Devizine, between Andy and myself we previewed Bradford Roots Music Festival, MantonFest, White Horse Operaโ€™s Spring Concert, Neeld Hallโ€™s Tribute to Eddie Cochran, and the return of Asa Murphy. We reviewed the Long Street Blues Club Weekender, Festival of Winter Ales, Chris Oโ€™Leary at Three Crowns, Jon Walsh, Phil Jinder Dewhurst, Mule and George Wilding at The White Bear, Skandalโ€™s at Marlboroughโ€™s Lamb, and without forgetting the incredible weekly line-up at the Southgate; Jack Grace Band, Arnie Cottrell Tendency, Skedaddle, Navajo Dogs, Lewis Clark & The Essentials, King Street Turnaround, Celtic Roots Collective, Jamie, Tamsin, Phil, and Vince Bell.

The collection of Jamie R Hawkins, Tamsin Quin and Phil Cooper at the Gate was memorable, partly because theyโ€™re great, partly because, it was the last time we needed to refer to them as a collection (save for the time when Phil gave us the album, Revelation Games.) Such was the fate of live music for all, it was felt by their newly organised trio, The Lost Trades, whose debut gig came a week prior to lockdown, at the Pump, which our new writer Helen Robertson covered so nicely.

For me, the weekend before the doom and gloom consisted of a check-in at the Cavy, where the Day Breakers played, only to nip across to Devizes Sports Club, where the incredible Ruzz Guitar hosted a monster evening of blues, with his revue, Peter Gage, Innes Sibun and Jon Amor. It was a blowout, despite elbow greetings, I never figured itโ€™d be the last.

It was a knee-jerk reaction which made me set up a virtual festival on the site. It was radical, but depleted due to my inability to keep up with an explosion of streamed events, where performers took to Facebook, YouTube sporadically, and other sites on a national scale, and far superior tech knowhow took over; alas there was Zoom. I was happy with this, and prompted streaming events such as Swindonโ€™s โ€œStaticโ€ Shuffle, and when PSG Choirs Showed Their True Lockdown Colours. Folk would message me, ask me how the virtual festival was going to work, and to be honest, I had no idea how to execute the idea, but it was worth a stab.

One thing which did change, musically, was we lowered our borders, being as the internet is outernational and local bands were now being watched by people from four corners of the world, Devizine began reviewing music sourced worldwide. Fair enough, innit?

The bleeding hearts of isolated artists and musicians, no gigs gave them time on their hands to produce some quality music, therefore our focus shifted to reviewing them, although we always did review records. Early local reviews of 2020 came from NerveEndings with the single Muddy Puddles, who later moved onto an album, For The People. Daydream Runawaysโ€™ live version of Light the Spark and Talk in Codeโ€™s Like That, who fantastically progressed through lockdown to a defining eighties electronica sound with later singles Taste the Sun and Secret.

We notified you of Sam Bishopโ€™s crowdfunding for a quarantine song, One of a Kind, which was released and followed by Fallen Sky. Albums came too, we covered, Billy Green 3โ€™s Still in January, and The Grated Hits of the Real Cheesemakers followed, With the former, later came a nugget of Billy Greenโ€™s past, revealing some lost demos of his nineties outfit, Still, evidently what the album was named after.

Whereas the sublime soul of Mayyadda from Minnesota was the first international artist featured this year, and from Shrewsbury, our review of Cosmic Raysโ€™ album Hard to Destroy extended our presence elsewhere in the UK, I sworn to prioritise local music, with single reviews of Phil Cooperโ€™s Without a Sound, TheTruzzy Boysโ€™ debut Summertime, Courage (Leave it Behind), a new single from Talk in Code, and for Daydream Runawaysโ€™ single Gravity we gave them an extensive interview. This was followed by Crazy Stupid Love and compiled for an EP, Dreamlands, proving theyโ€™re a band continuously improving.

April

Probably the most diverse single around spring though was an epic drum n bass track produced right here in Devizes, featuring the vocals of Pewseyโ€™s Cutsmith. Though while Falling by ReTone took us to new foundations, I ran a piece on the new blues sounds locally, as advised by Sheer Musicโ€™s Kieran Moore. Sheer, like all music promoters were, understandably, scrambling around in the dark for the beginnings of lockdown, streaming stuff. It wasnโ€™t long before they became YouTube presenters! The Sheer podcast really is something special, in an era leaving local musicians as dry as Ghandiโ€™s flip-flop, they present a show to make โ€˜em moist!

Spawned from this new blues article, one name which knocked me for six, prior to their YouTube adventures, was Devizes-own Joe Edwards. I figured now I was reviewing internationally; would it be fair to local musicians to suggest a favourite album of the year? However, Joeโ€™s Keep on Running was always a hot contender from the start, and despite crashing the borders on what we will review, I believe it still is my favourite album of the year.

Other top local albums, many inspired from lockdown came flowing, perhaps the most sublime was Interval by Swindonโ€™s reggae keyboardist virtuoso, Erin Bardwell. The prolific Bardwell later teamed with ex-Hotknive Dave Clifton for a project called Man on the Bridge.

Perhaps the most spacey, Devizesโ€™ Cracked Machineโ€™s third outing, Gates of Keras. Top local singles? Well, George Wilding never let us down with Postcard, from a Motorway, and after lockdown reappeared with his band Wilding, for Falling Dreams and later with a solo single, You Do You. Jon Amor was cooking with Peppercorn, which later led to a great if unexpected album, Remote Control.

There was a momentary lapse of reason, that live streaming was the musical staple diet of the now, when Mr Amor climbed out onto his roof to perform, like an ageless fifth Beatle. Blooming marvellous.

Growing up fast, Swindonโ€™s pop singer Lottie J blasted out a modern pop classic with Cold Water, and no one could ignore Kirsty Clinchโ€™s atmospheric country-pop goodness with Fit the Shoe.

Maybe though it wasnโ€™t the ones recorded before, but our musicians on the live circuit coming out with singles to give them some pocket money, which was the best news. I suggest you take note of Ben Borrillโ€™s Takes A Little Time, for example.

I made new friends through music, reviewing so many singles and EPs; Bathโ€™s Long Coats, and JAYโ€™s Sunset Remedy. Swindonโ€™s composer Richard Wileman, guitarist Ryan Webb, and unforgettable Paul Lappin, who, after a couple of singles would later release the amazing acoustic Britpop album The Boy Who Wanted to Fly. Dirty and Smooth and Atari Pilot too, the latter gave us to cool singles, Right Crew, Wrong Captain, and later, Blank Pages. To Calne for End of Story and Chris Tweedie, and over the downs to Marlborough with Jon Vealeโ€™s Flick the Switch. I even discovered Hew Miller, a hidden gem in our own town.

May

But we geographically go so much further these days, even if not physically much more than taking the bins out. Outside our sphere we covered Essexโ€™s Mr B & The Wolf, Limerickโ€™s Emma Langford, Londonโ€™s Gecko, and from the US, Shuffle & Bang, and Jim White. Johnny Lloyd, Skates & Wagons, My Darling Clementine, Micko and the Mellotronics, Typhoidmary, Frank Turner and Jon Snodgrass, Mango Thomas, Beans on Toast, Tankus the Henge; long may the list continue.

Bombino though, the tuareggae artist really impressed me, but I donโ€™t like to pick a favourite, rather to push us onto another angle. I began reviewing stuff sent via my Boot Boy radio show, and covered a ska scene blossoming in South America. But as well as Neville Staple Bandโ€™s single Lockdown, The Bighead, the Bionic Rats, and Hugo Lobo teaming up with Lynval Golding and Val Douglas, we found reggae in Switzerland through Fruits Records, the awesome Cosmic Shuffling and progressive 808 Delavega.

So much music, is it going on a bit? Okay Iโ€™ll change the record, if you pardon the pun, but not until Iโ€™ve mentioned The Instrumental Sounds Of Ruzz Guitarโ€™s Blues Revue, naturally, Sound Affectsโ€™ album Ley Lines, Tunnel Rat refurbing their studio, and Bristolโ€™s freshest new hip hop act The Scribes. Ah, pause for breath.

Oh, and outside too, we did get a breather from lockdown and tiers, all Jamies for me, Mr R Hawkins was my first outing at the Gate and followed by Jamie Williams and the Roots Collective. Sad to have missed Two Man Ting and when The Big Yellow Bus Rocked the Gazebo, but hey, I thought we were out of the deep water.

June

Splashed straight back in again; โ€œtiersโ€ this time, sounds nicer than lockdown. Who knows what 2021 will bring, a vaccine, two vaccines, a mesh of both despite being ill-advised by experts? Just jab me, bitch, taxi me to the nearest gig, if venues still exist, by spring and Iโ€™ll shut up about it.


On Artsโ€ฆ..

Bugger, Iโ€™m going to need Google maps to find my local boozer. But yeah, they, whoever they are, think weโ€™re all about music, but we cover anything arts and entertainment, you know? We previewed Andy Hamilton coming to Swindonโ€™s Wyvern, Josie Long coming to Bath, The Return of the Wharf Theatre, and the county library tours of Truth Sluth: Epistemological Investigations for the Modern Age. Surely the best bit was being sent a private viewing of a new movie, Onus, by the Swindon filmmakers who gave us Follow the Crows.

I shared poems by Gail Foster, and reviewed her book Blossom. Desperate for subject matter I rewrote a short story Dizzy Heights. I featured artists Bryony Cox and Alan Watters, both selling their wares for the NHS, Ros Hewittโ€™s Glass Art open studio, Small Wonders Art Auction in aid of Arts Together and Asa Murphy published a childrenโ€™s book, The Monkey with no Bum! I dunno, don’t ask.

July


On Foodโ€ฆ

Despite my Oliver Twist pleads, we never get enough on the subject of grub. January saw us preview Peter Vaughanโ€™s Chinese New Year dinner party in aid of Alzheimerโ€™s Support and with music from Indecision, we covered DOCAโ€™s Festival of Winter Ales, and looked forward to the Muck & Dunderโ€™s Born 2 Rum festival, which was cancelled.

From here the dining experience reverted to takeaways, and I gave Sujayโ€™s Jerk Pan Kitchen at big shout, and thought it best to wait until things reopened before singing Massimos’ praise, but I guess for now I should mention their awesome takeaway service next.

The Gourmet Brownie Kitchen supplied my welcomed Father’s Day gift, even nipped over to Swindon, in search of their best breakfast at the Butcher’s cafe, and recently I featured vegan blogger, Jill. Still though I need more food articles, as restaurants should take note, theyโ€™re extremely popular posts. Sadly, our while self-explanatory article, โ€œWe Cannot Let our Young People go Hungry; those locally rallying the call to #endchildfoodpoverty,โ€ did quite well, at third most popular, the earlier โ€œEat Out to Help Out, Locally, Independently,โ€ was our highest hitting of all; giving a sombre redefining of the term, dying to go out.

Back to my point though, food articles do so well, Iโ€™m not just after a free lunch, or maybe I am. But here, look, the fourth most popular article this year was our review of New Society, which was actually from 2019. Does lead us on nicely to the touchy subject of stats this year.

August


On Stats, Spoofs and the Futureโ€ฆ.

As well as an opportunity to review what weโ€™ve done over the past year and to slag off the government, I also see this rather lengthy article which no one reads till the end of, a kind of AGM. It should be no surprise or disappointment, being this is a whatโ€™s-on guide, and being nothing was actually on, our stats failed to achieve what we hit in 2019. Though, it is with good news I report we did much better than 2018, and in the last couple of months hits have given me over the stats I predicted. Devizine is still out there, still a thing; just donโ€™t hug it, for fuckโ€™s sake.

I did, sometime ago, have a meeting with the publishers of Life In, RedPin. You mayโ€™ve seen Life in Devizes or various other local town names. The idea to put Devizine into print is something Iโ€™ve toyed with, but as it stands it seems unlikely. My pitch was terrible, my funds worse. If I did this it would cease to be a hobby and become a fulltime business, Iโ€™d need contributors, a sales department, Iโ€™d need an expert or ten, skills and a budget for five issues ahead of myself, and I tick none of those boxes. A risk too risky, I guess that’s why they call a risk a risk, watching the brilliant Ocelot reduced to online, publications suffer, the local newspaper house scrambling for news and desperately coming up with national clickbait gobbledygook, I know now is not the time to lick slices of tree with my wares.

So, for the near future I predict trickling along as ever. Other than irrational bursts of enthusiasm that this pandemic is coming to an end, Iโ€™ve given in updating our event calendar until such really happens. And it will, every clown has a silver lifeboat, or something like that.

September

Most popular articles then, as I said, desperation to return to normal is not just me, โ€œEat Out to Help Out, Locally, Independently,โ€ was our highest hitting of all, whereas โ€œWe Cannot Let our Young People go Hungry; those locally rallying the call to #endchildfoodpoverty,โ€ came in third. Nestled between two foodie articles our April Fools spoof came second. As much as it nags me, I have to hold up my hands and thank Danny Kruger for being a good sport. He shared our joke, Boris to Replace Danny Kruger as Devizes MP.

We do love a spoof though, and given a lack of events, I had time to rattle some off, A Pictorial Guide to Those Exempt from Wearing a Facemask, Guide to Local Facebook Groups pt1 (never followed up) The Tiers of a Clown, Sign the Seagull Survey, Bob! and Danny featuring again in The Ladies Shout as I go by, oh Danny, Whereโ€™s Your Facemask?! all being as popular as my two-part return of the once celebrated No Surprises columns, No Surprises Locked Down in Devizes.

Perhaps not so popular spoofs were The Worldโ€™s Most Famous Fences! and Worst Pop Crimes of the Mid-Eighties! But what the hell, I enjoyed writing them. 


On Other News and Miscellaneous Articlesโ€ฆ…

I was right though, articles about lockdown or how weโ€™re coping were gratefully received, and during this time, a needed assurance we werenโ€™t becoming manically depressed or found a new definition of bored. Devizes together in Lockdown, After the Lock Down, Wiltshire is not Due a second Lockdown, the obvious but rather than bleating on the subject, how we celebrated VE Day in Devizes & Rowde, the Devizes Scooter Club auctioning their rally banner for the NHS, Town Council raising ยฃ750 to support the Devizes Mayorโ€™s Charities, DOCA Announce Next Yearโ€™s Carnival & Street Festival Dates, DOCAโ€™s Window Wanderland, and a Drive-In Harvest Festival! to boot. Town Council making Marlborough High Street a safer place, all came alongside great hope things would change, and pestering why not: The State of the Thing: Post Lockdown Devizine and How We Can Help, Open Music Venues, or Do They Hate Art? Opinion: House Party Organiser in Devizes Issued with ยฃ10,000 Fine.

 If Who Remembers our First Birthday Bash? Saw me reminiscing, I went back further when raves begun to hit the news. Covered it with Opinion: The End and Reawakening of Rave, and asked old skool ravers Would you Rave Through Covid? But we also highlighted others not adhering to restrictions With Rule of Six and Effects on Local Hunting and Blood Sports, it was nice to chat with Wiltshire Hunt Sabs.

October

Controversy always attracts a crowd, but couldnโ€™t help myself highlighting misdoings. From internet scams, like The Artist Melinda Copyright Scam, tolocal trouble, Rowde Villagers Rally in Support of Residential Centre Facility, for instance, Sheer Musicโ€™s MVT Open Letter to Government, Help Pewsey Mum on her Campaign to free her Children from Abduction, important stuff like that. We try to help where we can, honest.

Most controversial though, me thinks, was our poor attempt at coverage of the international BLM issue. Iโ€™ve been waffling enough already to get into how I feel personally; been writing this โ€œsummaryโ€ for what feels like eons, time to shut up and advise you read these articles yourself, because no matter how you fair on the argument, xenophobia affects us all, even in the sticks. We therefore had a chat with BLM in the Stix and did a three-part look at the issue, the third part a conclusion and the middle bit, well, that came in light of Urchfont Parish Council turning down a youth art display; what a pompous notion highlighting the issue on a local level.

But campaigns and fundraising came in thick and fast, despite nought cash in anyoneโ€™s pockets to follow them up. I understand, but we featured Go Operation Teddy Bear, Devizes Wide Community Yard Sale, Hero Wayne Cherry Back in Action! Lucieโ€™s Haircut Fundraiser for the Little Princess Trust, Crusader Vouchers, Juliaโ€™s House Gameathon, Devizes for Europe launching โ€œSay #YES2ARealDealโ€ campaign, and of course, our superheroine Carmellaโ€™s ongoing campaigns.

November


In conclusionโ€ฆ.

It has, in conclusion, been a hectic year, without the need for live music reviews, though some mightโ€™ve been nice! Hereโ€™s to a better day. We reserve our right to support local arts, music, and business, whatever the weather, and pandemic. We offered you, on top of the aforementioned; Fatherโ€™s Day; Keeping Ideas Local, Floating Record Shop Moored on Kennet & Avon, Devizes Town Band Comes to You for Remembrance and Zoom Like an Egyptian: Wiltshire Museum Half-Term Activities! to name but a few in the wake of our move to online events, although theyโ€™ll never stream as effectively as being pissed in a pub alcove unable to find the loo.

We also did our easy-reading list type features which are the trend; Top Twenty Local Music CDs For Christmas and Fairy-Tale of New Park Street; And Better Local Christmas Songs! I went on my Devizine Christmas Shopping Challenge, and tried to tweak the website to include podcasts to fund our musicians.

Yeah, that one is put on hold, I couldnโ€™t do it as I saw able to, but it needs work and Iโ€™ve another plan up my sleeve, just takes a bit of planning is all, which I guess is why they call it a plan in the first fucking place! You did blag a Free Afro-Beat, Cumbia and Funk Mix out of the deal. Maybe I could do more, but upwards and onwards, Devizine is now operating as both international music zine and local affairs. I maybe could separate them, but this means building a new audience and starting over. I like it as it is, and besides, Iโ€™m open to feedback, love to hear what you reckon, and will promise to act on suggestions, which is more than I can say for this fucking, cockwomble-led government; just leave it there shall we?!

The only gripe is that I ask that you have to believe in what Iโ€™m trying to do and supply me with the news, what youโ€™re doing, creating or getting narked about, else I donโ€™t know about it; hacked off with Face-sodding-Book, see?

Sure, you could put your trust in a real journalist through all their generalizations and unbiased writings, and grammar errors, or you could try here, where we deliver more than just a pint of semi. Look now at the going back to school debate, you know, I know, we all fucking know, senior school kids can stay at home because they can look after themselves while parents go to work, whereas primary kids can’t, so have to go back to school. It has nought to do with the spread of the virus, and everything to do with what’s best financially, and that, my friends, is not only the way this government have applied regulations throughout, but also not the kind of truths you’ll be reading in the newspapers.

All hail Devizine then, please do; I’m trying my fucking best amidst the wankology of Britain’s governing regime. Iโ€™m planning to rock on for another year, trapped in Blighty with flag-waving, panic-buying tossers until weโ€™re queuing for bread or waging war on France like the good old days, namely the dark ages, letโ€™s see where it gets us; with or without loo roll.

No, I’m not bitter; just slightly narked at the difficulties made in making people laugh by these idiots, so I find it apt to aim my satirical guns at them.

December

Jon Amorโ€™s Remote Control

Pop is pop for a reason. Without sounding like a government soundbite, what I mean is, pop, as in the music, is popular for good reason; the catchiness often in the simplicity, which consequently sells. And if it sells, itโ€™s pop, regardless of the many subgenres and youth cultures which an era carries pop along, itโ€™s always continued this ethos. Itโ€™s only a particular โ€œgenreโ€ for the time being. I use the term as loosely, then, as it should be used. Feel free to shudder at modern commercialisation, but thatโ€™s been building for decades and you shouldnโ€™t let it put you off; youโ€™ll miss something special because you preconceive its popularity is a hallmark from a polluted industrial mechanism.

The above annotation I write because I donโ€™t want you to run off with the idea, Iโ€™m talking contemporary chart hits when I use the term pop. Out of the assortment Devizesโ€™ legendary bluesman Jon Amor offered on his last major album two years ago, Colour in the Sky, I tended to cherry-pick those deviating from his traditional electric blues style, and they promptly became the standout tracks, Illuminous Girl and Red Telephone. He need not appease his devotees; they follow this modification with bells on. Because, fundamentally itโ€™s more โ€œpop,โ€ in so much as itโ€™s appealing for this beguiling ease.

This transitory, perhaps, shift for Jon was stamped on the last single, the incredibly addictive Peppercorn, a lively upbeat and Elvis Costello fashioned rock, without the leftist post-punk political angle of yore. Now the single has been followed up with an album, Remote Control, impulsively launched without the need for the usual pe-hype. All the tunes follow the aforementioned style of Peppercorn, the penultimate track on the collection. Dammit, this is good, but you knew it would be.

News of it literally arrived via Facebook post yesterday, โ€œthis year,โ€ Jon posted, โ€œIโ€™ve been spending a lot of my weekends recording some songs, and I appear to have made an album.โ€ And as if by magic, today (27th November) itโ€™s a thing. So, was it as spontaneous as it sounds, a result of lockdown?

โ€œI suppose initially it was the result of lockdown,โ€ Jon replied, โ€œyeah, I was working all week and had nothing to do at weekends!โ€ If there’s only one good thing to come out of all this, I noted, thinking Erin Bardwellโ€™s Interval album in particular, is that artists have had the time to write and create, and there’s good material flowing from all genres. Then I waffled some similarities in a piece I was reading about the great plague, where it modernised and revolutionized both folk and classical music, possibly gave birth to the renaissance.  

โ€œI think a lot of people embraced the spare time and the isolation and turned it into a positive,โ€ Jon added. โ€œNow Iโ€™m picturing video conference calls and zoom quizzes in the 1600s…โ€

While Jon is clearly experimenting, dabbling this more pop sound with Remote Control, itโ€™s also temptingly raw and punchy. There are some retrospective glances, the opening tune Song and Dance is a catchy three-minute Merseybeat blast, whereas If a Million is demarcated Curtis Mayfield funk. 03 57961 (Thatโ€™s my Number) bounces like a quirky ZZ Top, whereas Robot Skin follows, using the guitar like white noise, overridden with a Gecko styled rap.

Iโ€™m intrigued now, wondering where this will take me next, and even if Next plays out the downbeat trip-hop style, akin to Portishead meeting Costello, it remains definitively Jon Amor. Just a Bomb booms power pop, with a singable chorus after just the one listen. Weโ€™re one track down before Peppercorn, youโ€™d be mistaken by the title that this is locally-themed, Moonraker, is Bowie spacey and maybe a reference to the Bond movie rather than a Devizes pond fable.

Image by Nick Padmore

The finale rings with everything weโ€™ve suggested at the start, this is poptastic for catchiness. Do Bop-Bop is staunchly irresistible. Exotic bongos, Californian beatnik surfer goodness; ideal daydream for wintertime locked down in England!

In conclusion, I need not convince Jonโ€™s lifetime fans, they will buy it and love the fact they have. For others, this is an interesting progression with great prose, itโ€™s joyful and quirky and explores styles without selling-out or shifting the central pivot point, which is Jon Amor, da man rocks! All the above basically adds up to; this is highly entertaining on the ears and persuasive on the feet to tap.

     


Dreamlands; New EP from Daydream Runaways

In fairness to you readers, Iโ€™ll come clean, the new EP from Daydream Runaways, Dreamlands, is a collection of three pre-released singles, Fairytale Scene, Light the Spark, and the latest, Crazy Stupid Love. Each of which if you click on, youโ€™ll see Iโ€™ve reviewed already, here on Devizine.

So, what do those demanding guys want from me this time?! Except to say I canโ€™t praise the band or these songs enough. Making the opportunity to announce the release imperative, suppose, but forgive me for not running back over the same notions in said reviews.

So, I figured Iโ€™d catch up with them, harass them for few more questions I overlooked when we interviewed them last. Notably, when Cameron Bianchi enlightened us that, โ€œwe brought back two older songs and reworked them, as they fit really well next to the lead single Crazy Stupid Love.โ€

Ah, cool ,this progressive young band have reworked them. I supposed itโ€™s good to have the singles on one EP. โ€œAnd those three are among our oldest songs so it felt right to release them,โ€ Cameron continued. โ€œThen Brad had an opportunity to record us for his Final Year Project at Uni and an EP seemed like a great project to take on.โ€

Out on the 13th November, the releaseโ€™s title I was asked to keep it under my hat, for a โ€˜guess the name of the EPโ€™ competition was to be announced. The title got me to pondering the name Daydream Runaways. So, I asked them how they came about it.

Frontman Ben Heathcote replied, โ€œCameron came in with the name suggestion after numerous discussions and almost instantly we knew that was it. It seemed to describe us and have a connection immediately to our sound. We all daydream and get lost running away in our minds, our dreamsโ€ฆโ€

Cameron added, โ€œWe spent quite a while trying to work out a name that suited us, actually. We were looking for something that sounded hopeful and had a sense of escapism about it. Ben remembers that I brought it to a practice one evening, I think Iโ€™d been reeling off loads of names that the boys didnโ€™t love. Then one day my fiancรฉe had been playing lots of Ben Howard and he used those two words in a few of his songs and I just liked the way the sounded when merged together.โ€

Shame, I adopted the guesstimation Cameron was the sort of kid at school who would rather stare out of the window daydreaming than pay attention to the lesson. โ€œI know I was!โ€ he confessed, โ€œprocrastination is my second favourite hobby…next to playing guitar!โ€

An apt name it is though, it relates to the bandโ€™s brand of dreamy, nostalgic and acceptable indie-rock, which has found them glowing reviews elsewhere. James Threlfall of BBC Introducing in the West, said of Fairytale Scene, โ€œI’ve had the pleasure of seeing this band absolutely smash it live.โ€ Theyโ€™re favourites on Sue Davisโ€™ show on Wiltshire Sound, but I was drawn in particular to a quote by Dave Franklyn on his Dancing About Architecture website, a man who does similar to what we do here, only better. He said Crazy Stupid Love, โ€œhas got that great Alt-USA feel to it; Fountains of Wayne style and early 00โ€™s vibe.โ€

Coincidently I mentioned Fountains of Wayne yesterday when pondering the new EP from End of the World, Calneโ€™s skater-punk five-piece. Hereโ€™s where I tip my hat to Freewheelinโ€™ Franklyn, always able to view another angle. For in the way of comparisons, I spent nearly all my effort reminiscing classic eighties bands such as Simple Minds, perhaps U2. I wrote paragraph upon paragraph suggesting the Daydream Runaways songs would slip neatly into a John Hughes coming-of-age movie, when really, I needed only to rewind twenty years; itโ€™s an age thing.

I asked them for their thoughts on this comparison to noughties US bands, all a bit skater punk. As all I know of Fountain of Youth is the one tune, and while the Daydreamerโ€™s material has a coming-of-age type content, I couldn’t imagine them knocking out something as quirky as a song about fancying their girlfriendโ€™s mum.

Nathaniel Heathcote confirmed, โ€œyeah, itโ€™s definitely reminiscent of skater punk, very 2000s with baggy jeans, spiky hair and a skateboard in hand!โ€

Cameron also clarified, โ€œitโ€™s kind of a weird blend of Indie meets Country meets 00s rock. Not that it started out that way. I think I was trying to write a riff like The Smithโ€™s Girl Afraid.โ€ Ah, mention of a band I know! Heaven help me, are we due a noughties comeback, I pondered, I guess itโ€™s time, despite Iโ€™m still living in 1991.

โ€œThey seem to be!โ€ Cameron figured, โ€œI was listening to Machine Gun Kelly the other day and his sound is very 00s. We obviously inspired himโ€ฆโ€

From here I teased about the possibility of getting a rapper in, if thatโ€™s the case. But Daydream Runaways has spent their few years really nailing a uniformed style, I hoped I wasnโ€™t rocking the boat. Thereโ€™s a question developing in that though, how far theyโ€™re willing to diversify?!

Cameron admitted, โ€œBen has floated that idea about actually, we always say we donโ€™t want to write the same song twice or be bound to one genre. And I think that comes across in our music. It helps that each of our individual musical influences are quite different so that makes the song writing process quite fun and the songs are always a bit unexpected.โ€

โ€œThis is something we differ on in my opinion,โ€ Ben interjected, โ€œCam enjoys the idea of a more consistent sound and style that is familiar, whereas I strive for an ever changing/evolving sound, dipping into varying genres.โ€

โ€œSo,โ€ Cameron replied, “I think we balance each other out?โ€

Ben Heathcote got deep, โ€œthe world canโ€™t exist without Ying and Yang.โ€

But I often rock their boat, probing their thoughts of an album, and they have differing opinions on it, but Iโ€™m always impressed how they stabilise it mutually; I do hope itโ€™s a solid band, as this EP rocks and I always look forward to hearing some new from them. They even went as portentous to hint at an albumโ€™s possibility, but rather concentrate on the idea of a sequential set of songs on a running theme. There you go, Mr Franklyn, I surmise theyโ€™ll be writing the next soundtrack to a John Hughes rework!

If so, I get first dibs on the actress playing Molly Ringwaldโ€™s part, but probably not, though with this blinding new EP, it is fair to assume itโ€™s only just the beginnings for The Daydream Runaways. The peak will be unimaginably awesome.


Cold Water; New Single from Lottie J

Wasn’t it in my review of Talk in Code’s latest single where I waffled on the subject of my passenger seat DJ on trips to her football, and thinking about it, every time she gets in the car even if we’re only going half mile up the road?

Matter of factually then, my daughter ensures I’m as up-to-date with pop, as far as a middle-aged pop can be. So it may surprise you to note this rocking grandad knows his Dua Lipa from his Doja Cat, just about, and I know the “peng” sound of now, and Lottie J’s single is bang on the mark.

Though, I’ll probs get dissed by da yoot for my hopeless attempts to align with the trends in lingo, and peng is probably, like ancient history; soooooo last decade. But everything about Cold Water rings contemporary pop hit to me.

Lottie has come some way from teen singing her own heartfelt compositions at a piano on the local circuit, and the days when Jamie Cullum encouraged her upon visiting her school to donate his old piano.

If she has stars in her eyes, they’re directed and affirmed in a business acumen which knows exactly how to point them in the right direction; Cold Water confirms this. It is fresh, it is the pop sound of now, and assures me, through the chosen path of self-promotion in an era which allows it through streaming sites, Simon Cowell is not necessary. I predict we will be hearing more from Lottie J, bigger and better each time, and with her sublime voice and beauty abound, she is the pop star in the making.

It’s cool, emotionally prevoking, it’s pop-tastic beats and has all the ingredients of a contemporary r&b come dance hit. All it takes is word of mouth and online sharing. I usually run anything modern past my daughter, who mostly scoffs at my attempts to influence her musical taste, but on the position of Lottie J we mutually appreciate her talent. And that’s good, innit, I mean she could be my excuse for attending Radio 1’s Party in the Park. Post Malone, we’re on our way!

No, he’s an American rapper, no, he hasn’t got a black and white cat; get with the program!

Streaming Link

Talk in Codeโ€™s Secret

New single from Swindonโ€™s indie-pop darlings, and, as foreseen, itโ€™s blinking marvellous, Gloria.

โ€œEighties,โ€ I yell, but my daughter corrects me. Itโ€™s a tune from Miley Circus, apparently. Story checks out, searched YouTube for it. Now Iโ€™m distracted from reviewing Talk in Codeโ€™s new single, Secret, by her suggestive gyrations in a black studded swimsuit and equally studded elbow-length gloves. Only from a health and safety perspective, you understand. Metallic studs are unsuitable for swimwear, gloves would fill with water; I should warn her PR.

When behind the wheel of Dadโ€™s taxi, my daughter plays DJ; curse that built-in Bluetooth function. Least I can pretend Iโ€™m hip with the kids by distinguishing my George Ezras from my Sam Fenders. โ€œAh,โ€ but I clarify, โ€œI didnโ€™t mean that, I meant it sounds like something from the eighties.โ€ She agrees, tells me theyโ€™re all inspired from the eighties. โ€œLike, Blondie,โ€ I add, sheโ€™d have to Google that, but she watched The Breakfast Club and Uncle Buck, she is aware of the style of sound demarcated by eighties electronica pop.

Refrained from telling her about these guys though, some things are best left in the past.

If a retrospective inclination influenced by the decade of Danny Kendal v Mr Bronson, Rubikโ€™s cubes and skinhead Weetabix characters is good for you, ok, look no further than upcoming local bands like Talk in Code and Daydream Runaways. Iโ€™ve often grouped these two on this very notion, and Iโ€™m delighted to note via my comparison, the Daydreamers are supporting the Talkers at Level III in Swindon on November 20th, my only annoyance is that itโ€™s a Friday and I canโ€™t make it.

To differentiate, Daydream Runaways take a rock edge, the like of Simple Minds, but Talk in Code seem to strive for the electronica angle of bands like Yazoo and The Human League. They do it far better than well though, and if I branded it, โ€œsophisticated pop with modern sparkle,โ€ their last single, Taste the Sun, back in July, embodied this more than anything previous. So, here we are again with another belter which adds to this uniform style, though the climate may not be so clement, Secret sparkles too.

It snaps straight in, this aforementioned feel-good 80s electronica guitar pop sound, and itโ€™s so beguiling and catchy itโ€™s certain to appeal wide, agelessly. If I was attending a local festival and Talkers took the stage, Iโ€™d imagine my daughter and I would dance together, and right now with her tastes directed to my odium, calculatingly sweary modern pop R&B, this would be a miracle! I do not twerk.

Secret is right out of a John Hughes movie then, a stuck record comparison I say to near-on every release by them and Daydream Runaways too, but this undeviating style is consistently cultivating and improving. Lyrically itโ€™s characterised by the same simple but effective theme of optimistic romance, and a bright, catchy chorus, as every classic pop song should. ย 

The band cite pop classics such as King of Wishful Thinking, How Will I Know and Alexander Oโ€™Nealโ€™s Criticise as evaluations. I can only but agree, but add, those can be cringingly timeworn, whereas, this is not Dr Beat, no need for an ambulance sound effect, and the Talker guys donโ€™t got no hairspray, this is renewed and exhilarating for a modern generation.

You can pre-save TALK IN CODEโ€™s brand new 80โ€™s infused indie pop belter, on the platform of your choice and listen in full, but itโ€™s not released until November 16th. Yeah, I know right, Iโ€™m so lucky to have these things in advance, but with Secret I can guarantee by the time it comes your way, Iโ€™ll still be up dancing to it, perhaps my daughter too. Care to join me on the dancefloor? But oi, watch the handbag, Miley, and donโ€™t yank my diddy-boppers, Iโ€™m no that kind of guy; saving myself for Gloria Estefan.


Atari Pilotโ€™s Right Crew, Wrong Captain

Only gamers of a certain age will know of The Attic Bug. Hedonistic socialiser, Miner Willy had a party in his manor and wanted to retire for the evening. Just how a miner in the eighties couldโ€™ve afforded a manor remains a mystery; but that erroneous flaw was the tip of the iceberg. In this ground-breaking ZX Spectrum platform game, the Ribena Kidโ€™s mum appeared to guard Willyโ€™s bedroom, tapping her foot impatiently. Touch this mean rotund mama and sheโ€™d kill you, unless youโ€™d tided every bit of leftovers from the bash. Turned out, months after the gameโ€™s release, one piece, in the Attic, was impossible to collect. Until this glitch became public knowledge, players were fuming as an intolerable bleeping version of โ€œIf I was a Rich Man,โ€ perpetually looped them to insanity.

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I swear, if I hear that tune, even some forty years on I cringe; the haunting memory of my perseverance with the impossible Jetset Willy. Music in videogames has come a long way, thank your chosen deity. Yet in this trend of retrospection I terror at musical artists influenced by these cringeworthy clunky, bleeping melodies of early Mario, or Sonic soundtracks; like techno never happened, what are they thinking of? It was with caution, then, when I pressed play on the new single from Swindon band โ€œAtari Pilot.โ€ I had heard of them, but not heard them. I was pleasantly surprised.

For starters, this is rock, rather than, taken from the bandโ€™s name, my preconceived suspicion I would be subject to a lo-fi electronica computer geekโ€™s wet dream. While there is something undeniably retrospective gamer about the sonic synth blasts in Right Crew, Wrong Captain, it is done well, with taste and this track drives on a slight, space-rock tip. Though comparisons are tricky, Atari Pilot has a unique pop sound. No stranger to retrospection, with echoey vocals and a cover akin to an illustration from Captain Pugwash, still this sound is fresh, kind of straddling a bridge between space-rock and danceable indie. Oh, and itโ€™s certainly loud and proud.

atari2

A grower, takes a few listens and Iโ€™m hooked. Their Facebook blurb claims to โ€œchange the rules of the game, take the face from the name, trade the soul for the fame…I’m an Atari Pilot.โ€ After their debut album โ€œNavigation of The World by Soundโ€ in 2011, a long hiatus took in a serious cancer battle. But Atari Pilot returned in 2018 with an acoustic set at the Swindon Shuffle. The full band gathered once again the following year with live shows and a new set of โ€œSongs for the Struggle.โ€ This will be the title of their forthcoming follow-up album, โ€œWhen we were Childrenโ€ being the first single from it, and now this one, โ€œRight Crew, Wrong Captain,โ€ is available from the end of July.

Its theme is of isolation, โ€œand defiance, after the ship has gone down,โ€ frontman Onze informs me. Thereโ€™s a haunting metaphor within the intelligent lyrics, โ€œyou nail yourself to the mast and you pray that everything lasts, you just want to know hope floats, when the water rises, coz it’s gonna rise, take a deep breath and count to ten, sink to the bottom and start again.โ€

Thereโ€™s a bracing movement which dispels predefined ideas of indie and progresses towards something encompassing a general pop feel, of bands Iโ€™ve highlighted previously, Talk in Code and Daydream Runaways, Atari Pilot would not look out of place billed in a festival line-up with these acts, and would add that clever cross between space-rock with shards of the videogames of yore, yet, not enough to warrant my aforementioned fears of cringeworthy bleeps. Hereโ€™s hoping itโ€™s โ€œgame overโ€ for that genre. That said, thinking back, when you bought your Atari 2600, if you recall, oldie, you got the entire package of two joysticks and those circler controllers too, as standard; could you imagine that much hardware included with a modern console? Na, mate, one controller, youโ€™ve got to buy others separately.

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So, if decades to come we have a band called X-Box or PlayStation Pilot, Iโ€™d be dubious, but Atari gave us quality, a complete package; likewise, with Atari Pilot!


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Talk in Code Taste the Sun

Back in January 2019, I was dead impressed with Talk in Codeโ€™s debut album Resolve, and labelled it โ€œsophisticated pop with modern sparkle.โ€ I offered the track โ€œOxygen,โ€ 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, itโ€™s clear theyโ€™ve come an incredibly long way to enhancing and refining that fashion.

Reflecting back, Resolve has the definite โ€œindieโ€ 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 โ€œsophisticated pop with modern sparkleโ€ label much more.

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Recorded just before lockdown at Studio 91 in Newbury, the band define the theme as โ€œabout waking up and smelling the coffee, a feeling that change is coming and the relief when that change is made for the greater good.โ€ 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, itโ€™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 โ€œWhamโ€ anthem a younger you wouldโ€™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 clichรฉ 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 โ€œtalkyโ€ part; โ€œI thought I told you, Michael, Iโ€™m a lover not a fighter!โ€

Yet I find similar with todayโ€™s pop, and hold my daughter accountable! โ€œWhy they doing that bit?โ€ I grumpily whinge. โ€œWhat bit?โ€ she retorts. Itโ€™s like a repetitive synthesised single word, or randomly placed high-hat making me shudder. Talk in Code use the acuteness of โ€œindieโ€ to eliminate said pop crime, use pop for catchiness and throw something back at you with universal appeal. Itโ€™s true, I concern myself at the prospect of taking my daughter to a pop festival, be it Iโ€™m cowering at her modern taste, or sheโ€™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 canโ€™t!


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Indie Networking and Long Coats

If social media is the rearguard in musicโ€™s battle against the Coronavirus lockdown, thereโ€™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 Iโ€™ll connect with through social media, such as the Facebook group Iโ€™m here to mention, as is the groupโ€™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 itโ€™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, โ€œitโ€™s only a number.โ€ I knew then to keep my gob shtum, so I stated I was โ€œold enough to know better, too old to care.โ€ Least itโ€™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 weโ€™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 Iโ€™m exempt on account of my eclectic taste. Let it be known now, I like the sound of Ollieโ€™s recently formed band The Longcoats, and itโ€™s just the sort of thing which allows Kieran to win the genre argument! Itโ€™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 โ€œour,โ€ see, like a northern working-class family. Shoot, pass my Smiths tee Mr Moore, Iโ€™m an indie kid! (kid used here in its most unlikely definition.)

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Anyway, I digress. Weโ€™ve reached the part of the show where the artist mumbles โ€œis this codger going to actually review my single?โ€ Apologies for my Uncle Albert moment, ha, there was me thinking Boris had made arbitrary tangents trendy. Thereโ€™s no telling some, heโ€™s a bastard. However, weโ€™ll never get going if I branch into politics.

โ€œUsed to Being Usedโ€ is the single I was sent, the earlier one of two on their Bandcamp page. It follows a blueprint of indie-pop, thereโ€™s a trudging guitar riff, a theme of dejected ardour, yet itโ€™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 Sharpโ€™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, Iโ€™ll be honest, which will act as their magnum opus, but an auspicious start dripping with potential. Hereโ€™s one to watch, with their debut EP โ€˜Octoberโ€™ in the pipeline, hereโ€™s hoping itโ€™ll reach us before the month of its namesake.

But itโ€™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, itโ€™s a deceased stereotype, of which Iโ€™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, whatโ€™s not to like about it?

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Falling with Tone and Cutsmith

Since the jazz era, musical genres start covert and underground, and with popularity theyโ€™re refined to mainstream acceptability, packaged into a new pop wave, and eventually fall into a retrospective or cult hall of fame. I first stood aghast at the selling-off of our adolescent anthems when I heard Leftfieldโ€™s Release the Pressure in an advert for Cheese Strings. When this happens to you, youโ€™re officially past your sell by date!

When my daughter is in the car itโ€™s paramount, she controls the stereo, at least it is to her. Iโ€™m indifferent, the bulk of contemporary pop irritates my senior ears, but occasionally thereโ€™s a something interesting hidden. There was one, once, donโ€™t expect me to root through her playlist to tell you what one, pop, but with the backbeat undeniably inspired from drum n bass.

My attention was drawn to a tune this week, Falling, from Devizesโ€™ drum n bass outfit SubRat Records via Gail Foster, who shot the video for it. Listening took me to the aforementioned moment; how drum n bass was now part of the โ€œnormโ€ rather than primarily an underground genre. If it has come of age and entered the realm of acceptable pop, though, thereโ€™s still room for experimentation and the fusing of styles, which is no bad thing, and precisely what Falling is. Chris, hereafter known as Tone, has set up SubRat, and Pewseyโ€™s Cutsmith is the vocalist on this particular track.

Cutsmith is current, using hip hop to inspire his acoustic compositions, so it melds effectively. In the way David Grey produced Babylon, Suzanne Vega did with Tomโ€™s Diner or the entire catalogue of Portishead, fusing up-to-date dance styles with acoustically driven tunes is a winner, if done correctly. If not, itโ€™s a howler, but Iโ€™m glad to say, this one really works wonders. Falling has a sublime ambient texture and glides causally through a mass-acceptable drum n bass riff. Cutsmithโ€™s smooth vocals complements it perfectly, breathes mood into it and gifts it with meaning; the combination, a match made in heaven.

Though this may not be an entirely ground-breaking formula, Iโ€™d like to train spotter a nod towards a lesser-known tune on A Guy Called Geraldโ€™s revolutionary album Black Secret Technology, where through splinters of drum n bass, an unknown Finely Quaye covers Marleyโ€™s Sun is Shining. But if youโ€™d rather me example recognised tunes of singers who launched a career from featuring on a dance tune, from Seal to Sophie Ellis-Bextor, and renowned artists who regenerated theirs, like the day William Orbit got a call from the queen of pop, hereโ€™s two local artists collaborating for each otherโ€™s good, rather than one tossed a rope to the other.

I wanted to probe the mind of producer Tone, about this concept, as what heโ€™s got here is something very marketable, as opposed to something which would only appease the drum n bass fans. I asked him if this was the intention with this tune, yet I didnโ€™t want him getting the wrong idea; I meant this in the best possible way. Even if, Bohemian Rhapsody, for example, is timeworn and clichรฉ, itโ€™s popular because itโ€™s a bloody amazing song. Pop doesnโ€™t necessarily have to be a sell-out, cast yourself away from Stock, Aitken Waterman.

โ€œYou’re definitely right about this particular track sounding more marketable and commercial than your everyday underground D&B piece,โ€ he expressed. โ€œI had no intention of making it sound acceptable to the masses but I’m glad it is like that. I think more people should be able to enjoy drum and bass for all different backgrounds. I’m not really trying to make what everyone wants; I just make what I like the sound of, and quite often or not it’s easy on the ear for everyone.โ€

I wanted gage the story behind this belter. โ€œWhen we worked on this piece,โ€ Tone replied, โ€œI started out making the entire track without having any intention of putting vocals on to it. I sent it over to Josh (Cutsmith) and he said he’d love to do something over it, which is when we started recording. It turned out really well even though throughout the production I didn’t think I’d be making anything that sounds like this. My roots are actually firmly with the rave scene and I absolutely love sub-heavy underground vibes.โ€

Is this a debut single from Sub Rat, I asked him. โ€œThis is the first free release off of our label, SubRat Records, by myself, Tone. In a hope to bring people in and start a fan-base.โ€ So, does Tone consider himself a DJ and producer? โ€œIโ€™m based in Devizes and solely a producer right now. I haven’t DJ’d for a long while. I produce a lot of drum and bass, but often step into other genres like Hip-hop, dubstep, grime, modern rap and more commercial stuff etc.โ€

If our local music scene is blossoming, it can be limiting regarding genres, so I welcome this with open arms. To assume such genres are generally confined to a municipal environment youโ€™d be mistaken. Prior to our chat delving into rave memories, as the typecast urban raver always excluded the rural counterparts since day dot, I tried to keep current and ask Tone if future releases will follow a similar pattern, and where he saw SubRat heading.

โ€œAside from my solo journey I take pride being in the background for vocalists/rappers and providing the music/instrumentals for them,โ€ he explained, โ€œI want to see people succeed off of my tunes!โ€ I hope so, this is promising and like to see other local singers benefit from an electronic dance music makeover, and if so, judging by this excellent tune, through SubRat, drum n bass is the key component.


ยฉ 2017-2020 Devizine (Darren Worrow)
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April Warming with Asa Murphy as Buddy Holly

The Corn Exchange, Devizes most prestigious and largest venue, sets to rock n roll on April 6th when Asa Murphy and gang brings his hit Liverpool show, Buddy Holly Lives to town.

Posting a rehearsal video on Facebook this week proved a plan, it sounds marvellous. Asa also made an appearance at Devizes Books last week. Yet, the weekend may not have been the most carefully selected, the popular Long Street Blues Club hosts the Billy Walton Band, while The Melksham Rock n Roll Club are bound to pull a crowd for the Hurricanes, all on the same night. With rock n rollers spoiled itโ€™s just to express why Buddy Holly Lives is my personal choice for the most unmissable event this April, hopeful to reach to an audience beyond rock n roll aficionados, and I base it upon the simple fact Buddyโ€™s music was such it transcends its genre.

Timeless performers of Buddyโ€™s level of talent and prolific drive come around one in a generation, if weโ€™re lucky. Above all of their peers, Buddy Holly and the Crickets were the experimentalists, the pioneers who avoided rock n roll crashing out of fashion with their diverseness in musical formats. The unpretentious, simplest formulas are the backbone of every pop classic, take the ease which Buddy mastered this notion in a tune like โ€œItโ€™s Raining in my Heart,โ€ or โ€œIt Doesnโ€™t Matter Anymore.โ€

 
But if we are to strip down a song for analysis, take โ€œEverydayโ€ as a prime example of what Iโ€™m attempting to get at. An out of studio rehearsal of the song, where without drums Jerry Allison tapped the rhythm with his hands on his thighs, it is Buddyโ€™s immediate eureka moment to keep it as that, rather than use drums which represents the genius in simplicity which the Beatles borrowed, the same cognitive creative virtuoso producers like Quincy Jones, Lee Scratch Perry, Giorgio Moroder, or William Orbit would adopt to make a song into a hit, in their respective eras.

 

Do you see where Iโ€™m coming from? It is why Iโ€™d recommend any contemporary aspiring musician to take heed of Buddyโ€™s catalogue, and also why Iโ€™d advise, if thereโ€™s one show this month you need to be at locally, itโ€™s this homage to the utmost pioneer of pop, aside being a fan rock n roll, or not.

 
This is without the added detail itโ€™s a celebration of the life of Bruce Hopkins, who through his music raised substantial amounts for Cancer Research, a donation will be made to charity, and Asaโ€™s professionalism and dynamic charisma. Bought to together with Buddyโ€™s music, with narrative, Iโ€™m not only looking forward to this, but dragging my mum halfway across the country to come see it! As a Buddy fan since early teenage, she will be a far harsher critic than me, Asa!

 
Tickets are ยฃ20, available now from Devizes Books.

 

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Don’t throw your love away.

Sixties Mod group The Searchers are really at the Melksham Assembly Hall on Thursday. Up there with Merseybeat greats, The Beatles and Gerry & The Pacemakers, pop wouldn’t be the same without them.

With only one original band member, John Mcnally and Frank Allen who joined the band in 1964, they’ll still put on a great, memorable show.

 

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The Original Searchers in 1963

 

Okay, we’re talking about total record sales well in excess of 50 million here, in their heyday their immaculate pop style was sensational. The Searchers still have great appeal today to young and old.

Tickets ยฃ21 from Melksham Assembly Hall (01225 709887) and online: www.ticketsource.co.uk/date/389779