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Two gigs that didn't really live up to their billing.

I’ve been to two ‘cool’ gigs in the last week – I’m not really one for cool gigs, preferring to avoid things that are either a) over-hyped or b) feature drums (the latter being due to my deep loathing of overly loud music…)

Anyway, last week I went to see Mogwai at Somerset House, and on Monday to see Squarepusher AKA Tom Jenkinson with Evan Parker at the QEH.

the Mogwai gig was OK. just OK. They played well, Somerset House is a great place for a gig, but… but none of it really went anywhere – I REALLY want to love Mogwai. There are bits about what they do that I really like. I love the big guitar sounds, I enjoy the fiddling around with odd time signatures and displaced beats etc. But it seems like their fear of turning into some sort of post-rock answer to Pink Floyd stops them from adding any BIG tunes to their stuff. So you get a handful of notes played over the wall of guitars on keyboard, or heavily processed voice, but it never goes stratospheric… or rather is very rarely does – the last two tunes they did before the Encore were getting there. Some great moments in those. So a good gig, but as they say on the interwebs it was all a bit ‘meh’.

And then to the QEH – I must preface this by saying that Squarepusher is without doubt one of the most interesting, iconoclastic and influential electronic artists in the UK, if not the world – his records are full of amazing compositions, incredible production, fascinating harmony and the maddest most sublime rhythmic programming you’ve ever heard. AND, most importantly in this context, some breathtaking bass playing. Really really amazing bass playing. Crazy fast funky magical bass playing.

This gig was, unbeknownst to me, a ‘solo bass gig’. The first set was just Tom and a 6 string bass. Before it started, I REALLY wanted to like it, I was hoping it was going to blow me away. But half way through the set, I was already drafting this blog and trawling through what he was doing desperately trying to find something positive to drag from it to contrast with the overwhelming impression that it was utter nonsense. A load of largely poor executed arpeggios – a range of techniques, few of them done particularly well, rattled off like a NAMM show demo by a kid with ADD.

I genuinely have no idea what Tom was aiming for. I have no idea what part of his strange and wonderful and clearly at times baffling musical world he was exploring with this, but one thing I’ve heard him say in interviews was writ large over the whole gig – he claims he doesn’t listen to much other music, avoids influence. And in the case of this gig, that’s exactly why he sounded like a solo bassist of about 15-20 years ago, making all the same overly twiddly ‘we can be as fast and wanky as guitarists’ mistakes that everyone else made back then, without attaching anything musical to it. Perhaps if he’d allowed himself to listen to Michael Manring or Jonas Hellborg, Trip Wamsley or Victor Wooten, it might have given him insight into some other musical paradigm possible with solo bass. But it really did absolutely nothing for me at all. I would LOVE to know what he thought of it. The audience – possibly the friendliest crowd I’ve ever come across – gave him a rapturous reception, to my utter amazement. Were they huge Squarepusher fans that would have applauded if he’s just taken a dump on the stage? Were they bass players easily impressed by a bunch of fairly sloppy overly fast arpeggiated chords? Or did they love it? Did I completely miss what he was trying to do? I’m guessing not, given that I’m pretty much slap bang in the middle of his target audience – a huge fan of his usual output, and someone who’s been interested in and exploring the whole idea of solo bass for nearly 20 years.

So the second half? Well, it started with out of the most remarkable bits of soprano sax playing I’ve ever heard, from Evan Parker – Evan has been a mainstay (and driving force behind) the UK free improv scene for 40 something years. A true giant of the instrument. And tonight he proved why. The piece was a technical, sonic and mesmerising tour de force, making a completely unprocessed soprano sax sound like at least four instruments intertwined. unbelievable.

And the evening finished with a free duo between the two of them, which was much better than the first half – Tom delved deep into the canon of well used free improv techniques, but that’s a good thing – he’d done his homework for sure, and created some lovely textures and interesting rhythms, whilst listening to and reacting to Evan’s glorious sax playing. It rescued the bass part of the evening for me, but I’m still baffled as to what on earth the first half was about…

Today on the tube, I put on his album ‘Go Plastic’ on the iPod. Yup, it’s incredible. Amazing stuff. He really is a genius. I then listened to the London Sinfonietta playing one or two of his pieces, and that too was great.

I hope he keeps going with solo bass, cos when he gets it right, I’m sure it’ll be amazing, and as with everything else he does, it’ll be unlike what anyone else has done with it. But on the strength of this show, I hope he does the rest of the exploration either behind closed doors or in a workshop setting…

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Ronnie Scott's – keeping jazz away from the fans since 2006…

So today I went down to the marvellous Institute Of Contemporary Music Performance in Kilburn, to watch a masterclass by guitarist Mike Stern and bass legend Anthony Jackson. It was a mixture of stories, advice, practice tips and inspirational musings, as well as some amazing playing. Anthony was certainly the most animated I’ve ever seen him (which is not a huge amount, but more than just having seen him in magazines…) and was on rare form with his answers to questions.

All if which made me want to go and check them out at Ronnie Scott’s tonight or tomorrow. However, tickets are £36. For one set. And there’s no longer a reduction for MU members. None at all.

There was a time, not as long ago as you might think when it was – I gather – a pound to get into Ronnie’s with your MU card. That made it the defacto musician’s hang in central london. Given that it goes on a lot later than many other gigs in town, it was the place to go once your gig had finished – catch the second set, hang out with some other musos, get a drink, and give Ronnie’s the air of being THE place to be. It’s what Ronnie himself specifically intended for the club.

That all changed last year when the club changed hands. No more reductions, no more staying all night to watch both sets by an act you really love, and no more sensibly priced tickets. Now, I know Mike Stern is going to charge a pretty penny to come and play – he ain’t cheap, but he’s not sodding Coldplay either! Certainly nothing that forces the club to charge such high dollar ticket prices, or to split the evening so you can only go to half the gig. Add to that the disappearance of the best gig in the country which I’ve blogged about before (click the link), and you’ve got yourself one crappy cabaret night out for rich peoples.

Bollocks to Ronnie’s.

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What a bizarre day of contrasts…

So, today started well – a trip to Guildford, to the ACM to give a masterclass to their degree students on self promotion and marketing. Much of it was about readjusting their expectations regarding what is likely to be an income stream and what isn’t, and where to put your energies in terms of your attempts at promotion – ie. musical contacts and gigs = good, myspace friends lists with a million bands on that don’t even know who you are = bad. Lots of talk about where we discover new music, where we find things, and what we feel inspired to buy and to go and see live. A successful morning.

Lunch with head of bass Stefan Redtenbacher, drum tutor and old friend Stuart Roberts and fellow visiting lecturer of the day, Terl Bryant. Great peoples one and all.

Home for a few hours, then out to teach. New student in east london, good lesson, but the place where he’d said I was fine to park wasn’t… AND I GOT CLAMPED!!! And not by the local council, not for blocking a drive or taking up a much needed space. No, by some venal scumbag private clamping firm, who charged a £100 release fee. It felt like my car had be broken into – there were no visitors parking spaces that I could see (and clearly even the non-car owning residents hadn’t read the signs about the parking, that’s how well displayed they were) but there were also hardly any cars belonging to residents.

If I get a normal parking ticket for running over, or chancing it somewhere, fair enough – that’s £30, you pay it, it’s a shame, but whatever. Not on private estates in Tower Hamlets. Oh no, there trainee nazis dole out clamps… Has there ever been a more self-defeating device than the wheel clamp. You not supposed to park here, so we’ll IMMOBILISE YOUR CAR – huh??? you’ll keep me stuck in the place I’m not supposed to be. Surely if I’m not supposed to be there, there’s a reason why I shouldn’t be, like it’s blocking something, or I’m taking someone’s much needed space. No, that’s all bollocks, it’s just a bunch of bastards who clamp for fun. Like wasps who according to legend sting just for fun (how on earth do you measure the fun quota of anything in a wasp? or for that matter, a clamper…)

To be fair, the kids who came to unclamp it were obviously in their first job, just trying to get on, clearly embarrassed and uncomfortable at what their role was, and the one kid did try his absolute best to get the stickers of the windscreen without leaving any residue behind. Do the firm give them any solvent to remove the sticky stuff? do they fuck.

I wonder what the legality is of carrying around bolt-cutters and removing it yourself? I’m pretty certain that their jurisdiction can’t extend beyond the private property they operate on. The stickers all say ‘it is an offense to try and remove the clamp’ – but lots of things are an offense. Celine Dion is an offense, Kevin Costner films are an offense. Neither sadly are in any way officially criminal acts.

I ought to just put a big notice on my car saying ‘it is an offense to clamp this car’ – I’m fucking offended by it! filthy scum. Why on earth is it legal? It’s a disaster waiting to happen – you need the car to take someone to hospital, to escape a mugger, to do all kinds of things, and some tosser has come round and chained a bloody great metal triangle to your wheels… grrrrrrr, it makes me so annoyed! (can you tell) – and it’s not as if I’ve got a spare £100 to just throw away on such trivial bollocks.

Anyway, the evening ended on a much brighter note (well, not that much brighter, seeing as I’d forgotten my ordinary glasses when I left home so was wandering around Brick Lane at 11 o’clock wearing sunglasses – who’s the twat trying to look like Bono? That’ll be me then…) – it ended with the lovely Showbiz (or whatever the name is that I’ve given her this week), and Chambers, then back to casa showbiz for mac-geekness and ladies’ tea.

…clamped??????

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Live Earth – not crossing my radar..

So the Live Earth Gig is going on, on TV, on radio, everywhere. And the only time it’s registered on my radar was talking to Oroh last night who’s playing at it with Corinne Bailey Rae, arranging to meet up afterwards…

Why hasn’t it? I’m HUGELY concerned about climate change, a qualified but largely enthusiastic supporter of what Al Gore’s taken up as his cause (An Inconvenient Truthx is definitely required viewing), but the notion of a bunch of largely ill-informed rock stars flying in in private jets to ‘lend their support’ (and prop up their often-ailing careers) is just plain hideous. Claiming to ‘carbon offset’ your private jet useage, and putting low energy lightbulbs in on your yacht does not make you a shining example of planet-saving eco-warrior-ness. It means you’re trying to party as the ship goes down, pretending that planting a few trees excuses your King Kong-sized carbon footprint. And that, my dear bloglings it’s what’s known in scientific terms as complete bollocks.

The organisers are claiming that they are trying to make the whole event carbon neutral and have booked bands in the cities they live in. But they don’t seem to have asked the bands to sign up to any kind of rock star eco-charter that curtails their use of private jets, and commits them to running their tour buses on bio-fuels and selling fair-trade bleach-free merchandise etc. Surely the concert would have smacked less of being a giant photo op for some of the worst abusers of aviation in the world if there’d been some kind of commitment to change, to reducing their own load on the planet – if you will, ‘putting their own house in order’, rather than looking like the bunch of fucking hypocrites they are. And I say this as someone who so far this year has made two return flights over the atlantic, and one return flight to Edinburgh, but who has also done two month-long tours round Europe in the last year on trains, and is committed to continuing that trend, and to not flying domestically (someone else booked and paid for the Edinburgh trip, and I was too slow to change it to a train ticket..)

So there you go, Live Earth – great cause, dreadful way of making the point. Please don’t be fooled by the myth of carbon offsetting – we all need to radically REDUCE our carbon footprint, rather than thinking we can carry on as normal but just plant some trees to make it all go away. It’s not going to work.

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my taste in soundtracks vindicated at last…

Just read this post about Bugsy Malone on the Guardian music blog. It’s long been one of my favourite films – there’s something fabulously surreal about the kids-as-adults thing – like a school play, without the forgotten lines and corpsing. And, as cited in the article, the soundtrack is stellar. I only own a tiny handful of Soundtrack albums (odd, given that everything I’ve ever recorded sounds like a soundtrack album) – Local Hero, Paris Texas, One From The Heart, Bill Frisell’s albums of Buster Keaton music, and of course Bugsy Malone. It was the first thing I searched for when I discovered you could buy music online, trying in vain to find it on CD. I think I eventually got it in the Virgin Megastore in London.

Anyway, it’s magic, give it a listen.

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Telling half the story…

Just saw this article about the demise of the Record Industry on RollingStone.com – it’s a good read, but here’s the salient bit for this blog –

“In 2000, U.S. consumers bought 785.1 million albums; last year, they bought 588.2 million (a figure that includes both CDs and downloaded albums), according to Nielsen SoundScan“

Now, I’m sure I’m not typical of ‘the average consumer’ – I know I’m not (I’ve only ever bought one CD from a supermarket…) but I do know that all of my sales, or most of the CDs I buy will never show up on a ‘Nielsen SoundScan’ report… I’d love to know how indie sales impact that figure, and the parallel figure about the number of people now making a living, or part of their living, from their own music. I’d like to see figures on the number of indie labels and artists that are self publishing and selling more than 500 CDs a year (given that if you’re pressing it yourself, you can make between £5-£7 clear profit on each disc – $10 to $14 – so that’s over £2,500 a year in CD sales income, which carries with it the assumption that you’re making probably at least as much again on gig money…

I think the future looks VERY bleak for the majors. They’ve long relinquished their part in the process of pushing the art of popular music forward, settling into a pattern of releasing tried and tested formulae, usually being at least 3-4 years behind the cutting edge of any musical movement (how long had the ‘grunge’ thing been happening before Geffen released Nevermind?). So now they are trying to do marketing tie-ins, computer game promotion, TV show placement – anything to keep their grubby fingers in the many musical pies.

But the major label end of the industry is imploding, the indies are thinking faster, changing, adapting, and in many cases thriving.

It’s a tough time to be a musician and make a living at it, for sure, but the opportunities and potential are there, especially if you lot keep supporting the indie peoples (check out the links page here to get some new musical ideas)

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Two types of church

It used to feel really strange coming to a country so full of seemingly Christian language and yet feeling so utterly alien to it all. It was on about my second or third visit to California that I noticed that I felt considerably more affinity with the honest searching and questioning of the hippies, new agers and agnostics that I met than I did with much of the overly-confident, divisive nonsense that I heard coming from a lot of the christians I met. More often that not, the reasons that people had for disregarding all-things-Jesus-esque were reasons that I wholeheartedly agreed with – the sanctimoniousness of so many of the Christians they’d met, the hideousness of how God’s name is invoked to back up all kinds of horseshit in US governmental circles (‘God told me to go to war‘ etc.), and the gross circus-like game show that passes for so many church services here, and all the televised acts of Christian worship I’ve ever had the misfortune to witness…

I mentioned in one of the tour blogs that Downtown Pres in Nashville is one of the very few churches I’ve been to in the US that I could go to again. I’m just trying to remember where the others were – I quite enjoyed the Presbyterian church I went to in Hollywood, and the Catholic church I visited in Orange county, but I’m not sure I’d go regularly to them if I lived there… But neither of them actually left me feeling alienated in the way that some of the others I’ve visited have done.

There seem to be two very different understandings of what church is at work here – the kind of church I want to go to is one that challenges me to love, to care for the poor, to seek justice, to hold the powerful accountable for how their actions affect the powerless. Church should be a place where I’m encouraged to live a life that’s different in as much as I’m focusing my time on what I can do for other people, rather than obsessing about expanding my piece of the pie. A place where I can be honest, where I can be open about my failings, but also not be able to escape the consequences of my actions, where prayer is about aligning myself with the kind of things that God is concerned about, rather than about some screwed-up spell-casting bullshit where I try and twist God’s arm into giving me a good parking space and sorting out my shit life when I’m not willing to make any changes myself. It should also be a place that encourages me NOT to surround myself all the time with people who believe the same things I do – that, my dear friends, is a cult, and having ‘unsaved’ friends just so you can ‘witness’ to them doesn’t count. That’s the kind of freaky double standard that we find so creepy in people who turn up at our front doors telling us how to live (full disclosure – I once did a ‘door to door’ thing when I was in my teens, with the church I was at – at the time I thought the discomfort I felt doing it was just my resisting God’s call. Now I understand I really should have listened to the voice that told me that a 17 year old turning up at your door trying to tell you ‘the Good News’ is just about the stupidest thing that can happen – it would have made much more sense to go round and ask for advice and listen to people’s stories, but anyway…)

Instead, so often the church is full of people who spend no time with people outside of their church circle, who are all implicity encouraged to dress the same (there are few things that annoy me more than the idea of Sunday best – not that I mind people wanting to dress up for church; each to their own – but the idea that you ‘should’ is pure bollocks), it’s a place where misogyny and homophobia are encouraged and entrenched, where nationalistic pride is fostered (I can’t even begin to imagine what kind of crap gets preached in so many US churches around Memorial day and Independence Day, in a ‘US = God’s chosen nation’ kind of way). Church should be a place that challenges our prejudices, our pride and our complacency in speaking out in favour of any oppressed group, whether that oppression is on gender, sexual orientation, race or class lines. Instead all those prejudices are confirmed

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Austin to Ohio

So from Dallas to Austin – first night in Austin we spent at a Motel6, seriously low-rent place, but we weren’t actually in it for long… Went down town, found a coffee shop, and then drove out to find dinner, to the Kerbey St. Cafe, for some fine veggie food.

The next day was the first of the Austin gigs, at a place called Cafe Caffeine – a cute lil’ coffee shop, but it was an afternoon show, and not a place where we had any draw, so just a handful of people there. Still, it’s always nice to play, and Brady Muckelroy who organised the shows for us in Austin, played a lovely set, and it was nice to get to hang out with him.

Then the adventure started… just before we played I got a call from Tay – she and the utterly lovely Vicki Genfan were in the Austin area too, and Vic was guesting with Patty Larkin that night at a local studio concert. So I call the venue to try and get tickets, but no-one answers. i leave a message, but we decide to head out there anyway.

The lovely Brady shows us the way, and we get to the gorgeous studio where the gig is being hosted, but it’s sold out. Tay and Vicki come out for a chat, and it becomes clear that a few people who’d reserved tickets might not show, so we stick around and get in just before the show starts! Hurrah! Patty is, as expected, amazing – I’ve got 5 or 6 of her albums, and this is the first time I’ve seen her live. She’s great. Vicki sits in on the last number ( a crazy prog-acoustic thing in all kinds of time signatures), and much love is shared.

We then head back to Austin to the Bananie love-palace – I hadn’t seen Bananie for about 3 years, so ’twas a delight all round. The lovely Schmelen proves to be just as lovely as expected, and the menagerie is full of gorgeous mutant dogs ‘n’ cats. It’s 12.30 but we’s all peckish, so a trip to Magnolia is in order – late night fun ‘n’ games in the Santa Cruz of the South.

Following day, we sleep late, then have breakfast together, before heading out into the sticks to see Vicki and Tay again for an hour or so, before driving to San Marcos for the second of the Austin-area gigs. It’s another coffee shop gig, in Brady’s home town, and he’s clearly got a cool thing going on there, as the coffee shop is full of his friends, fans and family. He plays another beautiful set, followed by Lisa and I. The driving of the last few days, late nights and not enough sleep is starting to catch up and I don’t play particularly well, but it’s a fun gig nonetheless, and there’s a particularly enjoyable duet between Brady and I. L is as fab as always.

The next morning, we’re up at 5, load the car and head out for the longest single day’s driving of my life – 850-something miles from Austin to Nashville. (as a comparison Land’s End to John O’ Groats is 830-something miles).

Back at Nashville and it’s all round the the utterly lovely Trevor and Jenna’s house, where there’s a party in full swing, featuring the equally lovely Marky over from NI (that’s Northern Ireland, not New Internationalist).

L and I are utterly baked after the journey but find some energy to chat to lots of delightful friends old, new and previously-cyber-only, before crashing out early.

Sunday am, off to Downtown Pres. – one of the few churches I’ve been to in the US that I’d consider going to more than once. Followed by lunch back at the Dark’s, with more socialising and fun with the lovelies of Nashville. Eventually we leave from T and J’s at about 4pm, heading out on yes another mammoth drive (515 miles this time) back to L’s brother’s place in Northern Ohio.

And here we are, helping L’s family to move house, hanging out, and trying to regain the energy that was zapped by the tour thus far… we have got two more gigs, one in St Louis Missouri and one in Wisner Nebraska – see the gig dates page for more info.

Thanks SO much to everyone who’s been out to the gigs so far – it’s been really lovely to meet so many great people. Particular thanks to everyone who helped organise the shows – Ralston, Steve in Toledo, Ric Hordinski, Jay and |Crystal, Kevin Ford, Darren and Cindy, Sarah ‘n’ Dave ‘n’ TOGH, Trip and Sarun, Brian, Brady… good peeps one and all.

Go to my Flickr page for some photos from the tour…

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