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10.9.10

Tour blog and cheap list for Lexington gig

The Monroe Transfer guitarist Pete Williams has written a diary of our brief tour with Her Name Is Calla and here it is (If you'd like to be on the £4 entry list for our show at The Lexington on Tuesday email me at: neil@organgrinderrecords.co.uk)

Tour diary:

“Now before I quit Calais,” a travel writer would say, “it would not be amiss to give some account of it.” Now I think it very much amiss that a man cannot go quietly through a town and let it alone when it does not meddle with him, but that he must be turning about and drawing his pen at every kennel he crosses over.

Manchester 30/08

“Let’s get physical, physical”, suggests Olivia Newton John, piping through some small speakers at a tasteful volume while I stand at the urinal.

I can’t imagine how anyone thought it would enhance the experience of being in service station toilets.

We had stopped for the umpteenth time. Each one offers a posh supermarket outlet, a Smiths, a child-baiting fast food place and an uppity overpriced cafeteria designated something like FOOD or BITE in a shouty modern font.

When I was little I used to find these places terribly exciting, mainly because my parents often used to insist on ‘beating the traffic’ by covering ungodly distances at ungodly hours.

I especially liked those that had bridges from one side of the motorway to the other. You could be above the traffic and not in it for a while and, if they only had Burger King on the one side you could still get a Burger King.

They had arcade games with toy machine guns, and smelt of chip salt and soap rather than car upholstery and boiled sweets. There was one near Hungerford that had a mural of a battle from the English civil war painted on the ceiling. If we stopped in a mere lay-by with a burger van, or pulled over so that my sister could be sick, I always felt cheated. Nowadays I would prefer it.

“Let me hear your body talk, body talk,” Olivia cooed, while I tinkled gaily into the porcelain.

I appreciate that it wasn’t entirely her choice, and that I am often accused of having a problem with intimacy, but I still think it was all a little over familiar.

The van had a careworn, shabby retro charm and a laissez-faire approach to motion. Neil seemed very at home in it.

Looking through tinted glass is like turning the brightness down and the contrast up.

Once we got past Birmingham the light got a little kinder, and the view a little prettier. The afternoon sun played kindly on Neil and Jack, and on Nick and Rhiannon playing mum and dad in the front. I thought they all might pass for being in an aspirational cider advert where boho metropolitan types go smug in the country.

In Manchester we spent an interminable period circling the venue, like a really shit vulture. The van and the narrow streets took a severe toll on all the wrong turns we took. About 3 people simultaneously used GPS on their phones to determine that we were a bit lost.

I can’t stand conflict, even if it is only with an inadequate set of directions printed off from the internet, so went to Neil’s bottle of brandy for solace.

The promoter was smiley and nice despite the sparse attendance, and Manchester itself seemed remarkably quiet in any case. We played well I think, Jack especially, and sold a lot of CDs relative to the numbers attending.

The beer was more expensive than the Macbeth in Hoxton. We were billed as The Monroe Trigger.

Afterwards at the Travelodge I kept everyone amused with my ceaselessly diverting and varied Carlsberg and brandy-based repartee, before everyone retired to sleep lest I entertain them too much.

Neil and I decided it would be best to get a drink. We sat in the Travelodge bar while “Robert Webb’s Shit Bloopers” played on the tv.

We ordered the devil’s own pizza from a long-suffering night attendant, and it then took us 20 minutes to find our way back to the room. Jack was still awake, and we spent a while debating the merits of Neil burning the room down. The ‘nos’ to the left had it in the end, but it seemed to take an awfully long time to get there. I woke up on the sofa, modelling one of the more appealing confections in my underwear stable.

Cardiff 31/08

Things were promising when we arrived. It’s a nice little venue, and beside a couple of local philosophers nursing super strength lager there was an ultra friendly chap working as location manager for a BBC shoot taking place that evening. He sorted us out with somewhere to park. We gave him a CD. He thought it was a little slow, but still seemed pleased.

I had a very brief walk around before soundcheck. The pigeons had delivered a scatological critique on the legacy of Aneurin Bevan, although I thought that, for a socialist and founder of the NHS, having one’s statue plonked in such a crapulous vista of chainstores and happy hour bars might be more galling.

I think I was a little tired from the night before, as I developed a vague foreboding that some barrel-chested patriot might leap on me if I did anything too ostentatiously English or Londonish.

Things took a further spiral when the promoter arrived at Clwb Ifor Bach in a little collapsible car with square wheels.

We asked if we could play a little later than 7.15, seeing as the door time advertised on the poster was 7.30, and that our name was spelt wrong. Again. (“The Monroe Transfer Bill”)

‘I can’t believe I’ve booked four bands when there’s a curfew,’ he reiterated over and over, shuffling from oversized shoe to oversized shoe, looking to the middle distance for consolation.

His demeanour implied that it would probably have been better if we hadn’t driven 200 miles in the heat and through shitloads of traffic to be there.

The soundman suggested we start at 8 and cut the support slots down to 20 minutes

‘We’ll have to start at 8 and cut the support slots down to 20 minutes,’ the promoter concluded gravely, squirting water out of the plastic flower in his lapel.

That meant we had to squeeze in a 25 minute piece so, naturally, we played most of it slower than usual. I was feeling nauseous and shaky, and struggling with a coquettish little impulse to stop playing altogether and return to the al-fresco section of the Wetherspoons over the road. I think the brandy was playing its final hand upon my body.

I was feeling better by the time we got to the ending, which we seemed to use to vent our collective frustration. When I looked over great chunks of dust were streaming out of Nick’s bow and swirling around him in the spotlight. It was like he was playing in a high-res photograph.

Behind him, Neil and Nicole were pulling their impossible trick of playing with total commitment and too-cool-for-school detachment at the same time – a skill that I imagine must be the chief benefit of a classical training. We got a lovely hand.

HNIC were also bowel-compromisingly loud, to the bafflement on some early runners for the indie disco that followed.

Some of us stayed for this. Apparently I was one of them. No doubt I was tremendous company. I do remember getting stuck in the bathroom at the hotel, unable to either locate the light switch or the doorhandle.

Leicester 01/09

I woke up beside a half drunk, half spilt bottle of coke, a chicken salad that I had sourced from a local vending machine and Neil. Luckily, I was still drunk so the headaches and self-loathing would have to wait for an hour or two.

In fact, after noting and sampling the affront to taste and decency that constituted many of my colleagues’ service station breakfasts, I felt that my salad and the decision-making skills that lay behind it had came out rather well.

Neil had acquired a glossy, almost pellucid slab of versatile looking matter that was doing a comic turn as a Cumberland sausage. It was somewhat without taste and completely without texture.

We got to Leicester early enough to have a look round. Neil bought a smashing shirt and Nicole and Rhiannon some lovely dresses. There was a pleasant quarter of independent shops. It included an enormous and rather old-fashioned party store that said it wouldn’t admit ‘people in hoods and groups’, so I couldn’t in all conscience go in.

There was also a market that sells actual produce rather than various specimens of overpriced artisan cutseyness.

The venue (Firebug) was great. They gave us food for free that wasn’t in any way pellucid.

Despite what seemed an underwhelming reaction when we finished, there was a flurry of sales and some very giddy compliments. There were even rumours of a woman crying, but in a good way. This is a sentence that I don’t get to use nearly enough.

We had to leave straightaway. I got home at 2.45am, covered in sweat and knackered from lugging my stuff up Telegraph Hill. My biorhythms felt thoroughly compromised, even a little violated.

London 02/09

This doesn’t count as “tour” I don’t think, as some of us came from work and, for my part, I spent the day tidying up my poor little flat and buying lots of healthy, non-vending machine sourced food. It was our own show, under the GFK banner, at the Luminaire, which is like lots of other places in London except infinitely better.

Nicolette Corcoran did some witty, elegant, clever things with loops and lullabies and Yeats that brightened me up no end. Amid a healthy turnout, there was a substantial gaggle of parents in tow. I think we played ok.

Towards the end, my mother gave me some green beans and tomatoes from the garden in a little bag,

This somewhat punctured the air of stubbly, bacchanalian recklessness that I had been cultivating for the past few days. But, really, it was ok. I had a bit of a sore throat and wanted to go home.

26.8.10

Feedme Money

In the search of finding a decent gig I came across this leech of a promoter, I should have known better really:



On Mon, Aug 9, 2010 at 10:39 AM, Feedme Music wrote:

Hi Neil,

Thanks for contacting me. I’ve had a listen to the tracks up on Soundcloud and would be interested in featuring you on the appropriate events. Dates in mind are Wednesday 25th August @ Punk, Friday 27th August @ 100 Club, Sat 4th September @ Purple Turtle Camden, Friday 10th September @ 100 Club.

If you would like to be considered for bookings, Please register your band at http://www.feedmemusic.co.uk/Artist_SignUp_General.aspx where you can upload an image, mp3, press release, quotes, and links to your social networks (myspace, facebook, twitter, etc.). When writing your press release please consider writing in a journalistic style including style, influences, accolades. Please avoid dull rendition of the band’s history and usual clichés (London’s best kept secret, truly unique…etc). There is a field to include/add press quotes. Please ensure you white list Feedme_team@feedmemusic.co.uk as you will receive a registration activation email. If you do not receive it in about 10 minutes, please check your JUNK folder. The band page becomes active once you have confirmed an event with us.

Feedme Music’s artist roster consists of quality bands who are ready for or already attracting industry and press attention. We choose bands who are moving forward professionally and who are ready to step up to playing quality venues. Stylistically we work with a broad range of bands, from acoustic to punk, metal to indie... music that is of a high standard. Each event is tailored to one particular style, and promoted through relevant outlets. Our aim is to broaden your fan base by teaming you up with bands of the same level and higher, who have fans that would most likely enjoy your sound, giving you maximum opportunity to pick up new fans. We also guide newer bands who we feel have potential, and steer them in the right direction.

Feedme Music’s longevity as a leading promoter has allowed us to be become selective with the bands we choose to work with. Our PR network extends from radio and press, to online networking and festival and tour opportunities, as well as offering management consultation and marketing advice. We also provide a range of other beneficial services, making us a ‘one-stop’ organisation for emerging bands. For good bands that are dedicated, professional and motivated, Feedme Music build working relationships, we do not just book you once and forget you exist. Focusing on these details of service is why Feedme Music won the award for Best Promoter at the 2008 Indy Music Awards.

Our booking terms vary based on the level of each band and include either paying bands through a set fee, or a ticket split, or committing to an advance ticket quota. Terms for your specific booking need to be discussed with the Event Manager dealing with your booking. Every band is given focused attention. Feedme Music are selective with bands we choose to work with, and as a result all of our events run at a very high standard. We are not interested in doing a lot of hard work for bands who simply do not help themselves, and our booking terms are indicative of this ethos. Gigs with low attendance are of no benefit to anyone involved in the process. We do our part wholeheartedly, and artists who wish to progress with us must have the same attitude. Feedme Music’s employees have a strong reputation based on word-of-mouth from band to band, so upholding high standards is of upmost importance to us.

I look forward to hearing from you soon.

Kind regards

Sent: 10 August 2010 10:41
To: Feedme
Subject: Re: Contact Form Details


Hi, thanks for getting back to me. Glad you like the music!

I'll check with the band to see if they're available for any of those dates.

Just to clarify, do we have to register the band on your site to play a gig? and once we've registered and confirmed a gig with you guys, what are your terms for playing said gig?

Thanks
Neil

On Tue, Aug 10, 2010 at 11:58 AM, Feedme
wrote:

Hi Neil,

Registration creates a profile page for the band used as a press landing page. Have you checked our site our yet? I you have a look you will see exactly how we use band information - www.feedmemusic.co.uk. The other private information i.e. name and contact numbers requested during registration are kept private and used to communicate with you via phone/email.

We are working at high profile London concert venues ranging from 200-1,500 capacity (i.e. Punk, 100 Club, IndigO2 at The O2 & more), with an emphasis on paying bands well on a ticket split basis. You would need to be able to generate a good sized crowd to make the right atmosphere for you to gain new fans. It is increasingly difficult for a promoter to be able to pack a venue in London for an unknown band. It has to be a team effort with the artist playing a fully responsible and strategic role in their own promotion to ensure a busy night – one which will gain them new fans. I would welcome a chat about moving forward if are confident that through your network of fans, friends, contacts, etc., that you will easily be able to attract 40+ fans. I’ve attached a PDF about us and our venues and some useful tips in building your fan base, but please don’t hesitate to call if you would like a chat.

Kind regards

To: Feedmemusic
Subject: Re: Contact Form Details


Could you give me some more details about your advance ticket system?

Thanks

On Tue, Aug 10, 2010 at 1:28 PM, Feedme wrote:


Hi Neil,

Here’s a sample gig offer covering ticket price and general terms for each venue. This is not a performance contract. Once an offer is agreed a performance contract is issued by our booking system. This sample covers our general offer terms at each venue.

SAMPLE OFFER
Please note that the Minimum Ticket Sale Requirement is NOT the target amount, but a realistically low figure which is still achieved should things go wrong (i.e. the usual amount of last minute drop outs, and ‘sorry I can’t make it’ texts. We will of course do everything we practically can to promote you and the event and our best to maximise the effect and experience of your performance with us.

Please ensure all band members are aware of all of these terms before moving forward.

OFFER FOR: BAND NAME
Date: xxxxx
Venue: xxxxx
Stage Time: x:xx-x:xxpm (45mins for headliner and 30mins all others)
Sound check: xpm
Line Up: xxxxx
Ticket Price: £6 advance/£8 door. For PUNK, 229 venue 2, Proud Camden
£7 advance/£8 door. For Purple Turtle
£8 advance /£10 door. For 100 Club, 229 venue 1
£10 advance /£15 door. For IndigO2 at The O2
Other:
IndigO2 14+. All other venues are strictly 18+ ONLY. Live music until 11pm. DJ’s ‘til late (EXCEPT 100 CLUB).
Minimum Ticket Sale Requirement: 30 PUNK, 229 v2 (Thursdays only), Proud Camden
40 229 v2 Fridays, 100 Club, Purple Turtle
60 229 v1
70 IndigO2 at The O2

You are required to commit to sell/cause the sale of a minimum number of tickets (‘Minimum Ticket Sale Requirement’)
There is NO money upfront for your tickets, once you agree a performance contract we will send you tickets to sell. Tickets are also made available online through ticketweb.co.uk. You hold onto the money for tickets you have sold until after your performance on the night, then return it so you are paid your split for advance tickets, online ticket sales and door sales.

Your Payment: Once you have reached The Minimum Ticket Sale Requirement you will be paid: 1-30 ticket sales = £1 return to you, 31-50 = £2, 51+ = £3. For example, if you make 40 tickets sales/door sales you receive £50, 50 = £70, 70 = £130, 100 = £220, 200 = £520.

Payment for IndigO2 and 229 Venue 1 are £1 for each of the first 50 tickets sold, £2 for each of the next 25 tickets sold, £3 for each of the next 25 tickets sold, and £4 for all other tickets sold.

You are required to pay the shortfall should you fall short of the allocated minimum ticket sales. THIS IS SOMETHING WE DO NOT WANT. This term is set in place to avoid working with free loading bands that promise 100 ticket sales and turn up with five mates. We cannot run such high standards of shows without this policy. This policy means that if you fall short YOU make it pay-to-play. Do not book with us unless you are 100% certain that getting this amount of people to a gig is easy for your band. If you are unsure, do not book with us, wait 6 months and get back to us when you are ready. We want to pay you, we want to increase your fan base and work with you again. This is the only way to ensure high standards are kept and deter unmotivated bands who treat gigs as free rehearsals. It also means your band will be on a bill with serious artists who have a fan base, it stops freeloaders spoiling the integrity of YOUR night.

You are expected to put 100% effort into ensuring maximum attendance at this event. If you would like some help and suggestions on ways to increase your fan base, please ask us. It is advised you do not book any other London dates too close to this event.

 


From: neil.a.walsh@gmail.com
Sent: 10 August 2010 15:35


Hi, I'm still a little confused by this. Are you expecting bands to be ticket vendors?

Also, I'm a little concerned by the following statement:

"This policy means that if you fall short YOU make it pay-to-play"

...which pretty much translates as: 'This policy means I won't lose money but you probably will'

So, if I've read this correctly; you're expecting bands to be a ticket vendor, a promoter and presumably be able to perform ably live without crumbling under the immense pressure and financial risk of playing your event?

It seems very unfair that the bands are shouldering all the burden whilst FeedMeMusic take no risk at all.

Are you deliberately trying to put people off playing your night?

On Tue, Aug 10, 2010 at 4:33 PM, Feedme wrote:

 
Neil,

I am answering this email out a sense of courtesy. However on in my time as a promoter I have met so many bands that take this attitude that it frankly gets tiring. Of course bands MUST play an integral role in their own marketing at this stage. If they do not then they will not be very successful.

You have NO IDEA how much money we spend putting bands on. Have you any idea how much it takes to put bands on professionally at venues like 100 Club, IndigO2 at The O2 etc.

Advance tickets are provided (without any upfront fee) as an additional marketing tool to capitalize on opportunities at other events etc. Online tickets are provided through ticket agencies. Bands receive a generous ticket split based upon advanced and on the door sales. All artists are contracted months in advance, and promoted heavily by Feedme Music staff.

Our artists are given outstanding and well-promoted platforms to perform (indigO2 at The O2, The 100 Club, Proud Camden, 229, Relentless Garage, Scala, Purple Turtle, and Punk) aimed at building on their fan bases and gaining industry attention. We have created festival opportunities (three of our artists played at Download 2010) for artists to play alongside well-known public eye acts. In addition, we are working with key contacts in major publications and have achieved full page features for artists working with us in KERRANG! and plenty of airplay on internet, regional and national radio. We are agents for one band and have achieved live sessions on Ian Camfield’s show on XFM and a great deal of profile press.

Feedme Music provide a service above and beyond that of any other promoter working at this level, and therefore we do not wish to waste our efforts or networks on bands who do not contribute to their own success. We take a great deal of pride in our work, and are proud of the results we have achieved with artists. We are an award winning promotional team – a massive vote from the bands and artists we work with. Our terms are well considered and have been put in place to deter bands who either are not ready for the level of show we put together, or those (OF WHICH THERE ARE PLENTY) who feel it is their divine right to just turn up an play to an audience provided by coordinated hard work by other artists and the promoter.

It is essential for all bands and artists wishing to elevate themselves in the music industry to understand that they are an integral part of the promotional team at this level. In addition, it is worth noting that to provide these services, we need to bring trade to venues and earn sufficient funds to survive as a company and invest in the future of emerging talent.

This is a company formed by musicians and run by musicians. Virtually all those who work for Feedme Music we have met through playing at our shows. Those same musicians book artists, host events, and fulfill a supportive and creative role for unsigned bands and artists.

Give me a call if you want to clarify anything.

Kind regards


On Wed, Aug 11, 2010 at 3:49 PM, Neil Walsh wrote:

 
Hi

I completely agree that bands should advertise their gigs via the social networks and their mailing lists but they shouldn't be held accountable if the turnout is bad. The promoter books the bands so ultimately it's the promoters responsibility and risk, not the bands. Constantly badgering friends and family to buy tickets off you, like you suggest, isn't going to help the band progress professionally at all. All it's going to do is line the pockets of the promoter and make you less popular than a fox at the chicken Olympics
with the people you're harrassing to buy tickets. In sharp contrast to your ethos; friends and family, not too many of course, should be on the guest list out of courtesy not hounded down to buy overpriced tickets.

Your assumption that I have "NO IDEA" how much it costs "putting bands on" is wrong my friend. I am a promoter myself and have put on shows at The Purple Turtle and various other venues in the past so I am well aware of the costs involved. However, I have never demanded a band bring a certain number of people or be liable for damages, because I, as the promoter, am the one who has booked these bands so ultimately the pressure of pushing the night is on my shoulders. Of course I actively encourage bands to help advertise the gig but it's not the integral part of my promotional strategy like it seems to be with you. 




I didn't hear anything after that reponse and assumed that was the last I'd be hearing from them, until I received this:




On Thu, Aug 26, 2010 at 11:01 AM, feedmemusic wrote:


Hi Neil,

I’m just following up on my previous email as I have had no response.  Are you still interested in pursuing an event with us?

Kind regards

On 26 Aug 2010, at 13:10, Neil Walsh <neil@organgrinderrecords.co.uk> wrote:

Hi, can we agree on a £100 guarantee for the band?

Regards
Neil 

On Thu, Aug 26, 2010 at 2:21 PM, Feedme wrote:

Sorry Neil. I had marked you for follow up from a prior email. Considering our previous dialogues I don't think we will benefit each other.

Best wishes
On Thu, Aug 26, 2010 at 3:53 PM, Neil Walsh wrote:

I'd probably be better off just writing you a cheque for £100 than actually playing your gig.

Regards
Neil 





23.8.10

Smoke Fairies' new album sampler

A select few tracks from the new album 'Through Low Light and Trees' can be streamed on Soundcloud, here:
 


There's a rather splendid review of the album on Holy Moly here that proclaims it to be "what Robert Plant would make if he were young and beautiful again". They also go on to say it's one of the year's best albums too, which is nice.

31.7.10

Tamesis Dock

I sauntered along the Thames Path on Wednesday and headed to the Tamesis Dock as Fireworks Night were playing there. I'd never been before so wasn't quite sure where it was or what it looked like but as I approached it I began to wonder if it had ever functioned as a proper boat because it didn't look like the most seaworthy of vessels, ie it looked like it was about to sink, but it all added to its charms. When I set foot on the boat the floor was almost at a 45 degree angle, it felt like I was already three pints down, which is a smashing state to be in!

It was a decent crowd and Left With Pictures were on splendid form and a joy to watch which all added up to a super fun gig. The lovely promoter Mr Chalmers also co-runs a delightfully ramshackle Podcast simply entitled independent Music Podcast, which needs no explanation as to what type of podcast it is. Check it out here

On Fireworks Night album news: I'll be sticking up a new track from the album every week 'til the end so head here for that.



12.7.10

Through Low Light and Trees

Smoke Fairies' debut album, which was recorded in this lovely place, is to be released on 6th September; which isn't far away at all!

...and the NME says:


The Monroe Transfer tour with Her Name Is Calla

The Monroe Transfer will be joining Her Name Is Calla for a nice chunk of their tour of the UK in late August / early September. I'm pleasantly surprised we've managed to organise this albeit short support tour considering it's pretty impossible getting seven busy musicians in the same place just for rehearsal let alone a tour. I'm looking forward to it.

The dates we're playing with them are as follows:

The keen eyed will notice that the London show is being promoted by me, which will be the first Goodbye, Faithful Kingom! presents in a long while - quite exciting it is too! 


16.6.10

Royal Festival Hall

So, I played the Royal Festival Hall yesterday with Smoke Fairies – it’s a rather large venue isn’t it, supposedly seating 2,500 or 3,000 depending which source you believe.


It reminded me of that magnificent chrome wave of a building that is The Sage in Gateshead, interior aesthetics that is, not exterior. Our dressing room was similar to when we were at the Sage too, in that it contained some tasty snacks and a bottle of whiskey, next to the antelope disposal unit. That whiskey served its social lubricant side effect rather well last night by dispelling all that awful self awareness. I mean, I can’t have any more of these situations where you walk on stage, pick up your viola and forget how to play the damn thing, with incessant thoughts popping into your head like:

‘how do I really know I can play this instrument?’
‘I mean, I’m holding a stick of wood with horse hairs on it’
‘and I’m expected to draw that across bits of wire made of cat gut’
‘and assume it’s going to make a nice sound’
‘seems pretty tricky, maybe it can't be done’
'I'm pretty exposed here on stage, are my flies undone?' 
‘what if my fingers don’t move’
‘what if they just seize up’
‘oh god, what if I’ve got gout in my fingers’
‘can you even get gout in one’s fingers’
‘what if I drop it?’

....and before long you’re a trembling wreck of a man playing like a ten year old on their first lesson, then you get:

‘come on, don’t be stupid, you can play this’
‘there’s no need to play any different to usual’
‘move your arms properly’
‘you’ve played this umpteen times before’
‘come on, it’s easy’
'did I leave the gas on?'
‘move your arms’
‘shit, it isn’t working’
‘my arm feels like it’s made of rock’
‘it’s just not moving’
‘why isn’t it working properly ?’
‘what the hell is going on’

...then the show ends and you feel like a rotten plum. Thankfully, that doesn’t happen very often thanks to that wonderful invention alcohol.


Talking of ailments, I was sitting patiently waiting for my turn to soundcheck, my legs were crossed in an awkward way, like I’d tied and knotted them together. I sat there through relentless snare hits and "two", "two", "two", "one", "one", "two", waiting patiently, then, when it was time to stand up and play I discovered my foot had fallen asleep and I spent a good few minutes stumbling around like an old drunk. The thing is, my foot still hasn’t restored itself to the usual operational standards I expect from my foot, there’s still numbness there and I’m worried that I’ve caused some serious damaged. I’m afraid to Google the problem because I know what’ll happen, Google will say: “they’re definitely going to have to amputate” .

And here is a photo of a horse:
 

10.6.10

Fireworks Night news






Fireworks Night's new album 'One Winter, One Spring' is being mastered as I type and we'll shortly be unveiling a few tracks on the usual streaming sites.

For the time being you can listen and download a live recording from a recent show we did at a lovely little pub called The Gladstone. Click here for that.