1,202 STEADY HABITS, Black Sheep Apprentice, Swindon The Tuppenny, Thursday 2nd December 2021

 

From strident gloomy post-punk Goth to mellow, understated alt-Country and Americana in the space of 4 days; who’s to say I don’t have diverse musical tastes then? This one was actually quite the late call; local promoter and gig impresario extraordinaire, Mr. Ed Dyer, posted on the Tuppenny Facebook feed positively slavering about tonight’s Thursday Night Music Club hosts, Oxford’s Steady Habits, so I clicked on the link and found some nice pedal steel and enticing harmonies, just about enough to entice me away from my sofa and “Professional Masterchef”, at least…!

 So, a quick drive up the hill and into the Tuppenny at 8, whence landlady Linda advised me things were running a little late, so I took a good viewing pew and watched the 5-piece Steady Habits soundcheck, chatting with support band main man Rich “Skiddy” Skidmore before his lot Black Sheep Apprentice followed suit. As their check finished just after 8.30, they just went straight into their set, with an ominous “High Noon” ringing bell heralding the barren neo-psych Tex-Mex flavoured strumalong of opener “Let It Go”, which could’ve easily walked off Side 1 of Love’s seminal “Forever Changes”. Skiddy, as ever resembling the Western B movie villain from Central Casting, all black-clad, wearing a Stetson hat and sinister beard, promised to keep chat to a minimum (“I don’t want to sound like Kermit the Frog!”), instead concentrating on firing off the likes of “Re-Awakened To Danger” (a perfect soundtrack for that moment in a Coen Brothers movie where the protagonist meets his untimely end, most likely over a woman) and “Solitary Man (a Neil Diamond cover, sounding entirely in place in this set) from his metaphorical low-slung holster. “Born To Walk Alone” (“despite my usual happy chirpiness this is quite a miserable song,” quipped Skiddy), was a parched paean to lost love, thematically typical of the BSA “lone rider” oeuvre, and whilst newie “A Reason To Smile” was a slightly upbeat yet disjointed (3 verses or 4?) work-in-progress, the cantering “Phoenix” was my highlight of another fine BSA set of set of dusty and desolate truckstop Americana. And Skiddy thinks they’re not “Americana”…? Hmmm…!

 I was joined by young Mr. Paul Carter at my table before Steady Habits took the stage, led on by their cherubic main man, vocalist Sean Duggan. “Good evening, we’re Steady Habits, all the way from Oxford… as you can tell I’m a born Oxonian,” deadpanned Connecticut native Duggan in his authentic US drawl, with an early “Half” setting the tone for their set, a beguiling pedal steel-powered West Coast US Summery driving number featuring excellent undulating guitar work from former Greasy Slicks axeman Jack Kendrew. “Hold In Your Breath” was a slower-paced and understated number with a tumbling harmonic chorus, before Duggan delivered a solo “Archer Street”, an evocative tribute to small town America, in his clear, yearning and plaintive voice.

 “Garden State” (“another road song!”) referenced Main Street and Chesapeake and featured an almost 70’s folky, Fleetwood Mac choral feel, whilst “Stay” was a chunkier effort, with duelling guitar and pedal steel riffery. All the while, Duggan was a charming, self-effacing yet charismatic frontman, inviting us all to the Jericho Tavern for their hometown gig next week (Ed replying, “we’re not allowed into Oxford – we’re all from Swindon!”) and constantly praising the audience for their attention. Set closer “Borrowed Time” was my favourite of the set; the most upbeat number on show tonight, a Gin Blossoms-esque slab of sturdy backbeat Countrified rock with a smooth choral melody, ending an understated yet intelligently crafted and meticulously delivered alt-Country set on a high note.

 That wasn’t it though, as Ed persuaded the band on for an encore, Duggan revisiting his former fraternal duo Loud Mountain’s catalogue for a more strident finale, then I swiped the sole list, caught up with a late-arriving Si Hall (playing here early next year – I’ll be back for that one!) and had a chat with a personably young Mr. Duggan about Boston and baseball (2 of my favourite subjects!). Home for 11 after another fine evening up the Tupp!

1,187 “MY DAD’S BIGGER THAN YOUR DAD” FESTIVAL, Swindon Town Gardens, Saturday 28th August 2021

 

In June, the Swindon Music Community lost a towering figure, both figuratively and literally, in Dave Young, former owner of the Victoria and 12 Bar gig venues, promoter and impresario extraordinaire, and latterly our “live” favourite Gaz Brookfield’s tour soundman. As a relative newbie to the music scene that for years had been sprouting fertile tendrils right under my unknowing nose, I never really knew Dave apart from on brief nodding terms, but I can still acknowledge the massive impact he’d made to Swindon’s entertainment scene, and to the lives of many of the good folk therein. Following his passing, a number of said folk, led by Ed Dyer of the “Swindon Shuffle” team, came up with the idea of this event, apparently a continuation of events Dave himself used to run (hence the name), as a perfect way not only to celebrate the life of such an important figure in Swindon music lore, but also raise some much-needed cash for the Prospect Hospice, who supported Dave during his final days. That in itself would have been enough to ensure my attendance, but when Gaz decided to break his current gig hiatus to play a full band set in honour of his friend, Logan was up for it too!

 So Logan and I headed up the hill on a sunny Saturday lunchtime, parking up just around the corner from the Town Gardens thanks to a resident’s parking pass from local boy Rich! Wandered through a smattering of stalls to get our wristbands for entry into the grassy Bowl leading up to the arched mainstage, bumping into Rich and Ady and catching up with the Americana stylings of openers BLACK SHEEP APPRENTICE, Richard Skidmore’s vehicle to document his paeans of lost love and despair, as backdrop. Just the kind of stuff for a sunny day, then! I jest, of course, as “Skiddy” and crew were on top form, with “Born To Walk Alone” and eponymous set closer “Black Sheep Apprentice” my highlights of a fine set of his combination of Spanish guitar-inflected psych folk pop and Ennio Morricone-meets-Arthur-Lee baroque dusty Americana, a set concluded by Skiddy raising a glass to his old friend Dave. Fine start!

 Rich headed off to the footy and Logan and I took a wander around the stalls while JIM BLAIR was plying his proto bluesy riffery onstage. A gentleman and a very talented musician, Jim, but honestly (and my loss, I know…) his stuff’s not to my tastes; the same could be said for the subsequent ERIN BARDWELL TRIO, an unusual 3-piece set-up from former Skanxter Erin, who played predominantly piano-led ska material, a couple of early numbers which I recognised as 2-Tone covers. Again, Erin is a lovely bloke, but I’ve never liked ska, so Logan and I caught up with old friends Rich and Helen, before heading out of the Bowl to the Bandstand, operating as the second “acoustic” stage and being overseen by “Sheer Music” impresario Kieran Moore. THE LOST TRADES, a loose collective of 3 local folky musicians including Tamsin Quin (whom I’d seen deliver charming pastoral acoustic sets in the past) and Phil Cooper (who supported Fij and Bickers in Oxford a couple of years back with a quirkily impressive, almost US college pop solo set) kicked off their set with a very Fleetwood Mac-like “One Voice”, an ironically named number as it was immediately evident that it was the combination of their 3 voices, intertwining and producing some lovely harmonies, that would be the feature of their delicate yet intriguing and absorbing folksy set. A jaunty “Ballad Of The Groom Of The Stools” (a true lost trade, apparently, being about the servant who used to wipe the king’s arse!) made Logan chuckle, but it was closer “Wait For My Boat To Come Home”, with its intricate harmonies, that was my favourite of a set from a band I’ll definitely see again – and soon!

 

Another wander around the Bowl, then, bumping into folks and catching up with the likes of Paul Carter, Si and Matt Hall, Steve and his charming wife Caz, a returning Mark Carter back from Aus, then, back out by the bandstand, an arriving Tim and Danny, then Gaz Brookfield! Gaz had rocked up there, as had we, to catch the 5 p.m. set from his touring buddy B-SYDES. “I’m glad to be actually playing to people’s faces!” announced Ben after kicking off his set with a robust and rambunctious solo version of the excellent “Crutches”, a real banger with the full band but still pretty damn fine in this format. The more plaintive and poignant storytelling of “This Was My City Once” followed, and a none-more-appropriate “Good Times” elicited a nip of whisky from Gaz’ hip flask! A great set from Ben, despite his worries that, “I’ve forgotten how to tune and chat in these last 18 months!” which culminated in an angular and discordant “Still In Saigon” and featured an impressive last note hold from Ben. Good work, mate, you certainly earned your subsequent planned “advanced state of refreshment”!

 

A little chat with the man before the subsequent SHUDDERS set, which initially seemed very understated and almost hushed in comparison with Ben’s performance, but then settled into a combination of relaxing and hazy 70’s West Coast Laurel Canyon vibes (the likes of opener “Thought I Saw You” and “Sorry”), and more upbeat earlier “Pirate Folk” stuff (“Words Of A Fool” and the later jig of “Lost And Broke”). By now, Stu had arrived so the Shudders formed an atmospheric backdrop to our catch-up.

 We then headed back into the by-now much busier Bowl (an earlier chat with organiser Ed Dyer revealed over 700 advance tickets were sold – well done Swindon, that’s pretty impressive!) where Dave’s old band THE CHAOS BROTHERS were delivering overt, punchy and hobnail-stompy covers of the likes of “Ever Fallen In Love” and “The Jean Genie” to universal acclaim from an increasing dancefloor (dance-field?). But we were here for our undoubted highlight of the day…

 

After GAZ BROOKFIELD AND THE COMPANY OF THIEVES’ totally understandable withdrawal from our recent Wickham Festival, we’d assumed that this was going to be another blank Brookfield year… so Logan and I were both well up for this set, so much so that I had to persuade Logan not to grab a bit of barrier until the band actually came onstage! However, when Gaz led the band on and implored us to, “gather round!” we didn’t need any further persuasion! Opener “The March Of Progress” demonstrated not only that Gaz and co., despite the forced “live” hiatus and possible lack of face to face rehearsal, really hadn’t missed a beat, but also, judging by Gaz’ impassioned roar of the “What is going… ON!!!!” hook, he was “on it” too, determined to play a blinder for the old friend Dave. “The Tale Of Gunner Haines” got Logan singing along down the front, bringing back memories of that RSD duet (!), and a galloping “World Spins Round” was ragged and racey, Gaz and co whipping through the set at quite a lick, although Gaz admitted, “the lockdown pounds have made this a lot harder work – good cardio though!” Tonight’s stage-time organiser, the esteemed Mr. Dave Franklin, got a shout out as a “piratey type” before an excellent “Land Pirate’s Life”; the inevitable “Be The Bigger Man” featured a toned down lyric of, “I grabbed the scoundrel by the throat,” in deference to the younger audience members (!); and all too soon, final number “Let The East Winds Blow” saw Gaz lead the clapping and singalong echo line, to conclude a superb festival set full of utter bangers. Great to have you back, Gaz!

 Dusk fell on the Bowl as Logan decided he was hungry, so I actually saw the early part of the follow-up set from another of Dave Young’s old bands, BOYS FROM THE COUNTY HELL, from the food queue! They were however completely as advertised, happily; a fiddly-diddly raggle taggle bunch of old Pogues fans playing their heroes’ brand of punked-up Irish folk, with a selection from MacGowan’s mob’s material covered for good measure (including, gladly, their eponymous “Boys From The County Hell” which saw me shouting, “lend me ten pounds and I’ll buy you a drink!” at my son whilst ordering his hot dog!). A lot of Spider Stacey-inspired tin whistle instrumental reels were also a feature, but the sing-and-swayalong covers of “Dirty Old Town” and closer “Jesse James” saw me and the Hall brothers sing along raucously. Good time stuff!

 

A brief break before headliners KOVA ME BADD came onstage, led by what appeared to be the Honey Monster in an old style stripe bathing suit! Their relentless cheesy covers were however a bit much for me, and when Logan asked to call it a (long) day I was fine with that. So that drew our participation in My Dad’s Bigger Than Your Dad Festival to a close; a complete success in my experience, with lots of good times, good friends and great sounds, all brought together to celebrate love, life and music. Just as Dave Young, no doubt looking down on us with a wide bandit grin, would want. Ed and co., this was simply a splendid day, you’ve all done Dave proud. Well done and thanks!

1,048 THE 2017 SWINDON SHUFFLE, Various Swindon Venues, Friday 14th to Sunday 16th July 2017

And now… it’s Shuffle Time! Time for the annual weekend-long multi-venue festival showcasing the finest in Swindon’s original music scene, initiated 11 years ago over a few drinks by my old friend Rich Craven, who, as with the inception of so many great ideas, simply asked, “what if …?” Only the third time I’ve supped from the heady nectar of the Shuffle’s cornucopia of delights, I’m afraid to say, given that my long-term broad ignorance of the local scene (well, all but any band my friend Tim Owen was playing in, at least…!) was still only relatively recently cured. However, given my thorough enjoyment of this event last year both from a musical and social standpoint, I was again determined to continue to make up for lost time, and Shuffle along as much as I could!

Thursday night’s previously booked Mercury Rev gig precluded my attendance at Shuffle Day 1, so I thereby missed Misfires at The Castle, whom I’d enjoyed at Level 3 recently. Reports indicated it was both a packed-out success, and a bit of a youth club kids’ rock night out! Friday evening at the same venue promised the same albeit for the older punters, a slew of heavier acts giving the schedule the look of a real Grunting Rock Pig stage! An early start too, as I parked up and hit the venue on a sunny Friday evening, shorts and double kneestrap in situ, well before 7! MY SOCIAL DECLINE were soundchecking for their early set, and after my mate (and MSD guitarist) Rich Carter paused for a quick chat, they were straight on in front of the early doors punters at 7.20. They were determined to play it hard and heavy from the outset, all scowling, sneering vocals from Rich Bellis, following their usual scuzzy instrumental opener, and driving, Stooges riffery from Messrs Bellis and Carter. “Rhubarb” featured a big dumb Ramones-ish riff and profanities liberally scattered around like machine-gun victims, “With Nirvana” had a more 90’s indie feel and a fun “Girl From Mars” reference (Rich Carter’s favourite song, apparently!), and “Maverick” probably featured the best hook of the set, some militaristic drum peels from young Liam Dearing, and a Drones/ Models proto-punk feel. I also actually enjoyed final number, the grungy, quiet-loud “You Mean Nothing To Me”, this time out, as this quickfire set provided a fine, slightly discordant but enjoyable Shuffle start!

Chats with Rich afterwards – he couldn’t hear himself onstage so just concentrated on making noise! – and Paul and Ellen Carter (no relation to each other – any of them!), then Bristol’s DOWNARD were next up. A boy/ girl, drum/ bass duo in grey boiler suits and colourful goggles, their confrontational, hard and fast post-hardcore noise was primitive and industrial, with distorted vocals from the drummer, recalling the strident noise assault of Spectres, Slaves and Idles. Not really my cup of sump oil but I warmed to their tumbling drums and palpable bass noise, although I wondered if this is what having an enema of the ears would sound like. One thing for sure; they’d kick the likes of Royal Blood up and down the street any day of the week!

I chatted with the arriving Hall brothers, pondering the absence of usual drummer Jamie from their line-up tonight, and we ruminated on how tonight’s set would work, with short-notice replacement drummer Liam O’Halloran (ex of Polar Front, now Hail) having only practiced once with the band! Next up onstage were another drum/ bass duo, GAGREFLEX, who again played it hardcore and superfast, with more tumbling drums and tempo changes not only giving the set a tense, agitated feel, but also recalling the embryonic stylings of early Biffy Clyro. Conversely, their set felt too intense and got repetitive for me, so I retreated to the refuge of the bar to gather myself for my Highlight of the Night!

Took a wander down the front, taking a pew as RAZE*REBUILD set up; strange not only to see a different face on the drumstool, but also to see something other than “Back To The Fall” as opening song on the list… perhaps I can ease myself in tonight then…! Ha! No chance of that, as newie “Burden Of Youth” was just as fast, frantic and widescreen, a flag-waving, breast-beating rock anthem worthy of a much bigger stage, followed in quick succession by the joyous popcore sonic assault of “New Leaf”. No easing myself in – I was rocking down the front as hard as possible from the off, thankful for the double kneestraps!

Tonight represented the 8^th time I’ve seen this band in barely over a year, and if anything, I’m becoming more of a fan with each outing. The quality of Si’s songwriting is matched only by his kinetic, scissor jumping, vein bulging performance, and the band’s inclusive, open honesty. And Liam was a revelation; shirtless after 2 numbers (“it’s bloody hot [up here]!”), he scarcely missed a beat, his slightly more overt drum style a perfect substitute for Jamie’s more laid back technique, astonishing for just one practice! Praising his performance mid-set, Si joked, “[He’s] young and pretty too; we probably should have put him at the front!” “Back To The Fall” was again superb, this time sandwiched between two newies, the frantic “Never Saved My Soul” and a more sprawling, tempo changing closer “Poison Air”, which thankfully featured some slower interludes, necessary for this old dancer as, given the band effectively finished the set with 4 fast ones, the air was rapidly disappearing from the room! A pounding, visceral and once again brilliant set from a band rapidly becoming one of my favourite bands around, period!

Brief congrats afterwards with the boys before I needed some air and a drink, and I stayed at the bar for headliners 2 SICK MONKEYS. Veterans of the Swindon scene, they’re apparently knocking it on the head this year, so the back room was packed with veteran rock punters determined to make the most of this showing. They’re a very “marmite” band and I confess I’m very conflicted with them; vocalist/ bassist Pete (whom I’d referred to, affectionately (honest!) as a “badger haired gobshite” when they supported the Dickies for gig 826 a few years back) is a rapid-fire, entertaining raconteur (an early diatribe including, “I’ve got no money, I’m can’t pay, we’ll take that monkey away!”), but their ramalama leather and studs style primitive punk assault sails uncomfortably towards the type of band (Discharge, Anti Pasti and their homogenous ilk)that turned me off punk back then. They went down a storm, so good on them for that, but, sweaty and tiring, I hit the road before their set concluded, to close out my Shuffle Day 1.

My Shuffle Day 2 didn’t start with the lunchtime library sessions, as had been the case in previous years, due to Kasey having a stagecoach end-of-term show! Instead, this was a Saturday evening affair, as I picked up my wingmen for the night, Messrs. Carter and May, and the 2 Rich’s and I parked up in old town in time to grab a drink in The Tuppenny and take our pews for MOLEVILLE’s early set at 5.30. Familiars mainman and occasional Vaudeville performer Steve Skinley’s side project, this, and I was pleased to see his Moleville material didn’t deviate too much (overlapping frequently, in fact!) from Familiars’ usual modus operandi of dark, rich evocative late night mood music with just a soupcon of Nattionals-esque baroque US alt-indie. Filtering a looped drumbeat through his keys to flesh out the sound, “Battlecry” was an early highlight, mournful and haunting with Steve’s vocals as smooth and dark as mahogany, Steve also plugging his “Oliver Postgate/ 50’s Sci-Fi” YouTube video for this track! A lush, lovely “Red Forest” was apparently inspired by the reclamation of the Chernobyl nuclear disaster site by nature, “Dynamite” was a deliciously morose penultimate number, and Steve perversely left us with a final, more upbeat and almost fuzzy pop number about reality TV! Overall, a lovely start to the night thanks to this truly talented gentleman.

Steve joined our table as well for some music and comics chat, as OLI NORMAN, next up, set up. Unfortunately his set was beset with technical issues; 2 strings broken during the first number, forcing compere Ed Dyer into a time-filling stand-up routine (!) and tuning issues visibly frustrating him thereafter. He deserved props for perseverance, though, and his smooth, well-structured melodic numbers, which for me had the feel of 70’s singer-songwriters such as Paul Simon, and for Steve Bon Iver, eventually shone through. I could even forgive the use of those dreaded loop pedals to add harmonic depth - in fact I actually liked that! “Stockholm”, his final, darker and racier strumalong number, was my favourite of his set.

DREUW, eventually next up at 7.30 after a fiddly set-up process, were an intriguing prospect; an eponymous vocalist/ guitarist backed up by Perry Sangha, formerly of the very fine Polar Front on occasional guitar and computer-based backing tracks. In fact, with the set-list sticking out from Perry’s set-up, it occasionally looked as if he was playing a photocopier! They opened with a cover of Chris Isaak’s mournful “Wicked Game”, their chilled, stripped-back interpretation even quieter than the original, and their set thereafter was equally low-key, quiet, atmospheric and delicate, veering between Bella Union Americana and even Galaxie 500’s hushed ballads (although both Steve and Rich C drew comparisons to Explosions In The Sky, a band I’m unfamiliar with). A great shame, therefore, that it was fighting a losing battle in a room full of noisy people, ironically many of which were their own entourage!

We headed off a couple of numbers before the end, as our parking ticket was due to expire, and repositioned the car at the bottom of the hill (I don’t do hills, me, if I can help it!), hitting a packed Beehive for 8.15, midway through CANUTE’S PLASTIC ARMY and their introspective, folk-tinged works. They provided the soundtrack to our greeting folks and getting the drinks in, although I took notice again of their apposite reading of Pulp’s “Razamatazz”. I then took a wander to the front of the performance area (tucked away by the door, necessitating a viewing spot almost in the face of the performers) for NICK PARKER, a (very) late addition to the bill (getting the call, “a couple of days ago,” apparently!) and due on at 8.45 but taking the stage at 9. A 25 minute set time-slot only then, and this was an object lesson in making the most of it. Grabbing the attention from the outset with opener “Departures”, he weaved a tapestry of observational life, holding a mirror to the minutiae and mundanity of humanity. A splendid opener, recalling Del Amitri’s “Nothing Ever Happens”, he followed this in short order with a jolly, knockabout “Down With The Yoof”, bringing on his German friend Emily for vocal accompaniment on a mid-set ballad. “Terry And June”, a folky “list song” which for me always recalls The Lemonheads’ “Being Around” as well as Ian Dury’s list-based lyrical style, was next up, and a splendid vignette of a performance was concluded with Nick joking, “my name’s Nick Parker, or TBA as the poster says!” and a great, singalong “Es Tut Mir Leid”, during which I got to hold up the “Entschuldigung” placard and conduct the crowd in the choral singalong. Affable, dry, funny and inclusive – great stuff again Nick!

We took a breather outside the cramped pub thereafter, complimenting Nick on his performance and catching up with other folks and friends. I’d fully intended to catch some of the next set from the splendidly named and punkish Cupcake Diaz And The Felt Tip Pens, but hunger was a greater call, so we headed off for sustenance, before I dropped the boys off to round off my Shuffle Day 2!

Family commitments unfortunately precluded my joining Shuffle Sunday until mid-evening (sorry Si and Matt!) but I hurriedly headed into town, to a packed and sweaty Beehive, after Logan arrived home from his swim class. No real need as the schedule was running an hour late, so I managed to catch the last knockings of BUSWELL’s set. A local musical maverick, Shaun Buswell tonight fronted a relatively conventional 6-piece band, running through a powerful, potent Nick Cave-esque number, “about a serial killer,” and an equally strident and dynamic cover of Chris Isaak’s “Wicked Game” (again!), with some nice flute embellishment, and Isaak’s lilting soprano replaced by Buswell’s lionesque roar,. Glad I caught some of that!

Next up, as I caught up with Tim and Tracy in the bar and briefly outside, were the 6-piece BLACK SHEEP APPRENTICE at 8.15. The irrepressible Richard Skidmore (we’re all “Skiddy’s Shuffle Hotties!” this year according to his 2017 badge, which is far preferable to his 2016 version!) took the stage to a Cowboy theme film music backing track, then led his black Stetson-clad charges into Wild West territory, dishing up dark and rampant Country-tinged powerpop, dusty Alt-Country and whisky-soaked murder ballads in equal measure. “Let It Go” recalled Posie Ken Stringfellow’s excellent Chariot project, a darker “Born To Walk Alone” was dedicated to his mother, then Skiddy got “The Maiden” out (a gorgeous white Gretsch with gold trim) for a morose and (ironically) parched-sounding “Water”, giving props beforehand for the Shuffle organisers by announcing, “people involved in the [Swindon] Arts are special… well, not that [type of] special!” The set highlight, however, was a stunning, elongated “I Cursed Your Name”, a menacing, Violent Femmes-like revenge ballad with a lengthy, repetitive hook and some excellent slide guitar from Jim Blair. The eponymous and cacophonous “Black Sheep Apprentice” rounded off a startling set, Skiddy, soaked at the finale (commenting earlier, “it’s between me and Si from Raze*Rebuild for [the title of] Swindon’s sweatiest performer!”), having poured all kinds of scary conviction into a stellar performance.

Another breath of fresh air outside, catching up with familiar faces from the past (hi Bex!), then back in for the finale of the weekend. Or, as Ed Dyer put it before thanking all and sundry for a successful weekend, “we’ve got one band left, and we were desperate!” THE SHUDDERS however were absolutely the perfect act to close out the Shuffle; right band, right place, right time! After the gathering storms of the nonetheless superb BSA set, the clouds parted as they delivered an upbeat, inclusive and celebratory set of harmonic powerpop worthy of the occasion. “Thought I Saw You” was all Summery harmonies and Posies powerpop riffs, “Words Of A Fool” racey and ramshackle, and newie “Star Bright” featured a great memorable hook. Another newie, “You Look Good”, could have walked off Teenage Fanclub’s “Songs From Northern Britain” album, and “Sorry” was deliciously understated, the boys round harmonising as Paj filmed the band and audience. “In the spirit of the festival,” Danny ironically announced a cover, Neil Young’s fine countrified “Powderfinger”, which saw Danny, Liam and Tim all taking lead for one verse each, before the song rounded off with a chorus of “Rocking In The Free World”. That should have been it, but the crowd clamour prompted a final run through of “Lost And Broke”, the jaunty Irish reel and singalong hook proving a great way to finish proceedings.

More catch-ups with Tim and Darren Dust afterwards, before I reluctantly bade farewell to all and sundry and headed home to conclude my Shuffle Day 3. Thus ended (for me, at least…!) another great Swindon Shuffle, with excellent performances throughout from truly talented people. If a relatively small town such as Swindon and its’ environs can throw up excellent songwriters and performers of the likes of Si Hall, Steve Skinley, Nick Parker, Rich Skidmore and the Shudders, playing in small venues to friends and contemporaries for a worthy cause in mental health charity Mind, it baffles me that the likes of Ed Sheeran can pack out Wembley Stadium 2 nights on the bounce. Nothing against the guy, but there are far better singers and songwriters out here going unnoticed. Scratch the surface, people, there’s musical talent right on your doorstep, and, year after year, The Swindon Shuffle goes a long way towards proving it!

1,025 BLACK SHEEP APPRENTICE, Awakening Savannah, My Social Decline, Swindon The Victoria, Wednesday 1st March 2017

Well, I did call for more free AND local gigs at the top of the year, given my continued unemployed status, did I not, so I’m hardly likely to refuse when a couple crop up in a row! A gang of Bristolian punk girlies await on Sunday; but first here’s an eclectic bill up the Vic, offering different visions of American music, namely My Social Decline, recent new friend and fellow baseball aficionado Rich Carter’s embryonic band of US CBGB’s New Wave guitar abusers, along with Black Sheep Apprentice, whose alt-Americana vignette up the Beehive on Shuffle Saturday last year (gig 996) was an impressive last day treat.

So I headed up the hill, thankfully avoiding a soaking from a sharp downpour, and chilled with Mr. Carter (in-between his soundcheck) and his gregarious parents, hearing stories about his dad’s tennis partner – none other than XTC man Colin Moulding! The May boys arrived so I caught up with them and Raze*Rebuild bassist Mr. “Paj” Jellings (tonight with his Black Sheep hat on!) before hitting the back room for My Social Decline’s set, prompt at 8.40. A scuzzy, riff-heavy change-of-pace instrumental opener bled into “Rhubarb”, a slab of snarling proto-punk replete with entirely appropriate expletive-strewn snotty vocals from Rich Bellis, setting the tone for their set. “With Nirvana” was a groovier post-grunge effort with a 90’s feel (kudos for rhyming “Nirvana” with “Rihanna”, and the “Girl From Mars” lyrical homage!) but with the subsequent “My Social Decline” and “Maverick” it was back to those dark, beer-soaked smoky NYC dives such as CBGBs and Max’s Kansas City, prompting the thought that these boys could be a modern-day all-male version of The Runaways – if only they were prettier! “All Of My Dreams Are Dead” burst into life with a guitar intro reminiscent of The Only Ones’ classic “Another Girl, Another Planet”, and a solo “Sign Out” from Bellis was an in-your-face Woody Guthrie style protest number, all seething menace. The only jarring note for me was the final number, slower and almost ballad-like in parts, but that aside I thoroughly enjoyed this set. Error strewn and messy in parts it may have been, underlying their relatively new band status, but somehow that seemed fitting given the musical seam they mine. More important was that the set was delivered with a fair dollop of passion and furious purpose. Nice one boys!

Chatted back in the bar, and outside for the smokers, before checking out second band Awakening Savannah. They opened with an intricate noodling riff which I took as a sign, setting off my “Prog Alert” alarm, and I was right, as their set morphed into a prog/ early 80’s HM influenced riff-fest workout, with a vocalist reminiscent of Rainbow’s Graham Bonnet, underlying this. Clearly extremely good at what they do, but what they do leaves me cold – I prefer to see bands showing me how well they can play within the context of the song, rather than being technically intricate for the sake of it. We therefore repaired to the bar to wait out their set, instead chatting with Black Sheep mainman Richard Skidmore, who, between bigging up the “awesome” sound of his charges, also intriguingly remarked that tonight would mark the end of the “old” Black Sheep Apprentice, before a “new” version emerges. Hmmm…

We eventually escaped from the main bar karaoke, as a small but perfectly formed audience welcomed Skiddy and co onstage, the black-clad and trenchcoated vocalist exhorting some enthusiasm from the crowd with, “come on you motherfuckers”, then belting into galloping opener “Let It Go”, all Ennio Morricone spaghetti Western atmosphere and acoustic guitar licks. Then, some on-point Ed Sheeran slagging preceded a searing reading of Buffalo Tom’s classic “Taillights Fade”, the more acoustic driven version adding to the song’s tension and drama. Black Sheep Apprentice, like their spiritual forbears Linkous and Gano, lean towards a bleak, backwoods vision of Americana, evoking dusty deserted truckstops and menace at every turn. In another life Skiddy would be writing film scores and original music for Tarantino and Coen Brothers films, but instead he’s delivering his evocative, accomplished, excellently-constructed and atmospheric numbers to a Wednesday Vic crowd, with scary intensity and an entertainingly deadpan, rapier-sharp wit, backed up very ably by “Paj” and the rest of the Apprentices (or is it Sheep…?). He means it, maaaan… “God help the next motherfucker who fucks with me…” indeed!

“A word from our sponsors, San Miguel!” preceded, “a sad song about alcoholism,” namely “Water”, a slower-paced number recalling Band Of Horses for its’ morose majesty, then after “Black Sheep Apprentice”, a macabre death ballad with a strident chorus and cacophonous climax, set closer “Jessica’s Letter” ended things with possibly the best number, a stately, widescreen epic. Very impressive stuff indeed.

Compliments all round before we headed off, dropping the May boys home before a late post-midnight bedtime. So, a couple of fine showings tonight, well worth the money… oh, hang about, it was free…! Nonetheless, if that’s the end of the “old” Black Sheep Apprentice, I’m certainly well up for hearing the new version!

996 THE 2016 SWINDON SHUFFLE, Various Swindon Venues, Thursday 14th, Friday 15th and Saturday 16th July 2016

Once again it’s Swindon Shuffle time… after my first experience of Swindon’s annual “live” extravaganza showcasing the best the town has to offer in original music, 2 years ago, I promised that despite my late discovery and participation in this event, I’d ensure I’d be shuffling along in future. 2015 was a non-starter for me, however; I’d popped up the Vic on Shuffle Friday in the hope of seeing Cirencester’s very fine Familiars, only for them to cancel late on due to illness, and then my daughter had a dance show on the Saturday which totally precluded any further Shuffling on my part. D’oh! So I was determined to be more active this year, a determination underlined with a slew of excellent or intriguing acts on the bill, including recent faves Raze*Rebuild and the indomitable Gaz Brookfield!

Thursday evening presented my first opportunity, so Rach and I conducted a Le Mans-style driver change after she returned from her lake swim at 8, and I headed up the Castle, squeezing into a parking spot by GWR Wiltshire Sound and bumping into Mr. Brookfield himself on my way through the Castle bar to the back room, where FAKE WALNUT DASH were into their 3^rd number, a slice of swampy blues which then morphed into smoother, funkier 70’s-influenced fayre, embellished by their twin “Shoop Shoop” backing singers. We were also regaled with some more louche and languid late 60’s-feeling psychedelic blues recalling mid-period Doors, with meandering riffery and pseudo choral hooks aplenty. Not my usual listening fayre, but entertaining and appreciated by the already-ample crowd.

In a happy coincidence, FAMILIARS were next up; I had another quick chat with Gaz beforehand, who was stoked to hear my 9-year old son was learning his “Be The Bigger Man” in his guitar lessons! I then recalled last year’s no-show with Familiars vocalist Steve Skinley, remarking they owed me a decent Shuffle show! The boys did their best to provide it, with usual opener “Landscapes” setting the tone for their sonic template, the slow-burn, bleak and melancholy opening weaving a deliciously elegiac spell before the song took flight into keyboard-propelled National-esque territory, and the subsequent “Battlestations” a more post-punk-influenced number, particularly guitarist Ricky’s “Marquee Moon”-like slashing chord riffs. However, battlestations seemed to be the order of the day too, as the band battled with some keyboard mix issues and particularly some nasty shimmering bass drum feedback, which plagued them on and off throughout. They never lost their humour, though, Steve remarking, “we’re from Cirencester, we don’t often venture this far south of Cricklade, so be kind to us,” and a subsequent new number (“this is a new one, although if you haven’t seen us before – as you were…”) featured some fine “whoa-oh” harmonies either side of a skyscrapingly soaring hook. The circular piano riff of final number “Ballyhoo” (requested by yours truly) was underpinned by some guitar feedback giving it a more eerie air, but again the drum shimmer masked the rendition of this moody, mournful little number. Familiars’ widescreen and eminently melodic material demands a more precise sound, which unfortunately they didn’t get this evening, but nonetheless the boys gave it their best, and were satisfied afterwards with their efforts.

Had a chat with a dapper Mr. Dave Franklin before GEORGE WILDING, a raffish young tousle-haired hippy troubadour with some heavyweight local muso help in his backing band, including the drummer from Tin Spirits! They were unsurprisingly the best sounding act on display tonight, the sound and mix issues encountered by the preceding act suddenly (and a little frustratingly) cleared up. Dave had suggested George’s solo stuff had a folky, Nick Drake sound, but backed up by his very accomplished colleagues, his impressive vocals embellished a blend of early 90’s psych/ pop a la Charlatans or Kula Shaker, some folkier stuff recalling Bowie’s early 70’s Beckenham Arts lab work, and even some soaring Suede-ish glam influenced material. Intriguing stuff overall.

Had a breather then joined the throng down a by-now packed stage front for the main event tonight; Ed introduced GAZ BROOKFIELD by suggesting legend had it that Gaz was the first ever act at the first ever Shuffle! 10 years on, the man is an established draw with a very popular and loyal regional following (myself included), just needing that “right place, right time” event to push him through the glass ceiling into the national consciousness, the breakthrough his talent and application surely deserves. This, the 14^th time I’ve seen the man tread the boards, was no different to the previous 13; all-inclusive, honest and confessional yet celebratory music, with a punk/ folk core and delivered with maverick passion and maximum effort and commitment. The demand, “has everyone got a drink? This is a drinking song!” preceded an arms-aloft, swayalong “Under The Table”, then the impish Gaz asked, “is everyone in a good mood? Yeah? This is a nice cheerful song about death…” before a rampant “Godless Man”. The subsequent “Maps” degenerated into joyous chaos, as Mr. “Paj” Jellings took to the table at the back of the stage behind Gaz to shoot some pics, causing a bemused and amused Gaz to forget his lyrics, then make some up on the spot about Paj! “The Busker’s Song” was dedicated to, “my busker friends, none of whom are here tonight as they’re too skint!” and intended finale “The West Country Song” was an all-inclusive singalong which raised the roof, bringing performer and crowd together as one. He wasn’t getting off that lightly though, the crowd demanding more and Gaz delivering a venomous “Be The Bigger Man”, a galloping “Let The East Winds Blow” and the usual set closer “Thin”, the singalong hook again terrace-chant loud and all-encompassing. Not flawless or note-perfect by any means, but another totally entertaining night from Gaz, Ed remarking at its conclusion, “no matter how far you go, Gaz, you’ll always be one of us!”

That brought my night to a close, so a quick chat with old friend John Haydon, then farewells to all and sundry and a lift home for Dean saw me home at midnight. My Shuffle day 1 over; what does day 2 hold…?

A slightly earlier start, for one… thanks to my dear lady wife kindly giving up her usual Friday swim, I was able to head up the Vic – my primary base of operations this evening – well in time for some intriguing openers. And I was glad I did; tonight’s Vic compere Ed Dyer gathered the troops together to pop down to the venue for MARTYRIALS, due on at 7.45 but running slightly late at 8. From the outset they were a loud and seethingly potent psychedelic whirl of movement, hair and dissonant, mutant galloping rhythm and tempo changes, like a more psychedelic Ministry or harder-edged Wonky Alice. The skinny, splendidly be-trousered vocalist pounded away at his battered farfisa keyboard, often lifting it off the stand and waving it around – careful, son, you’ll have someone’s eye out with that…!

“I keep inhaling my hair,” the Zappa-like vocalist remarked at one point (which pretty much says as much about his performance as I ever could!), before their most conventional number “Are You Having Fun”, a Stooges-style slab of old school proto punk with an ascending earworm hook, segued into a tumbling, yelping and vicious destruction of Nena’s cold war pop classic “99 Red Balloons”! The vocalist also wrapped himself in an EU flag to cheers from the assemblage, before the end of a mightily entertaining, barking mad and bat-shit crazy set. Not sure as I could listen to that stuff at home, but for sheer jaw-dropping entertainment value, I’d come see them play any day of the week!

Follow that, IDESTROY! I chatted and caught up with a visiting Rich Craven before wandering down to the front as the Bristol all-girl 3-piece took the stage and immediately took the challenge head-on, with opener “Pins And Needles” a scuzzy, 70’s NYC CBGBs proto punk strut reminiscent of recent faves Ex Hex, and second number “Bitter Love” a chugging and flippant post-grunge rocker a la Veruca Salt. Therein lies their modus operandi, the crush collision of those styles forming the basis of the IDestroy sound, with the “live” interplay between the “2 Becks”, high-kicking pocket dynamo vocalist/ guitarist Bec Jevons and taller, goth-clad and rock-pose throwing bassist Becky Baldwin giving them a dynamic stage presence. “Vanity Loves Me” was a heavier, hookier stomp recalling The Runaways, and their eponymous “IDestroy” featured a frantic guitar groove comparable to Generation X’s “Your Generation”. Finale “State Of The Art” was a dark, dramatic groove – their “Seether”, perhaps? – bringing another impressive set to a close. Great stuff!

Grabbed a copy of their CD and a chat with Bec as Simon Hall and his band of grizzled rock ruffians set up, and I then took a spot down the front, full of anticipation for my pre-Shuffle faves. As expected and hoped, RAZE*REBUILD didn’t disappoint, immediately blowing the doors off with an immense reading of magnificent opener “Back To The Fall”, Simon roaring like a lion signalling his intent to reclaim his territory. As also hoped, the confines of The Vic suited the sound better, being immediately loud, strident and pindrop perfect in the mix, and the boys totally did it justice. “Fall”s Husker Du fist pumping, sweepingly anthemic multiple hooks were followed by “Jaded Heart”s more jagged, ragged rhythms, by which time I was a whirling dervish, giving it loads as best I could, dodgy knees be damned… this is going to hurt in the morning, but the Mighty Raze*Rebuild were well worth the effort tonight!

“Happy St. Swithin’s Day… it’s the Swithin Shuffle!” announced Simon to some bemusement, before backtracking with, “hey, I live on my own… who else is going to get that joke?” “New Leaf” was a Gaslight-alike galloping blue collar rock anthem, “All The Gear” an amphetamine-fast popcore blast with a decided”Self Made Maniac” China Drum feel, and after their usual Fleetwood Mac destruction, “Sand In The Petrol” was the titanic, roaring conclusion to a superb set delivered with maximum effort and commitment. Band of the Weekend for me, right there!

Not time to ponder it, however, as I joined Messrs. Franklin, Craven and Mr. “Skiddy” Skidmore for a wander around to the Castle in the hope of catching part of Polar Front’s set. However, the Castle was running to time so we just missed them. D’oh! Still, I joined the younger crowd down the front in plenty of time for potential highlights RAIN. Having checked out and enjoyed their elegant shimmering shoegaze on Youtube, I was looking forward to this; however from the outset it seemed more like sonic cathedrals of despair, as the mix exposed the very fragile and understated vocals, which sounded off-key and discordant. Musically fine and evidently taking a heavy cue from Oxford shoegaze legends Ride, their opener recalled the splendid, slow burn “Drive Blind” and a later number had more of a chugalong “Chelsea Girl” vibe to it, but the vocal mix just let them down tonight. A very interesting and promising lot, whom I’m certainly not going to give up on, but for me it just wasn’t their night tonight.

Had a brief chat with Polar Front vocalist Sophie, promising to catch them and their intriguing blend of goth electronica (my reference point for them being recent finds Pvris, which Sophie gladly agreed with) next time, then wandered back to the Vic with the boys for the last knockings of hardcore punk veterans 2 SICK MONKEYS, who were laying waste to the packed back room with a shit-kicking moshpit for their trashy and thrashy punk. Ed paid tribute to them and particularly “badger-haired gobshite” vocalist Pete afterwards, announcing, “I’m going to vote for him as Prime Minister – he’ll be better than that shower of shit!”

Some more chat and philosophising outside the Vic, before going back in for headliners ALL EARS AVOW. They justified their headlining status with the most popular set of the night; the room was utterly rammed and a young and enthusiastic moshpit greeted their Evanescence-like blend of gloomy and brooding Goth Nu Metal, growling, dramatic and drum dominated “live”, with powerful vocals from the diminutive Claire. Not my cup of tea, though, and I was largely unmoved, but I conceded that what they did, they did very well, their heavy rock both anthemic and accessible. Half a dozen numbers in, however, I turned it in for the night, having seen my own “headliners” already in Raze*Rebuild!

Day 3 Shuffling had a much earlier start than the other 2; lunchtime in fact! Given how much Logan in particular is enjoying watching “live” music, Rach and I suggested to the kids that we call in on the lunchtime acoustic sessions at the Central Library and get some books out in the process, which was met with approval. So lunchtime was whiled away sitting in the sun-dappled open courtyard listening to a couple of young performers. First up, BRADLEY COWTAN, who resembled a (very) young Frank Turner and had an idiosyncratic understated nasal delivery for his often late night bar-room bluesy material, then JORDAN MARVELL, a young chap with his own t-shirt design (there’s confidence for you), a more soaring, overt voice and a tape loop (which fascinated Logan) embellishing his mix of pop covers (George Ezra, Dustbin Beaver.. sorry, Justin Bieber) and like-minded originals. Embryonic performers both, but some nascent talent on display, and we’d have stayed longer but for other arrangements.

Said arrangements – namely Kasey appearing herself onstage at the Wyvern with her “Stagecoach” troupe as a chimney sweep in a “Mary Poppins” scene – precluded my being able to catch my friend Rich May’s last performance with his band The King In Mirrors; therefore I can report with all confidence that they totally killed it in front of a huge, reverential and adoring crowd, arrangements are already under way for a massive reunion tour and they’ll be headlining Wembley this time next year. There! Anyway, I didn’t hit The Beehive until 20 past 8, catching the last half of the last song from Raze*Rebuild frontman SIMON HALL’S hastily-arranged set. D’oh! Si, I’m sorry…! I nonetheless chilled and chatted with Dave Franklin and held onto my precarious spot at the top of the stairs, in plain sight for BLACK SHEEP APPRENTICE at 8.45. The latest musical brainchild of the aforementioned local legend Skiddy (whom I increasingly feel is to the Swindon music scene as Pete “The Peach” Stone is to Boston’s), and featuring Paj on guitar amidst their 5-piece expanded line-up, they opened with a bleak, dusty alt-Country, almost Spaghetti Western soundtrack style number recalling Sparklehorse, Willard Grant Conspiracy or Nick Cave, following up with a more dramatic yet no less moody and desperate rocker resembling Ken Stringfellow’s solo Chariot project. A well-observed and appropriate reading of Buffalo Tom’s “Taillights Fade” fitted the mood of desolation conveyed by the set; newie “I Cursed Your Name” blended the guitar intro from Love’s “A House Is Not A Motel” into a noir anti-love song, and “Black Sheep Apprentice” was a dark, Violent Femmes-like country death song. Morose and impressive stuff overall from Mr. Skidmore.

Hung out with Messrs. May and Craven outside afterwards, then eventually made our way up to The Castle, catching the arse end of REWIRE THE TIME MACHINE and their popular, noisy desert stoner rock. Heavy riffing stuff, underpinned by some pounding drums provided by Lee Moulding, son of XTC’s Colin. We then grabbed drinks and chilled in the courtyard during A WAY WITH WORDS’ set, venturing in for the last 3 or so numbers. One strident, “lighters aloft” stadium rock ballad building to a crescendo and couple of formulaic, straightahead but exciting dynamic rockers, slightly unfocussed but energetic, made me wish I’d come in earlier and caught more. Grabbed a couple of free CDs (nice work gents!) and promised the boys I won’t make that mistake again.

By this time I was feeling the effects of 3 late nights out on the trot (out of practise, I know!), so I bade my fond farewells, grabbed a (very) late tea down the hill and drove wearily home, my Swindon Shuffle experience over for this year. And a splendid experience it was too; over the last 3 days. I saw a whole load of friends, both old and more recent, and talked music and bollocks with them into the night; I saw a slew of great bands, ranging from fully formed to embryonic but promising, all playing original music, with the Mighty Raze*Rebuild winning top honours for me; I saw the Swindon rock fraternity come together in friendship, solidarity and support, both for each other and for an eminently worthwhile charity in Mind. What I didn’t see, though, was a bad act. Not a single one.

It took until 3 years ago, 900 gigs in and mainly out-of-town, for me to realise the plethora of talent right on my doorstep. So to anyone else who thinks, “I can’t be bothered to go see some local band playing stuff I don't know, ‘cos it's bound to be a pile of unrehearsed shite, right?” let me tell you I used to think that way, and I could not have been more wrong.

Go on, give it a try. You might just discover your new favourite band. I did.