The Hug and Pint restaurant/ bar has a delicious feeling in its basement venue, it seems to attract a very exciting kind of music. On this Thursday summers eve I arrived in a very expectant mood, soon to be lavishly rewarded.
Into this lovely space & stage came act one MC Blance, with gusto of style and sound and dress; their music had that hint of rock n’ roll. This band is looking like not being far from some kind of popularity explosion. He mixed his words into melodies that turned into a kind of rapping, with a thorough melodic flow. This cleverly gave him an edge that with fluidity had great rhythmic lyricisms pouring into his tight performance supported by guitar, drum and keyboard.
It turned out that these three acts: Mc Blance, Joyful and headliners the magnificent Megan Black, are part of the forming of a freshly and elaborately purveying new Scottish music scene turning heads in the blending of genre’s of which there were a few. Pointing towards this tasty musical expression, Joyful came on as a solo act playing a folky guitar and holding a tremendous vocal tone.
As I say there was a flavour which was enriching with an intensity of having a good righteous time. We were treated to an impressive array of quality from these young artists holding the night transfixed. The mood that rises there, as the loud music thundered from the drums fitted at the back, goes along to amplify through the size and the way the room is lit that makes for a good appeal. Offering a very kinky charm and cheekiness, it was a great feeling to stand there with the groups & solo act who just gave it their all.
Megan Black’s great presence as the front person was filled with beauty, redness and a fiery will for getting across. In her band; made up of guitars, drums, bass and 2 supporting vocal it was clear why she is receiving attention from far and wide winning a host of awards and creating a staunch following, it was evident as she came on stage that her look had the evening set.
Her album ‘Deadly is a Woman’ is a brand new recording from a very highly talented artist. Her pace alone could be felt in all its nuances, her dress was a promise that filled with style’s well thought out and already delivered a message for human liberation. A very certain purpose surrounds what she is accomplishing , and I’m sure she’s not alone in this; she is using music as a vehicle to stand up for her cause and bring about more awareness to these issues so well prevalent in our world today.
The music blows through in its award-winning wonderfulness, gusty with great bravado. Vocals loud and lyrics written she performed with every ounce she could spare, a highlight to any day. The group were very relaxed but also had a kind of focus that came across with an earnestness that looked effortless and universal, having faith in a very highly elevated live performance.
Really cast your attention on having a look at this band who could stir you into caring and concerning as a community, a caring and loving but also daring and giving. Making of music a complete discernment that oozed joy as a celebration and a loosening of a crowd who were there to be rocked apart. So well grounded with the task of enlivening rock n roll in the style of ruckus hippie like carefreeness, impressive and beyond capable.
Drum Machine, opening the Main Stage, Beatherder 2023
Last year I discover’d I could trace the Brogden line of my DNA all the way back to the year 1600 & the northern slopes of Pendle Hill, a whole decade before the Pendle Witch story burst into the national consciousness from this superstitious, rural, pro-Catholic backwater. Also close to the northern slopes of Pendle is the annual spiritual rejuvenation that is getting a massive stomp-on down Beatherder Festival, which has just finish’d last night.
I was heading south to play an acoustic gig in deepest darkest West Yorkshire – somewhere near Mytholmroyd -, but that was on the Saturday, so I were like, let’s have a gander at Beatherder on the way down. I’ve never actually been there before, what with it being on t’other side o’ th’ill from Burnley & all that, but you can’t put off destiny forever, & I left the Isle of Arran on the 12.30 ferry, eventually trundling into Burnley Manchester Road Train station at 20:15, where mi best mate, Nicky, were waiting.
Next port of call was picking up my pal, Wayne, & then we were off, heading to the Beatherder site via the offy at Barrowford. Then BOOM! we were on site & setting up our tents – about 9.30PM. Wayne’s pop-up tent was an absolute disaster, which I got at least half-working, but sacrific’d my own tent’s pegs to support all the lack of tension in his, which render’d my own tent well floppy for the weekend. I ended up being reyt floppy myself, so it was all good.
We then hit the beers, which I didn’t stop downing until 4PM the next day, when I would crawl into my tent for a good 8 hours kip, completely missing most of my first ever Beatherder – proper Fear & Loathing journalism, like when Hunter S Thompson flew to Zaire in ’74 to cover the Rumble in the Jungle & spent the fight time chilling at his hotel pool.
Back in 2023, me & Wayne caught the end of the Thursday action among so many happy faces, under some reyt tall trees, call’d the Toil Trees – nam’d after one of Beatherder’s founders I think. I found the tunes a wee bit cheesy, but y’know, there were so many great acts to come over the weekend, that I think that these Thursday vibes are all about the joyousness & the release of finally escaping the nonsense of the world – either once again or for the very first time, like me & Wayne.
The Toil Trees, Thursday
We then decided to have an exploratory donder about the regular campsite, & to our surprise there were loads of actual raves kicking off everywhere- so we join’d in for a bit & began a 13-hour buzzy bee buzz about Beatherder, floating from campsite to campsite, finding folk well & wide awake, & just meeting people & getting involv’d – it was fuckin brilliant.
Daylight arriv’d without me actually noticing, then Friday began, & I’d prepp’d a reyt days viewing, discussing the merits of Beatherder’s line-up with a couple of Scottsh pals who know about the music here. I’m a bit of a hippy, really, & for me dance music is something to dance to at parties, not to listen to & know the names of & shit. So, this was gonna be a great opportunity to just learn about dance music – I was ready to shazam everything decent that I heard, while following the following Friday selections from my pals.
I would have added Bad Boy Chiller Crew to that – I’m a wee bit partial -, & I’m sure all them gigs were brilliant – but with their selections beginning at 4 in the afternoon, & me in my kip by then, my amazing journey thro Beatheader climax’d instead with two hours in the Beatherder & District Working Men’s club having a reyt boogie to Nana Moon’s disco, follow’d by a few tunes from Billie & the Biscuit Brothers. I swear down, I was at first the only one dancing to Nana Moon, but by the end of their set the whole place was rocking – they even play’d Peaches & Herb’s ‘Shake Your Groove Thing’ for me – my contribution to the soundscape of this year’s Beatherder.
Then it was up to one of the best places we donder’d into – Smoky Tentacles -, slightly off piste near the fairground rides, but really warm vibes – great staff, top beers, buzzing tunes – from where I stagger’d back to my tent in a warm fuzzy glow, & half-slept for 8 hours listening to the festival’s louder stages in some sort of audio soup. I then got up & re-enter’d the site, having an explore of a major dance area – with underground bunker style vibes & a place call’d the Launderette complete with washing lines of dangling clothes. I’d have loved to have spent a few hours raving down there, like, but this year’s Beatherder for me was with the people, I think, & there’s nothing wrong with that. There’s nowt set in stone about what you do at a festival – as long as you have fun! I mean, the mantra of Beatherder is ‘an orgy of beats, barminess & unrivall’d revelry,’ & I was certainly ticking them boxes.
So, I met Wayne & got some midnight breakfast, & had a few more hours at Smoky Tentacles – which I don’t think ever stopp’d going all weekend. What was cool was that the crews we’d met on our Thursday-Friday rampagey meanderings kept popping in, & it was nice to see all our best mates again – Burnley folk I hadn’t seen in years, the guy up from London who runs a major DJ scene down there, the Scouser who does one man flute-guitar-dance improvs; etc.etc. – some reyt characters.
Roll on 10AM I was noising Wayne up – he’d rock’d into his tent at 7AM -, because by 11 we needed to be at the pick-up point just off the main road, to meet my Uncle Jeff, who could also trace his ancestors to the northern slopes of Pendle thro the Brogdens. We made it on time – tho’ I was actually barefoot now, having lost my shoes somewhere over the Friday stompabout. Luckily, on the drive west, we pass’d thro’ Todmorden, where I could pick something up for my feet & a few more bottles of wine.
Just some of the action from Aaron’s Campsite
A little while later we were heading up to Aaron’s Campsite, near Sowerby Bridge, for a buzzing day of DJs & live music in a supercool performance barn. There were about 60 of us, which is a hell of a lot less than was at Beatherder, but I’d brought some of the love vibes with me… after playing my acoustic set in the afternoon, I also bang’d out a 40 minute DJ set at the end, which had the whole place rocking, half-way thro’ which I projected myself into places like The Trash Manor, The Ring & The Fortress, knowing full well they’d be kicking off big time too, that very same moment!
The Confessions of St.Augustine, prog-rock’d up? Yes, the Edinburgh Fringe is upon us!
Hello Tim, can you tell us where are you from & where are you living today? I live in Knaresborough, North Yorkshire and that’s where I was brought up. However, my contract work in the IT world has led me to live in many other places temporarily, including Edinburgh. Also, my music has led me to play in places like London, and in other countries such as France and Luxembourg (and Scotland).
What are your first musical memories? Like many people I was firstly very influenced and inspired by the Beatles in the 1960s and, later on, by 1970s rock bands like Deep Purple. In those days there was always something new – those artists were role models and it seemed they were taking the world by storm and breaking new musical ground. I also enjoyed Lloyd Webber and Tim Rice shows particularly ‘Jesus Christ Superstar’.
When did you realise you wanted to take music seriously? I first started playing the guitar at about 15, although I came from a musical family as my father had been a church organist and choirmaster so I’d also played a bit of piano earlier on (and sung in the choir). Straight away I started writing songs and did my first studio recordings when I was 20.
Last year you brought ‘The Story of Captain James Cook’ to the Fringe. Can you tell us about the experience? Like most artists I was very apprehensive and worried about ticket sales. However, in the end it was really great, I managed to get some reasonable audiences and a good reaction. The show format seemed to work quite well, and I based my new show on that format.
You’re returning this year with another show, what is it all about? It is called ‘The Progressive Campaign’ about William Wilberforce’s campaign to abolish slavery. It follows a similar format to the Cook show, it’s about 50 minutes long , features narration, 9 songs performed with pre-recoded backing tracks, 3 ‘talking heads’ videos, and two videos of songs and scenes.
Why ‘Prog Rock? These days music has become very compartmentalised and the closest genre to mine is probably Prog. Prog is hard to define but I think it refers to artists who feature complex or unusual lyrical subjects with elements of drama and who focus on concept albums e.g. Alan Parsons, Geoff Wayne,Pink Floyd and Genesis. Prog can be quite commercial at times and isn‘t necessarily about complex long pieces. When Prog does feature in the pop world it’s never about glamour and is always about producing really memorable high quality music e.g. Sparks, 10cc, Kate Bush, The Buggles, Steely Dan etc.
There’s quite a multi-media element to the ‘Progressive Campaign,’ what’s the crack? I think it helps to provide an all-round enhanced experience for the audience which is particularly important for a solo show. It’s also the type of thing Geoff Wayne’s shows feature (e.g. video characters) – I like to think of it as a one man mini-Geoff Wayne type show. I’m trying to give the audience a feel for the potential of the show as a full on staged musical. A recent review described my shows as both historical talks and song cycles.
Your historical focus seems pointed at the 18th & early 19th Centuries – why that period in particular? I specialise in writing about famous Yorkshire characters who were involved in hugely significant events. Many of these are from the Georgian era (e.g. Cook, Wilberforce and Blind Jack), but the Victorian era also features quite a lot. In fact, two of my albums, ‘Yorkshire Through The Ages I and II’ feature individual events and characters going back 2000 years. I am less interested in 20th century history although I reflect that period in a way as my music is influenced by late 20th century pop music.
What did you learn from last year’s Fringe you’ll be doing different or putting into practice this time round? I am doing more publicity this time, including 2 preview shows on the weekend of 22nd and 23rd July at the Sir Arthur Conan Doyle Centre. Technically the show will be better as I am now running my presentation from a tablet , so I won’t forget to move a slide on.
You have a historical connection with Edinburgh beyond the Fringe, can you tell us about it? In fact, I attended a one week Fringe appreciation course at Edinburgh University in the 1990s and attended a selection of shows. In my IT contracting career I lived and worked in Edinburgh (and Glasgow) on a number of occasions. When I was living in Edinburgh I played at various places such as The Edinburgh Folk Club and Henry’s cellar bar.
What will you be doing in Edinburgh outwith performing at the Fringe? I’ll be meeting some old friends, going to the pub and going to some shows. I am looking forward to it.
You’ve got 20 seconds to sell your show to strangers on the streets of Edinburgh, what do you say? An ambitious and entertaining one man musical show about William Wilberforce’s campaign to abolish slavery.
When I set off for Glastonbury, I wasnae sure if I was fit to travel my back went after all the heavy lifting at Eden after the longest, driest Eden since records began. I had a gorgeous sexy reconciliation with Christine on the Thursday, making love right through to Saturday Morning. The back pain was intense.
I put a call out for some help on Sunday Morning and Jim came to the rescue and I packed for my 9.30pm bus to Birmingham. Again I packed for all weather possibilities. Made sure I was waterproofed. Not that I needed to worry, It was a continuation of the dry and hot conditions of Eden. The Journey South and The National Express coach seats were not conducive to a crook back and after 14 hours of remaining seated because it was too painful to move. The 90 mins in Birmingham Bus Station felt like an eternity. And when I finally got off of the bus in Bristol/ I was like a broken old man . I soon perked up after a Greggs Pastie. large cappicino and a nice spliff. Got on the 376 to Glastonbury to discover that the bus fare had been cut to £2 from £7.90 because of government funding. Hey SNP take note. ❤ I met a lovely lassie called Flosssy she was doing a Uni projerct on the history of Glastonbury and was a volunteer steward. We shared a taxi to the festival site.
It was while waiting for the tractor train for a lift to the Green Felds that I noticed just how much my back was easing arriving at the Healing Fields an hour earlier than my ETA. Mission accomplished. It was lovely to see everyone, Lizzy had arranged a gazebo, massage table and card table for me and once that I had been allocated my working space, I pitched my tent on The Cresent of The Water Circle, I crashed out for my first sleep in the Healing Fields. fell asleep with my tent wide open and was awoken by monsoon rain washing my face. It was just getting light as I put my waterproofs on and went for an early Morning stroll. It was to be the last rain that would fall over the duration of my week in Avalon The rain stopped by 7am that Tuesday Morning and the sun was soon drying things oot. Glastonbury early doors is always a tranquil thing, with birdsong and softness. The gazebo that was being loaned to me was still on the roof of a van on Windmill Hill the day evolving to be a hot one, I meditated and grounded the Angels in my space then headed for Tat For Tibet to charge my phone on their solar charger £3 a time ❤.
Got some crisps and oat bars and skipped through the Green Fields. Lizzy phoned me to say the gazebo was in Orange Carpark and that I needed to come and pick it up. It was quite a walk, but a lovely day for it. I was ever so grateful for the Worthy Farm Shuttle Bus coz it gave me a lift back to the Greenfields with the gazebo. That was the last of the Heavy lifting, everything was in place. I knew the only thing that was gonna fix my crook back was absolute rest. With everything assembled, this I could now do.
That Tuesday night was the last time that I actually slept in my tent, it became a wardrobe. Rainbow Lizzy had organised lots of carrymats to sleep on and I was confident that, the last of the rain had arrived, so made a big double bed out of my work space for the night times, it was flat an not bumpy and sleeping under the stars was what my body was begging me for. I slept so deep and long. 9pm right through to 7am, the deepest comfortable sleep I had had in a long time. Indeed The Healing fields became my bed and deep down I knew that this was the most Healing Bed in the world. Because it was so hot, I just wasn’t hungry for most of the time, which was a blessing because most of the food vendors were charging really inflated prices for the food that they served, between £11 and £15 for a breakfast and a veggie one at that without coffee. Coffee’s were between £3.50 and £4.50. I dinnae ken how much alcohol was coz I dinnae drink. Of course Wednesday was doors opening for the punters and It was obvious that the cost of living crisis was not a factor in The Glastonbury Bubble. Traders were set to make a fortune and on the whole people were happy to pay.
The energy of the festival does change when 200,000 people arrive, All bringing city energy for it to be transmuted by the Healing Magik of Avalon and blimey it was one very hot day. So Wednesday I dedicated to self healing without the Gazeebo I would have fried, It was too hot to do anything other than chill right out and deep self healing was the nature of the day. I even slept through the massive firework display on The Wednesday night, waking up on Thursday Morning at 5 am and headed to The Greenpeace showers to take my place for a much-needed shower. By eck that was lovely. I headed to The Tiny Tea Tent to play the piano and earned my first coffee of the day. Refreshed, I was walking back to The Healing Fields and noticed that I was walking without any pain at all. Result ❤
I ventured back to my pitch at the Water Circle and tidied up and prepared for a busy Thursday. Because the Rock N Roll shenanigans dinnae actually start until Friday everyone tends to head to The Healing Fields for the therapy that they need and indeed it was a busy day, lots of Tarot readings and deep healing sessions, by 7pm I was knackered. The Healing Fields is the only place apart from The Hare Krishna food Tent. that work on a donation basis So that people know that they can get what they need for what they can afford to pay. This was where the cost of living crisis did pinch, because people were not as generous with their donations. Working alone, meant that i didn’t have anyone to cover for me when I needed a pee, so will have missed out on some clientele. As one can guess I was out like a light again by 9pm and slept a deep long sleep.
Divine Saw The Light ❤
Its hard to describe the Healing that I experienced here on Friday evening. It had been a long Hot Day and I had just returned from my warm up boogie in Block 9. Returning to the Healing Fields is always Bliss. I was drawn to The Diamond Light Matrix and was meditating when I slipped into another dimension. All thought stopped, my heart mind and body at one. All I could see was white light everywhere. It was the healing that I needed. The crook back that I arrived with on Monday had completely sorted it self out. The journey it self to get to that moment hadn’t been a comfortable one. All the difficulties healed at once. In that moment. Indeed it was one of the most powerful Healing Experiences I have had on the path. Am still processing it ❤
It was on Thursday evening, I was walking back from Kings Meadows and there was a Gentleman playing the piano, a flawless rendition of “I Don’t Like Mondays by The Boomtown Rats. I joined my new very talented friend at the piano for a rendition of Will You by Hazel Oconnor. Its a song that has been wit me for most of my life and of course knew all the lyrics, we harmonized beautifully and we both got a round of applause. That was a brilliant Glastonbury moment ❤
Saturday was by far the hottest day it felt like working in the bush in Australia. I was working opposite a large massage bender and the people queueing for a morning massage were clinging to the shadow caused by the gazebo,, I gave up trying to keep my workspace frontage clear, not that anyone was listening. I also had no energy to give, part heat exhaustion and part the adjustment that seeing the light had upon me. A siesta is what was called for. I did manage three readings that afternoon and once the Sun had shifted the massage punters followed the Sun’s shadow. It wasn’t a very productive afternoon financially, but I knew that I had pushed myself to give a lot of myself since I arrived. So I took that siesta and started to prep for Leftfield in The Park that coming night. This was to be my first Glastonbury Gig of 2023 and a follow-up for my review of Leftfield at The Barrowland Ballroom in Glasgow earlier on in June. I headed to The Park to check out the sound production and where the best viewpoint for sound and vision would be.
The Pretenders were playing, but was massively packed and the sound system was immense. Interestingly it was a space at the back tucked away, for some reason the sound there was perfect, but one couldnae see the stage. I got chatting to a chap who had lived in Glastonbury Town, He had been having a marvelous day, when someone swiped his bag with all his money, house keys, car keys and drugs. I did feel for him, but it was more of an inconvenience than a tragedy, he was a wealthy man. I showed him my money belt that I put on before each festival and dinnae take it off till I get home. The same thing happened to me back in 1997 and proved to be an important festival lesson. It still didnae stop someone trying to get my money belt off me earlier in the week, I wrap the belt through all my belt loopholes so the potential pickpocket failed. But it did remind me to be extra careful. I wished the stressed local well and headed to the Tipi Field for a brew and a bit of mushroom honey before returning to The Healing Fileld to make my bed under the stars and touch up my makeup.
Once I got to The Park for the Leftfield spectacular, It was quite easy to weave my way to a good vantage point, The Park auditaurium is on a hill so it was easy to get to stage level with a perfect viewpoint to take in the magnificent performance that was to follow. It was the perfect night for an outdoor gig, with a crescent moon illuminating proceedings on what had been the hottest day so far. There was a really good vibe in the air, everyone was excited. As Dusk arrived, dry ice billowed and the show began.
The Leftfield Live Band. Neil Barnes Adam Wren Bid (Drummer) Vocalists that appeared are noted on each track.
Tonight’s set list
Pulse Making a Difference (feat Cheshire Cat) Rapture 16 (feat Earl Daley) Release the Pressure (feat Earl Daley and Cheshire Cat) Afrika Shox This Is What We Do Power of Listening Accumulator Melt Song of Life Phat Planet.
Having had the opportunity to review Leftfield at The Barrowland Ballroom on the 1st of June. It was one of the best club Gigz I have ever experienced it was a complete sell-out and the Ballroom was packed to the rafters with an audience that were completely up for it, TBH I was still buzzing from such an exhilarating fantastic work of performance art The Barrowland Ballroom was built for Dance. I honestly didn’t think that they could top this. But when I got to my perfect positioning at The Park Stage, It was very much like an amphitheatre and I had the best seat in the field. Perfect centre to appreciate the perfect sound reproduction with absolutely nothing disrupting my view, 1000s and 1000s of people ecstatically appreciating and grooving as one to the electronic perfection of The Leftfield Live experience. Totally captivating. On a night that couldnae have been any more perfect. Perfect weather, perfect night. perfect venue and the perfect live experience. Am still buzzing. That was deffo a Glastonbury moment. Thankyou Leftfield ❤
After Leftfield and one of best examples of electronic performance art that I have ever experienced, I wandered back to the Greenfields through the Tipi Field for a nice cuppa chai by the roaring fire it was lovely before I headed back to my Healing Fields bed. Saturday night at Glastonbury Festival and I.m going to bed? The middle-aged ravers club. I couldn’t help thinking “How Times Have Changed” ❤ I knew Sunday was going to be a busy work day and I wanted to get to the Greenpeace showers, shower queue early doors. My heart softened as I laid down to rest, looking up at the crescent moon and shinning stars and sent healing to everyone on Worthy Farm and drifted off to sleep in the beautiful grace of The Healing Fields ❤
I slept so deeply that night waking with morning dew on my face, deeply rested, my body was crying out for a shower, so off I trot early on Glastonbury Sunday morning in search hot flowing water to wash off the last two hot days. It was quite parky un the shade and couldnae help thinking oooo I wish I has brought a warmer Jacket. The Sun soon came round though. As I got to the front of the shower queue I noticed a notice that read “Please feel free to use the showers that most suit ones gender identity” Hmmmm now that was an interesting one. What shall I identify as today? Och it was too early for this kind of confusion so I kept to being a bloke. That shower was one of the best showers I have ever had. Shaved, hair washed, clean clean clean and fresh. Then up to Healers Reception for my morning brew, Handed my phone in at Tat For Tibet for a good charge did my my make up and set up shop. The morning massage queue were hogging the shade of my gazeebo so I waited patiently for the Sun to shift. As soon as it had done I had a steady flow of clientele and some lovely healing, by 5pm I was done. I had a date with Alison Goldfrapp at The Park Stage at 6.15pm and my make up was an ever evolving thing that Sunday and even if I say so myself, I looked brilliant and felt wonderful, a bit mentally exhausted but bodily groovy. I got the Park Stage as they were wheeling on the drum kit. The Park Stage towering above me, I wasnae taking any chances with this one, everything had to be perfect, the chances of seeing Goldfrapp again and this was my first time, Alison Goldfrapp I have loved for a long time from the Ambient Heaven of Felt Mountain to the Post Punk Black Cherry and Supernature, the spectral Beauty of 7th Tree and the disco brilliance of “Heads First” Then back to Spectral Beauty with “Us And Them” Goldfrapp has always thrilled me both in music and style. So this is why it was such a big thing for me. I had to make sure that I was at the front. It was a hot Sunday evening and just lie Leftfield the night before. I had the best seats in the house. I was surrounded by camp queens this really made me smile, I felt so at home, everyone was as excited as I was, when I got to the Park Dtage it was quite empty as I looked behind me I could see that the natural amphitheatre had filled up somewhat ❤ As as I saId this was my first time of seeing Goldfrapp and she is one of my fave girl singers of all time.
Goldfrapp Are. Alison Glodfrapp. Vocals and amazingness ❤ Will Gregory. Keyboards and Synth Wizardry ❤
Alison, Will, her drummer and two exotic dance artistists received a hero’s welcome as we danced through the cannon together drinking in every moment of this Rock N Roll brilliance. All the hits from all the musical incarnations of a true “Diva” It was when Goldfrapp picked me out in the audience to tell me I looked beautiful and the BBC cameras did a close-up of me. The moment is captured for prosperity on the BBC’s IPlayer. OMG I was the happiest queen in the house ❤ That is until one of them big bouncy balls started getting chucked around and falling on to the heads of unsuspecting groovers. One of them landed on the side of my head and it hurt. I thought fuck this for a game of soldiers and got out of the mosh pit.
But my Glastonbury front of stage had been achieved. I found a position, weaving my way up through the gathered masses to find that the sound reproduction was much better and grooved on down to the magical sounds of Goldfrapp.
After Alison I was quite hungry so had a gander around The Parks food places. I settled on an indian mix plate. £11 and it filled my belly, as I was eating my dinner, a guy came up and congratulating me on getting a call out from Alison. I replied “Cheers mate, I got her phone number too” ❤ How we laughed ❤
It had been a long day and Divine was knackered so I headed back to my Healing Fields and slept a very deep comfortable satisfied sleep. I was wide awake by 5am so went in search of coffee at The Tiny Tea Tent and then up to Kings Meadows and The Stone Circle to take in the last of the festival ravers, Indeed it was a lovely Monday Morning and the Climax of a wonderful Glastonbury Festival. So after morning coffee and walkabout, I purchased a veggie burger to fill my belly and rested. The work was done ❤
Later on that day Richard Greaves the Alexander Technique man who happens to live in North Berwick offered me a lift back to Auldee Reekie. Ya Dancer ❤ My back celebrated. I relaxed even deeper the stress of travel just got lighter.
Monday is always about replenishing after giving so much for 5 days of service it also gave me time to contemplate It was 31 years ago that I first entered Avalon (Under the fence) Its a festival that I have grown up with and watched and indeed been instrumental to its evolution over the years. I was the first to suggest that we all work on a donation basis so that everyone has the opportunity to heal regardless of how much money they might or might not have, At that time though the festival population was some 150’000 more as everyone was more or less walking in, for some it was genuine calling. me included. How things have changed over the last twenty years, Now the only way in is to be internet savvy enough to get a ticket, Some of the magic is lost I think. The Healing Fields is a Glastonbury Project packed with talented and effective Healers and Therapists of all kinds and everyone gives their best work on a donation basis. Its one of the things that makes Glastonbury Festival what it is, because that is what people get a calling for. The Healing that they need. Och where there is a will there is a way. As I have so proved. Good Time ❤
So after one last night under the stars, I slept another deep and rejuvenating sleep before waking up on Tuesday morning to pack my things and return what I had borrowed to Rainbow Lizzy, Helped Richard Tat down, gave all my lovely friends from healers reception a hug, I do love them all so dearly and we were off. Even though it was Tuesday it still took 2 hours to get off of site. We stopped in Wells for a fish and chips lunch and had brilliant banter all the way home. Richard is an old Leeds Goth too and really good friend.
I arrived back at Niddrie Mill at 10.30pm that night and my heart was full ❤
Megan Black is readying to perform At Glasgow’s Endless Summer
Hello Megan, can you tell us where are you from & where are you living today? Hello! So, I’m originally from West Lothian and am currently based in Edinburgh, Scotland.
Ah, Edinburgh, what do you make of the city’s music scene? I am definitely a lot more involved in the Glasgow music scene than Edinburgh. Edinburgh doesn’t feel as vibrant in terms of supporting original live music, however, there are some really great venues: in particular, I love Sneaky Petes in Edinburgh and have played there a few times. The team at sneaky Petes really seem to hold importance in supporting artists and showcasing their original work. As well as this, we have wide days which do amazing work for artists and people working in the music industry so hopefully the momentum to celebrate original music keeps building!
What are your first musical memories? My first musical memory is of joining a folk band at age fifteen and learning to play ‘Wagon Wheel’ on guitar – I still know every word to that song!
Photos by Charli Morachnik – Echo Echo Photography
When did you realise you wanted to take music seriously? Over lockdown, I wrote my first album, ‘Deadly is the Woman’. I think it was around that time that I started to see myself as an artist. Having people respond so positively and really get something from the music i make made me want to do it for a living. I also really love being a performer and I just know it’s what I want to do (I’ve also worked plenty of rubbish jobs to give me perspective on what really makes me happy). It’s a no-brainer at this point.
There’s a certain element of several musical & spiritual streams meeting in your music, can you define them for us? The first song I ever released at age 19 was my single ‘Fur Coat Queen’ (2019). It was my way of coming out as queer to everyone (including my family). The music I write is always for my younger self. I grew up in a small town where I didn’t feel I had permission to be queer and, therefore, didn’t have permission to be me. I owe it to my younger self to be the person she always wanted to be now. I want her to be proud and to feel seen. And hopefully, while doing that, I can make other people feel that too. My music covers a lot of very important topics such as feminism, the LGBTQ+ community, mental health, addiction, and relationships; but all it really comes down to is me talking about my own experiences as authentically as I can, and hopefully by doing that, I can help other people too.
Where do your songs come from & how do you shepherd them into existence? My songs always tend to start with me humming a tune. I’m one of those annoying people that’s always got a song stuck in their head! Then I have to work out if it’s mine or someone else’s (this happens a lot), and then it just grows from there. I always have an idea of what I want to write about and the songs tend to be manifestations of what is going on in my life. I then get some chords together and build on them more with my band until they become what you hear. It’s definitely a process.
So… desert island, solar power’d CD player, 3 albums – what are they? This is such a difficult question! This answer will change all of the time but right now they are ‘Stop Making Sense’ by Talking Heads, ‘Fetch the Bolt Cutters’ by Fiona Apple, and ‘The Miseducation of Lauryn Hill’ by Lauryn Hill.
You’ve just releas’d a new single, can you tell us all about the song? My new seat single MOTHER. SISTER. LOVER. is a celebration of womanhood and the power we possess. As a queer woman, I’ve been in love with women and still felt this comparison. We’re taught there’s only one opportunity. We’re taught we have to be prettier, smarter, funnier – you name it! This is something placed on woman by a patriarchal system, and I’m tired of fighting. My biggest inspirations in this world come from the women in my life. I love women and I want to celebrate the fact I am one! I collaborated on this song with many artists who identify as women or as non-binary. I wanted this song to recognise that this effects all women and everyone who relates to the experience. The more we stand together, the more we realise just how powerful and wonderful we are.
Can you tell us about the recording process that brought ‘MOTHER. SISTER. LOVER. into existence? This song was Co-recorded by myself and Sam Macleod, mixed and mastered by Scott Bathgate, and features the musicianship of Estefanía Badilla Mora, Niamh Maclennan, Rachel Duns, Mima Merrow, Sam Moffat, Lewis Ross, Stephen Buggy, and Paul Lamberton.
You recently play’d a sell-out gig in Newcastle, how did it go? My sell out show in Newcastle was divine! I may have some news about a future show there coming up soon!
What does the rest of 2023 have in store for Megan Black & her music? The rest of 2023 holds many surprises (things I can’t announce yet) but there may be some more new music, festivals and live shows in new places!
Two whole decades ago, my first Scottish girlfriend, a great Belle & Sebastian fan, started playing a band call’d American Football in the car – I were like, that’s pretty good that, not realising just how good the music was that I was listening to. Yes, its very clever stuff indeed; with unusual time signatures, guitars in different tunings & mood-altering lyrics all heaping layer upon layer of sonic sophistication into our ears.
American Football are definitely a musician’s band, they do reyt interesting stuff we’d all love to do, but just can’t find the key, or the rhythm, or whatever it is that makes American Football tick. They are also growing in legendary stature, one could stay – the main room of the Garage was pack’d to the rafters last night, the gig having been moved up from G2, because the band’s cultish star is way in the ascendency. There’s no word in the English language that describes their unique take on math rock – so I made one up – Tinkledrone.
Glasgow knows its music, that is a certified, bona fide fact – & if the house is full that means the band is bangin’. Its been a slow burning journey for American Football to really begin its audio conquest of the world – but an interesting one to boot. An album & an EP at the turn of the Millennium – then nothing for a decade & a half but an empty void slowly being fill’d up by squadrons of new fans, wanting to diversify, willing to listen, & wantonly falling in love.
Then came the holy reformation in 2014, follow’d by two more albums entitled exactly the same as the first, & then today, when full atmospheric maturity is taking place & the Garage went appreciatingly ballistic for every tune, & as Steve Lamos put down his drums & started looping his trumpet, I were like, that’s reyt good that is & whisper’d to myself its – so as not to disturb the trance we were all in – its onwards & upwards for American Football!
What the fuck was that? Ostensibly it was a Japanese band from Fukuoka on its first headline tour of Europe swanning into town with some reyt Metalcore, but in an extra-dimensionary sense, it was the conversion of youth’s most dynamical energies into a wall of wonderful sound.
There’s yelling – in the English language by the way – & there’s melodies, there’s awesome thrashy guitars & booming drums, there’s swirling ninja kicks on a temporarily clear’d dance floor & there’s just, well, a great deal of brilliance. I was just stood there, towards the back, with a massive grin on my face, bobbing my head up & down while protecting my flip-flopp’d feet from the moshing revellers.
The lead-singer carried the show with a proper Ian Brown vibe, like, & despite being an entire hemisphere away, many of the audience knew the tunes, including their recently released ‘I’m ready to Die For My Friends,’ which seems a signal banner for the boys reaching a sophisticated level of songwriting – from now on their songs are gonna touch & mean something to us all. Then, combining that ability with these stunning live performances, Paledusk seem destin’d for great, great things. Absolutely cool as fuck!
Everyone loves a bit of Meatloaf, right, but some more than others. My mate Andy, for example, who, in certain reveries, will always belt out a couple of numbers top blast, singing along to every lyrical nuance beside his nine-year old daughter – its quite a sight & sound to behold. So, yeah, with the Meatloaf Story rocking into town, I were like, I’m gonna take this chance to immerse myself in the music of our erstwhile song-writers, Meatloaf & Jim Steinman. Just over two years ago, they were both with us, but both these legends are now pass’d away & a show like this one has now become something of an elegy to their genius.
So what is the Meatloaf Story? Well, its simply a showbiz portfolio, lets say, of all the best Meatloaf tunes – including every one from the album Bat Out Of Hell – with a few of Steinman’s compositions for other performers thrown in, such as Bonnie Tyler’s ‘I Need A Hero.’ At the heart of proceedings is Steve Steinman & his extra-powerful voice, who, after appearing three decades ago on Stars In Their Eyes, performing as Meat Loaf, took that spirit on the road & his been there ever since, transporting & implanting the Meatloaf experience into the lives of hundreds of thousands of people across the world.
Around Steve is a gang of ‘rocktastic’ musicians, & two fiery backing singers, who escorted him of course, thro Meatloaf’s famous duets with Celine Dione & Cher. Around me was a crowd into which, song-by-song, was infused the buzz of the show, leading to us all standing up at the end singing & clapping along with euphoric phrenzie to the song, Bat Out Of Hell. Before then we had a plethora of costume changes, pyrotechnics, comedy monologues, & just an all round splendid time. Whether a Meatloaf fan or not, this show is quite a spectacle, & I figur’d we are all Meatloaf fans somewhere inside, for several of his songs are just immortal classics, & as Steve Steinman delivers them with polish’d & perfected aplomb we begin by mouthing the words, & end the proceedings by belting them out top blast just like my mate Andy & his daughter.
Mumble Music 