My last Libertine

I ran my last Libertine acoustic gig this afternoon - I will continue to promote these events as long as someone else runs them. Otherwise, they are over. If no one person wants to run them, I suppose we (yes you and you and you and me) could run them as a cooperative. How about that? We could have various members curating Acoustic Afternoons. That might be the spark these events need.

Anyway, this afternoon, after the initial disappointment of losing my first act, Andy Murray of Lion House cheered me up no end with an entertaining set of covers and originals and some great between-song banter. Alan Levy, late-comer to the bill, also made me laugh with his songs about beards, and sofas, and buses. And Tracy Picardi, who was playing her third Acoustic Afternoon, was enthralling. She has great songs and a great voice with which to sing them.

So it ended up being a nice afternoon.

I just don't want to run them anymore.

A short review of the RTYD Acoustic Afternoon at the Libertine last Sunday

It was the first Sunday back after the summer break and the sun shone down on the Borough and threw a beautiful light upon the small stage at the front of the Libertine pub in Great Suffolk Street.

Wheres Spot, comprising Chris, Jan and Dean, as pictured above, opened proceedings with some proper singing and three-part-harmony-heavy cover versions including a Beatles medley, An Englishman in New York and....er, Lindisfarne. I must say, I don't know who they are, or why they want to buy dreams from a dream seller, but I'm a little too scared to find out.

The whole event was being broadcast live to the web by RTYD member and Kryptic Klu guitarist Liam Barnes, whose video gig promotion enterprise Gigvert.com is using RTYD gigs as a testing ground for a proper business in the near future. I am honoured, and it's also good because it shows RTYD to be employing all the latest in digital media to promote itself.

Paul Chatterjee AKA 'Chats', lead guitarist with London's leading covers band Creak, was up next, to challenge himself to his first ever solo performance, about which he was suitably anxious. He was chatty, as his name suggests, and the audience's reception of his song choices seemed to tranquillise him somewhat. Though not too much, or he'd have had to sit or lie down.

The Lone Groover is a regular at the RTYD acoustic afternoon as well as a RTYD gigs in London. He has grown in confidence as a solo performer and since I first met him. His songs are rife with romanticism, nostalgia and protest at the current state of the world. They are protest songs for the RTYD generation.

Finally, Aaron Zimpel is Antipodean. Nothing wrong with that. Nice bloke. Great voice. He knows the boys from Creak. He sang soulful renditions of funky songs including Sexual Healing, Superstition and MissYou which were enthralling. Great stuff.

See you next time.

Losing The Libertine

I was having a shit day yesterday, and in the middle of it came a call from the manager of The Libertine. The Saturday nights, he said, weren't really working for the pub.

The problem was plain to see at Saturday night's ROCK-TIL-YOU-DROP gig. The pub, which is run by 20/30-somethings, is often patronised by those of a similar age. Not, however, live music fans, more live football fans. And on Saturday night they were in the majority. Unfortunately, too often, they are in the majority. If, the manager said, the live music bought in the majority of punters, then it would be fine, but as we all know, and like Saturday night, the music fans were in the minority.

Despite this, I enjoyed Saturday night, especially once we worked out how to factor in an electronic drum kit. It was great to have The Dipsticks on again, to meet their new drummer Alan, and see their former drummer Angie come out to support them. It was nice to meet Runfever, and initiate them into 'the club'. The Dipsticks bought some friends, but Runfever struggled to bring people after shooting their load (as it were) at a recent gig in Stockwell. The lovely Ray Hyde from Kryptic Klu turned out to to support live music locally. But that was it. We drove most of the 20/30-somethings outside with our noise. Hardly the ROCK-TIL-YOU-DROP club atmosphere that idealistically I always hoped to achieve; Nights that bring mature musicians and music fans together to support live music, and to be social and network.

It's a real shame because The Libertine is a great pub rock venue. Those that play it always enjoy it, and those that attend it do, too. The sound is good, the staff are friendly.

The acoustic afternoons, they feel, work well, but to be honest I don't want to be left holding the acoustic guitars. I am not that interested in promoting these alone. They were always meant to be supplementary to the electric nights, so I will probably stop them, at least regularly.

I have a Saturday night booking to honour, but to be honest I fear for this. I fear it clashes with a 7:30pm quarter final World Cup game, which promises to be a battle of the European titans, Spain and Italy.

I need to have a think. And to look for a new more central venue. In my sights is the pre-club shift on a Saturday night at Peter Parker's Rock 'n' Roll Club, 7:30 - 10:00pm. Wish me luck.

Now that's what I call a good night: Creak & Kryptic Klu at The Libertine

People came. People drank. People danced. Musicians networked. People added their emails to the mailing list, even! The place was b-u-s-y, BUSY! So, it is possible to fill the pub on a ROCK-TIL-YOU-DROP night. The bands just have to bring there friends and family in abundance, like Creak and Kryptic Klu did, God bless 'em. There was the added bonus of the stag party that arrived to fill the far end of the pub; but who cares who they were? They were there. At the Libertine. All of 'em. That night.


The first band of the evening, Kryptic Klu, has been evolving for six years or so. It is a five-piece guitar band led by Ray Hyde. The band rehearses regularly (their guitarist Liam Barnes once told me that weekly rehearsals were written into each of their marriage vows!) but has played less than a handful of gigs. Last night was the boys' first gig in a long time, and was therefore a very special occasion indeed, which galvanised friends and relatives, from teenagers and upwards. And they didn't disappoint their travelling massive, with a solid set of Leonard Cohen and Bob Dylan-flavoured rock songs.


Winners of ROCK-TIL-YOU-DROP's Best Band of 2009, Creak had a hard task following the Kryptics, but rose to it, and kept the room buzzing with their mix of classic rock covers. Their guitarist Vladi arrived in the nick of time, straight from the airport that he'd flown in to from France, put his luggage down, got himself a Guinness, plugged in his sunburst Les Paul, and spent the next 45 minutes throwing the rock moves and shapes that have become his trademark. Creak is solid, professional and loud, but never uncontrollably so. I want a rhythm section like theirs, and a lead guitarist like Vladi or Paul. Singer Paul Rodger can join me on stage for our encore, a rendition of We're Not Gonna Take It.

Musicians met musicians. Promoter met musicians; I was introduced to the members the Foaming Beauties, a band I had not come across yet, who seemed very nice - I look forward to finding out more about them.

Youtube video of Creak and Kryptic Klu to follow shortly.

Strange Behaviour & Engine Room of the Apocalypse at The Libertine

Engine Room of the Apocalypse are loud. Very loud.

They are a three-piece. On synthesized-guitar and bass, are brothers in noise, Neil 'Wilf' and Guy 'Gumbo' Willetts, respectively. In the engine room of their apocalypse is drummer Iain 'Wine Bar' Young. Prog fan. Nice guy. Quiet guy. Til he plays the drums.

Below is 'Wilf' modelling synth-axe through Line-6. It's dark, I know, so you'll have to take my word for it.


They write political songs and play them in a prog-metal stylee. And LOUDLY; did I say that already? They are not covered in cream, but they do cover Cream. Not White Room, but a song with a similar riff (Clapton was clearly already running out of ideas)


I've got a soft spot for Strange Behaviour. They are the quiet heroes of the RTYD scene. They write well-constructed catchy blues-rock songs. Once in full swing, lead singer and guitarist Gerry Hobday, school caretaker and axe-man of his own apocalypse, can often be caught lost in the moment. Gone. Seventeen again. Feet dancing on effects pedals. Looping and wah-ing away in the bedroom that he never left - in spirit, anyway. And all the time in their engine room, Barry Simmons, bass; eyes closed, pick in mouth, and Richard Slater, drums; hold the fort. Provide the cover.

They always look so at home. There is no pretence. Just good old fashioned blues-rock 'n' roll. They are doing what comes naturally to them. And doing it so well. Buy their new CD. Buy an old-fashioned hard copy. Here

The Outbursts and Midnight Purple at the Libertine

The Outbursts headlined The Libertine at short notice last Saturday night. And they saved the day, as well as the night, by playing a great gig and bringing their very own Bromley Contingent, who were suitably vociferous and punk-rock, pogoing and heckling throughout their set.

The Outbursts go from strength to strength. Their onstage antics become more and more entertaining. By day, singer and fisherman Ian Breslin works for Bromley Mencap and when he gets the chance dresses as Postman Pat to entertain children (and adults, I'm sure), but by night he dons the mohair, the bondage, and transforms and regresses to punk stereotype. Like the band and its music, his performance is funny without ever being embarassing; if Eric Morecombe had ever impersonated Johnny Rotten, this is how he would have done it.


Support came from Brazilian pop-rockers Midnight Purple who are over here for a week to play a few shows including the student union at the Institute of Education in central London on 28th and 29th January (7-8pm). Blag your way in if you can. Unphased by technical problems during soundcheck, as the room warmed up with noise and people, they were soon firing on all cylinders. Very professional.

A Rock-Til-You-Drop moment

It's never nice to have a band cancel on you ten days before a gig. But when this happened to me on Wednesday, I did the sensible thing, crossed my fingers, and sent an email out to my 'London Bands' emailing list.

And I have to say I was pleasantly surprised and heartened by the eager response by a good number of bands happy fill the slot. Five! I think that's pretty good. It was, what has come to be known as, a ROCK-TIL-YOU-DROP-MOMENT: a situation that arises, even in the world of (usually) reliable mature musicians, which calls for the network to do its job, and to fulfill its purpose. Which it did.

To be fair to the band that cancelled, I should mention that their lead singer/guitarist was more than happy to make a solo appearance. That also says something about the spirit of many of the members of RTYD. But in the end, it wasn't necessary.

Thanks then, to The Beast, The Moths, Bang To Rights, The Gowletts, and finally The Outbursts who pipped the others to the post and will be performing once again for RTYD on Saturday 23rd January at the Libertine in Borough. KO 8pm. Free entry.

Now I'm looking forward to it again.

Pocket Rocket and the Dipsticks at the Libertine

You can always judge a gig by the way you feel the next day.

But before I let you know how I feel, I’d like to thank the Dipsticks for bringing their hardcore fans and for playing a very enjoyable set last night. I’m starting to get to know their songs now. And I really like those guys. If only all bands were as pleasant and likeable and easy to deal with as those guys. Hopefully, 2010 will bring a Dipsticks recording. Unfortunately, though, last night was drummer Angie’s last appearance with the band. Angie has a commitment to study next year. We will all miss her.

Thanks too to Colin Gillman, his new bass man 'Dave' and Stabiliser guitarist Istvanski for coming out to see Pocket Rocket.

At least three-quarters of Pocket Rocket thought last night's performance at The Libertine was mediocre. On the face of it, out front, I'm sure it sounded fine. Maybe in this respect our performance was a good one.

In the heads of a few of us though, all is not ‘fine’.

Because we know it could be so much better. I’m not going to carry on about the lack of rehearsal (thank god for that! – Ed) but this is obviously still an issue.

Our enjoyment of the gig is affected by a bad on-stage sound. Out front the sound is very good in the Libertine. There is a vocal PA but there are no monitors on-stage. Our drummer can't hear my lead vocal very well at all. All our drummer hears is the few BV howlers that emanate from his stage left. I must push the venue to get at least one fold-back monitor.

I can't hear my fucking guitar AGAIN! I might as well not be playing. I do play, but I feel like I could easily just turn it off and mime it. The thing about this is that it gets me thinking about whether the two guitars are complementary enough. We would certainly miss the lead breaks. But during the verses and choruses are we simply muddying the sound by basically doubling up the guitar-parts. In a bigger venue, through a bigger PA, you can split the guitars more successfully but in a small pub, with a small PA, you're better off with one guitarist. The Dipsticks have one guitar and sound great. I am envious of the 'room' and ‘definition’ in their sound.

I don't want to turn my guitar up 'cos I can only just hear my vocal. I am straining AGAIN to hear myself on stage, though I am at least aware that I can be heard loud and clear out front. I put my faith in this.

I was guilty of starting at least a couple of songs too slowly. I think I know why, but I'm not gonna make excuses.

Our drummer, who is under untold pressure and stress at the moment, and is clearly finding it hard to enjoy anything at present, handles my newly ballad-paced Teenage Dream very well. He could probably have done without a 'mediocre' gig, and a two hour drive to it, tonight. It doesn't help that we've rehearsed once in three weeks (careful! - Ed), and that that rehearsal was without our lead guitarist. The set isn't second nature. It should be but it isn't.

You can always judge a gig by the way you feel the next day.

I am lucky to have a band, I know. I should just accept the band for what it is? Accept that it is as good as it can be considering the level of commitment towards it by its members. But I can't. I want it to be so much better? Unfortunately, there are issues that need resolving. I always hope they will resolve themselves, or time will resolve them, but of course this doesn't happen. Rehearsal... consistency.. backing vocals...guitar volumes...all these things and more need to be addressed.

After two and a half years, playing most of these songs should be a walk in the park? Why aren't we more consistent? Why do we still struggle to get some of these songs right? I am tired of half of these songs, yet some of them still aren't right.

I am lucky to have a band, I know.

So here’s a plan. We don't gig early next year. We put some new songs together, to freshen things up. We rehearse regularly ie: every fortnight - let’s be realistic – at a rehearsal studio and at a rate we can afford; On a night that we can all make it! We get a new set togther. We play it 'til it's second nature. We talk openly about the 'issues', and engage with each other more in performance.

I am lucky, I just wish I felt even more lucky this morning.

It's my party and I'll play if I want to

In my last blog entry I neglected to mention my own appearance at Sunday's acoustic afternoon at The Libertine simply because I wasn't in the mood to talk about myself at the time of writing. Now I am, so please allow to me fill you in. It won't take long.

It's been a while since I sat down and performed acoustically in public. It was the impromptu solo performance at the disastrous Guildford gig earlier this year that inspired me to get back in to it. It's taken until now to make it happen, for whatever reason.

On Sunday, I had moral support on stage from Pocket Rocket guitarist 'Lex' Luther Taylor, who played electric guitar to accompany me, and did a fine job after just two rehearsals, and only being familiar with three of the seven songs I asked him to learn. I thought the decent thing would be to open the event and take the 'warm-up' slot, which I did. By song three of seven I was beginning to relax, and by song five I was leaning back on my chair. The sound was good and clear, and though there was some chatter from the floor, those assembled were largely attentive. Colin Gillman, Istvanski and Kenski had public transport problems and missed my set, so requested that I make a special appearance at the end, which I was happy to do. Colin got his acoustic versions of Give The Boy A Chance and (The) Happiness (You Deserve) as well as a reprise of Magic Bicycle.

It was a pleasure to host, and listen to, performances by all those that played after me. It was lovely too because so many RTYD members came along. All those playing were members, and as well as Ista, Colin and Kenny, Mark McKendrick was also there supporting his buddy, Woody.

John Grant, whose band The Beast are playing for RTYD on Wednesday 9th December at the Blues-Rock-Til-You-Drop gig at the Fiddlers Elbow in Chalk Farm, wrote a lovely thing in an internal message to me that I'm sure he won't mind me imparting to you; he wrote: "I think you've created something wonderful with this RTYD affair - it reminds me of a time when you could just breeze into your local and encounter the likes of Juice on the Loose, Kilburn and the Highroads, The Realists, Ducks Deluxe et al".

That's the general idea. And how cool is that?

Sunday afternoon at the Libertine

I can't be bothered to go on about how good it was. Suffice it to say, a great time was had by kids 'n' all.

Here's some photos. I must apologise to John Rigby for not getting my camera out in time to snap him in all his acoustic glory. Maybe someone else did? If so, I'd welcome a jpeg. So for now, here's a picture of him in action at the last event so you can put a face to the name. You'll see him about, he's a lovely guy and a regular on the RTYD scene.


Here's Woody, his guitar and harmonica, looking and sounding great. And all the way from Blackburn, Lancashire.


Here's Graham Hunt, alias mature musician blogger, 'Furtheron', who rose to his own challenge and delivered a lovely set of songs. Follow the 'Furtheron' link and read his blog 'Guitars And Life' about the experience.


And here's Strange Behaviour who played a great set after just one 'unplugged' rehearsal. Showing that if your drummer can play with brushes he's welcome to bring his whole kit along.


And then there was this lot propping up the bar and dipping left-over roast potatoes into cold gravy (and why not?): From left to right: mature musician blogger, Crystal Palace fan and Stabilisers guitarist Istvanski; internet-radio-jockey and former Axevictim-blogger, The Colin Gillman, and one fifth of the Filmore Five Kenski.


Until next time.