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Why now is the time for the Music Industry to change!

Why the music industry needs to change from Full Pelt Music
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As Blossoms strode onto stage in Liverpool’s Sefton Park in front of 5,000 non-socially distanced fans, the UK was reminded of just what it had been missing. The music loving island that has played a key role in the formation of the music industry as we know it, was shown again just what was at stake!

The aim of the gig which also saw The Lathums and Zuzu play to an audience starved of live music for over a year was to establish a safe route back for the music industry. Now, let’s consider something. We all love music, we all love live music and by default we all love the music industry. We naturally want to see it return as we remember it. You know from before the c-word, before the world stood still.

Where is improvement needed?

Here however is what we need to consider. Should the industry be allowed to return just as it was? Again, we all love music, that’s no doubt why you are reading this article! But, if we take even a cursory glance back then it should be clear that the industry was far from perfect. There were and still are many issues within the industry that need to be addressed. Thankfully there are many great groups and organisations working to advocate change and force improvement.

The most important step that we all must take now is the realisation that the industry isn’t perfect and that only by all aspects of the industry working together can positive change be installed. We want to do a small but important thing with this article, and that is raise awareness.

Since the inception of Full Pelt Music at the turn of the year, we have already written about a handful of subjects. We spoke early on about the relationship between music and our mental health in our blog ‘Mental Health, Music and Me’.

We have also addressed the plight of our grassroots music venues in our blog ‘Why We Need To #SaveOurVenues’; and we looked at the impact of music streaming in our blog ‘Why We Need To Fix Our #BrokenRecord Industry’. We won’t repeat ourselves here, but encourage you to take the time to read these articles.

How does change happen?

As we said, there are many aspects of the industry that need to be improved. Whilst the pandemic has had ruinous effects on the industry it has provided an opportunity to make these changes. If not now, then when?

As we return to music, we also need to rebuild the music industry. We need to actively embrace diversity and equality. This goes deeper than simply the percentage of female performers on a festival bill, although of course that is a metric which highlights the current disparity well. This requires more than social media campaigns highlighting racial inequality and abuse.

The work needs to happen at the grassroots level but needs the mainstream to lead by example. Youth programmes that aim to educate and nurture are vital, but action from the top is essential; one example being the need for tough action from social media companies.

The Government and the various regulatory authorities need to up their game as well. Actions speak louder than words, and if the pandemic has taught us anything it’s that the financial support for the industry and from the top of the industry has been too little and too late. Any support has also often bypassed those most in need.

Yes, we have faced an unprecedented situation that has devastated many industries, but the music industry has had a unique opportunity to improve. Let’s look at accessibility. With music venues closed, what better time has there been for remedial work to take place which provides greater access for deaf and disabled people to live music.

The problem has again been the lack of support and funding from those with the power to facilitate this change. With music venues, particularly independent ones, on their financial knees they can’t be vilified for not taking action. Better foresight and ambition from Government however could have seized an unwanted but ideal opportunity.

What’s the answer?

In writing this article we certainly don’t purport to have all the answers. We don’t even assume to know all the barriers to change. All we want to do is continue many conversations that are being held by organisations and individuals far more knowledgeable and industrious than us.

It is time for change. Because if not now, when? Thankfully there are many groups actively striving for this change and making a difference now. What they need is our support. With that in mind, we want to draw your attention to just a handful of these organisations. There are many more out there doing fantastic work.

Now is the time to speak up, help advocate the change required for our beloved industry to return better than ever. To return with a safe and positive environment for all!

MUSIC VENUE TRUST

THEIR MISSION

Below excerpt from Music Venue Trust

Music Venue Trust is a UK registered charity which acts to protect, secure and improve Grassroots Music Venues.

Created in January 2014, we aim to secure the long-term future of iconic Grassroots Music Venues such as Hull Adelphi, Exeter Cavern, Southampton Joiners, The 100 Club, Band on the Wall, Tunbridge Wells Forum etc.

These venues have played a crucial role in the development of British music over the last 40 years, nurturing local talent, providing a platform for artists to build their careers and develop their music and their performance skills.

We work to gain recognition of the essential role these venues fulfil, not only for artist development but also for the cultural and music industries, the economy and local communities. We aim to preserve and improve venues, making them more efficient and improving the experience for performers and audiences. Long-term we plan to acquire the freeholds of as many of these vital venues as possible.

More Information

ATTITUDE IS EVERYTHING

THEIR MISSION

Below excerpt from Attitude is Everything

The future we want to see…

Deaf and Disabled People can be audience members, employees or artists at any live music event of their choice: music without barriers.

What we’re doing to make that future a reality…

Attitude is Everything works in partnership with audiences, artists and the music industry to improve Deaf and disabled people’s access to live music.

Our aims:

  • increase the number of Deaf and disabled people participating in music
  • raise awareness of the barriers that Deaf and disabled people face at live music events, and to demonstrate how to overcome them
  • show and highlight Best Practice in access, and set an example to those we wish to influence
  • develop the skills and confidence of Deaf and disabled people so that they can better engage with the music industry

More Information

SAFE GIGS FOR WOMEN

THEIR MISSION

Below excerpt from Safe Gigs for Women

Safe gigs for women is an initiative established by regular gig goers with the aim of creating a safer environment for women at gigs.​ ​Our aims are:

Gig goers
Work with gig goers to spread the word that it is not okay to grope, threaten or harass others. Encourage victims to speak out, and supporters to advocate that this behaviour will not be tolerated

Venues
Work with venues to ensure they take reports of sexual harassment and other threats to women seriously. We will work with venues to create a standard in the industry for safe venues. We will then campaign to get the standard adopted nationwide.

Bands
Getting bands on board to recognise our standards, talk about our work and get their audiences recognising and spreading what is acceptable​.

More Information

NICK ALEXANDER MEMORIAL TRUST

THEIR MISSION

Below excerpt from Nick Alexander Memorial Trust

The Nick Alexander Memorial Trust award grants for musical equipment to community groups and small charities across the UK, particularly those representing the most disadvantaged and marginalised sectors of society, be that through poverty, physical or mental illness, disability, ethnicity or age.

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JOE STRUMMER FOUNDATION

THEIR MISSION

Below excerpt from Joe Strummer Foundation

Our mission is to provide opportunities to musicians and support to projects around the world that create empowerment through music.

Our objectives are specifically:
  1. The prevention or relief of poverty, particularly of young people, anywhere in the world by providing: grants, items and services to individuals in need and/or charities, or other organisations working to prevent or relieve poverty.
  2. To promote, improve, develop and maintain the education of the public in the art, culture and science of music in all its aspects for the public benefit, in particular young musicians, including by the provision of funds for the purchase of musical instruments and studio rehearsal.
  3. To promote, improve and advance the arts, including music, for the public benefit including by the presentation of exhibitions, public events and concerts.

More Information

SOPHIE LANCASTER FOUNDATION

THEIR MISSION

Below excerpt from Sophie Lancaster Foundation

The aims and objectives of the Charity are as follows:

Create a lasting legacy to Sophie

Provide educational group-works that will challenge the prejudice and intolerance towards people from alternative subcultures

Campaign to have the UK Hate Crime legislation extended to include people from alternative subcultures

More Information

WE ARE HUMMINGBIRD

THEIR MISSION

Below Excerpt from We Are Hummingbird

We are Hummingbird is a non-profit Mental Health awareness organisation. We are a community of music lovers who have united to spread awareness of mental health by using music as a platform to encourage people to open up and engage in conversation. 

More Information

The above are just a very small selection of charities, organisations, groups and individuals that are fighting the good fight. Take some time out to research causes close to your heart and get involved to make our industry a better place.

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The Year in Review 2020

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Full Pelt Music looks back on 2020 for our Year in Review

What a year to pick to review. It’s been a year like no other and not for good reasons.

On a personal level as detailed within my first blog, ‘The Reluctant Blogger’, I was made redundant from a job I loved, just before Christmas and during a global pandemic! Not nice, but realistically I wouldn’t be writing this blog on this website if that hadn’t happened! The decision to return to writing about music also allowed me to take a look at the relationship between music and my mental health in ‘Mental Health, Music and Me’.

For the world it has been a year of pain, struggle and despair. From the fires of Australia to the flooding of the UK early in the year and now again just before Christmas; there has been no restpite in the year of the coronavirus. Unprecedented is the word of the year, but with Brexit and the ongoing pandemic looming large, the word for next year is probably uncertain.

Everybody has struggled this year, personally and professionally. This struggle is not limited to the music industry but our industry has struggled greatly. The live side of the industry is built on bringing people together and of course that has not been possible since March. The recorded side of the industry has also struggled with delays in recording, producing and distributing.

Recovery for the grassroots of the industry is far from guaranteed. The stark and sad reality is that many musicians and hard working crew members will have needed to have sought alternative employment and the actuality here is that many will never return to the music industry. The fact is many government schemes setup to alleviate the financial pressures on individuals and businesses simply bypassed these people.

Unfortunately the pandemic has also hastened the plight of many grassroots, independent music venues.  We have sadly already lost many venues and there are still many more at imminent risk of permanent closure. We have written extensively about the issues surrounding our industry in our blog ‘Why We Need To #SaveOurVenues’, and we encourage you to get involved in the initiatives highlighted.

This is of course a creative and innovative industry and through struggle we evolve. Much like the loss of my own job bred this website, the loss of touring and live shows has seen the evolution of the livestream. Many musicians have embraced technology and sought new ways to engage with their audiences. We have looked at the rise of this phenomenon in our blog ‘Livestreams: Good or Bad for the Music Industry’.

When looking back on 2020 in the future, the memories will fill everybody with dread. There has however been some fantastic musical highlights despite everything else. We recently revealed our Album of the Year in our ‘2020 Album of the Year’ blog; and the Top 20 list was highly competitive.

2020 has produced some incredible music and that’s where we are going to focus this end of year review. In order to celebrate the successes of a very difficult year we going to look at the following awards – Album of the Year, Single of the Year, Gig of the Year, Festival of the Year and Artist of the Year!

Album of the Year

As mentioned we recently listed our Top 20 Albums of the Year here. This was a highly competitive list as 2020 saw some truly phenomenal releases.

Full Pelt Music’s Top 20 Albums of 2020

We said “It has been a crazy year, and this list has been heavily influenced by that. As mentioned the top of this list is massively impacted by new music I heard during the height of the initial lockdown. ‘Ultra Mono’ was an album that I was already extremely excited to hear; and the stream of songs released during Lockdown only served to raise that excitement to a fever pitch.

Thankfully IDLES didn’t disappoint and when the album arrived it was a pure masterpiece. It shows a natural progression on the bands first two records and grows the bands sound. It still captures what made us all fall in love with the band but by incorporating new elements into the bands sound the album shows that IDLES are no one trick pony.

Above all other releases this year and those that feature in this list, this was the album that we needed this year. In a year where we have all been knocked down one way or another, IDLES and ‘Ultra Mono’ has been a call to arms, to pick ourselves up, dust ourselves down and keep going.”

WINNER: ‘Ultra Mono’ by IDLES

The Contenders: ‘A Hero’s Death’ by Fontaines D.C., ‘Post Human: Survival Horror’ by Bring Me The Horizon, ‘Nothing Is True & Everything Is Possible’ by Enter Shikari, ‘A Celebration of Endings’ by Biffy Clyro, and ‘Sex, Death & the Infinite Void’ by Creeper

Single of the Year

It’s been a good year for both Bring Me The Horizon and Yungblud, with both releasing stunning new records. Yungblud recently hit the number one spot with ‘weird!’ which we reviewed here, and Bring Me The Horizon silenced their doubters with ‘Post Human: Survival Horror’ which we reviewed here.

It shouldn’t therefore be so much of a surprise that their collaboration together is our standout single of the year. Accompanied by an over the top video, ‘Obey’ is a rip roaring tale of corruption and brainwashing, so perfectly fitting for 2020!

WINNER: ‘Obey’ by Bring Me The Horizon feat. Yungblud

‘Obey’ – Bring Me The Horizon feat. Yungblud

The Contenders: ‘Model Village’ by IDLES, ‘Space’ by Biffy Clyro, ‘Trouble’s Coming’ by Royal Blood, and ‘Protect The Land’ by System Of A Down

Gig of the Year

I was lucky enough to catch some fantastic shows early in the year, you know BC (before Covid!), and Stereophonics, Frank Carter & The Rattlesnakes, Kaiser Chiefs and Fontaines D.C. all deserve special mention.

For my Gig of the Year however I’m again looking to the Covid era.

When life has drastically changed and you’ve been deprived of the opportunity to do something you love, you learn to savour those moments more. For me, as somebody that in 2019 attended some 93 gigs, the loss of live music was devastating. Of course, many people have endured much worse in 2020, particularly at the height of the initial national lockdown; for me however, I was just desperate for live music.

The opportunity to watch real, live music again thankfully emerged (if only for a short time) at the end of summer. Frank Turner lives by the moto “Always on Tour”, and he wasn’t going to let a global pandemic get in the way. An innovative location for a socially distanced gig was Nottingham Arboretum, basically a bandstand in a park. The result was a stunning if unusual setting for a gig which came to life when night fell and Turner serenaded the sold out crowd with his biggest hits.

A great supporting cast including Tash Bird, Holly Carter and Beans On Toast helped to make this show one to remember. The musicianship on show was fantastic, as was the togetherness and gratefulness of an audience desperate to once again forget life’s stresses and enjoy an evening of music. It was a powerful evening that brought tears to many an eye, and that’s why it wins our Gig of the Year award.

WINNER: Frank Turner @ Nottingham Arboretum (20/09)

Nottingham Arboretum

The Contenders: Stereophonics @ Kentish Town Forum (21/01), Kaiser Chiefs @ Brighton Centre (30/01), Frank Carter & The Rattlesnakes @ Alexandra Palace (15/02), and Fontaines D.C. @ Norwich UEA (24/02)

Festival of the Year

The coronavirus pandemic completely obliterated the 2020 festival season, as early optimism that some festivals would survive was eventually swallowed whole by this horrible virus. With social distancing in place, festivals just were not possible. But didn’t I say that the music industry is the most creative and innovative industry? Whilst some promoters attempted to arrange socially distant shows, tours and festivals, few succeeded; with even Live Nation cancelling a huge programme of drive in shows.

I was lucky enough however to venture to two such festivals at the Norfolk Showground near Norwich. A mixture of entertainment was laid on in a specially designed arena with socially distanced ‘pods’ maintaining the necessary safety measures. Brickfest was a one day festival focussing on covers band with a handful of original acts like headliners Bad Touch thrown in. The day was a huge success given the circumstances, as was our 2020 Festival of the Year – Wild Fields Festival!

Wild Paths Festival debuted in Norwich last year with acts gracing venues across the fine city. This year the event embraced the outside arena and rebranded as Wild Fields Festival over two days was an eclectic line-up on offer. The first day featured great sets from many young artists including Lauran Hibberd, Indoor Pets, Another Sky and headliners Gengahr.

Even through the greatest adversity the power of the arts shines through and Wild Paths was a shining example of how to put on a safe, fun and thoroughly entertaining festival during a global pandemic.

WINNER: Wild Fields Festival

Brickfest at the Norfolk Showground, also host of Wild Fields Festival

The Contenders: Brickfest

Artist of the Year

Our final award is for Artist of the Year. In a such an unprecedented and difficult year this award is going to an act that has considerably contributed to making the year better. Fantastic new music has played a hugely positive role in improving a hard year. With this in mind that means that IDLES, Biffy Clyro, Enter Shikari, Bring Me The Horizon, Fontaines D.C. and Yungblud are all in the running for this award.

Beyond that however real live music when possible has been an even greater high than normal. As such Frank Turner enters the running as an act I somehow managed to catch live this year some four times including the aforementioned Gig of the Year.

But this year is different, new albums and live shows whilst normally the lifeblood of our industry almost feel insignificant when you look at the horrors witnessed across society, both inside and outside the music industry. One saving grace for many this year has been the arrival of the music livestream. A number of those already mentioned have dabbled if not excelled in this activity.

Our winner however has taken this new outlet to heart. They have provided joy and distraction to thousands of people during what must be a record setting number of livestreams. More than that, they have managed to raise an amazing amount of money for a cause I have already championed in this blog. That cause is of course the Save Our Venues campaign and our Artist of the Year is clearly that man again, Frank Turner!

In 2020, Frank Turner has probably played more real shows and more livestreams than anybody else. He has recorded and released new music including collaborations with NOFX and Jon Snodgrass. He has produced the fantastic new Beans On Toast record. He has thoroughly entertained and provided much needed distraction from the real world to thousands; and he has raised an incredible amount of money for charity.

In reality Turner deserves a medal, but what we can give him is our Artist of the Year award!

WINNER: Frank Turner

Artist of the Year – Frank Turner

The Contenders: IDLES, Biffy Clyro, Enter Shikari, Bring Me The Horizon, Fontaines D.C., and Yungblud

2020, a year we will all be hoping to forget very quickly, but there has been some great music released. All focus now however is on 2021 and those vaccinations. We hope that sooner rather than later we will be able to safely gather again in those venues and fields to watch our favourite artists in the flesh.

There will also likely be an avalanche of new music coming our way with artists having been isolated with their creatively for company. Let’s just hope that not every song is about lockdown!

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Livestreams: Good or Bad for the Live Music Industry?

Photo by Andrea Piacquadio from Pexels

With the removal of live music due to the ongoing coronavirus pandemic, musicians and fans alike have been forced to find new ways of getting their fix. The arts are by their very nature creative, so it should surprise nobody that new avenues to engage the connection between artist and fan evolved very quickly. The jump in popularity of livestreams has been one of the most startling effects of the pandemic restrictions.

Initially at the height of the worldwide lockdown these livestreams were generally through the likes of Facebook Live. Musicians (usually solo) playing to a camera set up somewhere in the home. For some that meant the comfort of their living rooms, for others it meant being strategically located in front of their trophy shelves. Either way it was a basic way for artists to play their songs to their fans when true live music just wasn’t possible.

One of the issues with this method of livestream is that of price. On one hand the fact that they are free for fans to watch is great. It provides a chance for those on low incomes, who may otherwise be unable to afford to see live music, with the ability to see their favourite artists perform. The price point therefore offers artists the opportunity to gain exposure to those who may not normally pay to see them. Then when live music returns, perhaps those individuals will invest in a real show.

On the flipside for artists who have seen their primary income source taken away, giving away their art for free isn’t going to help them pay their next bill. Remember not all musicians are millionaires, and in reality those engaging in livestreams from home are most likely not. Some artists have sought middle ground by continuing for free but asking those that can to donate or purchase merchandise. Whilst this provides a modest income for the artist, it isn’t viable in the long term and most artists feel awkward asking.

So, is there any way to make livestreams financially successful for artists? We are now seeing more and more artists trying their hand at the professional livestream; with easing restrictions allowing full bands to get together and stream a live performance. Filming from actual music venues and often featuring full production, these streams offer a product for consumers to purchase; thus providing a greater source of income to artists.

With many bands incorporating full production values however, we see increases in ticket prices. With prices for some streams now sitting at a similar value to real live shows however, you have to wonder at what point fans may be turned off. Looking at it from the negative point of view, it’s not really live in its truest sense. As a fan, I’m not there. I’m not listening to the actual sound or seeing the real in person artist. I’m not struggling to get a good view or having to buy expensive beer…

…actually, come to think of it, from the positive point of view, I’m not there. I’m not struggling to get a good view or having to buy expensive beer. I do not have to drive or catch the train and when it finishes I can go straight to bed! Of course, different people will see livestreams differently. Even ticketed livestreams give those who might not normally be able to attend the chance to see the show; whether that is due to travel or work commitments. You can watch the livestream anywhere with an internet connection.

There is another stakeholder involved also, and that’s the venue. Venues lying empty due to restrictions can receive a fee to host a livestream, which is good. In reality however, that fee would be a drop in the ocean compared to a real concert and everything that comes with it, such as overpriced beer!

So far we have identified both positives and negatives to both types of livestream event. Right now there is no perfect answer, no ideal scenario. Not for fans, artists, venues or the rest of the live industry ecosystem. Ultimately though we aren’t in an ideal scenario, far from it in fact and until real gigs can safely return we need to be creative and find ways to form a connection.

In my recent blog, ‘Mental Health, Music and Me’ I spoke of the need to have a distraction from the real world. Gigs are my distraction, but they are not possible right now. Livestreams therefore present an opportunity to scratch that itch. The same can be said of artists who are missing playing shows.

So, livestreams do serve a purpose and they are a short term solution to a hopefully once in a lifetime problem. But, how do they fit into the future? Are they here to stay? I’m sure we all hope that live music returns sooner rather than later and realistically nothing can recreate the experience of a live concert. I don’t therefore see livestreams as the future of live music, but even in the future they can play a role.

They provide artists with a chance to reach audiences they may otherwise struggle to get to. They provide fans with a chance to experience artists live that they may not regularly get the chance to see. I don’t see livestreams going anywhere anytime soon, especially as technology continues to develop. That however isn’t a bad thing, as long as they don’t become the “new normal”!

Until real live music can safely return our beloved music venues remain in trouble. To find out more you can read my recent blog ‘Why We Need To #SaveOurVenues’.

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Mental Health, Music and Me

Photo by Daniel Reche from Pexels

Until recently I was employed in a role that I’d describe as near to my dream job (corny, I know). As you can imagine being told that the job no longer existed didn’t have a positive effect on my mental health. Losing a job you have a great passion for is always going to hurt, but for this moment to occur both just before Christmas and in the midst of a global pandemic… to say stress levels are high would be a significant understatement.

I have naturally experienced numerous emotions since receiving this news – anger, confusion, dread, worry, fear, bitterness, rage, sadness, regret and despair to name a few. My mind of course has considered many negative connotations of this outcome including financial, vocational and personal concerns.

One positive repercussion however is that through one particularly difficult sleepless night, an urge to write emerged. What did I want to write about exactly? Music. My biggest passion in life has always been the combination of “guitars, drums and desperate poetry” as Frank Turner so eloquently put in ‘I Still Believe’. After all, life is full of ups and downs and in-betweens and so is music, with a song for every occasion and every feeling.

My relationship with music started early. I still hear certain songs (see ‘Sultans of Swing’ by Dire Straits) that immediately place me as a small child in the back seat of my parents’ car with my dad driving. The thing with music is that it is visceral. As I listen to the song even now, not only can I picture sitting in that car, I can smell that car, I feel as vulnerable like a child and feel a connection to my father.

We probably all have that one song that they just can’t listen to anymore. You know the one that takes you back in time to a painful moment. Simply walking through a shop, the background music can suddenly put us in a bad place – a traumatic memory, a breakup, the loss of a loved one or perhaps relevantly the loss of a job?

The power of music to control our emotions is immense, it’s uncontrollable even. The right song at the right time can pull you out of the darkest pit of despair. Equally, the wrong song in the wrong moment can destroy even the best of moods. For me it is all about engaging with the music and learning what songs or albums help. Just as we all have that one song that we can’t listen to anymore, I bet we all have that one song or album that is our go to tune when we need a pick-me-up.

I personally have a rather eclectic taste in music, driven mainly by guitars. Put my playlist on random and you’ll find mellow acoustic numbers intermixed with heavy metal numbers so noisy you struggle to decipher the lyrics. No matter my mood, no matter the environment or occasion I find myself in, I can pull myself back with the right melody. Music truly is a powerful elixir.

Live music has particularly played a huge role in fighting the darkest periods of my mental health. I can now openly concede that music has saved my life on a few occasions. In the depths of my despairs, in times gone by, the calendar entry for a potentially great gig has been just the light at the end of the tunnel I’ve needed to step back from the ledge. This may seem irrational to some, but often there is no rationale with mental health. We all need to grab onto the one thing that can centre us when the rollercoaster of life (Ronan Keating – told you my taste was eclectic!) threatens to go off the rails.

Standing in a crowd, watching a band, and getting lost in that moment is a magical experience. It can strip away all the worries in the world, if only for one night. At times of struggle, live music has provided solace to me. Now I find myself in troubling times; job worries, the world in turmoil and a family to support. What I would give to stand in a crowd right now; to watch a band and get lost in the moment. Sadly the universe has other ideas and the very industry that my mental health relies on is standing precariously close to the ledge (thoughts on this situation coming soon!).

Where is the light at the end of the tunnel? Well, the moral of this story is that where there is a will there is a way. As my desire to blog manifested from a dark place, the music industry has found a way to adapt within its dark place. The concept of livestreams and socially distanced gigs would have sent shivers down my spine just six months ago, but now they are a beacon of hope. Hope that we can evolve and rise above any challenge.

Our mental health is a cruel mistress and it will play tricks on us. We can learn to help ourselves however and importantly we can learn to help each other. To quote Mr. Turner again – “Be More Kind”. It’s a simple message but a mantra which benefits everyone and can’t be argued. When the world is cruel, we evolve, and with kindness we can heal wounds, mend relationships and eventually emerge from this mess.

For me music is a crutch. It supports me when I falter. It keeps me going through rough times and it offers hope that things can and will get better. I however am the first to admit that I struggle to talk about mental health. This hasn’t been easy to write, but it’s been cathartic. Talking helps and support is available:

SAMARITANS: Samaritans | Every life lost to suicide is a tragedy | Here to listen

MIND: Mind | Mind, the mental health charity – help for mental health problems | Mind, the mental health charity – help for mental health problems

I’m hopeful that everything will work out for me. Things seem bleak now, but I have hope.  

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The Reluctant Blogger

For the last few years I couldn’t help but kick myself for not pursuing the art of the blog. Having first dabbled with the form of contemplative writing as early as the early noughties, I couldn’t stop thinking I’d messed up in not continuing even when blogging hit mainstream popularity. Then for years I cut off my nose to spite my face; I decided I’d missed the boat and therefore I ignored constant pressure from peers to try my hand again at the written missive.

That’s not to say I wasn’t writing. I have written live music reviews and articles for a couple of music websites for the last eight years. The ongoing COVID-19 pandemic has sadly taken this from me for now (more on that over the coming weeks!). Alas, although not the same, my passion for writing was still being satiated by my day job. With a weekly internal newsletter and other ad-hoc communications within my remit, I continued to practice wordsmithery.

That is until now; with an unfortunate if not completely unforeseen change in employment circumstances removing this outlet for writing. So now what? No live music to review, no newsletter to create and nowhere to fulfil my desire to articulate. Enter the rather reluctant blogger…

So, here we are some fifteen plus years after first dabbling with a keyboard and an online presence, from the ashes of two cruelly stolen channels of verbation, rises Full Pelt. A former outlet for live reviews not featured on known websites, now a new opportunity to express my inner thoughts and feelings.

Going forward you can expect blogs, reviews and articles galore; and who knows perhaps some video content if there is enough demand.

As I enter into the new endeavour I hope to entertain and enlighten. If you’d like to know when new content is posted, simply follow us on our social media channels.