International travel restrictions and pandemic related concerns has seen most touring in the UK come from domestic acts. One US based band however that has moved heaven and earth to undertake their scheduled shows is Black Stone Cherry. Not too surprising really as the band were adopted by the UK many years ago.
Black Stone Cherry made their name and grew their brand on UK soil and it’s also no surprise that the show tonight is sold out. There is a mutual love and respect between band and fans and all of that helps to build a great atmosphere at the Corn Exchange in Cambridge.
Before the headliners however normally comes the support. Tonight is no different as Kris Barras Band take to an already packed venue. The band is given a decent length slot to win over those in attendance, and the receptive audience is quickly onboard.
From opening track ‘Dead Horses’ to closer ‘Hail Mary’, Kris Barras and co are able to create a connection with the audience through the medium of rock. Whilst that may sound a tad cheesy, the fact is Barras is the ideal support for this show, with his set being very well received.
Soon enough it’s time for Black Stone Cherry to grace the stage and they receive a hero’s welcome. The band quickly burst out ‘Me and Mary Jane’, ‘Burnin’ and ‘Again’ for a blistering start to their set.
WATCH ‘AGAIN’ ON YOUTUBE
Black Stone Cherry – ‘Again’
The band now has seven studio albums to draw from and tonight is literally a career-spanning setlist with a least one representative from each album. Sophomore release ‘Folklore and Superstition’ gets the greatest attention tonight with six tracks aired including rarer outings for ‘Yeah Man’ and ‘Devil’s Queen’.
The band had managed to maintain a steady line-up since their formation around 20 years ago, but this year saw the departure of bassist Jon Lawhon. It’s down to Steve Jewell to fill those shoes and tonight he fits in effortlessly as the band remind fans why this country embraced them so early.
Last year saw the release of their latest album, ‘The Human Condition’ and two more tracks are on offer tonight with both ‘Ringin’ in My Head’ and ‘In Love With the Pain’ going over well with the audience. They fit in well with the set staples such as ‘Blind Man’, ‘Blame It On The Boom Boom’, ‘White Trash Millionaire’ and ‘Lonely Train’.
All live music still feels special at the moment, but tonight felt extra special. An emotional ‘Things My Father Said’ and stunning ‘Peace Is Free’ perhaps best capturing the moment. It’s great to have international touring acts return to the UK, and it’s fitting for one of the first to be Black Stone Cherry.
Few musicians command such a passionate and dedicated fanbase as Frank Turner does. Since 2017, he has held an annual pilgrimage known as Lost Evenings. 4 days of activities based on the man himself punctuated by 4 headline sets each offering something different.
Last years event in Berlin was cancelled for obvious reasons and with the world not out of the woods yet Turner has chosen to return to the spiritual home of the event, Camden.
Whilst the main event takes place at the legendary Roundhouse, the festival takes over most of Camden. There are multiple stages of music, pop up gigs, panels, tattoos and much more.
THURSDAY
So let’s start unpacking the events of Lost Evenings 4! The event commenced on Thursday for the solo show of the weekend. No Sleeping Souls (well, just one – Matt Nasir on mandolin), as Turner explores some of the hidden gems of his back catalogue.
There are two fantastic support slots on the main stage from Emily Barker and Grace Petrie. Two incredible musicians who both manage to grab the audience with both hands, each joining the other during their sets as they encapsulate the spirit of the event.
Throughout the weekend Beans on Toast acts as master of ceremonies introducing each act. Next he welcomes Turner for the first of four occasions!
Turner and Nasir proceed to serenade the partisan audience who relish the opportunity to hear a few lesser played numbers. Turner states that he will endeavour to repeat only a few songs over the weekend.
Thursday highlights include new single ‘Haven’t Been Doing So Well’, the emotional ‘A Wave Across A Bay’, rarer numbers ‘Losing Days’, ‘Substitute’, ‘Tattoos’, ‘Josephine’ and special sing-a-long cover ‘Somebody To Love’ with Turner joined by Petrie and Barker. All in all a great way to start the festival.
FRIDAY
Friday sees Turner joined by his band The Sleeping Souls for a set billed as “the first three albums plus new songs”.
As far as support goes we start with the new – PET NEEDS. The young band from Colchester showcase tracks from their brilliant debut album including ‘Toothpaste’, ‘Pavlovian’ and ‘Tracey Emin’s Bed’, which receive big reactions from the crowd.
Next up it’s something old with longtime Turner contemporary Jamie Lenman joining the party. Given the theme of the evening you’d assume those in attendance would be aware of Turners hardcore past, but there are more than a few deer in headlights reactions to Lenman’s hard and heavy outing. It is however an excellent performance that ensures any first night hangovers are blown away.
It’s then Turner time again and tonight we get a carefully curated set of early favourites. Fans again get some rarer tracks from the vault including ‘Live Fast Die Old’, ‘Once We Were Anarchists’, ‘Back In The Day’, ‘This Town Ain’t Big Enough for the One of Me’, ‘To Take You Home’, ‘Nashville Tennessee’, ‘Imperfect Tense’ and ‘Sons of Liberty’.
There is also a special section where fans get to hear three new songs from upcoming album ‘FTHC’ in the shape of ‘Non Serviam’, ‘Punches’ and ‘Haven’t Been Doing So Well’ again.
The night is rounded off by ‘I Knew Prufrock Before He Got Famous’, ‘Father’s Day’, ‘St. Christopher Is Coming Home’ and ‘Photosynthesis’ sending the crowd home happy.
SATURDAY
Saturday now and we first head to the Lock Tavern for an Xtra Mile Recordings takeover with special acoustic sets from PET NEEDS, BERRIES and Johnny Lloyd.
Both BERRIES and PET NEEDS play delightful sets to a packed room which go down very well. Sadly it is then announced that Johnny Lloyd is unable to make it. Thankfully master of ceremonies Beans On Toast is on hand to play an impromptu set.
As expected Beans On Toast has the audience in the palm of his hand as he regales them with tales and songs relating to Camden. A lovely afternoon that represents all that is great about Lost Evenings.
It’s very quickly time to head to the Roundhouse for round number three, which on Saturday sees Turner play his seminal album ‘England Keep My Bones’ in full.
Watch Frank Turner on Episode 1 of the Full Pelt Music Podcast!
Before we get there we have two more fantastic support acts. First up this evening is the highly entertaining The Lottery Winners. With their catchy songs and endearing onstage banter, the group are a delightful opening act.
Next the incredible Nova Twins take to the stage and initially elicit somewhat of the same response as Lenman the day before. However by the end of their set they have captured the imagination of the whole crowd. Nova Twins future is bright and on the evidence of tonight it shouldn’t be long before they are headlining venues this size.
The next may well be the most hotly anticipated performance of the entire weekend. The main man playing, in full, an album that catapulted his career and won a legion of fans. Those in attendance know that this will be special…
..And special it is! Not just said album in full but all accompanying b-sides and associated tracks. From the moment Turner takes to the stage and opens with ‘Sailors Boots’ the energy in the room of immense. This is only amplified when playing the likes of ‘I Am Disappeared’, ‘One Foot Before the Other’, ‘Peggy Sang The Blues’, ‘Redemption’ and ‘I Still Believe’.
Joined at times by string and horn sections the finale sees everything come together with ‘Eulogy’, ‘If Ever I Stray’ and ‘Glory Hallelujah’ delivering a memorable and worthy finale to the evening.
SUNDAY
The final day of the festival is billed as the greatest hits day. Turner who has kept to his promise to limit repeats, has held back some of his most loved songs. But first, Guise! Fronted by Jess Guise, the band do a great job warming up the crowd. They may be on home turf with Guise married to Turner, but it’s their music that earns the fans adoration come the end of their set.
Our last support act of the weekend is another band Turner fans are familiar with. Skinny Lister are possibly the perfect band to raise any tired spirits after a busy weekend. They bring the party, get the crowd moving and ensure the stage is set for Turner to close out the event in style
Tonight’s mission statement is clear from Turner – send the fans home happy. ‘Get Better’, ‘1933’ and ‘Little Changes’ kick off a set full of fan favourites.
In a well structured set list Turner includes some lesser played favourites such as ‘Thatcher Fucked The Kids’ and ‘Glorious You’. From start to finish he has the audience in the palm of his hand.
The encore of ‘The Ballad of Me and My Friends’, ‘Photosynthesis’, ‘Recovery’ and ‘Four Simple Words’ provides just the ending required to what has been another incredible weekend.
As we said at the start, not many artists could create and sell out a weekend like Lost Evenings, but Turner has built something very special and Lost Evenings 5 is surely in the pipeline already!
With Royal Blood set to headline some of the first festivals to take place as live music returns, the duo announced a run of intimate warm-up shows. As expected all these shows sold out instantly including tonight at the UEA LCR in Norwich.
With an enormous sense of anticipation surrounding the venue, fans were first treated to a short and intense support slot from Tigercub. The band preview their latest album, ‘As Blue as Indigo’ with ‘Stop Beating on My Heart (Like A Bass Drum)’ and ‘In the Autumn of My Years’ going down particularly well with the already packed audience.
Sometimes with such a high level of expectation for the headline act, support bands can fall short, but tonight Tigercub prove their own credibility and win over some new fans in the process.
Soon enough it’s time for Royal Blood to take to the elevated stage. Kicking off with ‘Typhoons’ and ‘Boilermaker’ the band are backed by a subtle yet highly effective light show that helps to bring this new material to life.
Yes, Royal Blood are another band to release a new album during the absence of live music. Absence clearly making the heart grow fonder for both band and audience, as the UEA dancefloor descends into chaos from the opening note to the very last.
Material from ‘Typhoons’ garners great reactions from an eager audience who are ready and willing to lap up whatever the band can offer. Well, with three albums behind them now, the band can offer an endless stream of fan favourites.
Tonight sees a mix from across their catalogue with ‘Lights Out’, ‘Come On Over’, ‘Little Monster’ and ‘How Did We Get So Dark?’ filling the first half of the show with memorable moments.
Mike Kerr and Ben Thatcher always have had a knack for creating magic both on record and on stage but tonight has that extra special feel. Perhaps it’s the atmosphere flamed by the return of live music or perhaps the duo have spent their downtime perfecting their craft. Whatever it is it’s very clear that Royal Blood are simply on another level.
‘Trouble’s Coming’, ‘Oblivion’ and ‘Loose Change’ sound absolutely huge before ‘Ten Tonne Skeleton’ and ‘Limbo’ cause pandemonium in Norwich. The encore of ‘Out of the Black’ and ‘Figure It Out’ bring it all home, remind us of what we’ve all been missing and demonstrate just why Royal Blood are now festival headliners.
Album release shows would normally happen around the time that a new album is released. We all know why this isn’t the case for any artist releasing new music over the past 18 months but finally for IDLES the time has arrived to play these special intimate shows. With two hometown Bristol shows and an Oxford gig in the bank, the band arrive in Kingston for their opportunity to grace the PRYZM stage.
‘Ultra Mono’ was released in September 2020, so these release shows happen almost a year on from the album’s arrival. For some acts this could cause issues, but not for IDLES. If the euphoria for fans seeing the band after the last year or so isn’t enough, they have also waited patiently to hear these new songs live.
It actually feels wrong to call them new songs, as they’ve helped many a fan through a difficult period in all our lives. These songs are now part of our lives, but IDLES songs always seem to grow wings in the live setting. So as the clock strikes half past nine, it’s time to let these track soar.
Straight out the bat fans are treated to ‘War’, ‘Grounds’, ‘Mr. Motivator’ and ‘Anxiety’ as ‘Ultra Mono’ comes to life for a sold out Kingston crowd. With so much pent up frustration there is immediately a cathartic release of energy with the audience and the band clearly up for it tonight.
As the evening continues and the setlist weaves between the bands three albums, it becomes clear that the new(er) tracks more than hold their own live. ‘The Lover’, ‘Kill Them With Kindness’ and in particular ‘Reigns’ all sound monstrous tonight.
When you add these tracks to a set that includes ‘Mother’, ‘1049 Gotho’, ‘Samaritans’ and ‘Divide and Conquer’ you come to realise how formidable a back catalogue IDLES have amassed over a relatively short period of time.
The band has always been ferocious yet incredibly tight live and they have lost none of this innate ability during their enforced time away from the stage. Finishing with ‘Never Fight a Man With a Perm’ and ‘Danke’ you know that opportunities to catch this band in venues this size are going to be few and far between.
It may be an overcast summers evening, but for tonight all is right with the world. That’s because there is a queue waiting outside The Waterfront, Norwich for the first time in around 18 months.
On offer this evening for the venues first main room show since the beginning of the pandemic is a special Music Venue Trust & National Lottery #ReviveLive show featuring Twin Atlantic!
There is a late change of support act for the evening with Lucia & The Best Boys unable to attend. Step up local band The Islas who recently featured on our ‘Discover’ New Music Playlist!
This is quite the result as The Islas deliver a great set to a receptive audience. With the likes of recent single ‘The Absence of You’ joining older tracks ‘Back of Your Neck’, ‘Aileen’ and ‘Close’ the band are building an impressive live set. And with performances such as tonight’s they will also be building an impressive fan base, with many in the venue won over.
Tonight, though is all about our headliners Twin Atlantic who just released a new single, ‘Bang On The Gong’, and what better way to kick off their set. If the band think their new track is well received, those in attendance continue to build their appreciation throughout the night.
We recently caught the band at the Download Pilot Festival so know that they are an incredible live act. But, put the band in a sweaty little venue with a full set and they are up there with the best.
The rest of the setlist is a carefully crafted selection from across their albums with fan favourite ‘Free’ getting the lions share. The title track, ‘Make a Beast of Myself’, ‘Edit Me’, ‘Yes, I Was Drunk’ and an emotive ‘Crash Land’ sing-a-long showcase the albums quality.
There is quality across their catalogue however and ‘No Sleep’, ‘Hold On’, ‘Brothers & Sisters’ and ‘The Chaser’ all naturally receive big reactions from the crowd.
Perhaps somewhat surprisingly though, some of the best tracks of the evening and most warmly welcomed come from their 2020 release ‘Power’. Coming weeks before the first lockdown, now represents the first real chance for the band to embed the tracks into their show.
The likes of ‘Volcano’, ‘Oh! Euphoria!’, ‘Novocaine’ and ‘Barcelona’ all slot in seamlessly as Twin Atlantic blow off the cobwebs and begin their latest era.
With their anthem ‘Heart and Soul’ seeing the night out, the fans are left to wander out into the now slightly chilly Norwich night. As they do so they will be reflecting on the return of live music, and also on just how great a live band Twin Atlantic have become!
The Killers truly are a one of a kind, unique, beast of band. One that has reached a level whereby they can pretty much do whatever they want. So why on earth wouldn’t they write and release a concept album based on singer Brandon Flowers’ childhood in rural Utah?
Yes this album isn’t your typical Killers album – if there is such a thing? A band not afraid to experiment and always able to capture their mood; The Killers are always evolving. This record is brought on by the pandemic both creatively and due to scheduling (the band are yet to tour their previous album, ‘Imploding the Mirage’).
‘Pressure Machine’ is the signature of a band comfortable in their skin. It features snippets of the bands past whilst evolving further their more restrained and mature sound. If you are a fan of the band than this is another great addition to their catalogue; if you have been living under a rock and are new to the band then its appeal would diminish. Not due to poor quality (it’s very good!) but a lack of hit like material would turn off fickle newcomers.
You could say that with a concept album such as this that is a compliment. This record certainly feels like it needs to be heard as a whole, from start to finish. It tells us a story, and to just cherry pick tracks from it makes it lose its charm somewhat.
WATCH ‘QUIET TOWN’ ON YOUTUBE
The Killers – ‘Quiet Town’
A simple fact is that The Killers have more than their fair share of hits, including one of the most iconic tracks of all time in ‘Mr. Brightside’. ‘Quiet Town’, ‘Runaway Horses’ and ‘In Another Life’ may not top any singles charts but they will certainly win hearts.
‘Pressure Machine’ is a connoisseur’s album, but let’s face it, the odds are the album itself will top the charts!
TRASH BOAT – DON’T YOU FEEL AMAZING? – ALBUM REVIEW
St. Albans rockers Trash Boat have been growing steadily since their inception in 2014. ‘Don’t You Feel Amazing?’ is the third studio album from the band and from the moment you hit play it feels like a statement from them to the world.
This album is a band taking the next step up and growing into something much bigger. Trash Boat are certainly a band that have earned their stripes and paid their dues. Many, many live shows have built a solid reputation and dedicated fanbase for the band.
That reputation and fanbase will almost definitely be growing significantly with this record providing a highly accessible yet punchy sound for listeners to sink their teeth into. ‘Don’t You Feel Amazing?’, ‘Silence Is Golden’ and ‘Bad Entertainment’ do exactly what you want an opening trio to do and suck you right in.
The album progresses and continues to display the bands knack for writing seriously catchy songs. ‘Love Without Needing’, ‘He’s So Good’ and ‘Vertigo’ continuing the momentum before ‘Alpha Omega’ ramps up the intensity.
WATCH ‘HE’S SO GOOD‘ ON YOUTUBE
Trash Boat – ‘He’s So Good’
You almost wait for the quality to drop, but that doesn’t happen. Songs such as ‘Cannibal’, ‘Synthetic Sympathy’ and closer ‘Maladaptive Daydreaming’ ensure the second half of the album parallels the quality of the first.
With ‘Don’t You Feel Amazing?’ Trash Boat have delivered their best work yet and they appear ready to lead the charge for British rock.
Having already attended and reviewed the Download Pilot Festival and Seasick Steve since the reopening of the live music sector, we want to stop referencing the pandemic. The problem is that nights like the two that Frank Turner serves up at Coda in Colchester simply act a reminder of what has been missing for the past almost 18 months.
Thankfully, mercifully, cautiously, live music is back. For two consecutive evenings, fans cram into the awesome independent venue in Colchester known as Coda. The reason? If any opportunity for a gig isn’t excuse enough, the one and only Mr. Turner is introducing himself to an area of the country he now calls home.
Whilst more likely to be found in much larger venues these days, Turner still has the grassroots familiarity to instigate a hot, sweaty drunken sing-a-long session. Everybody packed into this bar knows every word to every song and passionately sings them back in unison. It’s like live music never went away.
Playing the two shows in the same venue, Turner mixes his set list each night. Realistically the man has enough in his arsenal to cover many more nights here, as he demonstrated with his Independent Venue Love series during Lockdown.
All the fan favourites are on tap for those in the bar with ‘Long Live The Queen’, ‘1933’, ‘The Road’, ‘The Way I Tend To Be’, ‘The Ballad of Me and My Friends’, ‘Be More Kind’, ‘The Next Storm’, ‘Photosynthesis’, ‘Recovery’, ‘Get Better’ and set closer ‘I Still Believe’ amongst the songs available both nights.
The guest ales such as ‘Polaroid Picture’ and ‘If Ever I Stray’ on Tuesday and ‘I Knew Prufrock Before He Got Famous’, ‘I Am Disappeared’ and ‘Four Simple Words’ on Wednesday help to differentiate the shows for those in attendance both nights.
Having started out his solo career on his own (and still performing solo regularly), Turner is now often accompanied by The Sleeping Souls. In recent times solo shows have been billed as duo shows and see Turner joined by Sleeping Soul member Matt Nasir. This dynamic works extremely well both for musical accompaniment and also for onstage banter.
As mentioned, Turner now resides in Essex. He has a song called ‘Wessex Boy’. Yes, he did the obvious switch, which for every other artist would have been incredibly tacky, but somehow for Turner here it works and elicits a proudly fierce reaction from the crowd.
A new album is on the horizon for Turner and over the two nights fans are treated to glimpses of the record in the shape of ‘The Work’, ‘Muhammad Ali’, ‘Little Life’, ‘Fatherless’ and new single ‘The Gathering’. There certainly appears to be plenty more to come from an artist for whom their next album will be their ninth solo effort.
The future appears bright. Over two nights the stage was graced by four support acts with bright futures with Wilswood Buoys and Jess Guise on Tuesday and Gin Twins and Josiah Mortimer on Wednesday all impressing the packed audience.
So, yes, the future does indeed appear bright. Bright for Turner, bright for a great new venue, bright for young musicians, and bright for live music! There really isn’t anything better.
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’.
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 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.
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.
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.
Our mission is to provide opportunities to musicians and support to projects around the world that create empowerment through music.
Our objectives are specifically:
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.
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.
To promote, improve and advance the arts, including music, for the public benefit including by the presentation of exhibitions, public events and concerts.
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.
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.
A necessary but shocking side-effect of the first lockdown and beyond is the impact on the live music industry. An industry that revolves around bringing people together in confined spaces to celebrate life and art. Music and particularly live music is vital to the mental health and wellbeing of millions of people, and the loss of that medication has added to the already scary situation we have all found ourselves in.
When the world ground to a screeching halt in March 2020, the primary concern for all of civilisation was rightly to fight the devastating coronavirus and to protect against loss of life. Alternatively as the government put it – “Stay Home, Protect the NHS, Save Lives”.
The music industry and the incredibly talented people that make up the sector is by its very nature creative and innovative. As we all searched for new ways to connect with our loved ones and our passions, musicians had the answer. Welcome to the world the music livestream!
One man seemingly ahead of the curve on this front was Frank Turner. Turner is known to be “always on tour” as it were, and was in fact mid-tour as the pandemic hit. Turner was quick to hastily ready a special livestream event from his own home raising money for his touring family.
At the same time, the reality was dawning on the live music ecosystem of the potentially fatal impact caused by the pandemic countermeasures. In particular the Music Venue Trust, who do amazing work year round even in non-pandemic times, were busy mobilising. The MVT were well positioned to see the threat to the grassroots music venues of the country.
We have gone into depth on the subject in our blog – ‘Why We Need To #SaveOurVenues’, but ultimately the venues that foster and cultivate the entire music industry were in trouble. Sadly many face the threat of closure due to non-pandemic related issues. The events of March 2020 onwards however threatened these venues, the lifeblood of live music, to the point of extinction.
The perfect storm called for urgent action and one man taking notice and standing tall was that man Frank Turner. Soon we were all introduced to a new concept from Turner, Independent Venue Love. A series of livestream concerts taking place every Thursday during lockdown to raise desperately needed funds for at risk music venues.
A different venue would be supported each week and each week would see a unique set list. In creating this series Turner raised much needed awareness and financial support for venues. By doing so he helped to safeguard the future of live music; perhaps most importantly though, Turner also provided an escape from the terrifying realities of pandemic life. The Independent Venue Love series will have played a powerfully positive role in raising spirits and safeguarding mental health for music fans desperate for a distraction.
In our first ever End of Year Awards, we picked Turner as our ‘Artist of the Year’. You can read what we wrote about this decision in our ‘2020 Year in Review’. Basically we feel Turner deserves a medal for his efforts in arranging and performing these fantastic events. Turner has raised a phenomenal amount of money and has helped countless people through horrifying times either directly or indirectly.
That is why we thought it would be fitting to celebrate and remember the Independent Venue Love series here. You can peruse the posters for each event in the gallery below.
Independent Venue Love Posters
Now let’s get started in documenting the series.
Early Facebook Days
As we all adapted to pandemic life, we strived for the best communications technology. Many discovered the wonders of Zoom meetings for example. When debuting the IVL series, Turner took to Facebook Live. A learning experience for all, some early streams were impacted by connectively issues and eventually led to a change of internet provider for Turner and a move to Youtube.
The first five events featured on Facebook Live (and a dabble on Instagram!) saw Turner begin a career retrospective; with each week featuring another release in chronological order.
Vol.1 – ‘Sleep is for the Week’ for Nambucca, London
From Volume 6 onwards Turner would move the weekly series across to Youtube with better connectivity results. Turner would continue to progress through his career retrospective to the delight of his fans. A drinking game would also emerge for fans at home based initially on apologies to either his wife Jess or his mother.
As Turner’s gameplan to play his back catalogue continued, fans were treated to rare song outings. These outings occasionally would see the odd forgotten lyric, and the terming of the phrase to Varley in ode to fellow musician Will Varley. Eventually each Varley would be incorporated into the drinking game!
Vol. 6 – ‘Rarities and B-Sides 2011-2014’ for The Parish, Huddersfield
With his released back catalogue now exhausted and lockdown one (known back then, simply as lockdown!) still persisting, Turner needed to explore different avenues for set list material. A demand for a ‘Disney Set’ initially failed to materialise until a special shortened bonus set one night.
Turner however would push on with additional themes to continue his herculean effort (Joe Wicks eat your heart out!). Volume 13 would also take place from inside the venue Turner was raising funds for as signs of normality began to appear. Volume 14 would be titled ‘The Final Stream’… little did we know what the future had in store.
No we are not doing Whitesnake Karaoke! A brief return to real life saw some socially distanced music possible. Turner in fact was able to play numerous shows including our ‘Gig of the Year’ as awarded in our ‘2020 Year in Review’.
Sadly the pandemic took a horrific turn for the worst. With venues still at risk and people desperate for escape, Turner and IVL would make their triumphant return in January (otherwise known as Lockdown three!). This time around Turner’s wife, Guise, would move to an important mediator role as fans got to pick the setlist!
We all hope and pray that a return to normality is on the horizon. That the incredible work of scientists and our key workers will save lives and allow life to resume. Volume 21 closes the IVL series with a request set from Jess Guise herself.
Turner has achieved amazing results from the IVL series. The fact is that he didn’t have to do this, and for that he deserves recognition.
The Music Venue Trust, Independent Venue Week and all organisations and groups working to protect our culture deserve special praise also.
Sadly the end of the pandemic and the return to relative normality won’t remove the threat posed to our grassroots music venues. Please when safe to do so, support these venues, support your favourite bands, support new bands, support music!
