My worst gig (so far)

If you weren't at Glamorous Coventry on the night of Saturday 18 January (and you weren't), then you missed what was, quite literally, my worst gig.  What with the venue's sound system seemingly being incompatible with my audio setup along with a very sparse and unappreciative audience, I was glad to leave the stage.  The first song I performed was a seven-minute version of "Always on my mind/in my house" originally by Pet Shop Boys (it's an edit of the B-side to "Doing what I have to" from the Redux era.) and it went OK, once I'd EQ'd the bottom end down and the treble way up.  This was all done on the fly, so it wasn't a precise science.  Then I saved the channel EQ for consistency and applied it to each of the other tracks I was performing.

LAMon18Jan2020

The tracklisting changed as well.  A slower, more recent single of mine, was replaced by a more upbeat cover and -- What?
"Do you do requests?"
No, dear, I can't take requests.

She stands there.  Staring at me.  I continue playing.  JellyCube, who is hosting the show shuffles uncomfortably.  

I look back up from my keyboard at the woman, who's still standing there.  
"Do you take requests?"
No, I can't; it's all pre-programmed, I can't take requests.
She gives me an exaggerated boo-hoo sad face.

"He can't take requests," Jelly says, "can you please clear the stage area."

The woman goes and sits down with her friend and loudly proclaims, "HE'S NOT EVEN PLAYING THAT."

"HE CAN'T SING.  HE'S TONE DEAF."

It's always nice to have feedback, I say, causing feedback on the sound system.  

"Can YOU play the keyboard?" Jelly asks the woman.

"Yes," she says. 

"Great, let him do his show, then!"  I think I've gone red at this point.  Jelly continues, "do we have any fans of Radiohead in?"

"Yeah!" the women shout. 

Good, I said, because we're now going to murder "Creep".  We sing "Creep" together and the women are not happy.  To make everything better, a woman comes bouncing down towards the stage from the smoking area and starts dancing and singing along, so it wasn't all bad; I got some appreciation.  And as a wise man once said, "if you get one person dancing, one person tapping their toe, then you've done your job."  Always good to bear that in mind when your gigs aren't going the way you initially hoped they would.

Note to self: gigs in mid-January are always going to be rubbish!

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A whole new world

It's been a chaotic couple of months.  I've moved from Hastings to Coventry and have set up all my equipment in what we like to call the study.  Except we don't really call it the study.  We call it "upstairs".  You know when you start to call something by a name with the best intentions of continuing to call it by that name and then don't.  Well, that's happened with the study.  "Are you coming upstairs?"  Not "are you coming up to the study?"  We should call it the study, but I think we both think it a little too pretentious to do so.  Never mind.  But yes, here we are, in Coventry and I've finished a new album.  I keep saying it's my fifteenth album, but actually, before I left Hastings, I finished an album of slightly longer, more cinematic music that I'm not sure whether to release at all.  That album, which has a name and even album art, may see the light of day at some point, but I'm just not sure about it.  I like bits of it, but perhaps it needs more work.

Coming summer 2018  

The good news is that this is happening.  This summer, I shall be releasing a new album (the one I tout as my fifteenth) and I'm really quite taken with it.  Stems have been sent to remixers for them to work their magic on the singles and I can't wait to hear what they do with the tracks.  The way this album works is somewhat different.  Because I usually write and produce fourteen tracks (enough for a twelve-track album and two B-sides) and then do another B-side later on, I found that sometimes I produce a cracking B-side that should have been on the album, I decided, this time around not only to write enough tracks for a twelve-track album and three B-sides, but to give the album more scope, to write and produce eighteen tracks.  This means you'll get two B-sides per single and the album is more rounded.  If that makes sense.  It does to me, at the very least.  

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