June 2015: New Students and an Amazing Food Bank Gig

After the hustle and bustle of May, June was something more of a relaxed affair, though there were still two very important developments:

Firstly I’ve taken on a new private student; the first one I’ve had for a while. I don’t usually do this as I would be in breach of either my Terms and Conditions or Code of Conduct for Dudley Performing Arts. The rule is that I’m not allowed to work in direct competition with DPA. Normally this would mean that I couldn’t do any private lessons for children in the Dudley area, but this person lives in a different area. I won’t be saying anything else about them for legal reasons and respect for people’s privacy, but the experience has been something of a revelation to me in a couple of respects:

 The first is that my friend who put me on to the student’s parents was my friend Leeanne, and I used to be in a band with her sister Hannah. So the seeds of this working relationship were actually sown in April 2010 when we put that band together! Sometimes it’s worth staying friends with people. I hoped to be able to help her in kind by backing her kickstarter project, sadly that didn’t work out.

The second was an indication of how far I’ve come along since I started teaching all that time ago. It’s no surprise really; I’m always learning and no one’s ever the finished product, but my lesson pacing in particular has improved a lot since I first started. Add to that some much-improved lesson content, and a lot more of my students have the potential to do very well indeed. A good thing, since in these situations I’m accountable to whoever’s paying me and they are going to want to see some return on the investment!

The second development for me was a very important gig that I did for my vocal coach Vie…

This came about as a fundraiser event for the Black Country Food Bank. Now, I think in this day and age it is deplorable that people have to rely on food banks. But they are real people, with real problems, and those problems aren’t going to go away just because I don’t like it. I heard, for example, about a family who were referred because the husband had returned from working in the armed forces and was struggling to get a job elsewhere. They’re certainly not what you hear about benefit scroungers, or whatever it happens to be. They’re not going to appear on a Channel 4 Documentary. They are real people.

Vie chose to do it as close to the Summer Holidays as she could, because the food banks really struggle during the summer as people tend to forget about it. It’s not so bad around Christmas – good will to all men, and all that – but during the summer, you can actually see through the shelves. And it’s not just food either; people tend to forget about things like shampoo, nappies, and deodorants and can openers. I’ll put a link to the site here, please give it a look and find out how you can support it – people will continue to need it in the future.

May of Vie’s vocal student performed a short set at the Calvary Church in Kingswinford, and the standard was incredibly high. It’s great to see how well her students are getting on; I might catch the end of someone’s lesson on the off chance I turn up early for mine but other than that I don’t get to see it very often. It was great to do so this time.

My performance was an incredible experience. At this point, I’ve basically been playing in pubs for the last eleven years, where there could be about fifty people in the room and maybe ten of them will be half-listening to you and applaud out of politeness. At the church, there were roughly 140 people there, and every one of them was listening intently. I played Like I Can and A Little Respect, but the one everybody remembered and spoke to me about afterwards was Storm from the North! Giving the song a bit of context helped – it was the song I wrote about Crashpoint – and I’ve made a slight change to it that now means it’s a little more comfortable to sing, which improved my delivery. But unless I’m playing to a gig where the audience consists entirely of musos, it’s rarely the original material that goes down the best. So thanks to everyone for watching me that night; you couldn’t have given me a higher compliment.

Looking forward to a gig with The Fakes next month, and some of my students have exams. So do I, as it happens…

May 2015: Gigs with the Revisted, Singing Improvements and a Ukulele...

May was a busy – and as it turns out rather affluent – month for me in terms of gigs and music. Here’s how it all went down:

As I mentioned last month, I did a couple of gigs with The Revisited Covers Band while they look for a new permanent bass player. We played shows in the Rock and Fountain in Shrewsbury, and The Western in Leicester. They were good gigs and we were reasonably well-received, however I don’t enjoy playing in covers bands enough to want to commit to The Revisited on a mid-long term basis. It was fine with NQA as we’re all friends anyway, but with the Revisited, I barely know them; it’s a lot of the same covers I played with the previous band, and many more songs that I haven’t got enough investment in to want to commit to learning. I’ll be available as dep bass player if they need me, if not, it was a reasonable way of getting some gigs, so thanks to the band for the opportunity.

I've actually been forgetting to do this a lot just lately,
here's my #viewfromthestage at the Newhampton
Inn earlier in the month.

I am aware that I’m shooting myself in the foot a little bit here because it sounds like covers bands aren’t really my thing, which is true. I’m at the point now where I need something else to keep me engaged. As I mentioned in the previous paragraph, I was friends with the lads in NQA anyway, and there was a certain amount of fun and regularity with the gigs that made me want to stay with the band long after we’ve essentially stopped being one. And as I talked about last month, there is a certain creative element in The Fakes where we have to work the songs we play around our own limitations of gear and musicianship in order to play the songs we want to play; jamming those songs is actually really good fun. So, as long as there is something else going on to keep me engaged, I don’t mind being in covers bands – but I wouldn’t want to be in one for its own sake.

I also mentioned last month that I was doing a gig with Ellie Hawthorne. It was in the interlude of a quiz night and it went reasonably well, if a little rushed in terms of setting up. However, it did give me an insight into how well my voice has improved over the last year. We played I See The Light, which if you remember was the song that inspired me to pick up the singing lessons in the first place. And I was hitting all the high notes with little to no strain on my voice. I was up to a high G at one point; I’d never have been able to do that at this time last year. So, thanks to Ellie for inspiring me to take up the lessons, and thanks to Vie for teaching me. It’s working!

I’ve also started to play the Ukulele…

Now, I’m not fond of the Ukulele sound at all. I prefer deep and powerful sounds to high scratchy ones; probably one of the reasons I developed an intense dislike of indie music circa last decade. However, I attended a staff meeting with DPA at the early part of the month, where we were joined by our colleagues from Sandwell, Walsall and Wolverhampton, and there was a representative from Birmingham there as well. During the day, data on the popularity of the instrument was brought to our attention, and I’m pretty sure all the other music services are running Uke groups. When I found out later in the month that a student that I will hopefully be taking on next year wants to play Ukulele, I decided that DPA can ill afford to ignore the demand and bought a Ukulele from Stourbridge. I will teach myself to play it over the summer, and hopefully teach others to play it when I return to work in September.

However, I did find myself thinking that now that I have a Ukulele, what if I did like it? What would that sound like? So that’s something I’m going to develop over the next few months.

See you all again in July!

January 2015: Break-ups, cancellations, and we've got to find a new singer from somewhere.

It’s funny how the worst situations can bring out the best in people. Although, I guess, it pays to look at it positively.

On New Years Eve, my girlfriend and I broke up after being together for four and a half years. I’m going to keep the reasons for this to myself, as it’s not for me to post the inner workings of our relationship online, but the breakup did affect me quite profoundly. There was a lot of sadness, a lot of tears, and a lot of wondering whether or not we’d done the right thing.

The Fakes. We're alright, really.

I tried to keep it quiet from most people who didn’t have a lot of investment in the situation, since I didn’t want them to feel awkward when talking to me. But there was one group of people for whom this would never have remained a secret, and that is The Fakes. On our first band practise after the Christmas break, we were talking about our holidays, and the story came out. After the obligatory “Sorry to hear that,” the band decided to cheer me up by running though our version of She Hates Me (not actually the case, I hasten to add!) by Puddle of Mudd. And it worked! It was quite nice, having my most consistent group of friends for the last eleven years around me and just getting on with what we do, which is playing indie songs not very well and taking the piss out of each other. That sort of thing can’t be bought or looked for, and the fact that I have it makes me feel a lot better.

It’s also given me a lot of material to write songs about, so you might be hearing some new songs from me later!

I was hoping to be able to tell you about some gigs I’ve been doing. I’d had two of them booked and they were both cancelled. One was a solo gig, and one was with No Questions Asked. Where I was given the reasons, it seems that a lot of the pubs were looking at their January budget and deciding that they can’t afford to pay for the shows, so they cancel them.

Now here’s where I feel inclined to go off on one about how live music often gets the roughest part of the deal. It’s true that I felt let down by the cancellations. I’m blaming nobody I’m in contact with for this; they were invariably the middle-men having to deliver the bad news and had nothing to do with the decision, but I actually quite like playing live and was disappointed not to be able to do it.

Still, it’s not a significant problem for me. All it means is that I didn’t get to do a gig. I haven’t lost much. I rarely got paid for gigs up until NQA, and have not touched any of the money that they’ve paid me so far. Relying on a pub band for income is a dangerous game indeed – NQA is a walking case in point for this – so I’ve saved all the money they’ve paid me for a rainy day. It’s there if I need it.

But I wonder what might happen to those people who are counting on their live work for income. If live acts can be cancelled as easily as that, it’s hard to see how one is supposed to make a living from playing music. It makes me glad I have a reasonably steady day job, since at least I’m sorted for the year.

That being said, I try to understand the pubs that have to cancel us. *My opinion* is that live music isn’t a great draw anymore. It might have been at one point but entertainment is not hard to find now, in fact rarely involves moving. I’ve said it before but not for nothing: The only way I can usually get anybody to come to a gig is if I drive them there myself. So it won’t necessarily help the pubs to have a live band that they have to pay because there’s no guarantee of extra footfall. When the budget comes through for the last quarter and some things have to go, why shouldn’t they choose the live bands that aren’t making a difference anyway?

Finally, I’ve been told that Mike is leaving No Questions Asked, and we’re currently looking for a new singer. We’re doing our next gig with Rich Sadler, and Mike will do the one after that. We’re looking into some people and I’m going to try to learn as much of the set as I can so I can help out on vocals if need be.

At least I’ll have one gig to talk about next month…

*edit*

October: Gigging with No Questions Asked and Singing Lessons

Well it’s been quite a busy month for me!

I’ve had a good run of gigs with No Questions Asked, the band I was depping with and now a semi-permanent member. We’ve done a few gigs around the area, and I have a feeling it’s going to be one of those bands that is conducive to my development as a musician. It’s certainly the busiest one I’ve been in for a while in terms of gigs; not since Crashpoint have I managed for than three gigs a month with a band! While I still feel there is potential in the band yet to be realised, we’re having fun playing live and making a bit of money off it as well.

One thing I did realise during my first gig with No Questions Asked is not to be a dick about my gear. Specifically, my multi-effects pedal. It’s a Digitech BP50, not amazingly brilliant but does a good job for the money I paid for it (£80, eight years ago.) I tend to use it as a stage tuner, but most of the effects on there are amp simulations and compression/noise gate, and most of them do quite a decent job. There are a few modulation effects there, including a phaser which I wanted to use on the bands rendition of Dancing in the Moonlight by Thin Lizzy.

Unfortunately there wasn’t a lot of room in the Mitre where we were playing that night, and due to the length of the power lead that comes with it, there’s no way I could have plugged it in without getting in everybody’s way. Dave said to me something like “Just manage without it; you can play the Thin Lizzy song without it and it will sound as good,” and that’s when I realised: There’s no need to be a dick about it. The effect would have been nice, but not essential. And remembering some people in my past that would have refused to play without their effects made me think: Don’t be that guy. I used my clip-on tuner, managed without my effects and it didn’t make the slightest bit of difference to the show. So there you go!

As for the money I’m making, well, not much is happening with that at the moment. The actual amount I get depends on the venue and how the money is paid, but I’m savvy enough to know that to rely on a band as a source of income is a dangerous game indeed, as work goes up and down. So I’m doing what I do with all the money I get outside of my job, and saving it. It’s of little use to me for day-to-day spending, but if I save it, the money will add up – and it’s there if I need it.

In other news, I’ve now started having singing lessons with my friend and colleague Vie Watson. After singing for 10-12 years, including studio recordings, live performances with various bands and the many solo performances I’ve done, I’m finally getting someone to teach me how to do it. It’s so far had the effect of increasing the range I can comfortably hit – and how to hit those high notes I sometimes struggle with. But more than increasing my level of skill, I’d love to be able to teach singing as well. That will increase the skills I can bring to my work with Dudley Performing Arts, and also increase the amount of skills I can bring to any future jobs. At this time I’m still looking for work in Swindon, and I’m hoping my chances of finding it will increase if I have more to offer!

I’ve not visited an open mic this month as I was busy on the one night I could attend, but that didn’t stop me doing some acoustic slots for NQA on their gig in Tividale when the support pulled out, and playing at the Jam Night they organise! Some people who haven’t seen me play for a while have noticed an improvement in my playing and delivery, so that’s always good to hear!

Next month will be a bit quieter for me in terms of gigs because of some cancellations and a generally lighter schedule, but I’m hoping to use the time for a little rehearsal with NQA.

September: Social Media, and Depping in NQA

Back again! As blogging can be more work than fun if I try to do too much of it, I’m trying to limit my posts to 700 words or thereabouts. Thinking about it, I’m not convinced people would want to read much more than that in one sitting anyway…

 

September was a little quiet for me on the gigs front. I did a couple of Sam Draisey’s open mics, which went reasonably well and I’m becoming very fond of The Rainbow Inn as a place to play. I also did a short set at Codfest on their Open Mic stage; this didn’t go too well, largely due to me forgetting my capo and my hands being freezing cold. I’ve added Wetsuit by The Vaccines to my repertoire of acoustic songs; it’s a challenge for me to sing but I’m getting used to it.

However, two major things happened in September that I want to tell you about:

The first is that I’m now doing a run of dep gigs for the band No Questions Asked that’s going to take me up until the end of the year. Dave from the band asked me to come and play bass for an ‘audition’ for the singer they’re currently using, Mike. I knew Dave at school and we’ve kept in semi-regular contact since, mainly at jam nights he helps to run, some of which I’ve played bass at. Though it rarely takes me long to learn simple songs for my acoustic set, I’ve got an affinity with bass that I just don’t have with guitar; I can watch what Luke on guitar is doing to know what notes to play, and sometimes even the keyboards as well. I can lock in to Fred’s drums and keep the rhythm going, and provided I’m not concentrating too hard, I can put on a show with it as well.

The upshot is that Dave seemed really pleased with what I was bringing to the band, as I played all the songs he’d asked me to do and many more besides, and Mike was pro-active in establishing his involvement with them. Dave asked me to play the gigs they’ve got booked up to the end of the year, and as I can play all but three of them, that is what I’m going to be doing for most of the weekends between now and then! I’m not a permanent member of the band yet; I’m going to see how it pans out over the next few months and how much investment I have in the band before I commit to it entirely.

At the time of writing I’ve done my first gig with them and it went quite well. Watch this space for more!

The second thing is that because of some of the training I’m getting working for DY3 Solutions, I’m now making a much more structured use of social media. I now have a dedicated Facebook page for my music: https://www.facebook.com/mattdoonermusic and I’ve been making much more use of my Twitter page as well. I’m advertising the gigs on there, trying to pace out my content and keep people engaged with what I’m doing musically. This is where all my regular updates will be posted. I know it is a folly for musicians to rely on social media entirely – but when it can be done from the comfort of my bedroom, it shouldn’t be ignored.

The Rainbow Inn, Coven: 24/9/2014. There's Sam and Kayla.

As a part of this, I’ve also started making use of the hash tag function on both, uploading pictures I’ve taken from the stage. I’m hoping people will find these photos, tag themselves in them if they were there, comment on them if they weren’t, and generally increase the level of engagement when I’m not actually doing gigs – which as this is at the very most a few hours a week, is actually not that much. So, watch out for the #viewfromthestage tag – if you were at one of my gigs, chances are you were in one of the photos too!

Some big news coming up for next month, but I’d like to see how that pans out before I announce it. I’ll try and get these blogs out on the first weekend of the month after the one I’m taking about, if that makes any sense.

See you at the next gig!

Matt

Open Mic Douchebags

It's been a long time...

I’m rarely one to criticise anybody’s performance at an open mic night. If it’s reasonably well-attended, you’ll have a wide range of skills, talents and musical taste that can make for a varied and entertaining mix. Some people are better than others, of course, and this is usually due to experience, commitment to developing their performance, or the quality of their songs; probably a combination of those three factors. I don’t do gig reviews any more, but even when I did, I was rarely nasty about bands. I made no secret of it if I thought their performance was below the standard I would expect from a gigging band, but it was not usually the band’s fault and I would always try to write my reviews in a way that came across as constructive criticism, rather than slating them. I don’t review open mic nights (apart from assessing my own performance) because there aren’t really any standards by which to judge such a varied group of performers. Experienced singer-songwriters are always going to perform better than a 14 year-old kid with a guitar just starting out and it would be unfair for me to compare the two when they both appear at the same open mic. So, apart from a not-always-kind reflection of my own performance,[1] I tend to keep my thoughts on everybody else’s performance away from the tender mercies of the internet.

Until now.

The other night (Tuesday 27^th) I was at the open mic night at The Victoria Inn in Swindon, commonly referred to as The Vic, with my girlfriend Amy and our friend Tom. I’d been there once before in October, and the standard was actually quite high; as ever some people were better than others but the overall there were some very good performances that night. I expected much of the same but I was a little more relaxed about it tonight as I had a better idea of what to expect. I was third on, and up until that point, the standard had been pretty good.

The fifth guy to go on was a tall guy in a ‘night out’ kind of suit, a Les Paul-style electric guitar and a haircut that reminded me of Phil from The Thick Of It (google it.) I say that just so you can picture him. I’m not going to give him any dignity by using his name; he will hereafter be referred to as ‘The Douchebag.’ Alarm bells started ringing when one of the lads he’d bought with him shouted at him to fuck off as soon as he was announced. Things didn’t get much better when he got on the stage, where he was clearly drunk, every second word was ‘fuck’ and he made far too big a business of turning the distortion off the amplifier he was using and announcing his songs.

Oh dear, his songs. People can write songs about what they like and I haven’t usually got a problem with it, but this Douchebag appeared to have written them to sound as much like a pillock as possible. In so far as I actually listened to the lyrics he was spewing over clattering open chords, his first song appeared to be about having sex in a taxi, and his second was about a young wannabe porn star being told to lean on a sofa, take her pants down and spread her arse cheeks. I only know the latter in so much detail because in between the two songs, he horrendously over-explained it amid several more ‘fucks,’ during which his microphone cut out several times. Now, I would be prepared to believe that this was down to a technical fault. But as the sound guy was obviously familiar with this Douchebag, and this happened to absolutely NO ONE ELSE, I’m making an educated guess here that the sound guy was deliberately cutting him off to make him sound like even more of a plonker than he already did.[2]

Not that the Douchebag needed any assistance with this. Even if the songs weren’t appalling, his delivery was; the guitar work seemed to consist entirely of whacking open chords as hard as possible, and the singing, well, I would barely even call it singing. If it wasn’t for the fact that it was slightly more rhythmic than regular speech, I wouldn’t know what to call it. The best part of his performance was the part where after trying out loud to decide whether to play a cover or not, punctuated with his usual colourful language, he made a start on in then appeared to decide it wasn’t worth it and left the stage. He got a raucous applause from the four or five lads he’d bought with him, and a grudgingly polite applause from everybody else.

Well, that is quite honestly the worst performance I’ve ever seen at an open mic in my entire life. Amy found it insulting and degrading towards women, and I just thought it was pathetic. Tom made an accurate and concise summary of the Douchebag: “A talentless, pretentious, ego centric ****bag[3] trying to be funny.” We’ve finally found somebody more ridiculous than those two lads at the Yardbird a few years ago whose two songs were about running over a cat and threesomes, because at least those guys could play. With this Douchebag, it would have been less of a mistake for him to contract laryngitis and try to get through the set with the guitar still in its case.

 

‘But hang on Matt,’ I hear you cry. ‘What gives you the right to say all this? You make jokes in your set as well, don’t you? And you certainly swear; I’ve heard you. You swear in Bitterness, that’s your most popular song! And you use the f-word loads of times in A Lonely Night, that one that sounds so much like Dani California by the Red Hot Chili Peppers you actually sing the chorus to it during your own song sometimes. Not to mention I Don’t Care, that one you wrote about Blast Off in Wolverhampton, you swear loads in that one as well.’

Yes, yes, alright. My hands aren’t entirely clean here, but let me explain:

First, and this might sound counter-intuitive but bear with me, I don’t make jokes lightly when I’m on stage. Being funny is hard. Even trying to be funny is hard. Look at Will Ferrel. I do make snarky and usually self-deprecating comments between my songs, but always in context, and always with a decent-enough song to back it up. And if it looks spontaneous, it isn’t; it takes me ages to think through how I’m going to deliver a joke in a way that won’t derail the entire thing. I try to say at least something in between my songs to keep the audience engaged. I am very well aware that using humour is a common way of deflecting nervousness, and I’m not so confident when I haven’t got a guitar to hide behind That’s why I plan out a set list before I go on stage, that’s why I take so long to decide what I’m going to say when I get there.

Second, with regard to swearing in my songs, I don’t do that lightly either. Sometimes it adds to the song, sometimes it makes people roll their eyes, sometimes it makes people feel uncomfortable, and it appears to depend entirely on who I’m playing to. I Don’t Care, for example, went down very well when I played it at Sam Draisey’s open mic at The Rainbow in Coven, because Sam and his friends live in and around Wolverhampton and knew exactly what I was singing about. I’ve not played it live anywhere else so I don’t know if I’d get even close to the same reaction. And I do not swear when I’m playing live, unless I know it’s OK for me to do so. How do I know? Well, often if it’s an unfamiliar crowd – as was the case on Tuesday Night, for example – I’ll see if anybody else is swearing first. Other times I ask the promoter; it’s not hard. I always try to introduce myself if I can, or say hello if I already know them, and ask them how we are with Ps and Qs. They’ll either tell me to play what I like, or keep it civil, but they do appreciate being asked. And I absolutely never swear if I know there are kids around. I was originally thinking of playing A Lonely Night on Tuesday but I chose not to because I didn’t want to play a too-offensive song in front of a largely unfamiliar audience. Turns out I needn’t have worried after all, because I could have gone up there and played Twinkle Twinkle Little Star and done a better job than the Douchebag. And that’s a guarantee.

And in case anybody who hasn’t yet seen me live, or is on Spotted: Dudley,[4] is thinking of suggesting that I should have called the Douchebag on his performance on the night, rather than waiting two days and ranting about it on the internet, I’d like to pre-emptively put a stop to that right away. And here’s why: In the open mics that I’ve been to, and there have been a fair few, there is kind of an unwritten rule. That rule is: Don’t heckle people, and if you do, keep it in context and good-natured. I’ve never heckled anyone on stage in my life. I’ve taken some good-natured heckling and responded in kind. But there’s nothing good-natured about anything I’ve got to say about the Douchebag, or his entourage of friends he had with him. Plus, as it was an unfamiliar crowd in an unfamiliar town (Yes, I know Swindon quite well now, but not it’s gigging scene) I couldn’t really count on anyone for support if it got ugly. It might have done; the Douchebag was clearly wasted, as were some of his friends. It was not hard to imagine them kicking off some trouble with the right kind of provocation. And it was certainly nothing I wanted to instigate.

But the worst thing about it is that I’m struggling to think of the point to all of this, or even if there is one. It’s not going to change anything. The Douchebag might have been, well, a Douchebag, but he bought by far the largest number of people with him that night. He was definitely familiar to the promoter. Plus, it’s an open mic; short of deliberately damaging the venue’s equipment he can go up there and play what he likes without fear of reprisal. It’s not like anybody’s going to turn around to him and say ‘Sorry mate, you’re rubbish. I don’t want you back here.’ It’s also ironic, of course, that in my first blog in months, it’s the Douchebag I’ve chosen to write about, rather than the people who actually did really well that night. They include Sunita, whose piano-based quirky songs were nothing if not enthralling, Rob, whose finger-style guitar with a powerful voice to back it up was excellent and, well, me I suppose.

So to close, a quick summary of my own performance:

I began with continuing my quest to play a Feeder song in every venue I play, because Feeder are the best band in the world and everybody should listen to them. I played High, simply because the last time Amy came to see me I played Yesterday Went Too Soon and I can’t really sing any of the others that well. It went down OK, but not amazingly so.

I then played We Will Survive, a song I haven’t played since Vagabonds in 2012. Mark that: I haven’t even played the song since then, never mind playing it live. I’d certainly never played it on my electro-acoustic before, so I really had to concentrate for this one. Funnily enough I made it all the way through without any glaring errors, Amy was happy to hear it again and Tom enjoyed it as well.

The song everybody else remembered was the one I played at the end: The Mingulay Boat Song. I’m really enjoying playing this at the moment. It was a bit of a risk because one thing I hadn’t heard at The Vic so far was any kind of traditional folk music, but I had some of the other performers ask me about it afterwards and it seemed to go down the best judging by the applause.

I chose those three songs because they all have the capo at the third fret, but I think one thing I am very good at is dynamics. I’ve got better at playing moderately when I’m carrying most of the song. I can go loud when I need to lift it, and I can reduce the volume almost to a whisper which, contrary to what you might expect, has the effect of making everybody in the room go quiet when used sparingly. It certainly helped during Mingulay – you could have heard a pin drop.

So, I was pleased with my own performance – my first in a couple of months – and was certainly pleased that I did better than The Douchebag. To be fair, that wouldn’t have been difficult. But it’s nice to, if not set the bar, at least be able to play to a good standard. It’s taken me a long time to feel confident enough about my own performance to say that without irony. That’s got to be a good thing, right?

See you next time.

---

[1] When I can be bothered, which is not often these days,

[2] That is a GUESS, not an accusation. I can’t prove a thing. I’m just saying what I saw.

[3] Oh yeah, it’s that bad. Not on my blog.

[4] An absolute cesspit of nastiness where the slightest complaint about anything or anyone is followed up by seven or eight comments suggesting they should take their complaints to the person concerned, rather than posting it online. I don’t know why I’m on it, to tell you the truth.

It Burns, Burns, Burns at St Marys School, 6/7/13

This one has been overdue for a bit...

This was actually my first booked gig for a while; Joy from the Insight group put out a message about 6 weeks running up to this asking for acoustic acts to play this charity event they'd got going on in St Mary's School in Brierley Hill. I'd been there before to do some teaching, but this was the first time I'd got farther than the conference room, and it was an outdoor gig in some really nice weather so I was always going to try to make it a good one.

What with it being a week and a half between playing the gig and writing the blog for it, during which I had other things on my mind, I can barely remember the set list. I THINK it was:

• The Boys of Summer
• Yesterday Went Too Soon
• Morning Glory
• Zephyr Song
• A Little Respect
• Never Forget You
• Ring of Fire







This would have been during A Little Respect...
 

I might have the order slightly wrong with the middle songs but that is essentially what I played. You'll notice they were all covers this time; it was entirely deliberate. This being a summer fete at a school, I couldn't imagine a great many people giving even the merest hint of a shit about my own songs, and the few people who would (Cal and Joy!) have heard them all before anyway. So I decoded to forget about my own songs and have some fun with a few covers.

A lot of these songs have come up quite frequently in my set in the last few weeks, but there were a few new ones. I played Yesterday Went Too Soon as I've made it my unofficial mission to play a Feeder song in every place I play, because Feeder are of course the best band in the world and their songs need to be heard. And my word, what a difference standing up makes when singing the high bits! I think this is the first time I've played that song where I've got it right with the octaves; I usually end up singing the first verse low, realise it's too low and then try and sing the rest of it high. Today, I sung it all high, and it worked really well.

 

A Little Respect I put in there because it never goes down badly no matter how well I play it. Today was no exception. I should point out at this juncture that nobody was going mad for any of this, but that was never going to be the case. There were a few people sitting under the shade of the gazebos listening to what I was playing, which given the circumstances was as good as it was going to get and I should be damn grateful for the opportunity! I realised halfway through playing it that I might have done better singing Go Mr Sunshine, given the setting and, well, the weather. But how many songs do you need to pay about summer in one set? Probably not too many. And as I've said before, without the backing vocals that song loses something.

 

I finished off with Ring of Fire, which was pretty much the first time I'd ever played the song on my acoustic guitar. Sounds odd to go in to it without rehearsal, but I've known the sequence for a while, read the lyrics off my phone and I knew the Bowling for Soup version was in a more comfortable key for me (D). It actually worked really well and I had a ton of fun playing it. I might have to be careful where and when I play it because if I'm going to play that, it sounds like a 'Party in full swing' kind of song, which would only really work if everyone was having a good time anyway. Not always the case! But today, I couldn't have chosen a better song to finish off with.

 

All in all I was pleased with the gig; it's the best I've played for a while. No plans for another one yet, though I have heard that Revolution have swapped the night of their jam nights to the second Tuesday of the month to prevent them clashing with another local night, so I might be able to play that one when I come back from Holland.

 

Now, about that photo...

 

Joy took that one, cheers Joy! You'll probably get an idea of just how hot it was by the fact that I'd caked myself in Factor 40 before I'd left the house that day and spent the rest of it looking like Marilyn Manson. Strong stuff too; I didn't go on until 12:30 so that was nearly 4 hours later, and I didn't burn in the 2 hours I stayed afterwards. Still, as I'll happily tell anybody who'll listen, it's better to start the day looking like The Joker than end it looking like Sebastian off the Little Mermaid.

 

See you next time!

What's the Story at the Blue Brick? 2/7/2013

As promised, I played the Jam Nite at the Blue Brick on Tuesday Night...

My set list was much the same as ever it is these days, however there were a couple of things worth talking up. First, right before I went on I went on with the band to play Summer of '69 on bass, something I don't think I've done since the Jack's Legacy days. It has been a while since I've picked up a bass guitar, my own having been in its case basically since Aki Maera called it a day, but I have a kind of affinity with it and I remembered the song pretty well. Thanks for letting me play with you guys!

Then when I went on, my set list was:

The Boys of Summer
Zephyr Song
Bitterness
Never Forget You
Morning Glory.

I think with Boys of Summer the first few minutes may not have come across all that well because of some sound balancing issues that it took a change of microphone to sort out. I really should try putting that later on in the set, or last, as that has a bigger impact I think and I don't want it to be blunted by sound issues.

Bitterness was unplanned; I made a joke about forgetting my capo and somebody lent me one! That was very kind of them, I'd have done Storm from the North otherwise, but I was hardly going to say no once they'd lent it to me. Perhaps unsurprisingly, it was this song I enjoyed playing most tonight.

Morning Glory was something of an encore, and my old friend Rich Sadler got up and sang the chorus with me and played tambourine. Rich has developed quite a powerful voice over the years and it was cutting right over my gravelly tones; a bit of light and shade never hurt anyone! I enjoyed playing the song and it was great to get a guest musician up with me.

A very good night in all, and it had a lot of support from a local following that Dave and Rich have obviously worked very hard to nurture. They're doing it on the first Tuesday of every month so it would be worth popping down, especially if you like playing blues-rock, they love it!

Tomorrow I'm playing St Mary's school in Brierley Hill for the Insight group, I'll be on at roughly 12:30 if anyone wants to come and have a look. It will be mostly, if not all, covers; as it's a summer fayre it would probably be better to mind my Ps and Qs, so don't be expecting Bitterness, and I certainly won't be playing A Lonely Night, otherwise it will be a lonely car journey home.

See what I did there...

A Lonely Night for my G String at the Robin 2, 25/6/2013

While some run-of-the-mill rapper and his wife who is famous but I really don't know why name their child North West, (Jesus wept,) some real musicians were getting it done at The Robin 2 on Tuesday Night. So I just want to say before I get started on my own performance what a great night it was and how well the other musicians did; I didn't catch all your names but it was a great night from all of you and long may it continue.

I've played The Robin 2 a few times now and I've always managed to feel like I'm punching a little above my weight, playing to a large and therefore not very densely packed room. The audience has always been polite enough, and were quite friendly tonight, but there's always been a feeling like there's a little more at stake here than there were at some other venues.

The set list was:

The Boys of Summer
Zephyr Song
A Lonely Night
Bitterness
Morning Glory
Never Forget You

I have to say I've been doing quite well for songs at some of these open mics! I'm used to getting 3, maybe 4 songs, and the last few I've been doing 5 or 6 at a time. Not bad!

Didn't get off to a flying start tonight though, as I broke my G string (it would have to be) not 2 minutes into the first song. After the obligatory growl of 'Bollocks' to the audience, pulling the string out of the way of the guitar and skewering my hand on it, I struggled through the rest of the song with 5 strings. Thankfully it didn't stop me playing the bit in the middle of The Boys of Summer where I rely on an octave in the 'C' chord shape to try and emulate the keyboard part in the song, but I know from checking my tuning afterwards that my guitar wasn't well in tune.

Thankfully Sam had a spare guitar and I got through the rest of the set with a decent if unfamiliar Takamine (I think.) I needed a few minutes to adjust the strap, and because there was no strap button on the top of the guitar it was secured on with a piece of string around the headstock. This is one of my pet hates of acoustic guitars, and why I did most acoustic gigs prior to last April sitting down. The problem I found with it was the balance of the guitar, I couldn't hold the guitar in a comfortable enough position to play it as well as my own. I did OK with it though.

When it came to playing my own songs I decided not to put the 'Dani California' bit into A Lonely Night. (If you haven't heard the song, after I realised that I blatantly copied the tune in the verse off Dani California from the Red Hot Chili Peppers, I decided to be even more cheeky with it and put the chorus to their song just before the last chorus to mine.) Tonight it was because I'd only just played Zephyr Song, and I didn't want to put 2 Red Hot Chili Peppers songs next to each other. But thinking about it, as I'm doing mainly covers at the moment, putting another cover into one of my own songs... I don't know, the tongue-in-cheek humour intended might actually come across more like I'm taking the piss out of myself. I do far too much of that already!

I'm not sure if Sam appreciated me banging on his guitar during Bitterness, but he was clapping along to the appropriate part so that was good as well.

I'm still not too sure about Morning Glory; I played it solidly enough but I don't know whether Oasis has been done to death, or it's just the way I'm playing it because it isn't within my comfortable singing range (actually, very few things are!) I'll play it another few times to try and gauge it; it's a good enough song good and I need to give it a chance. Thankfully Never Forget You never fails to raise a smile, if not from the audience then from me and that's always a good thing!

So all things considered it wasn't a bad set, let down by my string breaking. I shouldn't have let that happen, but because I had some problems with the bridge pins afterwards, if I'd tried to change the strings before I came out then I wouldn't have come out at all. The audience... well, there were about as many people there as I might expect for an acoustic gig, and certainly more of them than some of the audiences I've played to when I've actually been booked to play, but because of the layout of the room, their reaction was difficult to gauge. I did get a couple of guys afterwards though, telling me that I do the 'Angry Young Man' thing very well! As they weren't actually playing themselves, it meant a lot to hear that for people who were just there to see the open mic!

What's next? I think Rich Sadler's doing an jam night for the first time at the Blue Brick in Brierley Hill next Tuesday, so I'm going to go along to that and see what he's got going on down there. I've played there before with The Fakes, and on my own as well if you count the time when the Fakes had actually finished and I got my acoustic guitar out and played a couple of Oasis songs I didn't really know the words to to a few people who's last one should have been about an hour and a half ago, who were only too happy to fill in the words for me.

Let's hope this one stays a little more sober!

Matt

Fly Away On The Pied Piper, 21/6/2013

Having developed a very good working relationship with Sam Draisey over the time I’ve been gigging acoustically, it was always a matter of when, not if, I would turn up to one of his open mics. It seems a lot of the regular ones I used to do had moved on, and for this reason I found myself playing in Cannock for the first time at the Pied Piper…

The crowd wasn’t huge; there were I think about 9 people in the room all night including Sam, but that isn’t exactly unknown and I’ve played to smaller crowds than that with a full band! This being the 21^st of June and with the weather being reasonably nice, Sam surmised a lot of people who would normally come to the pub and listen to some music have got all their barbeques out and stayed at home, and why not? It’s not like we’ve had all that much sun this year. Plus, smaller crowds give me the opportunity to mess around with the set a little bit, since I have a presumption in those cases that there is less at stake.

Speaking of which, here was the set:

• Morning Glory
• Zephyr Song
• Go Mr Sunshine
• Storm from the North
• Hall of Mirrors

The first three were the three songs I learned for when I started gigging again, and what I found was that playing them in my bedroom and playing them in front of a microphone are two very different experiences. Given how low my voice needs to be to effectively sing all three songs, I’m not convinced I was cutting through too well; what sounded good at home I think sounded rather weak. That having been said, I got through them all well enough and with few mistakes.

I think, of the three, I probably played Zephyr song the best. That’s an interesting one to cover, since the Red Hot Chili Peppers lyrics that I’ve heard tend to be quite abstract, that is to say the songs appear to be about everything and nothing at the same time. So, because I can’t say for definite what I think the song is about, I find it harder to remember the words because I’ve got nothing to give context to the song! I ended up doing it in the end by looking at each individual line, picking out the noun from it and picturing the image in my mind, that would help me remember the words. E.g:

“Can I get your hand to write on,

Just a piece of lead to bite on,

What a night to fly my kite on

Do you want to flash your light on?”

I picture a hand, a lead rod, a kite and a flashlight. That helps me to remember what’s supposed to be in each line, so even though the song appears to be somewhere between an acid trip and complete bollocks, I can at least sing it!

Following it up with Storm from the North was a wise move, because I found for the first time that night I actually sounded like I meant it. I’d never even played that song on my new guitar so I had no idea what was going to happen. I remembered all the words OK, although I fluffed the chords at some point and made horrendous error of calling myself on the mistake straight away. But of all the songs I played that night that was probably the best one. Funny how I learned a bunch of cover songs, but it’s my own stuff that’s arguably going down better, simply because I’m playing it better!

After some good-natured Britain’s Got Talent-style piss-taking from the friends of one of the other lads who played that night, I played Hall of Mirrors by the Distillers. I love the song, but it is my thing to try to capture the essence of the song on an acoustic guitar and with that particular song I reckon I’ve always fallen short of the mark. Then again I don’t think I’ve played it at all for two and a half years, which probably had a lot to do it.

Now I might come across as a little hard on myself at this point, and I don’t think it was exclusively because I was playing covers because thinking about it, the covers I played a couple of weeks ago at the Copcut Elm actually went reasonably well. But as I’d known how to play both Boys of Summer and Never Forget You for 1-2 years by then, it was a different matter entirely. And both of those songs were new once as well. My point is while I don’t think I played Morning Glory, Zephyr Song or Go Mr Sunshine particularly effectively this time, that doesn’t mean I never will. I’ve just got to keep playing them because I’m going to learn more from doing that than I ever will from playing those songs in my bedroom.

This is with the possible exception of Go Mr Sunshine, which I think will lose something without the backing vocals no matter how well I play it.

So it was a valuable experience, if not my best performance. I probably won’t experiment that much again in front of anyone other than Sam, and even then it would only be in a smaller setting like that, because at all other times I need it to work

Not sure what’s coming next, I’ll see what’s going down next week…

 

(Copyright to the Lyrics to Zephyr Song belongs to the Red Hot Chili Peppers and are published on this blog with no permission whatsoever.)

Hardly A Lonely Night at the Copcut Elm, 9/6/2013

So after a long break that I made no secret about, I decided to make the first night I played live for myself again at the Open Mic Night at the Copcut Elm. I've been to the place before and did a 'battle of the acoustic artists' style gig there, I didn't get through but it's probably the fairest I've ever had one decided. That was a couple of years ago. Quite why I felt I had to go all the way to Droitwich to start gigging again was a matter of timing rather than design, but it was a largely unfamiliar crowd - I'd only met the promoter Ben Vickers before - so it was a good a place as any to see how it got on. The people were a bit thin on the ground to begin with, but by the time I went on there were about 40 people in the room so that was good.

The setlist (quite long for an open mic!) was:

• Boys of Summer
• Get Out Of My Head
• Bitterness
• Never Forget You
• A Lonely Night

However that was not the original plan. I had wanted to go down there and play three songs I've never played live before, all covers. I spent the entire car journey singing all three songs to practice them, but I hadn't even got halfway through the first verse to the first song when I forgot the words. More practice needed on that one, I think!

I played the rest of the songs well though, and pulled it back. One or two people were singing along to Boys of Summer, which is always a nice feeling. I'm still in debate about whether or not to sing the first verse of Get Out Of My Head without the guitar, tonight I chose to do exactly that and it was quite an experience when I got to near enough the end of the verse and the entire bar had fallen silent listening to me. That's what I've missed about playing live!

Other highlights? Getting to play A Lonely Night was a welcome but unexpected bonus, and someone out one of the other bands that was on after me told me that she thought Bitterness was hilarious. I told the story before I played the song about the profile I found on the dating site which inspired the song, and I think giving it a bit of context helps, though I should be careful how often I do this. I'll only get away with it as long as people are listening to me.

It's a balance, thinking about it. On one hand, when I have the audience engaged, it can really work to give my songs context, to give the audience some idea of what I'm singing about. On the other hand if I do it too many times I'll deprive the set and therefore the audience of any momentum, so I should probably do it only once every couple of songs. It would be worth planning in advance what I'm going to say about what song, and at what point in the set they are going to come up.

Anyway, after a shaky start, that was not a bad return at all, and I am going to check out a new Open Mic at the Pied Piper in Cannock on Friday so we'll see how that goes down.

See you all there!

Matt

Matt and Ellie Don't Stop Believing at the Hare and Hounds, Lye 4/5/2013

One question that I don't get asked very often at all, but I wish I did, is: Do you miss being in a band?

To clarify the position, it's been nearly a year and a half since I've gigged with a band on anything like a regular basis, and that was a joint effort between Natasha and the 82s and Aki Maera that meant I was doing roughly one gig a month. Contrast this with, say, this time four years ago when I was very busy with Crashpoint to the degree of a couple of gigs a month at least, and before that with Jack's Legacy where we'd try at least one a month to keep the momentum going, and you can see why it's easy enough to forget that I am, actually, still with The Fakes - which averages out about one gig a year in this day and age.

Either way, the answer is: I do and I don't.

What I miss most about being in bands is this: it's basically all I've ever wanted to do with my life. I know that, at 27, I should have left the 'Rock Star' dream behind a long time ago, and I'm aware of others thinking the same about me even if they don't say it. And even though the day I give up on it completely will be a very sad day for me indeed, when I consider what I'm doing with myself these days - guitar teaching, war gaming, role playing, my girlfriend - even I have to admit that it might be a little too late. So, the only thing I've ever really wanted to do with my life is out of my reach, probably forever. Which isn't to say I don't enjoy doing what I'm doing now. It's just that teaching guitar to kids in schools is about as good for me as it is ever going to get. Not what I wanted to be saying at 27. So I do miss being in bands because that was what kept that dream alive.

However, a lot happened during the last week to remind me of some of the things I don't miss about being in a band. Last Sunday (28/4) an old friend Ellie Hawthorne put out a call on Facebook asking if anyone would play guitar for her on Saturday night, which I answered. Over the course of the next few days, the following happened:

• Ellie sent me a list of songs she wanted to play. There were 11 songs on this list. I knew one of them. Of the others, two of them were by Paramore - and I used to be quite vocal about my intense dislike of that band, if I am a little more cryptic about the reasons for it. It's personal. But I was not going to spoil it for her by refusing to play them. It's certainly not the first time I've sold out!
• No problem, I thought. If I learn roughly 3 per day and we can get together for a rehearsal then it should be OK. I had learned all of them except one by Wednesday evening when Ellie messaged me again saying it was off because she had to work. (At least, I think that's what she said, but she left out the word 'work' from the message, which thinking about it could potentially have been any verb conducive to the general effect of not being able to do the gig.)
• Thursday night she messaged me again telling me it was back on and could I do it? Well, I'd lost two days practice by then, since I was busy that evening, but there should be no reason I couldn't give it a go. So I said yes, and we'd have to arrange a time for a rehearsal possibly the following afternoon? Ellie couldn't make it because she was working. Fair enough; I've not forgotten what it was like to have shifts on appallingly unsociable hours. We'd just have to wing it on the day.
• 10 minutes later - count them, 10 - my Mom told me that my brother was coming home for the weekend and we were all supposed to be going out for a meal on Saturday night. Sometimes the word 'bollocks' just doesn't cover it. They did at least say that I could do the gig and I didn't have to worry about the meal, but it wasn't a decision I wanted to have to make.
• Finally learning the songs on Friday Night, I went to the gig and found that when Ellie said we were on at 6pm - and this is perhaps the strangest part of all - we were actually on at 6. The result was that I had finished by 6.45, and even though I'm not in the habit of disappearing straight after a gig, I did that day and managed to go for dinner with my family after all.

It took me straight back to being in bands. I remember being stressed out of my mind having to play gigs we weren't even close to being ready for, having to re-arrange shifts at work in order to be able to do it, and deal with fucking arsehole band-mates who would duck out of it at a moments notice leaving me to either re-arrange it or manage without them. You know who you are. And somehow that responsibility almost always fell on me, especially with Crashpoint and Jack's Legacy. I don't miss that at all.

Now so far this post will have come across to many of you as cynical and negative, so let me make one thing absolutely crystal clear: I have no bad feeling towards Ellie at all for what happened in the week. I am delighted she gave me a chance to play live again, and I really did enjoy the gig when we were doing it, more on that later. In fact, I think the fact that I fought tooth and nail to make it happen is indicative of a) how much I wanted to do it, and b) how much I've missed gigging and not realised. So, on the whole it is good to be back.

One of the things that made the gig for me was my new guitar; a Hofner Electro-Acoustic. I'd been saying for years I needed to retire the old Hondo, and now I can plug in a guitar and save all that tedious mucking about with that pickup. Both are there if I need them, but now I have an electro-acoustic that sounded better than I could have possibly imagined. (I had played it before but never plugged it in.) I think what was conducive do this was the fact that I left the pre-amp alone, and let the sound guys do their thing. Sometimes electro-acoustics don't sound all that good, either woolly or abrasive, but mine sounded OK and that was because I decided I'd leave all my EQ controls at a flat level (which is 5, by the way,) increase the volume of the guitar until sound was coming out of the PA and let the sound guy boost the treble and bass if they needed to, which I'm not sure they did. The result was a sound that as far as I could tell was as clear as it needed to be, without getting in the way of the vocals. I'm not saying I'll never mess with my EQ, but after all, the sound guys know what they're after, and I'm usually happy with a sound...

The set list was:

Journey: Don't Stop Believing
Ally and AJ: Someone To Fall Back On
Paramore: The Only Exception
Taylor Swift: Love Story
Adele: Someone Like You
Demi Lovato: Skyscraper
Miley Cyrus: The Climb
McFly: Love Is Easy
Jeff Buckley: Hallelujah
Paramore: Still into you

And then Ellie finished off with an a'capello version of Rolling In The Deep.

It took a couple of songs to pick up momentum, I think, not least because we started with the two I was least sure about, but considering we hadn't practiced any of them before, or even met in person for almost a year and a half, it went as well as I could have expected. There were mistakes, of course - sometimes I'd play the song incorrectly, sometimes Ellie would come in a little sooner than I was expecting - but we managed to pull it back together quickly and we at least ended all the songs together! I think - and I'm not sure, because I wasn't really concentrating on the reaction from the crowd - that The Climb went down the best. Nobody ever went wild for us, but I didn't expect them to. It was what it was - an event in the beer garden of a pub; the crowd only ever half-listens to you and I was prepared for that. I thoroughly enjoyed playing and I could get in to the role as the side-man again; with all the attention on someone else I can do what I want.

So, am I back now? Yeah, I guess so. There were things I wanted to do before this happened. I wanted to lose some weight, but I've been careless and not done it. I wanted to write some new songs but I've not come up with anything particularly memorable yet. But I will try and hit a few open mics in the coming weeks, and see what happens. I might even try one the week I'm in Swindon.

See you all again soon. And thanks for your patience.

1/9/2012: I held Codfest in my arms...

So hang on, haven't I stopped gigging?

Well, yes, for now. But here I found myself ready to take the stage at Codfest once more! What happened was that I went to Sam's open night at the Hartley Arms on Monday Night, partly for something to do but mostly because I needed a word with Sam about one or two different things and this was as good an opportunity as any. He mentioned right at the end that one of the acoustic acts for the Back Porch stage had pulled out and I offered to do the set for him. Sam gladly accepted, gave me the 2.55 slot and at 2.50 on Saturday after getting lost I managed to get on the car park and hurry on to the stage. Here's how I got on:

I'd specifically chosen a set of songs for this that I thought complimented both my current position of semi-retirement and the fact that I'm fortunate enough to get on stage at quite a big festival (in fact, for this level of gig, Codfest is about as good as it gets.) I opened up with You Held The World In Your Arms by Idlewild, one because it's an absolute belter, and two because my interpretation of it is being given one chance to break out of a very boring lifestyle. Not that my life is boring at the moment, far from it, but it was my first gig in over 4 months so I needed to hit this one with everything I had. What a shame then, that I managed to forget the words to the first verse. In my defence they are near enough the same all the way through with only minor variations but there was a definite feeling of [Brian Griffin sarcasm] "Well, we're off to a good start." That affected my performance for the first couple of minutes but I pulled it together after that and I did see one guy singing along to the chorus so that was pretty good.

I dropped the capo after that for my next song, Storm from the North. Of all the songs I recorded with Sam last year that one's his favourite and I owed him for the gig so I played that one and I'm pleased to say that I've lost none of my attack in the time it's been since I've played it last. I noted in the program, by the way, that Sam described my songs as 'observational.' Well, he knows what this one is all about and the metaphor of the ship fits the situation quite well, and this is something I intend to play up to in future songwriting endeavours!

After that I did Get Out Of My Head, because that's Kayla's favourite. I did it with the a'capello first verse and chorus, which might not have been a wise move given the setting - a festival audience is by their very nature largely unfamiliar and it might have been better to give them the "real" version. However, it's not like I had to worry too much about continuity. Besides, taking the Rammstein approach to it, the recorded version is the best I could make of it at the time but since then I've discovered ways of playing it live that make it all the more enjoyable for me. Given the amount of people who've actually listened to the recording, (2 people on my last Myspace count,) I don't think it's wrong to play it the way I enjoy it as audience expectations are pretty much a secondary consideration!

I've got a bad habit of fiddling with the capo between songs. I knew perfectly well that after the first song I didn't needed the capo after that, and after every song I'd pick it up, put it on the mic stand, get half way to putting it on the guitar before remembering I didn't need it; should not be letting that happen!

Because I played it at the last year and it went quite well, I played Colours of the Wind from the Disney film Pocahontas. Granted I can't sing it quite as well as Judy Kuhn, but I think I did an OK enough job of it. I did notice, though, that it went down better last year when I did it at a later hour; everyone was drunk and wanted to hear songs to sing along to. It was great to play it again though. Intrestingly, what I'd actually intended to do at that point was I'll Make A Man Out Of You from Mulan, but because of my guitar, there was no way I could have done it comfortably without putting the capo on halfway through the song. Barre chords are a pain! However, you can all be rest assured that I can't sing it as well as Donny Osmond either. I haven't got enough teeth.

I finished off with pretty much the most appropriate song I could think of in the circumstances: The Boys of Summer by Don Henley. This is quite a good 'rounding off the summer' song, and being the first day of September I could hardly have picked a better time. It's a nice one to play, not so nice to sing because I can never remember the changing line of the chorus. I know what they all are but I keep forgetting what order they all go in, which resulted in a few stumbles. However, a lot of the audience recognised it and I enjoyed playing it!

So ended my Codfest set. Am I back? No. That was a favour to a friend and I wouldn't like to say that I'm back yet as bar the covers I'm still doing what I was doing when I quit. But it was nice to get on the stage again. Given what Sam was saying about observational songwriting I might try getting in to that again and see if I can get something together that I'd be happy to play on stage. I'd like to drop a stone and a half in weight as well. Until then, it's one-offs like this, or perhaps a gig or two with The Fakes if we can organise it.

So, thanks to Sam and the comittee for organising the festival, biggest and best one yet, couldn't have asked for a better end to the Summer Holidays. See you next year, whether I'm playing or not...

Heading for the End Part #2: The Rose and Crown in Glory

So we finally reach the end of 2 years and 4 months of tireless gigging. Here's how it all went:

After warming up in the soundcheck to the first bit of All Star by Smash Mouth, I opened my set with Get Out Of My Head. I did the a'capella intro because I think opening a gig like that lends a certain amount of intrigue to proceedings, and given that I was following Neil Corbett, who just for the record is really, REALLY good, I thought I'd better look like I mean it. It did the job and I played it reasonably well; it has certainly served me well over the last year and a half!

Bitterness is of course the song that everybody remembers. I opened it by telling everybody that footage of me playing it now exists on Youtube, and hammered it out my my usual measure of bile and spite. Mitch said that's his favourite of my songs and he loves to hear me play it; I must admit it's probably one of the most enjoyable songs I play live, made all the more so by the small number of times I choose not to.

I then for only the second time brought on a guest, Mitch Jones to sing Hurt by Nine Inch Nails/Johnny Cash. Should probably have told Mitch which version we were singing because he sang the NIN lyric - you know the bit I mean. But it was a good song, fit my mood perfectly and it was a pleasure to sing with him. We might do it again in the future, who knows?

Then I did something I've been meaning to do for a while and sing A Lonely Night while throwing in the chorus to Dani California by the Red Hot Chili Peppers. I did open it by dedicating it to RHCP 'for stealing my fucking song,' but in case and Chili Peppers people are reading this or saw it, I WAS ONLY JOKING. I want that on record, as I don't want a lawsuit for defamation! It would have worked well if I remembered the words to it, unfortunately I tripped up on one of the lines so it didn't go as well as I'd hoped. The rest of the song went OK though.

I finished off with one of my 'It's all over' songs, Home for Summer by Feeder. This one takes me right back to calling time on Jack's Legacy; it's fitting I think to end my last gig with this one. It worked perfectly.

Well I got some very positive feedback from some people who hadn't seen me before so thanks for that guys; I think as last gigs go, I could have done far worse than this. Thanks to Cal and Joy from Screaming Harlot for putting me on, and to everybody who watched my set.

Now with any rules, there are exceptions. I'm not doing solo gigs any more. I may, however, do some or all of the following:

• Gigs with The Fakes, or any other band I join,
• Back-up musician for a singer, e.g. Hannah,
• Compere gigs for the St John's Church group (which I haven't been blogging because I'm not actually performing, just compereing)

So I doubt you've seen the last of me. And I might be back playing gigs at some point. But for now, I need to take a long, hard look at myself and see what I want to be doing with this.

Because what I don't want to do is come back and do exactly the same thing I was doing when I left...

Goodbye for now!

Heading for the End part 1: A Stormy Misdirection at the Hartley Arms. 23/4/2012

Hi there.

Not done a blog in a while; I'm afraid being obliged to write down the details of every single show I do can feel a little overwhelming at times, and I don't always get time to do it. I did a gig at Four Ashes a couple of weeks ago for example, and headed down to Amy's straight after. While it would not be literally true that I didn't have time to write a blog while I was there, she certainly wouldn't have thanked me for it. Which is a shame because that show influenced a lot of what it coming here:

I'm going to be taking an indefinite break from playing live. I can think of a few reasons for it but they basically come down to the fact that I've had enough. I gigged every week all of last year, and I've not done much less than that this year so far. Some shows I've enjoyed more than others, and what I've got out of it is refining my set to the point where I can put on a far more convincing show than I ever could before.

What else does that get me? Not a fat lot. I have very rarely been paid for playing a solo gig, (thanks to Sam Draisey for being the only one who has so far,) I couldn't sell a CD to my own mother (she's heard it all!) and usually the only way I can get anybody to come to a gig is if I drive them there myself.

Now I know that perhaps I should be doing more to change that. Burning off some CDs would be a nice start; getting a proper Facebook page, really promoting those gigs, get a decent contract on my phone so I can actually afford to send mass texts to people who might want to come. But the way it's been going so far hasn't put me in particularly high spirits and offering much incentive for me to do that. Plus I've been doing a lot of other stuff as well; I'm more in to my games now than ever before and it's taking up a lot of my time, and in many cases proving a lot more enjoyable. I think I need a few months off, give me some time to miss gigging and actually want to get back to it, during which I need the following things to happen:

• Get a proper Facebook music page
• Get a Twitter account to use with the Music page,
• Get some CDs printed off properly with a cover and everything
• Sort my PRS stuff out - I'm nearly there, I just need my birth certificate
• Write some new songs. Seriously, I've been playing most of the regulars for nearly two years now, and apart from the new one that I wrote at the Robin 2 that I've completely forgotten the name of, my most recent one is A Lonely Night and that's about 8 months.
• Get some sort of mailing list system going when I'm doing gigs so I can actually keep in contact with the people I talk to. Fair enough by now that would be some 20 people but it's 20 people I don't have now.

Now in true Matt style ducking out for a few months is out of bitterness, spite and disillusionment with music and its current state, and we'll find out if it's all worth it or whether I've been shooting myself in the foot when I come back to potentially find that all my old contacts and venues have moved on and I'll have to start all over again. Then again, that won't necessarily be a bad thing...

I'll pick this up another time, it's probably about now that I should talk about the gig I'm posting this blog for in the first place...

Ok given all this recent development I wasn't intending on being any good tonight, thankfully it was at  at the Hartley Arms and in the company of Sam and his friends with whom I enjoy a friendly familiarity to the point where I could get away with it. The first song I did was Fall Back Down by Rancid. I've know the song vaguely for a while, the chords are easy enough. I've only got a basic grasp of the words, but then listening to the record I'm not conviced Tim Armstrong knows it all that well either... Sam recognised it and everybody else seemed to enjoy it so there are worse songs to play!

I then played something I'd barely played before in my life and was a bit risque, Dark Heart Silhouette by Vendetta Red, who I'll happily tell anyone who'll listen that they are the best band you've never heard. That's probably the most offence I've ever caused in one song, with the lyric 'And I watched him take her, beat her and rape her, and he said if you tell anyone I'll have God kill your Mommy...' so I need to be careful where I'm playing that! It seemed to go down OK but no one really knows the band so I was playing it to enterain myself as much as anybody else.

Feeling that I should probably get some of my own material in there I decided to play Bitterness. It went down reasonably well athough I was at that point suffering from the coke and pizza I'd had earlier, and singing so hard I felt like I was going to be sick. I don't know what was worse, that or telling everybody about it afterwards.

I finished up with a false start - and subsequent retry - of Storm from the North. Once I'd got it, it was fine, though I shouldn't let that happen a great many times. Only last Friday I managed to get the giggles half way into it. I was conscious of the fact that Sam was filming this one and I wanted to give as good a performance as I can. If what Sam filmed comes out barely passable, I'll put it on the blog and see where it goes from there.

So I probably won't be at the Hartley Arms again too soon. I might go to the Robin when Sam puts it on but Wheaton Aston is a little far for me to go just to watch. Still, it's been good to me and has given me a nice platform to spring some new material from so I'm grateful for that!

Might see you Thursday, might see you Sunday...

A run of gigs in Feb/March

Once again I've done it where I've done loads of gigs and haven't blogged them. And since I've forgotten almost everything that's happened since the first one, I'll write them up as one entry...

23/2/2012: The Quality Hotel

This was a charity gig for the St John's Church Preservation Group. Here, I played some of my songs and a couple of covers for good measure. I think the set list was probably Get Out Of My Head, A Little Respect, We Will Survive for the first set and Storm From The North, Do The Strand and Bitterness for the second. Not sure what the audience made of my spiteful aggression, if I'm honest! I do remember messing up rather badly in Do The Strand, forgetting the words is something I really shouldn't be doing and indicative of the fact that I hadn't really practiced enough. A Little Respect was probably the best song in terms of audience reception. Given that it was a family event and I had to keep the language to a minimum, it blunted Bitterness's usual fury, and I didn't even try to play A Lonely Night. I compered for some of the night as well and it went quite well. It was a nice night, and I was very pleased to have been a part of it, but I can play better than that...

27/2/2012: The Hartley Arms

It was a very quiet night again at the Hartley Arms; just me, Sam and this other fellow called Sam to play the entire night. I did a longer set therefore than I would usually do, although I can't quite remember what I played. I was tired that night! I played Believe at some point I know I did Into The West for the first time there, and it seemed to go down quite well although for how loud the rest of my set is, it's quite hard to know where to put it!

7/3/2012: Katy Fitzgeralds

This was another emergency booking from Sam, with what turned out to be a disappointingly small audience. Fair enough I was on first, but there were 5 people in the room when I started playing, and by the time I'd finished there were two people left. And that was the next act and his Dad. Conseqently my energy suffered; there's no point coming out all guns blazing when there's nothing to shoot at. I think this is the first time for a long time that I've done a full gig at Katies and not played Bitterness; instead of that I played a softer version of We Will Survive which, for Alex Young and his Dad, is a privilage because that's probably the only time I will ever play it.

8/3/2012: Newhampton Arts Centre

This was a new venture for me, brought on by George who runs some open mics with Dan Skillern. Georges plan for this open mic is potentially quite huge so I had a feeling that the stakes were slightly higher than usual tonight; I thought I'd better make it a good one.

Kicking off as usual with Get Out Of My Head, I opened my set with a steady performance, if a little predictable. New venue it may have been, but most of the people there were at the Four Ashes a few weeks before or had seen me before anyway, so it wasn't exactly a surprise to hear me play this song first. If it was, I didn't feel it. The novelty, then, was hearing me fluff up one of the chords. We're off to a good start...

I had a feeling my set was going to be shorter than it was so I played Storm From The North next, telling the 'Crashpoint' story as I went in to it. I'm not sure I need to do that anymore as the song seems to have taken a life of its own, and I think I played it quite well, though I did decide to experiment by leaving the gaps between the separate sections of the songs just a little bit too long.

The song I really wanted to get out there tonight was A Lonely Night; George is talking about doing some recording in the future and this is the one regular song in my set that I haven't yet recorded, so I wanted him to hear it to find out what it was like. I'm not sure what he thought of all the swearing but I played the song steadily enough. I need to calm down when I'm kicking it off though; I come on a little strong on the opening chords which doesn't do wonders for the dynamic of the song.

I did the fast version of We Will Survive, after making the Battle Royale reference (incidentally, I'm reading the book at the moment; it's good stuff!) I think picking up the pace a bit helped, but usually by now at an open mic I'd be thinking about wrapping it up and I think the audience was of the same mind; some of them wanted their turn, some of them were fed up. It was probably good then, that I played one of my faster songs to try and kick it up the derrier!

And then for some reason I turned around and played Into The West again, offering 10 points the first person to tell me what film it was from. Nobody got it, although Dan told me afterwards he thought it was Lord of the Rings and couldn't quite remember where he'd heard it before. Then again I don't sound much like Annie Lennox! I think building up the pace in the previous song and dropping it straight back down again with this song wasn't one of my better ideas, but I'll know not to do it again and pick a more opportune moment to put that song in my set in future.

I wanted to go out with a bang so I ended with Bitterness, and you really got a feel for the sound in the room when the 'Bang Bang Bang' bit was carrying across the hall! The song will surprise no one who's heard me before but they seemed to like it, and I could have picked worse songs to end the gig with.

It probably sounds, from the way I've been writing, that I was none too pleased with how this all went down. It's true that I've been feeling a little flat on the gigging front, perhaps I'm running out of steam, I don't know. I know I've done better than this in the past, and after that run of good gigs at the start of the year it seems like it's all going a bit downhill now. Still, not to worry, I keep on doing it and hopefully something will come of it, and now that I'm aware of this maybe I'll be able to pick up a bit more pace for my next few gigs.