Tuesday 15 October 2024

Tenement Trail 2024

Last October, on a particularly wet, windy and stormy day, I ventured into Tenement Trail to catch Kerr Mercer opening the day at Saint Lukes. I was quite taken by the buzz around the area as fans and bands headed to BAaD to pick up wristbands and to check in.

I couldn't hang around due to a family engagement, but I vowed to return in 2024.

Return I did. My friend Joe and I headed toward the Barrowland, BAaD and Saint Luke's for just after 1pm and literally as we picked up our wristbands the heavens opened and the blue skies turned to grey. The rain battered it down, so we opted to head to stay exactly where we were and grab a beer and some lunch in the BAaD courtyard - thankfully covered! 

Hanging outside BAaD

There was sunshine after the rain though and we headed round to the Barrowland for our first bands of the day. Peach Crumb opened proceedings in the downstairs (Barrowland 2) bar with a short 25-minute set, ending with their two singles NBDY and Keeping Busy. The third song in their set stood out for me though. Singer Becca ditched her acoustic guitar to strut, dance and pull shapes to a more energetic style and sound in comparison to the rest of the quite dreamy set. 

yesandmaybe 

Yesandmaybe were on next and they absolutely blew me away. I can't recall seeing a band so perfectly formed at such an early stage since .... probably Chvrches. Joe and I caught them line checking and they had quite the set up. It turns out that yesandmaybe are a Scottish/French duo who met online and worked up an album that way. Live, they were amplified by an ace drummer (Craig who was formerly in Twin Atlantic), bass and additional guitars/synths.

Think The Strokes crossed with Phoenix. Gigi (I think) from France is an exceptionally inventive guitarist, while the singer (I didn't catch his name) played soaring stadium synth riffs and sang with a similar cool distorted effect on his vocals like Julian Casablancas. 

Every song sounded like a potential single. Train To Nowhere is apparently the title of their forthcoming debut album (they already have that in the bag, despite this being their second gig) and thr title track sounded impeccable. Songs like God Isn't Real and Bloody Madness also sounded sublime. Dressed in sharp black suits, the band looked as sharp and cool as their songs. 100% ones to watch.

DEFINITELY YES - yesandmaybe in Barrowland 2

While tempted to stay in the Barrowland 2, Joe and I opted for some fresh air and a walk round to BAaD to see a band called Dallas Love Field, simply because we liked the name. We enjoyed the band too! The four piece created a glorious shoegaze, psychedelic racket with some dreamy lead vocals. Some of the lead guitar work was reminiscent of the sounds Nick McCabe would create on the first Verve singles and album.  I'd definitely go and catch them live again. There is little information about them online at present, but it sounds like they made their live debut at BLOC in March 2023 and are now working with Jason Shaw who has previously worked with Ride. Sounds like a good match! I can imagine them releasing on the Sonic Cathedral label that Andy Bell is involved with.

Dallas Love Field in BAaD

After catching up with a couple of friends, a further walk led us to The Gate, a beautiful speakeasy style pub across the road from The Barrowland. We arrived in time for most of a secret acoustic set by Slix, a band from Greenock that my friend Joe (a native of that part of the world) had his eye on. We somehow managed to get a seat at the far side of the bar and enjoyed the few songs we heard, that included a cover of Digsy's Dinner by Oasis. Slightly odd choice of cover, but hey.

Exiting on to the Gallowgate we decided that more food was in order, handy as we were right outside Ho Lee Fook, a super cool Thai street food 'hole in the wall' type place that is becoming an Instagram hit. Having sampled their food before, I was delighted to go back. They were in demand, so Joe and I had 20-25 minutes to kill, so we opted for a nearby Celtic bar for a quick beer.

TTSSFU

We then took our food back to BAaD for TTSSFU from Manchester. More cool shoegazey sounds from the 4-piece who looked super delighted to be up in Glasgow and playing in such a large venue to a packed crowd.

That is one thing Tenement Trail has going for it, the festival puts (often) fledgling bands on big stages to crowds way bigger than they would normally play to. It's a little sink or swim, definitely an incredible opportunity.

Last up for me, as I had yet another prior family engagement, was a trip back to the Barrowland to see Greenock boys Slix on the main stage. They pulled a sizeable crowd and seem to be on the up as they have announced a headline show at The Garage in April. 

We didn't catch all of their set as I was getting picked up and Joe decided to head to Saint Luke's where he caught some of Imogen and the Knife, Parliamo and then headliners Neon Waltz who he particularly enjoyed.

Congratulations to Tenement Trail on a fantastic 10th anniversary festival. I remember when it started up at the top of Sauchiehall Street. It is amazing to see how it has grown to become an absolute staple in the Scottish music calendar. I hope to attend next year.




Tuesday 8 October 2024

Unfinished Sympathy

Trust me #79
Unfinished Sympathy by Massive Attack

Massive Attack released their majestic Unfinished Sympathy back in February 1991. The band had to take a major step to get the song out into the world though. Due to the Gulf War, the Bristol group temporaily changed their name to Massive in order to get radio play.

What a song, this is as good as it gets! The groove kicks in immediately; beats, samples, strings, percussion ... then Sharon Nelson's sublime vocals sing beautiful poetic and heartfelt lyrics.

I know that I've imagined love before
And how it could be with you

Really hurt me baby, really cut me baby
How can you have a day without a night?
You're the book that I have opened
And now I've got to know much more

Everything about this song connects. The lush orchestration and sweeping strings have a cinematic quality, aided by the accompanying video, which quickly became iconic. Shot in one continuous take, Nelson walks round downtown Los Angeles, oblivious to her surroundings as she is lost in the song, singing her heart out to portray her love and hurt to the world.

Like a soul without a mind
In a body without a heart
I'm missing every part


Nelson's vocal is at the core of the song, dripping with emotion, passion and soul.  She sounds lost, hurt beyond compare; missing every part.

Really hurt me baby, really cut me baby
How can you have a day without a night?

The strings, the voice, the beats and samples all gel to create a beautiful sonic landscape. There is a lot going on, yet the production also ensures there is plenty of space. What a beautiful and vital song.

Unfinished Sympathy is added to my Trust Me playlist; search for Everything Flows - Trust Me on Spotify or CLICK HERE 

Check below for all previous blogs in my Trust Me series.

Previous Trust Me blogs

1. Something On Your Mind by Karen Dalton
1A. Crimson and Clover by Tommy James and the Shondells
2. I Am, I Said  by Neil Diamond
3. Where's The Playground Susie?   by Glen Campbell
4. If You Could Read My Mind by Gordon Lighfoot
5. Gimme Some Truth by John Lennon
6. Gone With The Wind Is My Love by Rita and the Tiaras
7. In The Year 2525 by Zager and Evans
8. The Music Box by Ruth Copeland
9. The Ship Song by Nick Cave
10. Sometimes by James
11. I Walk The Earth by King Biscuit Time
12. Didn't Know What I Was In For by Better Oblivion Community Centre
13. When My Boy Walks Down The Street by The Magnetic Fields
14. The Man Don't Give A F**k by Super Furry Animals
15. All Flowers In Time Bend Towards The Sun by Jeff Buckley and Liz Fraser
16. Are You Lookin' by The Tymes
17. A Real Hero by College & Electric Youth
18. Feelings Gone by Callum Easter
19. Sunday Morning by The Velvet Underground
20. Did I Say by Teenage Fanclub
21. Don't Look Back by Teenage Fanclub
23. Belfast by Orbital
24. Clouds by The Jayhawks
25. Dreaming Of You by The Coral
26. Everlasting Love by Love Affair
27. Walk Away Renee by The Left Banke
28. Teenage Kicks by The Undertones
29. Shaky Ground by Sneeze
29. Rill Rill by Sleigh Bells
30. I Can Feel Your Love by Felice Taylor
31. The State We're In by The Chemical Brothers w/ Beth Orton
32. Sunshine After The Rain by Ellie Greenwich
33. Losing My Edge by LCD Soundsystem
34. Mondo 77 by Looper
35. Les Fleurs by Minnie Riperton
36. Rat Trap by The Boomtown Rats
37. How High by The Charlatans
38. I Can't Let Go by Evie Sands
39. Pop Song 89 by R.E.M.
40. Summertime Clothes by Animal Collective
41. There She Goes by The Las
42. We're Going To Be Friends by White Stripes
43. Autumn Sweater by Yo La Tengo
44. Sister Rena by Lomond Campbell
45. Revolution by The Beatles
46. Lazarus by The Boo Radleys
47. Wrote For Luck by Happy Mondays
48. American Trilogy by The Delgados
49. Loser by Beck 
50. Silent Sigh by Badly Drawn Boy
51. Comedy by Shack
52. Take The Skinheads Bowling by Camper Van Beethoven
53. Freakscene by Dinosaur Jr
54. Thank You For Being You by The Pastels
55. I Think I'm In Love by Spiritualized
56. Chestnut Mare by The Byrds
57. Cannonball by The Breeders
58. Like A Rolling Stone by Bob Dylan
59. You Make Me Weak At The Knees by Electrelane
60. Lucky by Radiohead
61. Strange Currencies by R.E.M.
61. I Am The Cosmos by Chris Bell
62. Like A Ship (Without A Sail) by Pastor TL Barrett and the Youth for Christ Choir
63. Nothing But A Heartache by The Flirtations
64. Made of Stone by The Stone Roses
65. Tonight In Belfast by Orbital, David Holmes, DJ Helen and Mike Garry
66. Anything by Adrianne Lenker
67. I Hold Something In My Hand by Bill Ryder-Jones
68. I Meant Every Word by Burnett Sisters
69. Dream Baby Dream by Suicide
70. Stove by The Lemonheads
71. Red Lady by Phil Cordell
72. Little Fluffy Clouds by The Orb
73. I Can Do It With A Broken Heart by Taylor Swift
74. Turnin' My Heartbeat Up by The M.V.P.'s
75. Razzle Dazzle Rose by Camera Obscura
76. Such Great Heights by The Postal Service
77. The Rat by The Walkmen
78. My God Has A Telephone by Aaron Frazer



Friday 4 October 2024

Kerr Mercer at Saint Luke's

"I started off the year playing to 100 of you at the Poetry Club. Then 300 at King Tuts and now ... now 600 of you are here with me in Saint Lukes ... it's mad ... Thank you so much."

Kyle Mercer was visibly moved on stage at Saint Luke's in Glasgow last night. No wonder. Just over a year ago Kerr was the opening act in the venue for Tenement Trail. I was fortunate to catch him on that wet and windy day last October and you would have been lucky if there was a tenth of last nights crowd in.


Since then Kerr (only 18) has been gigging heavily, picking up loads of support slots across Glasgow and beyond to build his experience. Something he also highlighted on stage.

"Thanks again for coming. I nearly came on stage at 7.30 tonight as that's when I'm usually on."

There is a lovely dash of humility and cheek about Kerr when he chats between songs. He took the time to record a video message to a fan who had unfortunately dislocated her knee (after arriving early at the venue) and missed the show, also promising to put her on the guestlist for his next Glasgow show. 

And he also half-joked about seeing us all at the Barrowland (across the road) next year. That seems the next logical step up for the teenager who has yet to release his debut single. Kerr also promised us that was coming soon and that he didn't want to be the person that played 7 million gigs without releasing something.

Having followed Kerr's journey and heard him introduce lots of new songs to his set, in addition to keeping some firm favourites, I am intrigued to see what he goes with. It could have been any single one from last nights set!

Kerr was on stage at 9pm sharp, opening with a song that may or may not be called I'll Be Your Soldier. His voice soared effortlessly, he was straight into it, absolutely incredible.

Jealous followed. I mentioned earlier on that Kerr was moved on stage, now his songs and voice were moving people in the audience. Gazing around, you could see people nudging their friends and nodding as Mercer stretched his vocal chords to really go for it. The melody already sounds familiar, this could be coming out of your radio next year.

Waves was another new song that I hadn't heard before, the chorus and lyrics seem instantly relatable. Petals generated an incredible response from the crowd with Kerr's guitarist also playing a kick bass drum which encouraged the audience to clap along. 

Die While I Remember and One In A Million were more mellow, tugging on heartstrings in all the right ways. Mercer's songs have a beautiful, soulful and melancholic feel to them. There is a sadness, but there is a very powerful connection between him and whoever is watching him sing. It's quite something to witness and feel.

Adam Frame was excellent on guitar, allowing Kerr to switch from standing up to sing some songs, then sitting behind his electric piano for others. The two work so naturally together. It feels like a treat to hear these songs played in this way and to see them work so effortlessly together.

Given the fact that Kerr has yet to release anything, Mercer had asked his Instagram fans to choose a cover for him to play and they voted for Sabrina Carpenter's ace Please, Please, Please, a big favourite in our house. The pure pop song was stripped back and sounded sublime.

Carry Me Home was introduced as being 'the only song that I wrote when I was 15 that I still play, the rest were all sh*te' and as Kerr started, while sat at his electric piano, a mini choir of 3 backing singers came on stage to join him. They were definitely backing! As Kerr's voice soared, they were almost redundant. But when Mercer's voice dropped a little, you could hear what they were adding to the song and it was quite beautiful. I left the show imagining how massive this song could sound when (if it hasn't been already) it is recorded in the studio. Strings and choir ... oooft. It will be huge.

Closing with Never Be You, with the choir backing him and the crowd clapping along, my wife and I left to pick up our car round the back of the Barrowland and we both felt like the next time we see Kerr in Glasgow he could be playing there. 

Kerr has sold out his first headline tour; playing Birmingham, Bristol and Manchester in the week ahead. Keep an eye on his Instagram.






Tuesday 24 September 2024

Don't Leave Me This Way

Cover version of the month #100
The Communards cover Harold Melvin and The Bluenotes

Hidden away in the back end of blogger, I have a whopping 181 draft blogs in various forms! Some are merely titles, to ensure I go back and write about a specific song or album, some have notes, some are half-finished and some will probably never be completed as the moment has gone!

I have been meaning to write a blog about Don't Leave Me This Way for quite some time as it is an all-time favourite.

I played it on 6Music back in 2014 when I was interviewed by Craig Charles for his Spinage A Trois section. Craig, very generously, played the full 11-minute version and the song sounded even better on the radio. Craig commented that he had sprinkled the magic BBC dust on it.

Don't Leave Me This Way has featured in numerous playlist blogs I have written and also in my Confidently Top 10 blog that I wrote in 2019, where I selected my all-time top 10 songs ... I've just reviewed it and I don't think it has changed.

What .... A .... Song!
What .... A .... Tune!

Don't leave me this way
I can't survive, can't stay alive
Without your love, oh baby

It really doesn't get any better than this. The 11-minute version is absolute perfection; the lengthy intro, the way Teddy Pendergrass hums along, the strings coming in, then the heartfelt lyrics delivered with raw passion and soul. Then ... the build to the HUGE UPLIFTING CHORUS

Baby, my heart is full of love and desire for you

So come on darling do what you gotta do 

You started this fire down in my soul

Now can't you see it's burning, out of control

So come on darling satisfy the need in me

'cause only your good loving can set me free

I adore this song. I still find so much in it, the groove, the way it develops, the way it builds to the euphoric chorus, the way it picks up pace, the way that even as it fades out I want it to keep going. Does an even longer version exist? The jamming at the end of the full 11-minute version is ridiculous, so loose, soulful and funky.

This is a song I always played whenever I DJ'd in pubs or at parties. Even if you haven't heard it you're going to be hooked in and singing along by the second chorus. The vocals are exceptional, the band are incredible, the drums and percussion are just sublime.

My friend Gerry and I have put on a couple of DJ nights in our native Uddingston this year. It's been great fun to book out the Bowling & Tennis Club, set up and play some of our favourite songs. Our first night was very indie focused, but we're loosening up and starting to play whatever we fancy. 

Gerry closed our August night by playing The Communards cover version of Don't Leave Me This Way and it went down an absolute storm.

Released in 1986, The Communards version fused high-energy dance beats and synthpop, topped deliciously by Jimmy Somerville's powerful, raw and soulful voice.

Somerville soars, expressing vulnerability, hurt and desperation, yet also capturing the fact that he is still head over heels in love. It's a fantastic cover version, The Communards stamp their own mark on it and unlike many other songs from the era, it has stood the test of time. The production and arrangement is strong and Somerville's voice is just timeless.

I always thought this was The Communards song (after all I was 10 in 1986) and only discovered the Harold Melvin and the Blue Notes version when I picked up a second hand Wigan Casino Northern Soul compilation on vinyl. I recognised the title and wondered if it was the same song. It was!  

I've added the 6-minutes version, the 11-minute Tom Moulton mix of the Harold Melvin and The Blue Notes version and The Communards cover to my Everything Flows Cool Cover Versions playlist on Spotify which also features all of the songs listed below. Search for the title or CLICK HERE

Previous covers of the month blogs

13. Hurt
39. ABBA-esque
40. Jumpin' Jack Flash
64. Lola
82. Drop
87. Indian Rope Man + bonus Strawberry Fields Forever + This Wheels On Fire
92. Valerie


Wednesday 18 September 2024

Never Ending Mixtape part 93



Hello and welcome to part 93 of my Never Ending Mixtape.

In my teens I'd spend hours making C90 mixtapes and then through my 20's I'd deliberate over tracklisting for mix CD's to ensure I maximised the time allowed. 

With this Mixtape (playlist) I simply add songs all the time! As a result, it's quite beautfully and naturally eclectic. I personally enjoy just sticking it on shuffle and seeing what comes up.

Next month should see the playlist breakthrough the 4,000 song mark! For now, we're up to 3,972!

Thank you so much if you are one of the 352 people following the playlist. Thanks also if you dive in now and again. As always, I hope you discover an incredible song you've never heard before, or that you rediscover an old favourite you haven't heard in some time. 

Search for Everything Flows Never Ending Mixtape on Spotify or CLICK HERE

Here are some of this months additions, including the magnificent pop of Close To You by Gracie Abrams, a big favourite across our entire household right now. Well done Zoe for discovering it. Check that I burn for you hook!

Recent discoveries

Never Be Yours by Kali Uchis
Need Something More by Thee Heart Tones
The Spider and The Fly by The Rolling Stones
Delilah (Pull Me Out Of This) by Delilah Montague
Close To You by Gracie Abrams

New releases

Where Will I Be by Fred Again w/ Emmylou Harris

Old favourites


Crackin' Up Over You by Roy Hamilton
Everyone's A VIP To Someone by The Go Team
Lonely Soul by UNKLE w/ Richard Ashcroft
Last Goodbye by Jeff Buckley
Everything Reminds Me Of Her by Elliott Smith
Let's Dance by Spiritualized



Friday 13 September 2024

My God Has A Telephone

 


Trust me #78
My God Has A Telephone by Aaron Frazer

My God Has a Telephone is a soul-stirring track by The Flying Stars of Brooklyn, a one-off side-project for drummer/singer Aaron Frazer when he isn't recording with his band Durand Jones & The Indications, or releasing solo albums.

Released back in 2017 on Coalmine Records. The label has repressed 1,500 copies of the single under the name Aaron Frazer, which seems to highlight The Flying Stars of Brooklyn is likely to have been a one-off. Shame - great band name!

Frazer's other band, Durand Jones & The Indications, has made a significant impact on the modern soul scene with albums like American Love Call and Private Space, where Frazer’s falsetto harmonizes beautifully with Durand Jones’ powerful lead vocals. Their music is a blend of classic soul, R&B, and modern influences, and it has resonated with audiences worldwide.

Yet Frazer is bursting with creative energy and has also pursued a solo career. In 2021, he released his debut solo album, Introducing..., produced by Dan Auerbach of The Black Keys, then releasing his second solo album, Into The Blue, in June of this year. Both albums showcase Frazer’s exceptional versatility as an artist; there are elements of doo-wop, gospel, and soul, all infused with his signature falsetto, beautifully layered and produced. a

But, for the time being, lets get back to The Flying Stars of Brooklyn.

My God Has A Telephone beautifully captures vintage gospel-soul with a modern twist. Allegedly recorded on a 4-track tape machine, it's an absolute gem of a song. Frazer's falsetto is exquisite, the backing vocals are angelic and the music sounds rich and timeless. It's super cool!

Aaron Frazer is touring his latest album. Sadly, there are no dates in Scotland, but he is playing Bristol, Manchester and London in October. Check his website for details.

My God Has A Telephone is added to my Trust Me playlist; search for Everything Flows - Trust Me on Spotify or CLICK HERE 

Check below for all previous blogs in my Trust Me series.

Previous Trust Me blogs

1. Something On Your Mind by Karen Dalton
1A. Crimson and Clover by Tommy James and the Shondells
2. I Am, I Said  by Neil Diamond
3. Where's The Playground Susie?   by Glen Campbell
4. If You Could Read My Mind by Gordon Lighfoot
5. Gimme Some Truth by John Lennon
6. Gone With The Wind Is My Love by Rita and the Tiaras
7. In The Year 2525 by Zager and Evans
8. The Music Box by Ruth Copeland
9. The Ship Song by Nick Cave
10. Sometimes by James
11. I Walk The Earth by King Biscuit Time
12. Didn't Know What I Was In For by Better Oblivion Community Centre
13. When My Boy Walks Down The Street by The Magnetic Fields
14. The Man Don't Give A F**k by Super Furry Animals
15. All Flowers In Time Bend Towards The Sun by Jeff Buckley and Liz Fraser
16. Are You Lookin' by The Tymes
17. A Real Hero by College & Electric Youth
18. Feelings Gone by Callum Easter
19. Sunday Morning by The Velvet Underground
20. Did I Say by Teenage Fanclub
21. Don't Look Back by Teenage Fanclub
23. Belfast by Orbital
24. Clouds by The Jayhawks
25. Dreaming Of You by The Coral
26. Everlasting Love by Love Affair
27. Walk Away Renee by The Left Banke
28. Teenage Kicks by The Undertones
29. Shaky Ground by Sneeze
29. Rill Rill by Sleigh Bells
30. I Can Feel Your Love by Felice Taylor
31. The State We're In by The Chemical Brothers w/ Beth Orton
32. Sunshine After The Rain by Ellie Greenwich
33. Losing My Edge by LCD Soundsystem
34. Mondo 77 by Looper
35. Les Fleurs by Minnie Riperton
36. Rat Trap by The Boomtown Rats
37. How High by The Charlatans
38. I Can't Let Go by Evie Sands
39. Pop Song 89 by R.E.M.
40. Summertime Clothes by Animal Collective
41. There She Goes by The Las
42. We're Going To Be Friends by White Stripes
43. Autumn Sweater by Yo La Tengo
44. Sister Rena by Lomond Campbell
45. Revolution by The Beatles
46. Lazarus by The Boo Radleys
47. Wrote For Luck by Happy Mondays
48. American Trilogy by The Delgados
49. Loser by Beck 
50. Silent Sigh by Badly Drawn Boy
51. Comedy by Shack
52. Take The Skinheads Bowling by Camper Van Beethoven
53. Freakscene by Dinosaur Jr
54. Thank You For Being You by The Pastels
55. I Think I'm In Love by Spiritualized
56. Chestnut Mare by The Byrds
57. Cannonball by The Breeders
58. Like A Rolling Stone by Bob Dylan
59. You Make Me Weak At The Knees by Electrelane
60. Lucky by Radiohead
61. Strange Currencies by R.E.M.
61. I Am The Cosmos by Chris Bell
62. Like A Ship (Without A Sail) by Pastor TL Barrett and the Youth for Christ Choir
63. Nothing But A Heartache by The Flirtations
64. Made of Stone by The Stone Roses
65. Tonight In Belfast by Orbital, David Holmes, DJ Helen and Mike Garry
66. Anything by Adrianne Lenker
67. I Hold Something In My Hand by Bill Ryder-Jones
68. I Meant Every Word by Burnett Sisters
69. Dream Baby Dream by Suicide
70. Stove by The Lemonheads
71. Red Lady by Phil Cordell
72. Little Fluffy Clouds by The Orb
73. I Can Do It With A Broken Heart by Taylor Swift
74. Turnin' My Heartbeat Up by The M.V.P.'s
75. Razzle Dazzle Rose by Camera Obscura
76. Such Great Heights by The Postal Service
77. The Rat by The Walkmen



Tuesday 3 September 2024

Oasis and dynamic pricing

" I detest surge pricing. It means hardly anyone ever pays the actual advertised ticket price. 

It's a legitimised scam and bands who agree to it are complicit." R


UPDATE - 06/09

In the early evening of Wednesday 4th September. 4+ days since the dynamic pricing row erupted, Oasis released the following statement;

"It needs to be made clear that Oasis leave decisions on ticketing and pricing entirely to their promoters and management." The band added they had "at no time had any awareness that dynamic pricing was going to be used" in the sale of tickets for the initial dates.

NOTE - No condemnation of dynamic pricing. No statement to say they disagree with dynamic pricing. And absolutely no apology.

Poor show.

Anyway, here is the original blog - 03/09

Tickets for the Oasis 2025 reunion shows went online last weekend. Those with a pre-sale code (myself included) got access on Friday night at 7pm. I logged onto the Ticketmaster app minutes beforehand and was shocked to find that I was immediately at number 56 in the queue just after 7. I'd checked out after buying 3 tickets by 7.04pm. Sorted, nice one, mad for it. God that was easy, I was singing the praises of Ticketmaster for being so smooth and high tech.

Saturday morning was when the real clamour for tickets started. This was like Knebworth x 10. I wonder how many people actually (virtually) queued for tickets? Everyone seemed to be after them.

The Gallagher brothers reunite
Photos by Simon Emmett

Back in 1996 you could either attempt to phone and book tickets, or you could go and queue outside a ticket shop. A reported 2.5 million people tried to get tickets. Oasis could have sold 20 nights, never mind a double header. I'd hazard a guess that more than 2.5 million people were online trying for tickets.

I'm a member of a number of Oasis online groups, including an amazing collectors group, full of passionate fans from around the world that spend small fortunes on Oasis memorabilia. I love seeing some of the unique items people have procured over the years. My own collection of records, tickets, magazines, wrist bands etc just comes from buying them at the time. I wish I had bought extra copies!

The online groups were full of posts about people being 10,000+ in the queue and then this seemed to jump considerably to 200,000+. I couldn't believe I got so lucky the previous night!

People were still getting tickets, it was just taking an age in the online queuing system.

Oasis and Ticketmaster were regularly posting across social channels that tickets can only be resold at face value via Ticketmaster and Twickets. 

By now, you probably know what happened. 

Due to demand, and despite Oasis and Ticketmaster promoting prices in advance, dynamic pricing kicked in, resulting in a completely justified explosion of anger. £150 standing tickets were suddenly closer to £400. Those waiting to buy 4 tickets at a total of £600 (plus booking fee), were now faced with a total price of £1,600 plus fees!!!!

Imagine finding that out after being in an online queue for 5 or 6 hours! People had minutes to decide whether to go ahead and buy them anyway, or whether to ditch it, after waiting all that time .... 

Ticketmaster (and Oasis) completely fucked up on communication and customer care. Not that either will care given the millions that each earned over the weekend. 

Ticketmaster have been getting it in the neck, but in actual fact it is the promoters and the band that decide whether or not dynamic pricing should apply to their shows. 

Oasis - the band of the people! What a joke.

Why were ticket prices not capped? £150 is more than enough for a stadium show. And lets be honest, Oasis are not about the show, they are all about the songs. They don't need a huge catwalk or super dazzling lightshow. 

In comparison; Paul Heaton is doing an arena tour where ticket prices are capped at £35. While Robert Smith from The Cure ensures that dynamic pricing does not apply to any shows his band is playing.


"It's a greedy scam. All artists have the choice not to participate - 
if not artists participated, it would cease to exist." Robert Smith, The Cure


Crowded House found out that dynamic pricing had been applied to some of their shows and kicked up enough fuss to ensure that their fans were reimbursed the difference between 'normal prices' and the 'dynamic price'. 

I would love Noel to come out and apologise and say that Oasis were working with Ticketmaster and the promoters to refund the difference. I doubt it will happen though.

So ... this whole debacle is on Oasis and the promoters; SJM and Live Nation, which owns Ticketmaster, MCD and DF (the promoters of the Murrayfield shows). 

Fans are uniting in their fury. I love it! We might see change, instead of being ripped off by corporate greed.

Here are a few articles that have already been written;

MP's are even getting involved, with many experiencing the issue personally as they joined the scramble for tickets. 

Oasis is still the band of the people .... and the people are making their feelings known.

This whole episode has been an absolute mess. Ticketmaster and Oasis have come out of this looking like they couldn't care less about fans thanks to;

  • MIS-COMMUNICATION (AKA double standards) - Ticketmaster and Oasis heavily posted and tweeted that tickets could only be resold at face value. Meanwhile, due to the fact that millions and millions of people were in a virtual queue for tickets, they put the prices up way beyond face value! If you didn't laugh, you'd cry. Many people did. 
  • LACK OF CUSTOMER CARE - This resulted in people who has been queuing online for hours, finally getting through to buy standing tickets at £150 per ticket, only to find that thanks to dynamic pricing, they were £400 each. So a couple looking to spend £300 on 2 tickets, were now looking at £800 for 2 tickets. Not surprisingly, some people (wisely in my opinion) decided to switch off and forget it. This complete lack of customer care from Ticketmaster and Oasis is deplorable.
As for the promoters;
  • PROMOTERS - It must be nice being a promoter for a show like this. After all, you don't really need to invest much in the way of promotion! These gigs sold themselves. While there will be a high cost in putting these shows on, the profit the promoters will be making is gigantic.
Which brings me on to Oasis;
  • BAND OF THE PEOPLE - Oasis know their fanbase better than almost any band. They were among the first to get people to sign up to mailing lists and they have hammered merch, limited and exclusive releases to death. The support the Gallagher brothers receive is phenomenal, bordering on religious for some die hards. So why take the piss? Why take £150 tickets and sell them for £400?! Despite Noel's expensive (£20 million allegedly) divorce, they don't really need the money. So why agree to dynamic pricing? It really does leave a sour taste in the mouth.



"It's a greedy scam. All artists have the choice not to participate - 
if not artists participated, it would cease to exist." Robert Smith, The Cure