Named after the debut single by Teenage Fanclub.
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This blog is all about being a music lover in Glasgow; reviews, interviews, memories, old faves, new discoveries (past & present) and more. Thanks for visiting - I hope you discover something amazing you have never heard before, or that you rediscover an old favourite.
Regular features/playlists; Never Ending Mixtape / Cover Version of the Month/ Trust Me.
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Driving west in the Autumn sunshine in late September, Huw Stephens announced he was playing a song from a new album by Kieran Hebden (Four Tet) and William Tyler. It was an edited (radio) version of their song If I Had a Boat which opens their album 41 Longfield Street Late 80's.
I was instantly spellbound by the atmospheric finger picked acoustic guitar riffs mixed with ambient textures. This gorgeous instrumental was the absolutely perfect soundtrack as I drove towards the setting sun.
After the song finished playing, Huw announced that it was a cover of a Lyle Lovett song. As soon as I stopped driving, I checked it out.
Lovett's original was the opening song on his 1988 album entitled Pontiac. The lyricss are based on a true story about Lovett once trying to ride across a pond on a pony and wishing he had a boat.
The acoustic riff and slide guitar that Hebden and Tyler have stretched and played with is there, although, other than the intro, it is largely hidden behind the vocal melody and story that Lovett is telling by song.
And if I had a boat, I'd go out on the ocean
And if I had a pony, I'd ride him on my boat
And we could all together, go out on the ocean
I said me upon my pony on my boat
Lovett's song has a beautiful naive quality to it. The lyrics, melody and guitar are quite dreamy. Hebden and Tyler take that dreaminess and take it to the next level with their combined skills.
The cover version begins in a cool, calming and relaxing manner. You don't need a boat to drift off, this is gorgeous. Acoustic guitar is gently teased and eased into the ambient textures.
At 2-minutes 40 seconds, everything drops out to leave finger picked acoustic guitar, sounding warm, Autumnal and as if it is being played in a golden haze. Think Embryonic Journey by Jefferson Airplane. Wow. I could listen to this all day.
So too, could Hebden and Tyler. Well, at least for 11-minutes!
Tyler, former guitarist with Lambchop, takes Lyle Lovett's guitar riffs and jams and expands them. Pedal steel with reverb comes in and then as the song edges past 6-minutes 30 seconds, Hebden brings the ambience back as the guitar fades a little and somehow seems to transform into synth sounds that bubble along for another 3 dreamy minutes. It's an utterly sublime cover - magical.
Lovett's original and the Hebden and Tyler cover of If I Had a Boat are added 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
The air in Glasgow has a beautifully fresh autumnal chill, the leaves in the parks are turning all kinds of glorious colours and there is the unmistakable buzz of a city preparing for one of its best days on the music calendar: Tenement Trail.
On Saturday October 11th, the area around The Barrowland, will be transformed into a sprawling, multi-venue festival, and if you're a fan of discovering your new favourite band, this is where you need to be.
Five things about the Tenement Trail;
This will be the 11th Tenement Trail.
It is named after the very platform that spawned it - the beloved Tenement TV sessions filmed in a flat. The website still highlights and supports new music on a regular basis.
The festival used to run up on Sauchiehall Street and take in Sleazys, Broadcast, the ABC and ABC2 plus other venues. I think the new 'arts district' in the East End really suits it.
Lewis Capaldi, Sam Fender and Yungblud all passed through the "Trail" at the beginning of their careers.
McChuills holds a special 'midnight slot' for those with any energy left!
The legendary Barrowland Ballroom itself will host the headliners Dead Pony who I blogged on HERE back in 2021, but the real magic of the Trail is found in the surrounding venues. Places like Saint Luke’s, BAaD (Barras Art and Design), The Winged Ox and Van Winkle will open their doors to a staggering number of bands, creating a dense, under cover, walkable festival experience that's second to none. The journey between venues is part of the fun, as the streets around the Gallowgate pulse with the energy of thousands of music fans. Check out Ho Lee Fook for amazing street food!
But what truly sets Tenement Trail apart is its commitment to championing new and emerging talent, both from Glasgow and further afield. The lineup for 2025 is a carefully curated mix of breakout artists and underground heroes. It's a platform for local bands to play to bigger audiences and for touring acts to get a taste of Glasgow's famously electric crowds.
Last year my friend Joe and I particularly enjoyed YesAndMaybe (below) playing an early afternoon set in Barrowland 2 - I described them as a cross between The Strokes and Phoenix. Shortly after we caught Dallas Love Field (pictured further below) in BAaD. I described their set as a glorious shoegaze psychedelic racket with some dreamy lead vocals. 2024 blog
The previous year (2023) I'd caught Kerr Mercer open the festival at Saint Luke's. The young singer songwriter has since gone on to support all kinds of artists to hone and tone his live performances and road test the dozens of songs he has been writing. Make that hundreds. Kerr's soulful voice has been making real connections and I look forward to his first release.
So a top tip is to get there early to spot up and coming artists who maybe haven't quite got the profile of those playing later on.
One of the most talked-about slots each year is the "midnight slot" at McChuills, a tiny, intimate venue that hosts a buzz band for a lucky crowd of a hundred or so that still have the stamina to keep going.
Whether you're looking to catch a jaw-dropping headline set or simply wander the Gallowgate and stumble upon your next obsession, Tenement Trail is the place to be. It's a celebration of live music, a showcase of new talent, and a reminder of what a day (and night) Glasgow can put on.
Based on research and what we have heard to date (largely based on band names we like!), here are five bands/artists Joe and I are hoping to catch;
Five acts to check
Fatale - my current favourite band. Teenagers from Lanarkshire who love Eugenius, Teenage Fanclub and BMX Bandits - right up my street! Check my introducing blog HERE. Fatale haven't even played a handful of gigs - get into them nice and early. Check their demo Moves You and cover of The Velvets Femme Fatale on their soundcloud.
Chloe Slater - a young singer-songwriter based in Manchester who I have heard on 6music. Her song Harriet has a brilliant video that has her singing (as Marianne) in scenes from Normal People.
Jelly - Surely there must have been a band called Jelly before? Anyway, I haven't bothered to google. I like the name, checked the artist and found out that Tenement TV has tipped them as one of their ten to watch in 2025. It turns out that Joshua (Jelly) has worked with Youth - which sounds quite interesting. His website claims that he draws inspiration from a diverse range of artists ranging from David Gray, MGMT and The Streets. Summer single Forever Has A Feeling isn't really like an of those acts, although with some synths behind it the chorus could have an MGMT vibe.
Cloud House - Again, I checked Cloud House based on their name. Right from the off, you can tell they are going for big anthemic songs that could fill arenas. So it will be interesting to check them out in a small venue and see if they get the reaction that they are going for.
Girls.Speak.French - One of the first bands I checked based on their name. They have a single called Britpop Genius, that sounds more in tune with American indie guitar bands from that time. Do I hear a tinge of Idlewild in there? Sounds promising and I'll be going to check them out.
My sister Carla and I attended The Beta Band's final gig at Edinburgh's Liquid Room back in December 2004. We have talked about it a few times over the years while reminiscing about our 'all-time favourite gigs/albums/songs' over a few drinks.
That show was utterly magical. If there was a script, then the band went off it to improvise jams and grooves. I have vague memories of Steve Mason ending the show topless, wearing a helmet (I think?) and rapping. But as it was 21-years ago, I could be wrong.
The Beta Band were off the wall and lost in their own world, it's what made them so special, so unique and so captivating - you just didn't know what they would do next, where they would take a song or a groove. What clothes or accessories they would wear, put on ... or take off!
When the band broke up, their statement said that; '... eight years of no success has taken its toll and the apple needs to fall from the tree to spread its seeds.'
Given the buzz around their reformation and ticket sales, it would appear that the seeds have grown. My friends and I were among a sold-out and rammed Barrowland for the opening night of the tour to find out what has bloomed ...
Django Django warmed things up by sharing DJ duties among themselves; Turnin' My Heartbeat Up by The MVP's was among a number of choice tunes that were eclectic and cool.
After the DJ's departed, a series of clips of The Beta Band were projected on to the white screen at the back of the stage. Home video recordings, shots of them shooting videos - walking on the moon, driving stunt cars, fooling around, interspersed with clips of songs ... just to remind you how off the wall and how brilliant they were.
Not that anyone in the room needed reminding. Although I am sure there were a number of people who hadn't seen them live before. My friend joked that the age range was just slightly younger than a Teenage Fanclub gig. But that there were a lot more trucker caps in the audience!
Steve Mason, John MacLean, Richard Greentree and Robin Jones walked onstage, MacLean fired up his synths and samples board and Inner Meet Me started the night. Before long, band and audience were in the groove. Steve Mason is one of my favourite guitar players. The way he plays rhythm guitar in tandem to (or often leading) bass and beats is unique, while he plays inventive and fluid riffs at times, often to break the groove and take it off on a tangent.
The Barrowland roar welcomed and thanked the band afterwards and it was even louder after the follow up, She's The One For Me. Talking of going off in tangents, the way this song veers off into a groove is possibly my favourite moment in a Beta Band song.
Dressed in flight suits, The Beta Band were taking off and everyone was along for the ride. The visuals behind them ranged from psychedelic lighting, to softer Autumnal tones, perfect backdrops for the mellow grooves and freakier moments of the trip.
There was little in the way of banter. The Beta Band were here to play. They switched between instruments, MacLean wove samples and effects into the live instruments, with Greentree's bass providing a solid groove foundation for the others to build and play upon.
Needles in My Eyes was beautiful, the slow bass rumbling intro was like Massive Attack, Mason's beautiful voice over the top made me think that he would be an amazing guest vocalist for the Bristol gang. But he has his own gang back!
Dogs Got a Bone was cool, while of course Dry the Rain was magical. The crowd sang every word, the refrain echoing around the Barrowland. It was a beautiful moment, band and audience as one.
If there's something inside that you wanna say
Say it out loud it'll be OK
I will be your light, I will be your light
I will be your light, I will be your light
One of my favourite Beta Band performances online is when they play B+A at Glastonbury (watch below). They stretched it out in a similar style, in no rush to launch into the groove, teasing with the riff and bongos, introducing the wah wah effects to the guitar .... then BOOM ... into the groove that went on and on.
Closing, after pausing for a brief encore, with a sublime Squares and then The House Song, The Beta Band had reminded everyone (perhaps even themselves) of their off the wall, psychedelic brilliance.
Buenos Aires is a city that I am exceptionally fond of. Back in May/June 2008, my wife (girlfriend at the time) and I spent a month living in an apartment in the Palermo Viejo district of the city at the end of 1-year travelling around the world.
After a year of almost constant travel and not really staying anywhere more than 4-6 days, it was great to have a base. We embraced living in the city - joining our local gym, hanging out in the bars and cafes and wandering around museums and (Evita's) graveyards.
Ice cold Quilmes beer, incredible red wine, the best steak ever (we went to La Cabrera - a traditional parrillas - 3 times it was so good!) , Tango in the streets, Boca v River, River v San Lorenzo, a 2-day trip to Iguazu Falls, United beating Chelsea in the Champions League final ... I have so many good memories.
Back in the Day - with brown hair, in the stadium early for Boca v River
Not the greatest game, a 1-0 win for Boca, but an INCREDIBLE atmosphere
So, I was excited for Teenage Fanclub when the band announced that their South American tour would include a visit to Buenos Aires for the very first time. I thoroughly enjoyed the bands Instagram updates from Brazil and Argentina. It looked like they had a blast, played their hearts out and felt the passion from their South American fans. There is a mini-documentary in the making! If they go back I'll offer to go and make it!
Speaking of which, Juan Marioni from Buenos Aires is a member of the Teenage Fanclub Fanclub who I have become friends with online. Juan is a very talented musician - check Juan's Bandcamp page for his Norman, Raymond and Gerry EP's of cover versions and also his Songs of Teenage Fanclub covers album.
I love Juan's versions. There is something about songs originating in Bellshill making their way across the world and being covered that warms my heart.
Juan has been waiting to see his favourite band for quite some time! So, I asked if he would write a blog on the experience. Now that Juan has had time to recover, he has written a beautifully passionate, funny (I laughed out loud at the Mongolia section) and soulful blog that portrays his deep love for the band.
I'm all in if the band make it back to Argentina! If my wife and kids let me! Maybe we will all go!
Guest blog - 1,130,112,000 seconds. Teenage Fanclub live in Buenos Aires.
1 130 112 000 seconds. That's how long it took Teenage Fanclub to play in Argentina. Yes, I double-checked the calculation. The time that passed from their live debut on November 17, 1989, until they finally stepped onto the stage of C ART MEDIA on September 9, 2025. A wait full of disappointments and "almosts" that never were, but which, in the end, turned into pure glory. This is the story of how, after so long, everything came together so we could celebrate our love fest with the band.
A while ago, I found out that back in 2011, my beloved Teenage Fanclub had played in Brazil. Missing the possibility of (maybe) travelling and seeing them wasn't the biggest disappointment; the real heartbreak was not having known about their visit to a "nearby" country. Social media wasn't what it is today. The taste turned even more bitter when I was told they had already been there in 2004, "close" to my neighborhood. I say "close" in quotes because Brazil is not that close, and São Paulo is 2,238.8 km from Buenos Aires, a distance similar to the one that separates Bellshill from Rome.
But hope is never lost. Around that time (2014), Lollapalooza began to be held in Argentina, and I thought that was my chance. Thanks to that "industry monster," I was able to see Johnny Marr that same year, who, by the grace of some divinity, did a sideshow—going to a festival with 1500 bands in less than 12 hours is an ordeal for me and my back. Every time a new edition was announced, the first thing I did was read the fine print on the flyer looking for the shows "less interesting to the public," but Teenage Fanclub never appeared on the lineup. The possibility of seeing them at a proper venue was fading. At that point, I would have settled for a 20-minute set at 4 p.m. on stage number 7 of said festival... or another.
Then, Gerry's departure made me doubt whether the band would continue, and the 2020 pandemic arrived. The years went by. Until one day in 2024, I read in an Instagram post: "Teenage Fanclub in... Ulaanbaatar, Mongolia." "No, now that's it," I thought. "They're never coming to Argentina!" Outrage! They play in Mongolia—and I have nothing against Mongolians, I love them!—but if there's a distant, inhospitable place with no visible rock culture, that's the definition of Mongolia. I swear I gave up then. I thought my only chance would be to travel to the UK or Europe at some point to catch one of their tours, like my friend and colleague from Los Andes, Sebastián Rubin, who saw them in 2018.
They say miracles exist, and in 2025, a light of hope emerged. At the beginning of the year, the São Paulo date for September was announced, and I started planning a trip to Brazil. The planets seemed to align—they didn't play Planets at the show, the 1st absence from the setlist—:
I feel the planets surround me
They gather 'round me
A little later, I found out through "secret sources" that "it seems Teenage is coming to Buenos Aires"... At last!
From having to travel 2100 km to São Paulo to taking the bus for three stops to get to the venue, it was truly a sign that God—if he existed—thought of Argentinians this time—God Knows It's True... the second major absence from the setlist.
Seeing Teenage Fanclub live was one of those pivotal moments in my life that I will never forget, an event I waited more than 34 years for. As a fan, as a musician, as a person.
Since 1992, when I fell under the spell of Bandwagonesque, I've been waiting for them. Because that's what it is, ladies and gentlemen: a spell these guys have cast on me—and on so many others around the world. And what better than they themselves in Baby Lee - another one missing from last night's repertoire...—to explain what they did to me:
I'm enchanted, I've fallen under your spell
How can I resist
When you cast them so well?
And yesterday, it happened. Teenage Fanclub in Buenos Aires! The owners of the recipe, the creators of the special sauce.
The build-up and the show
Before the main event, Sebastián Arpesella played and gave a soft and delicate show. A former member of Grand Prix, my colleague Rubin's band in the '90s, who was invited onto the stage and reunited for a self-tribute, performing two songs. The anxiety was growing, and on my way to the bathroom, I saw Euros Childs listening to the opening band. I managed to say hello; he was the only member of the band I could get close to. I didn't make him uncomfortable with my fanaticism, I just thanked him for being here.
Around 9 p.m., the assistant with his flashlight, like a Bat-Signal, announced to the sound engineer that the start of the show was imminent. And so it was: the guys came on, and emotion flooded me. I was three metres from the security barrier, seeing my idols in person for the first time. The concert kicked off with Tired of Being Alone and I sang all the lyrics, sometimes phonetically, and I was already losing my voice! I thought to myself, "I'm seeing them! They're right there!" Then, the first classic, About You and the first ovation came. What I didn't like was the change in key; I think there are songs that are very difficult to lower in tone, and this is one of them.
The first part of the set, with Ray at the front, continued with Endless Arcade which was the best version of the first three songs, with its Barrett-esque psychedelic influences. Previously, Norman made the first greeting, thanking the audience and acknowledging that it had taken them 36 years to be here.
Now it was Norman's turn to take the lead vocals. When he plays an D major, I speculate out loud: Norman 3! But I was wrong, it was the turn of The Cabbage one of my favorites from Thirteen, an album I love and enjoyed a lot at the time—it was the first one I bought contemporary to its release. A highlight was Ray's minimalist solo with the classic rock lick that XTC calls Ernie.
Then came the second big ovation with Alcoholiday and I told my friends Fer and Pablo, "This is the riff of my youth" when the song gets heavy metal, before all I know is all I know.... The "Norman set" closed with the beautiful I Don't Want Control of You which, to my taste, sounded a bit more subdued than the recorded version, less brilliant. Let's grant that the album version is practically unbeatable!
During the video Barby Recanati (see below) did with Ray via Zoom before the show, he mentioned that he was a fan of Syd Barrett and The Piper at the Gates of Dawn. And at this concert, I started to detect details in their songs! I already mentioned it in Endless Arcade and in Everything Is Falling Apart the next song, that feeling of a mantra that abounds in their compositions appeared. The solo, which uses the Mixolydian scale, transported me to other landscapes. At the end of the version, Euros added a detail that isn't on the album, and the song started to sound like Kraftwerk (!).
There was a change of instruments: Norman on bass, guitar with capo for Dave, and Fender Telecaster with open tuning for Ray. The audience chanted "Ole, ole, ole, Teenage Fanclub!", and 120 Mins arrived. Raymond at his best, another of my all-time favorites, with lyrics that resonated with me in those years: I don't wanna be alone, I don't wanna be well known. Great work by Dave on the lead guitar; I think that was "his moment."
It continued with It's All in My Mind another "new" classic. Super tight, in my opinion, one of their best songs: minimalist and modern. And we got to Metal Baby People were dancing and singing, and the group shone with another furious version, with a very Rolling Stones ending.
At this point, I was surprised by how the band sounded. I didn't imagine they were so precise and that they rocked this way live. Francis is the engine and has the right beat, at the necessary volume. In this big venue, he came through with power and precision.
Norman said something about Raymond showing us the use of the wah-wah. We speculated among the nearby audience, like people in the bleachers at a soccer match, about which song would follow. I guessed that It's a Bad World was coming, another high point in Raymond's repertoire.
What You Do to Me followed, and the crowd exploded, chanting from start to finish and even generating a small but lively mosh pit. By this point, we were already surrendered to the Fanclub, and the musicians were seduced by the Argentine audience.
I imagined that—since they had said they would play classics for being their first show—they would perform Your Love Is the Place, in my opinion, Raymond's highest point. So I let myself be carried away by this song, although, to my taste, the tempo was a bit slow and I was expecting a more energetic version.
A friend and former student, Santi, approached me and hugged me at the start of I'm in Love. The first thing he said to me was: "I'm in ecstasy," and he perfectly described my feeling. I borrow his words. I get distracted and chat with him for a while, so the song, which is short on its own, flies by.
The final stretch and the encores
There's a moment of "rest" after so much high, and I think the beautiful version of Middle of My Mind also serves as a breather for the musicians; it sounds better live than on the album. As a digression, there were no vinyls in the merch, which I think is a great shame, since here it's very expensive to get a record. And well, for now, I'll continue without having Nothing Lasts Forever.
Now we enter the final stretch and another peak moment: someone from the audience asks for it, and Norman grants it, Neil Jung. The "stadium" came down, and the group delighted in the crowd's singing of the solo melody, which continued even after the song ended. The band applauded their Argentine audience. Raymond now tells us: The World'll Be OK and we returned to the psychedelic side, alternating a yin-yang of atmospheres with the previous and the next song: The Concept.
And the concept is Norman's melodies, which have that je ne sais quoi, that touch that makes them eternal, irresistible, and that cut before the coda in which time seems to be suspended and is eternal... and the coda itself, one of the most beautiful in the history of rock, I dare say, only surpassed by Hey Jude. Again, the audience sang in ecstasy, Ray's enormous solo, and the end. Ovation and chants asking for what Norman had already announced before starting the song: they're leaving, but they're coming back.
Raymond's reminder
As far as I'm concerned, they should keep going, because there are many more songs I'd like to hear. The chosen ones for the encores were Back in the Day, Falling into the Sun and Mellow Doubt - a gift for the people, since I haven't seen them play it as an encore on another setlist, although I could be wrong.
And we got to the farewell. Norman genuinely thanked them for having come down to Argentina and told us that they had wanted to do it for a long time, but it hadn't happened. Today it did, and I hope they come back soon, because we need them. Everything Flows is the classic final song of every show for a while now. A priority, you know it, but you have to experience it, you have to live it! I was in Flow mode after the demolishing ending, a few inches off the ground.
Several friends and former students approached me and repeated the same words: "Thanks to you, I'm here today." The evangelism bore fruit, and although we're not a gigantic crowd, yesterday more than 1000 of us, Argentine Fannies, had our moment of glory, our celebration of love for the band. And we gave them the warmth we have on this side of the world and, from what I felt, it was more than enough for our heroes on stage.
I waited a long time, and yesterday it happened. Teenage Fanclub in Buenos Aires: beautiful, emotional, long-awaited, unique.
Setlist
Tired of Being Alone / About You / Endless Arcade / The Cabbage / Alcoholiday / I Don't Want Control of You / Everything Is Falling Apart /120 Mins / It's All in My Mind / Metal Baby / It's a Bad World / What You Do to Me / Your Love Is the Place / I'm in Love / Middle of My Mind / Neil Jung / The World'll Be OK / The Concept
Encores
Back in the Day / Falling into the Sun / Mellow Doubt / Everything Flows
Trust me #104 How Can I Tell You (To Love Me More) by Brooke Combe
Last week a short video appeared on my Instagram feed of the singer Brook Combe in a rehearsal room singing her new single How Can I Tell You (To Love Me More) with the teaser - Any1 else wish the charts still sounded like this?
A glorious bust of the chorus drew me so deeply that I immediately checked if she was playing live and bought 2 tickets for her Saint Luke's show in December - before hearing the full song!
Brooke Combe burst on to the Scottish music scene in 2023 with the release of her mixtape Black is the New Gold , following that with debut album Dancing at the Edge of the World earlier this year, produced by James Skelly of The Coral.
Truth be told, I've seen Brooke's name around but never took the time to check her out. That is part of the problem with so much music being instantly accessible in today's day and age.
How Can I Tell You (To Love Me More) is beautifully pure euphoric soul music. A jaunty piano over strings introduces the song, Coombe doesn't hang about - it's a 2 line verse and then a 2 line bridge into the chorus.
If you only knew
What your silence put me through
The bridge turns things up a notch;
How it feels when you let me down
Said you care but you don't know how
Coombe's voice is stunning, rising effortlessly for the chorus. After the second verse, bridge and run through the chorus I love when she sings oh baby to start the chorus all over again. Warm tingles run down my spine.
Baby, how can I tell you, how to love me more, if you don't try?
Baby, how can I tell you, how to love me more, if you don't try?
How can I tell you?
Why should I beg you?
I'm enjoying digging through Coombes back catalogue and it was fantastic to see so many other people I follow on Social Media also enjoying this fantastic single. It's no surprise to see that Brooke's show at Saint Luke's is now sold out.
How Can I Tell You (To Love Me More) is added to my Trust Me playlist; search fplaylistor Everything Flows - Trust Me on Spotify or CLICK HERE. Check below for all previous blogs in my Trust Me series.
You can also check the northern soul influenced video below;
Teenage Fanclub's recent run of shows where the band played a string of places that they had never played before has energised both band and fans - with many travelling to catch the Fanclub in small venues off the traditional tour circuit, or in unique places ... or in countries they had never played in before.
There was one venue I really fancied - The Devils Arse! How many times can you say you saw your favourite band in such a place?!
A long standing charity dinner engagement meant that I couldn't make it down to this particular show, but I was determined to publish a blog with the title Teenage Fanclub in The Devils Arse!
Thankfully, my friend Gill Ross, a lovely member of the Teenage Fanclub Fanclub, offered to write a guest blog and it is an absolute belter - funny, passionate and informative. I hope you enjoy it.
Look out for a guest blog on Teenage Fanclub's visit to Buenos Aires by Juan Marioni in the near future. The boys trip to Brazil and Argentina has looked incredible.
Teenage Fanclub, 29th August, Devils Arse, Castleton Guest blog by Gill Ross
My favourite band. In a cave. There was absolutely no way I was missing this ! Peak Cavern aka the Devils Arse is in the chocolate box village of Castleton in the PeakDistrict. It boasts the largest cave entrance in Britian at 20 meters high, 35 meters wide and 100 meters long, which makes it an ideal place to hold a concert. The name ‘The Devils Arse’ originates from the flatulent sounding noise the cave makes when flood water drains from it. It was allegedly renamed ‘Peak Cavern’ to spare Queen Victoria’s blushes on a visit in 1842 although its believed she didn’t visit in the end. She missed out. Maybe she would have been tempted if a gig was on.
Photo - Mick Rhodes
After an epic 6 hour drive, the dog and I went on stretch our legs on a wee recce. Having located the cave, we headed back to our hotel, bumping into the boys, who were on their way to sound check. There was concern on Facebook, after a picture was posted showing the gear being transported up in a buggy (no roads up) that Norman had entrusted his ’60 Jag to the buggy. He was carrying his guitar when we met him, so no, he didn’t. Phew.
When I arrived at the cave later, the support, Selma French, had already started. Normally this would have annoyed me but, on this occasion it turned out to be a blessing. As I was walking towards the cave the most glorious sound greeted me. Gorgeous vocals, which got louder, richer and more intense as I neared the cave entrance. I was in love with the gig before I even got inside. It was simply heavenly and to experience that moment, for once, I was glad I was running late.
Photo - Mike Turner
The capacity of the venue is 600 but it didn’t feel like that inside, despite being sold out. The floor is split level, I guess you get what you’re given with a cave. Norman commented it was very disconcerting to have an audience on two levels.
There was a slight slope backward on the lower level so as a pint-sized fan, the choice of spot was critical. I did about a third of the gig quite near the front but played dodge the tall peeps for a view of Norman or Raymond, but not both and then retreated to the back where I would see the whole stage minus Dave.
Photo - Steve Tamburello
After much anticipation from a friendly but hyped-up crowd, the boys came on and kicked off with Foreign Land. I’m not even sure I took it all in. The sound was sensational. Enriched. Magical. Like nothing I had ever heard before. No echo.
Hearing the Fanclub play always makes me smile but this was different. It felt like a privilege. I stood with a massive grin on my face, big enough to rival Norman’s. The lads followed the opener with About You. Raymond was in fine voice and the harmonies were enchanting.
Photo by Mike Turner
Next up was Tired of Being Alone. It had a beautiful softness, intensified by the cave acoustics. Soothing to the overstimulated fan ! Then, I Don’t Want Control of You, equally scrumptious classic, with the boys nailing the much loved key change. Norman beamed and commented ‘Not all bands do key changes, we just do the one!’ And a joyous one it is.
This was followed up with Everything is Falling Apart and Alcoholiday. Call me old school but this song is absolute class and particularly in a cave, I defy anyone to disagree. Norman made a joke that the band were sponsored by Specsavers. To be fair, this applies to a fair whack of the audience. There is a wave of fully sighted, young fans coming through, which is nice to see.
I was utterly blown away by how good Did I Say sounded. Just stunning and potentially my favourite moment of any Fanclub gig ever (and there’s been a few to choose from) . I’m not even sure I have the words to describe just how magical it sounded. I could have gone home then and been happy.
That sublime moment was followed up by 120 Minutes. The boys knew what they were doing when they put this set list together. Chill time over, they bounced into What You Do To Me, joyful as ever, with Norman joking afterwards that if you liked that song and wanted to find it on Spotify then it was called ‘What You Do To Me’.
Photo by Mick Rhodes
The intro to Falling into the Sun was perfectly suited to the acoustics. It’s at this point, I begin to wonder if this is the pinnacle of Fanclub gigs and that every other future gig will only be ‘nearly as good as the Devils Arse’ The boys start Neil Jung and this did not help my concerns one bit. So phenomenal, that in its honour, I shall henceforth be known as Gil.
Francis was perfection on the drums (as was the case all night). Outstanding. Sublime, which continued into The Word’ll Be OK prior to ramping it back up for I’m in Love (and by then we absolutely all were), Come With Me, soft, rich, melodic beauty was the perfect penultimate song prior to a crowd in fine form all letting their hair down, and singing and bouncing to The Concept.
Photo by Steve Tamburello
Norman warned us that there was only one way out, so if we didn’t leave, they would have to do an encore. There was no way anyone was leaving. The encore started with a delightful rendition of Back In The Day, which is still lingering around in my head. Metal Baby was next up and what a treat. I should listen to it more often as it a cracker of a tune. I maybe over played it in my teenage years…… It was well received by the crowd, who were perhaps thinking the same thing.
The Middle of My Mind was a beautiful choice prior to Norman introducing Everything Flows, ‘It was our first single, it still is’ No one ever gets tired of Normans banter. So, as always, Everything Flows brought an utterly enchanting and magical show to an end. Just as good as the first time I ever heard it.
And in case anyone is concerned that no future gig will be as good and I have ruined my future enjoyment of my favourite band, I went to see them in Holmfirth the following night and they knocked it out the park. The boys never disappoint.
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