5 northern soul gems

Broadcast and Glasgow music venues

Back in October, a week before it opened, I was invited for a lunchtime look around PCL’s new venue – Broadcast, formerly known as The Local.

It is a cracking little venue, the upstairs bar is very cool with it’s open brick walls and a long classy looking bar. The chef formerly worked at the Crabshakk, so they are making a big play on the food front as well. The dressing room is possibly the coolest in Glasgow (not that I have been to every dressing room to compare them all), the sound system is state of the art (courtesy of one of the venues partners) and the vibe in the basement gig/club is one of warehouse cool.

In terms of size it is pretty much the same as PCL’s previous venue, the Captains Rest. That is where the similarities end though – this is a cool and modern bar with excellent facilities, a far cry from the shabby chic of the Captains Rest.

Anyway, the visit got me thinking about the incredible number of venues packed into our city centre, we are music crazy, but can they all survive?

Broadcast is the newest venue to Glasgow, the UNESCO City of Music. The city is bursting with venues of all shapes and sizes offering live music.

Have I covered them all?

Barrowlands – the legendary Barrowlands has been hosting live music and dancing for decades. I have experienced some of the best nights/gigs of my life in this venue, bouncing on the hallowed sprung dancefloor and singing along with all my heart. I would always encourage a touring band to choose the Barrowlands over the Academy any day of the week purely for the atmosphere a Barrowlands crowd can generate. There is also the small Barrowlands 2 downstairs.

McChuill’s – Just along the road from the Barras is one of my fave pubs in Glasgow and it also offers live music. There are worse places a new band could play as McChuills is a big music pub, especially keen on vintage mod sounds.

Maggie Mays – Despite being at (what some would call) the ‘wrong end of town’. Maggie Mays has built a good reputation for live bands and indeed has won awards. They have invested money in the downstairs basement to keep up with the competition and have a friendly and pro-active approach to bookings.

13^th Note – I have fond memories of the 13^th Note as it is where I put on my first gigs as a promoter with Futuristic Retro Champions. Brendan O’Hare (former drummer with Teenage Fanclub) used to be the sound engineer which was an added bonus. The great thing about the Note was that if they made a certain amount at the bar (it used to be over £200) then you got the venue for free! So if you pack it out you can make a considerable amount of money.

Mono – An under-used venue in my opinion. I love the whole vibe of Mono, proudly independent, it has a record shop, Stephen Pastel works there…I just wish it did more and invested in a backline and PA system in order for more bands to play there.

St Andrews in the Square – Gorgeous building where my wife and I had our wedding. I caught Rachel Sermanni here back in January and it tends to mainly be used for Celtic Connections, weddings and ceilidhs.

Old Fruitmarket – Cracking venue with bags of character where I once stood next to Sean Lennon after he supported Air circa 2001.

Merchant City Halls – This isn’t used very regularly for the typr of gigs I go to but I did catch Joanna Newsom playing there and it was incredible, brilliant sound and acoustics.

Classic Grand – The upstairs hall looks fantastic, it isn’t used a great deal and they do seem to be putting on lots of metal and industrial nights.

The Arches - Definitely more suited to club nights than gigs due to the fact the sound can 'escape' from one arch into another, but still a brilliant venue with a real atmosphere. The Cafe Bar is a great place to hang out.

Subclub – Doesn’t put on as many gigs as it used to. I once caught The Kills there and my mate was lucky enough to see Franz Ferdinand. A Glasgow institution.

Pivo Pivo - Despite being close to Stereo, the Old Hairdressers and The Arches, Pivo Pivo isn't deemed particularly cool. That doesn't stop them putting on gigs practically every night though. More suited to new bands rather than established.

Stereo - a great venue for bands and club nights, cheap to rent with an excellent sound system. Great bar upstairs as well. I've put on a few nights here, good capacity so real scope to make money.

Old Hairdressers - Across the lane from Stereo, the Old Hairdressers is a multi-purpose art space for shows, club nights and bands. Great vibe.

The Admiral - Good basement for club/band nights, more suited to the former if honest. Holds the cracking Melting Pot night.

Flat 0/1 - great concept - a party flat with great tunes, live music and pretty cheap booze. If only they could invest in a decent sound system (note - they may have done since I was last in). It is definitely all about the vibe in here rather than quality sound. Home of MILK and some of Glasgow's coolest students.

Bloc - a party pub since it opened that made a name for itself in music with a little help from Detour, LAID and the Blochestra sessions. Always friendly and happening with excellent independent promoters like Gerry Blythe from New Life.

Slouch - competing with Flat 0/1 and Bloc for cool new music wasn't going to be easy and although Slouch tried for a while they are now distancing themselves by going for covers, blues and the odd young band that isn't cool enough for the other two. Good pub grub.

Glasgow Royal Concert Hall - the grandest setting in Glasgow? Brilliant sound and acoustics, I always enjoy nights in here.

Sleazy’s - a Glasgow institution with its basement venue having played hosts to pretty much everyone that has ever done anything of note in the Scottish music scene and beloved of guests from across the waters. 

Broadcast - as mentioned at the start of this article, the new PCL venue to replace the Captains Rest. 

The Box - still going strong by offering free music 7-nights a week, also branching out into comedy.

The Art School - the rebranding of Capitol to The Art School has totally changed the perception of this venue, sadly I wasn't particularly impressed with it when I co-booked it for a show earlier this year. Despite selling it out 6-weeks in advance and warning the management to have enough bar staff on they didn't bother their asses. With Sleazys and Broadcast just across the road it will be interesting to see how the Art School competes on a live music front.

The Garage - servicing students for decades, I used to go clubbing there when I was a mere teenager. One year in the mid-90's i saw Radiohead touring The Bends, The Boo Radleys with Wake Up Boo and The Bluetones. It doesn't host as many gigs as it once did but it still packs an impressive punch when it does.

G2 - the smaller venue of The Garage

CCA - I love the CCA, it is still pretty under-used in terms of gigs and club nights. I did catch a fantastic performance from Gerry Love's Lightships earlier in the year. Great bars and vibe.

ABC & ABC2 - The ABC is a world class venue. The set up is just pretty perfect for a gig; large wide stage, bar at the back, wee bar at the side, easily accessible toilets (take note Academy), balcony with another bar....sound system is great too. Near enough replicated in minature form with ABC2.

Oran Mor - I do like Oran Mor. The stage is nice and high, the sound is good, it is handy for the underground and loads of other lovely bars nearby. 

Brel - One of my fave bars in Glasgow and I've seen some cracking gigs in there too, notably Remember Remember earlier this year.

SWG3 - Super cool arts venue suitable for gigs and club nights. Old skool warehouse vibe.

Jim Lambie's Poetry Club - in an old railway arch next to SWG3 this is hush, hush cool for now (still no website or Social Media). Invite only for gigs and parties. They don't even have a website. Thankfully my sisters band TeenCanteen were invited to play and it is an incredible venue, really cool.

King Tuts - My fave venue, I wonder how many gigs I have been to in here?! Highlights over the (almost 20) years of going there include; Beck (just after 'Loser' was released), The White Stripes, Arthur Lee & Love (twice), John Squire (when he opened with the instrumental of 'Resurrection') and many, many more.

The Academy - I've been to some good gigs here but the Barrowlands pisses all over it for me. The lack of toilets on the ground floor for guys is just ridiculous. That said it sounds brilliant and it has a certain charm, I guess I am a little blinded by my love for the Barrowlands and the fact The Academy has robbed the Barras of some cracking gigs.

SECC - Huge, cavernous and inpersonal...but necessary for bands of a certain standing. I have still been to some  exceptional gigs here, notably U2, Dylan in an all-standing arena, Neil Young and The Who. Also has the Armadillo next door where I once went to see Kylie and got a seat 3-rows from the front - happy days!

The Hydro/SHAG - Coming soon, looking good and will be capable of bringing some huge names and shows to Glasgow.

BMX Bandits In Space

BMX Bandits release their latest album 'BMX Bandits In Space' tomorrow (29th October) on Elefant Records. I was lucky enough to get an advance copy and I've had a week with the album, so lets check out what Duglas T Stewart and his band of Bandits have been up to...

Before I go any further I have to say that this is a gorgeous record, following on from the remarkable 'My Chain' and 'Bee Stings' that were released in quick succession back in 2006 and 2007.

'BMX Bandits in Space' tells the story of a man travelling through time and space in search of forgiveness and a way back home. Throughout the trip there are small flashes – some are memories and some are figments of his imagination.

The album opens with 'In Space', and it is quite trippy for the Bandits. There are lush strings and Stewart's voice is layered with effects as he sings about '..drifting in space for so long, endlessly singing the same song...'

For anyone new to the Bandits, Stewart is a romantic who wears his heart on his sleeve and he sounds head over heels on this record.

Where there's love, there is hope

Where there's hope, there is you

It's time to start to live

'Still' bubbles into life with a lovely piano riff, gentle acoustic guitar and Duglas singing with real emotion (as he does throughout). The song is a collaboration with Plectrum from Japan and on the evidence of this tune they should get together more often. The gorgeous outro is hypnotic and you can easily get lost (in space) to it.

'Beautiful Friend' picks up the pace before 'Look At You, Look At Me' continues the dreamy feeling that a lot of the songs (and the brilliant production) bring to the album. The song is another collaboration, this time with Cineplexx from Argentina, it also sees Rachel Allison singing for the first time on the album.

'Like The Morning Sun' is one of my favourites from the album, Allison takes on lead vocals for this one and it sounds like she enjoyed singing the beautiful and clever melody.

The album really starts to come into its own with the brilliant 'Listen To Some Music' with Duglas name-checking some of his favourite songs and artists, wearing his musical influences on his sleeve along with his heart.

God only knows what I'd be without you, Brian and Tony know how I feel

They helped me figure out what I was thinking, in the song they made it real

And if you ever need a friend

Just play that song once again

It is one on which you can depend

For those that have followed Duglas and the Bandits, and especially those that have seen Jim Burns 'Serious Drugs' documentary, this is a song that really sums up Duglas - music is his life and it has seen him through some tough times. The song is playful, melodic and meaningful.

'Elegant Love' is the second collaboration with Cineplexx. A duet with Rachel, it has a great feel to it with an uplifting chorus.

'And It's You' hit me instantly, it is totally gorgeous and incredibly catchy.

And if I live to 103

You're still gonna be

A big part of me

The chorus is pop perfection.

And it's you

And it's me

It's a complicated story like the best ones can be

Bandits songs have that instant appeal but they also have an incredible amount of depth, especially when Stewart is on top form and he is on form on this album; lyrically and in voice. The Bandits he has assembled are also on their game and the production is sublime.

'You Disappointed Me' has Rachel singing of a lost love that led her on, she fell for him, believed in him but was ultimately rejected and hurt. The melody is almost nursery like at times.

'Fucked Up This Time' takes the album to a darker place after the head over heels love songs like 'And It's You'. It has a great groove to it and although Stewart's vocals continue to be hushed and considered, there is clear hurt, regret and perhaps a bit of menace in his performance here.

'Fireworks' is a pretty special song for me as it was written by my wee sister! That's right, my wee sister has a song on an album by a band I have been following for a couple of decades. It is rather surreal and Duglas has been exceptionally supportive of Carla and her band TeenCanteen.

The melody flows easily, the lyrics are funny and moving and it is just lovely to hear the care that the Bandits have put into the recording and performance.

'All Around The World' tells of the search for hope and how there has to be something out there.

I believe in beauty, I believe in it and where ever it leads me, that’s where I’ll go

You must believe in something, cause if there's really nothing, then there is no hope

'And While We're Dancing' is a slow waltz style song, Stewart's vocal is especially considerate for this number, beautifully fragile, combining in stunning fashion with Rachel.

Now close your eyes and maybe you'll see

An older you dancing with an old me

Our friends and family will all smile to see

Us dancing our waltz of love

'The Unforgiven' has another stunning vocal performance from Duglas, only accompanied by piano at the start. This has to be a career highlight for the BMX Bandits, if they can swear in one of their song titles then I am going to say that this is fucking brilliant, the closing half of the song flows superbly and the backing vocals are beautiful. Listen to this on headphones. I can't wait to see and hear this performed live.

'In Space (End Theme)' has some lush strings to end the trip.

In the aforementioned documentary 'Serious Drugs' there are a couple of mentions about how BMX Bandits are perceived - perhaps not taking things too seriously (or being taken seriously), Alan McGee even mentioning that some people think (or thought) they are (were) a joke band.

I hope these people listen to BMX Bandits In Space (as well as the previous two albums) as they will discover an artist who pours his heart and soul into his work. Love and hope are out there, you just have to look hard enough, it can be tough at times, but keep at it. It is all worth it in the end.

Duglas T Stewart is in the best form of his career, reaching new heights and creating some wonderful, wonderful moments.

Check the album out, there are some signed copied in Monorail in Glasgow and there are only 500 vinyl copies (pictured above).

Tim Burgess at Oran Mor

Why do people go to gigs and chat?

Ok, you need to talk at times during a gig;

'He nailed that', 'beautiful version', 'on form tonight', 'oh they fucked that up'......but the volume of chat during last nights Tim Burgess show at Oran Mor was ridiculous, half the venue must have been chatting during the quieter moments, either that or texting. The mind boggles.

Thankfully it didn't ruin what was a brilliant gig and I pushed further forwards to be treated to a sublime version of 'A Case Of Vinyl' with Martin Duffy on piano/keys playing a blinder.

Support came from The Velveteen Saints who I have blogged about before - check them out here. They played a short, sharp and energetic set and I'll be writing about them in more depth following their next Glasgow show at Sleazys in November. 

Further support came from the Hatcham Social and 3 of the band went on to back Tim during his performance. They had their moments, most noticeably with 'Crocodile'.

Tim bounded on to the stage to greet his adoring masses and I have to admit to being surprised by his choice of set opener, it was a bold choice to play 'Tobacco Fields', a stand out track from his album (reviewed here). Electric guitar combined well with Mark Collins on acoustic and the band showed great confidence in taking their time to let the song build.

The pace picked up with one of the highlights of the night, 'The Economy' with Burgess getting the falsetto spot on. His voice is getting stronger and better with age.

Tim was on great form, there was banter and handshakes with the crowd and disbelief that someone had a tattoo of his signature on their arm.

The airing of 'We All Need Love' and 'Oh My Corozon' (from Tim's first solo album) with their big choruses and upbeat sunshine pop vibes lifted the crowd and were real highlights.

There was a real sense of freedom from the performance, there is no denying Burgess is a great front man but his performance last night showed him to be a leader and motivator as well, linking closely with Collins in particular, he was down on his knees in front of Collins for a sublime version of 'A Case Of Vinyl' with Martin Duffy from Primal Scream playing some spellbinding and spine tingling notes on piano.

'The Great Outdoors Bitches' was another highlight, as was 'The Graduate', Tim bounding and dancing to the country vibes.

There was a short break before and encore of 'A Gain' with the backing band on superb form for the harmonies and gospel section, Tim was right on the lip of the stage, arms aloft for the refrain;

I'll not brave the dancefloor for you (Again)

'White' ended proceedings, northern soul mixed up in a Melting Pot with Americana vibes.

I look forward to finding out what Tim comes up with next.

Oh No I Love You by Tim Burgess

Tim Burgess is currently a prime example of a 21st century artist, recognising the need to move with and embrace the times, to look to the future but also celebrate the past and to have more than one string to your bow.

In 2012 Burgess has celebrated the past in his autobiography 'Tellin' Stories', also touring the album of the same name with his band The Charlatans. He has embraced technology and is prolific on twitter, his make believe coffee shop Tim Peaks has now launched its own coffee and there is talk of a real coffee shop opening too. 

Tim has produced artists(R.Stevie Moore), roadied for artists (Factory Floor) and discovered artists (Keel Her). He has curated his own tent at a festival (Tim Peaks featuring Roddy Frame and Edwyn Collins amongst others) and also set up his own label, O'Genesis Recordings.

It is through O'Genesis that Burgess releases his second solo album 'Oh No I Love You', 9-years after his debut 'I Believe'.

If 'I Believe' celebrated Tim moving to LA and being head over heels in love, 'Oh No I Love You' is the come down album, reflecting on true love, but a love lost.

What is remarkable about this album is that Tim didn't write the lyrics, they are provided by Kurt Wagner from Lambchop. The two met years ago when Tim roadied for the band and casually suggested writing together, it took a while, lets check out the results.

The opening song 'White' was an obvious choice as a single and album opener, in many ways marrying The Charlatans and Lambchop in a glorious ceremony of grooves and melody.

'The Doors of Then' shuffles and swings straight into your heart, all warm and reflective. It is one of my personal favourites from the album.

Oh no, I love you

Hello, I love you

'A Case for Vinyl' was our first taster for the album, released as a free download and via an Uncut Magazine CD. It is one of Burgess' best vocal performances in his career, his voice breaking like a heart that has been broken in two.

Just because I didn't win, my playlist hasn't changed all that much

those guitars all turn to violins, just because I didn't win

'The Graduate' features exquisite slide guitar, before the introduction of some stunning strings rranged by Sean O'Hagan) on 'Hours'. 

In my life, I'm seduced by a power

That has grown, ever darker in those hours

And I swear, hours now become the measure

See us there, counting backwards from a million

'Oh No I Love You' is the sound of Tim Burgess as you have never heard him before and it is rather delightful. The variety in Tim's voice, from youthful enthusiasm, to reflective lived, loved and lost experience is something that Charlatans fans like myself know that he is capable of, but this album gives him space and license to sing in a way that I haven't heard before. 

'Tobacco Fields' is a prime example. Get your headphones on for this one folks, poetic lyrics over a gentle melody. It is like a lullaby, Burgess' delivery is (along with the aforementioned 'A Case for Vinyl') quite incredible - a career highlight in many ways, the depth and feeling, the ability to rise and fall...

Somehow I missed it, just 

Used to be birds, now they're not

Flying over, flying over, blowing me away

Blowing me away, blowing me away

'Anytime Minutes' lifts the mood, jaunty country pop, the melody and delivery are more in keeping with the Tim that most people know.

I could only give you history

Self-explanatory gifts for free

I am never going to know you now

I am always going to love you though

See my memory is not complete

I didn't seem to free or sweep you off your feet

All I wanted was some careless love

Why'd you have to be so damn obvious?

Don't wanna fly a kite

Don't wanna plan no fairytale

'The Great Outdoors Bitches' is another personal favourite of mine on the album, although it is all good and there is a lot to dig into. Burgess takes the lyrics he was given on a sunny stroll through country soul, the melody and use of brass let it flow superbly.

I have the right to hold on to

When the past befalls the present old and new

Everywhere I look reminds me of you

'The Economy' features a tremendous falsetto by Tim, some lovely steel guitar, handclaps and (like all of the album) excellent production and feeling. Another highlight, can't wait to hear and see this live.

You can tune me, a piano

Just like everything we thought that sex would be

'A Gain' sees Tim ponder over love lost again and I would say that along with 'A Case for Vinyl' and 'Tobacco Fields' this is a song that really shows off Tim's voice, ability to adapt and his range at its best. The refrain (below) is just gorgeous.

I will not brave the dancefloor for you (Again)

And that is that, a brilliant album that I will return to many times, there is a remix album and bonus tracks  but for now, this is the album 'Oh No I Love You' reviewed. 

Shut Up And Play The Hits - LCD Soundsystem

Last night Lynn and I enjoyed a rare midweek 'date' to the pictures, the lovely Glasgow Film Theatre, to see 'Shut Up And Play The Hits', a documentary about the end of LCD Soundsystem, centred around their final epic show at Madison Square Gardens.

We arrived at the GFT a full hour before the 8.40pm showing. With the knowledge that it was a sell-out we wanted to get a couple of drinks in the bar and good seats.

In the lead up to the main fetaure we were 'treated' to some 'live from the red carpet' footage from the premier in the Hackney Empire in London. A rather enthusiastic and annoying presented caught up with Al Doyle (Hot Chip and LCD), James from the Klaxons, the producers and some fans, some of whom must have been set up.

Anyway, eventually (and this may have been meant) we did get to the stage where the audience were thinking 'Shut Up And Play The Hits'. 

This flashes up at the start of the film and kind of sets the tone for the concert side of things; an epic celebration of the music and idealism of LCD Soundsystem during a 4-hour show to a sell-out crowd of 18,000 people at Madison Square Garden.

It is the party to end all parties, champage, special guests like Arcade Fire on backing vocals for 'North American Scum', balloons from the roof, music, dancing and romancing (some great footage of a couple lost in music and each other with a big kiss at one point).

The celebration side of things is balanced by the complete come-down captured in the immediate aftermath of the show. I loved the way that this was portrayed. We had Murphy waking up in his cool NYC loft apartment still wearing his shirt from the night before, cuddling his dog, taking his dog out for a piss, feeding his dog, shaving, listening to answer phone messages, riding the subway, going to his office and basically wondering what the hell he was going to do with his life.

This in itself was counter-balanced by footage of Murphy being interviewed by an extremely inquisitive American journalist. It worked exceptionally well with Murphy being equally humourous and extremely open about his thoughts and feelings.

 The concert footage is fantastic. The producers capture how cavernous the venue is, the roof looks like it is a giant space station, the crowd is vast, yet on stage LCD Soundsystem make it seem intimate by all grouping together surrounded by various banks of equipment.

'All My Friends' is dropped early doors to a round of applause by the audience. The footage from Madison Square Gardens slowly but surely becomes more euphoric as the party goes on; 'Movement' and 'Us and Them' capture the band merging punk, funk, techno, electro, garage and psych all at once - the beauty of LCD.

Footage cuts starkly and dramatically to post-concert dressing room scenes, to Murphy riding the subway or getting a car back to his flat gazing out at the New York skyline, the comedown setting in already.

In the interview we learn that Murphy is in his early 40's and wants to settle down and have kids. He is worried about the effect that touring has on him, stating that in the 2-years he didn't tour between 'Sound Of Silver' and 'This Is Happening' that he didn't get a single grey hair but as soon as he went on the road for the last time he started getting greyer and he wondered what this was doing to him on the inside.

We also learn of Murphy's satisfaction in practically everything LCD and DFA Records have recorded and released and that after 3 albums he wants to end on a high. He likes the fact that he is 'moderately successful', not overly successful/famous, he likes that he can walk his dog and ride the subway.

Some of the camera shots and positioning for the concert footage are incredible, different enough to make it original. So we have the brilliant footage of the mosh pit from directly above, cameras between amps and keyboards, in the crowd, in the photo pit....all capturing the experience.

'Losing My Edge' is predictably brilliant with Murphy also talking about how much it means to him and although people see humour in it, he was talking from the heart. He'd been playing The Stooges while high on E, mixing everything up from his considerable collection (some great shots of that in the flat scenes), now kids were coming up from behind and he was feeling threatened.

Murphy wanders from his office to the LCD storage space to check everything is in. This is probably my favourite scene in the movie, it tugs on the heartstrings. Murphy looks on at the equipment the band have built up, the thoughts running through his mind must have been similar to what were going through my mind. He was thinking of the memories, the music that has been made and played, the good times... and he cries.

This was the funeral scene, the realisation that the band had died. The concert had been the celebration. Murphy was now in mourning.

The film ends with LCD Soundsystem playing 'New York I Love You But You're Bringing Me Down' cutting to footage of the band having a dinner in a hip New York restaurant, drinking, sharing memories. 

Thanks for the memories James. I hope there is more to come.

 

 

White by Tim Burgess

It is no secret that I am a huge fan of Tim Burgess and The Charlatans, they have been helping to provide the soundtrack to my life for over 20-years.

Tim Burgess seems to be going through a bit of a creative peak in 2012; 

• Tim's autiobiography 'Tellin' Stories' is top notch, flowing in the way that many of his songs do. The way he talks about music is so refreshing and the lists of singles, songs and albums that he compiles throughout the book have led me to discover some great music.

• Tim's taste in music is being recognised by promoters and he has turned his hand to curating tents/stages at festivals, getting to play with some of his fave artists at Kendal Calling.

• Tim is also a bit of a social media guru, he even has an online coffee shop - Tim Peaks Diner!
• Tim may or may not be bringing out his own cereal 'Totes Amaze Balls' due to one of his tweets!

• The Charlatans 'Tellin' Stories' tour was a complete celebration of a classic album and the band were in exceptional form
• Tim has his second solo LP 'Oh No I Love You' coming out at the start of October
• And this single now
• Oh and he has his own record label OGenesis 

I've probably missed about 20 things. In short Tim Burgess is a busy and creative young man, he is enjoying it and providing a lot of enjoyment to others.

Anyway, lets get on to the single 'White' which comes complete with a brilliantly trippy video (above)/

'White' starts with a groove; keys, beats, brass, acoustic strums and then Tim comes in telling stories (honestly no pun intended) about an old love.

The chorus flows beautifully;

Miss it all, miss the ending

Miss the texts, we were sending

Miss the score, I miss you more

Sugar soul (I think that is what it is)

Heartbreaks on hold

Heartbreaks on hold

Bring on the album and some Scottish dates including two at Oran Mor on October 19th.