Song, by Toad

Archive for the Rambling category


Song, by Toad Says YES!

[Advance warning: this is too long, and if you can't be fucked, don't read it. I am not adding anything new to the debate, I'm just another idiot parping out their own opinion for no better reason than, I suppose, a bit of vanity. Don't feel compelled to indulge me.]

I know no-one really cares what I think, but fuck it, I think is how democracy is supposed to work these days. People voice their opinions on the internet, read what a wide variety of people have to say and then decide which bits they do and do not agree with. Besides, I quite like the idea of nailing one’s colours to the mast when it comes to this kind of thing. It’s a pretty important question, after all, given that between the record label and Mrs. Toad’s job, we are probably now committed to spending the rest of our lives in Scotland.

Of course, I am not talking about the views of anyone on the label, which are fairly mixed I think, if perhaps vaguely Yes-leaning, but they are the business of the artists themselves and if you’re interested then you’ll have to ask them. I speak just for myself.

This could get long, like all the articles on this subject, but I’ll try and break it down into chunks so you can skim or skip entirely, depending on which arguments you can and cannot be bothered seeing re-hashed on the internet for the millionth fucking time. I think one of the reasons I am writing this is that I see it as a genuinely difficult decision and, for all once you’ve decided, you really have decided and there’s no going back, anyone who thinks it’s really simple one way or the other is just not thinking straight, whether because of ideology or simple rose-tinted excitement.

But it’s not simple. I don’t think any of the Yes arguments are as straight-forwardly compelling as a lot of the people making them seem to think they are, and I certainly don’t think any of the dire No warnings are all that realistic either. It’s muddy. It’s politics, and it’s people, and people are weird, unpredictable, vain, selfish and stupid as much as we can be generous, noble or compassionate. All of us are, in one sense or another, and that’s the country we will inevitably get. Read the rest of this entry »


Why EXCLUSIVES!!! Make Me Hate Music

 Jesus Christ these damn things irritate the shit out of me, both as a label and as a blogger. You know what I mean, don’t you? EXCLUSIVE!1!!! FIRST STREAM OF WAYLOR STIFT’S NEW SINGLE ZOMGWOW!!!1! etc etc etc..

Firstly, there’s no such fucking thing as a fucking exclusive. It’s pointless. This is the fucking internet for fuck’s sake.

More to the point, though, this is just a fucking stupid act of desperation from both sides where they desperately try and exploit people they perceive to be marginally higher up the ladder than them in order to grasp that tiny little bit of extra attention which seems to be all most people are in music for in the first place. Premieres aren’t in and of themselves dreadful, of course – sometimes it’s just a nice thing between a writer who is a fan and a band who appreciate the support – but almost 99% of the time it’s one or the other or both just desperately hoping someone will give a shit about them.

The reasoning is simple enough, I suppose. The band thinks that the publication has a massive readership and by giving them the exclusive, they’ll get that bit of extra commitment from the publication to pushing it to that readership and KABOOM, fame and fortune are inevitable.

Publications, on the other hand, are looking to give as much support to the bands they love, and given how much support they’ve given them in the past, isn’t it nice that the first listen of their awesome new song takes place on our site even though they’re big now. We are building a genuine reputation for supporting the music we love, and showing people our fine taste and curatorial judgement.

The problem is that this isn’t really how it works in reality.

In reality, bands are rather pathetically offering up these premieres so as to give themselves the tiniest extra chance of getting coverage in what they see as the most significant and important publication they can reasonably aim for, hoping that audience and that stamp of approval will do something magical for their careers or give them some vague sense of validation.

The publications, on the other hand, are just looking to exploit buzzy bands to look cool. If we get this super-cool premiere from this super-cool band then all their legions of hip young fans will think that we are super-cool too and then they will always come to our website to bathe in our glorious opinions and we will become significant cultural touchstones for the fashionable youth of the 21st Century. Or if they’re not all that buzzy, at least they’ll spend all day trying to get their fans to come to our site, which means traffic nirvana.

The results are just painful and stupid.

From the point of view of  a label or a PR guy, I fucking hate this shit. It seems pretty much impossible to get a news piece on most of the more influential sites because they just aren’t interested unless you dress the fucking thing up as an exclusive or as a premiere. Why? What a waste of fucking time. If you like it, are interested in the band, or rate the music you should just fucking publish it. If you want to be a tastemaker that’s your entire fucking purpose.  Who cares if it’s a fucking exclusive or if a hundred other sites have written about it – respect your own opinions.

And how can you tell that most of the thinking in this area is a pathetic as I have laid out above? Well if the band are bigger than the publication then the publication will fart out any old recycled fucking news piece regardless of anything, just for the hits. I know this from writing a blog myself that timely articles about famous artists drives a lot of traffic, irrespective of whatever copy-and-pasted shit you put in there – that’s partly why I stopped doing it.

Alternatively, if you’re too small to demand the coverage off the back of your own status and have them scrabbling around after you then you’ll get leant on for exclusives so that they can exploit your entire PR effort driving traffic to their site in an effort to justify the feature. Basically, they are holding you to fucking ransom to push traffic to their site. I am at the point now where I am nervous about announcing things on my own fucking website, in case the fact that it is already out there puts off too many other sites from writing about it at all. I shouldn’t do it. You shouldn’t do it, it’s pathetic.

From the point of view of a music reviewer I find it equally irritating when PR people and bands I don’t know get in touch peddling exclusives and premieres.  I don’t need to be pandered to. There’s no need to offer me an exclusive. I have some fucking integrity, thank you, I’ll cover it if I think it is good or interesting and only then, as I have demonstrated about a bazillion times in the past. Ooh, an exclusive, I’ll definitely write about your shit band now.

What’s actually worse is when PR people get in touch linking me to another website, saying ‘our exclusive new single just premiered on, check it out!’ What they’re effectively saying is that now the important people are interested they’re trying to use their status to impress me into writing about stuff, and also that we are so far down the pecking order that they can’t even be fucked sending us the actual press release.  Once the big boys have picked the carcass clean, we small fry are invited to scavenge amongst the bones. Fuck off.

And why? I just don’t see the fucking point. Fair enough, Pitchfork’s Best New Music anointment means a lot of traffic and kudos, and maybe one or two others do, but most of this shit is fucking meaningless. Have you seen how few plays an exclusive premiere on one of the perceived larger online music magazines gets you? Pretty much fuck all, actually. You’re better off firing it around your fans most of the time, and letting their enthusiasm do the rest. Certainly if theirs doesn’t then there’s fat chance anyone else’s will.

The premiere seems to fundamentally misunderstand the network effects of the internet. If as a band you want things to go viral – which you do – then it’s not the one big important site that matters, but the sheer number of sites, fans, pals who share the thing around everywhere. And if as a publication you want to drive traffic to your site then you want the band to be talked about as far and wide as possible so that they get big and everyone starts looking for them on the internet, don’t you? This pathetic, status-conscious grovelling from both sides makes absolutely everyone look shit.

You can tell the good sites because a few of them genuinely do premiere stuff with almost no audience and which no-one else has heard of for no other reason than that they really like it. I love seeing that happen – that’s what music writing should be. But more often than not it’s sites desperately trying to chisel bands for every last bit of audience they can send their way instead of having some fucking respect for their own actual, real opinions about music. And bands are all too often desperately looking for that stamp of approval from the bigger fish and often neglecting the smaller fry, even when they have genuine enthusiasm for your stuff and actually might put some more effort into helping you reach a bigger audience.

Fucking hell, the ‘plea for integrity’. As if the fucking internet didn’t have enough of these already – almost as many as it has spurious fucking exclusive streams of new songs or pointless fucking video premieres.


Stuart Maconie and the Virtues of Having a Bit of Patience

stumac It’s a monumentally frustrating business, doing PR. There’s a famous line attributed to one of the pioneers of advertising John Wanamaker which says that “half the money I spend on advertising is wasted, the problem is I don’t know which half.”

It’s a bit like that with PR. You just never know what’s worth the effort and the expense and what isn’t. I learned this when I was just about to give up on sending our promo material to one particular journalist as I hadn’t heard from him for three years and thought he might have moved house, only for him suddenly to invite me to do an interview with Word Magazine about one-man labels, out of the blue.

With Stuart Maconie it’s slightly different, but still another aspect of why it takes oceans of patience to do this job, as well as a lesson in remembering that you don’t really ever know what other people are thinking.

Radcliffe and Maconie – the daytime 6Music show which Stuart presents alongside Mark Radcliffe) has absolutely never played any of our songs. Not one. Not even ones which everyone played – and yes, stop sniggering, we have actually had a couple of those. Kind of.

I know our music isn’t always all that suitable for middle of the day play on national radio, but we’ve had breakfast plays, ‘drivetime’* plays and plenty of love from Lauren Laverne and Steve Lamacq who also present daytime shows, so it can’t just be the kind of music we release, someone presumably just doesn’t rate it all that highly.

I can be a bit tribal about this kind of thing, so my response to that tends to be a little along the lines of ‘oh right, well fuck absolutely everyone involved then and a fucking massive pox on all their houses.  And, come to think of it, their friends’ houses. And the houses of their favourite TV chefs.’ They don’t rate us, then fuck them, I don’t rate them either.

I think most people who release music have a bit of that in them – the ‘everyone who doesn’t like this is an idiot’ instinct. It’s a useful defence mechanism, I guess, because the other option is to wonder whether or not the music you’re releasing might actually be a bit shit, and no-one wants to think that. Or alternatively, I suppose, that you are simply being ignored, and the latter possibility is a pretty frustrating thing to face if it is your job to actually get publicity for someone else’s music.

Surprisingly, though, despite my total failure to get through to Radcliffe and Maconie, things are not quite as clear-cut as they might seem. Because Stuart Maconie has another show on 6Music, called Freakzone, and the other day be played a meandering seven and a half minute song by David Thomas Broughton, from our latest Split 12″ and described us as “one of my favourite record labels”.

In fact, on Freakzone Stuart Maconie played, I think, the very first thing I ever sent him. I am pretty sure it was Salt Pt.1 from Pissing on Bonfires/Kissing With Tongues. And although there is plenty he doesn’t play – he doesn’t have all that much time on air, remember – he was really into Trips and Falls, and every once in a while will play something unexpected, just when I start to think he might have lost interest.

So actually, perhaps he does rate us. And perhaps he does listen to most of the things we send him. In fact, it seems pretty obvious that he does.

And honestly, for a label, that is a great feeling and brings a weird sense of relief. I have no problem with people listening to our stuff and not liking it, this is music after all. But the idea of simply being ignored is a tough one to get your head around.

So why don’t we ever, ever get played on Radcliffe and Maconie, then? Truth is, I still have no idea. But you know, there could be loads of reasons. Often the playlist of a show is picked more by the production team than the presenters, and it could be the producers just don’t rate us. Or they want more high-profile bands than we tend to work with. Or whatever.

Truth is, it doesn’t really matter. For whatever reason, we haven’t ever quite yet fit what they’re trying to do with the show and you have to remind yourself that from their point of view it’s not about your music, it’s about their radio show.

But the fact is we are at least getting through to people on the show and, as evidenced by the Freakzone plays, we’re still being listened to and are actually held in some affection. And with our budget and our scale, that represents really significant levels of success actually. And if we don’t get a play for this or that, or some things are more suitable for some shows than others, you can’t complain about that.

So as frustrating as it is to see Kasabian getting any radio play on 6Music at all, alongside all these major labels, well-established indies and expensive plugging campaigns we are still getting a very fair crack of the whip indeed, and that’s incredible. So for all the Radcliffe and Maconie silence might imply Stuart and the team ain’t that into our stuff, the occasional plays on Freakzone remind me that actually maybe they are, and I should just have some patience and trust that the DJs and producers and writers are listening, and they will do their bit for us when they get the chance.

It’s not like one tiny label in Scotland is the only place flooding them with crap, after all. In fact it’s a bit of a miracle we get the success that we do. But these little surprises are a big help in reminding me to have just a little bit of patience from time to time! And to be thankful for the successes we do get.

Oh, and the seven-and-a-half-minute song he played? It was this one below, from our third Split 12″ release which came out earlier in the year.

*Yes, I know. Yuck.


Kitchen Disco – Massive Pale Imitation Thanks

cake We are ploughing through the shows at a frightening rate, but the Pale Imitation Festival still has four fantastic lineups coming your way before the end of August, with headline slots from Rick Redbeard (this Thursday), LAW (Saturday), eagleowl and PAWS (next week – full lineup details here).

The Pale Imitation Festival is mostly about the bands, I suppose, but there’s a bit more to it than that. Partly, we are trying to celebrate the quality of the music scene in Scotland when so many tourists are in town, and partly we just like music and aren’t going to stop doing things just because it’s August.

And to that end, the tireless and fantastic work of Tallah and Malcolm from Kitchen Disco has been absolutely brilliant. As well as DJing before, inbetween and after the bands every single night of the festival, they’ve brought fantastic free cakes and terrible puns along each time as well. ‘Jonnie Common Shogun Choux Buns – what’s inside? IT’S A SECRET!’ for example.

Alright, you have to know Jonnie’s stuff pretty well to get that one, but the gin and lemon cake they made at my request for the same night is a little more obvious. And the cakes themselves have been completely delicious.

As much of a music nazi as I am, I am at least aware that my own music taste is really not best for DJing. Not that it’s all morose of course, but a lot of it is and I have no real capacity to judge what other people want to hear because, well honestly, I just don’t fucking care.

Kitchen Disco, on the other hand, seem to have played all sorts of stuff which I love – the stuff most appropriate for people actually enjoying themselves – as well as all sorts of excellent stuff which I don’t really know. The music has been fucking excellent, frankly, and for that, their good cheer, the cakes and their sheer stamina I owe them a massive thank you. Hooray!

Find Kitchen Disco on FacebookInstagramTwitter – Tumblr.

Also, they start every single night with this. Heroes!


Oh Dear God, Bryan Adams

Yeah, sorry to disappoint you, but I am afraid that this post is heading exactly where you feared it might from the headline.

I think most of the truly embarrassing skeletons are out of the closet by now when it comes to my youthful music taste. I’ve been writing this damn blog for over ten years now, and most stuff has ended up spilling out and one time or another: Hootie and the Blowfish, Erasure, Never Gonna Give You Up by Rick Astley (and sadly not ironically), The fucking Dave fucking Matthews fucking Band, the first couple of Meat Loaf albums, hell I think I’ve even mentioned an shameful partiality to a bit of Phil Collins from time to time.

But until now I haven’t quite had the flaps to mention Bryan Adams*.

And no, don’t be ridiculous, of course not that Robin Hood abomination song, fuck me, I’m not a monster.

It’s pretty much impossible to overstate quite how bad every single thing about this video is. There’s not even a fabulously malevolent Alan Rickman to save the day.

Anyhow, my local coffee shop has, by way of music provision, a ghetto blaster (and what a gloriously eighties term that is!) and a pile of tapes about as old as you would imagine, given when mainstream artists finally stopped releasing things on cassette. I was in this morning and Bryan Adams was playing, and of course my mind went right back to when I was twelve or thirteen living in Singapore and only just starting to develop a music collection of my own, but generally spending most of my time listening to my parents’ records. And Reckless, Cuts Like a Knife and Into the Fire by Bryan Adams were amongst them.

I’ve said before that I don’t really care about whether it’s nostalgia or indoctrination which casts such a warm glow over music you might otherwise consider toe-curlingly awful if you hadn’t listened to it an awful lot when young. It doesn’t really matter, does it. Embarrassing as some of it is, for whatever reason you like it, and that’s about all that needs to be said.

Maybe we’d like more utterly embarrassing shit if we didn’t have our ideas of what is good, bad, indifferent or apocalyptically horrendous so strongly shaped by our peer groups. Who knows. Given what we’ll dance to in a club when shit-faced, I reckon our tastes would be broader than we think if we didn’t use music as such an important tribal identifier.

And there we go: I’ve fallen into the trap of using long words in a Bryan Adams post, probably just to give the impression that this is some sort of serious, scholarly piece, when in actual fact it’s really just ‘holy shit, I forgot how much I used to like Bryan Adams as a kid! Thank fuck no-one on the internet know about that, or they’d have a fucking field day.’

*Or the balls, if you prefer, you big old sexist you.


Off on Rust 2 Rome 2014

2014-06-28 13.51.07

Yep, it’s that time of year again, where Mrs. Toad and I clamber into our ludicrous Volvo 940 (above) and venture off with a load of other cars in a quest to drag a car we bought for £350 off eBay all the way from Edinburgh to Rome, via some of the most challenging roads Europe has to offer.

Bette is named after Bette Davis (so it’s pronounced Betty, not Bett) because she is a temperamental, unpredictable fucker, but we did Rust2Rome in her last year and she’s been to and from the South of France and up and down to London plenty of times since, so hopefully she’ll manage the trip again with minimal fuss.

As you can imagine, this means the blog will suffer a bit for the next couple of weeks, but I will be keeping my Tumblr site updated with photos and songs.

The car has a tape player, so I’ve spent the last couple of days making mixtapes for the drive. It’s mostly daytime driving, and some of it is pretty intense going too, so it’s mostly upbeat stuff, but nevertheless when you’ve got a limited supply of music you still find yourself listening to the same thing quite a lot, so I’ll be posting songs from the tapes as well as photos from the driving.

See you in a couple of weeks, for the Split 12″ launch shows.


England: Not Great at Football, but That’s Fine

fb So, after two narrow defeats to Italy and Uruguay, England are probably out of the World Cup. Not absolutely definitively out, but in all probability that’s it for this year. Ah well.

Honestly though, as an England fan, I don’t really mind going out like that. We played two very good sides, had a real go at them, caused Uruguay in particular a lot of problems, but ultimately went out because of defensive failings – just a couple of important lapses, really. I think the before the tournament most people would have looked at the inexperience of Baines, the limitations of Jagielka and the defensive unpredictability of Johnson and said that this was where we lacked real quality.

Hopefully John Stones or Phil Jones or someone can come on strong in the next couple of years and offer something better at the back but for now, whatever you think of that back four, they were pretty unquestionably the best we had – with possible questions to be asked about Ashley Cole. But I doubt any seriously world class strikeforce would look at them and worry about how they were going to score – in fact that applies to most teams at this World Cup, actually.

I think Rooney could have been withdrawn against Italy, and Sturridge should have come off yesterday so we could have seen more of Lallana and Barkley (or The Ox if he was fit), but then Rooney and Sturridge were by far the most consistent English Premier League goal-scorers this year, so it’s not cut and dried.

It would also have been nice to see Wilshere coming on for Gerrard late on to provide a little extra thrust and inventiveness in midfield, but again, these are small quibbles, because you never know when Gerrard might stick one in the top corner from a stupid distance so I can see why he stayed on the pitch.

We had a really difficult group, and had we been luckier with the draw it might have been a different story, as it also might if Diego Godin had rightfully received his marching orders in the first half last night, but hey ho, no team ever went out of the World Cup without a handful of ‘maybes’ following them home.

It sort of highlights our ingratitude during the Svennis years, looking at recent performances. Sure, we ‘could’ have got to the semi-finals in that era, and not entirely implausibly the final. But then again, so ‘could’ Germany, Argentina, Brazil, Portugal, Spain, France, Italy, Holland and a few other teams. ‘Amongst the best eight teams in the world’ was a pretty fair reflection of England’s ability back then, just as going out in the group stages is more or less where we’re at now. Sure, there will be worse teams in the second round than us, but then do Australia really deserve to be going home after the two performances they’ve delivered so far?

Overall though, I don’t mind not being as good as other teams, but having a go and still losing is infinitely better than scraping through after constipated draws and generally playing like we were suffering from some sort of collective paralysis. Watching England over the last, erm, maybe six years or so, has been an exercise in eye-gouging hopelessness. It was kind of like being paralysed by spider venom – no matter how awful things got you just couldn’t tear yourself away until it was finally over and you were put out of your misery once and for all.

This time around we’ve had a go. There’s one game left and it would be nice to put in a good performance against a Costa Rican side who themselves looked really good in their first game. It would be nice to score a couple of decent goals too, and maybe play with a little attacking verve, if just to encourage what looks like a pretty promising batch of young players.

As an England fan, I’ve come to expect failure in recent years, and I can live with that. But going out with some sense of self-respect and our heads held relatively high for a change feels like progress in itself.


Ten Years of Song, by Toad – Why Do I Fucking Bother?

media-image-346120-article-ajust_930 First things first: the answer to the above question is that I have absolutely no fucking idea why I bother.

Secondly: I have absolutely no idea if I’ve been doing this for exactly ten years, but I know it’s roughly there or thereabouts. It may not have a date stamp, but the first review I ever wrote was of Modest Mouse’s Good News for People Who Love Bad News, and that was released in April 2004, so I guess ten years is a reasonable guess.

It’s not strictly ten years of Song, by Toad either, because when I first started writing about music on the internet I didn’t call it Song, by Toad and it wasn’t a blog, initially. I just fired up reviews on a static site which nobody read.

I only discovered blogs a couple of years later, and realised that I was actually writing one already, so I moved everything over to Blogger and suddenly there I was, writing a blog like so many others. And the rest, of course, is history – if you know about the site you probably know it all already, and if you don’t then you probably don’t care.

I suppose I have to mark a (vague) ten-year anniversary one way or another though, and I suppose I’ve lived through the full cycle of blogging as it emerged, peaked and now seems to be petering out somewhat.

I say that, but people who talk about the death of blogging annoy me now as much as journalists who, back when it first emerged, would say that blogging was killing journalism. Blogging is simply a form of writing, and any good writer should be able to write a compelling blog. Blogging itself has simply been incorporated into mainstream journalism, and there are also more and more ways for amateur enthusiasts to get involved these days, so it would be daft to say that blogging is in decline.

What is in decline, though, is the sense that blogs are the drivers of the broader music conversation*. Back in about 2007 or 2008 they – or we, I suppose – seemed to be where an increasing number of fans went to read about new music. But that audience seems to have wandered off recently and blogging has diffused into dozens of different variations, from online magazines like Drowned in Sound, which publishes plenty of bloggy pieces but is still basically a magazine in digital form, to Twitter, which is published fan participation at its most minimal.

If you think about it, back when they first began to rise to prominence, blogs were the embodiment of the promise of the internet. Interactivity, amateur involvement, instant reactions… all the things we still talk about now. But back then there was no social media, for example, so all the silly conversations we see on Facebook and Twitter now actually used to take place in forums and in the comments sections on blogs.  The informal nature of the writing was a welcome change to the rather stuffy world of real music journalism as well, but they learned their lesson pretty fast, and now professional journalists (being talented writers, generally) write some of the best blogs out there.

Most prominent bloggers with ambition either parlayed their status into jobs in the music industry itself or turned their blogs into online magazines, and the emergence of these has filled a large amount of the space between the amateur and the professional music press which bloggers had briefly threatened to overrun on their own.


Random chatter has now moved to social media as well, and as a consequence not only have blogs’ readerships declined, but that argumentative bickering in the comments section has moved elsewhere as well, and with it the obvious evidence of an engaged audience which made blogs so enticing to a music industry which, in 2009, had pretty much no idea where its audience had gone.

Nowadays, we know. Music fans are all over social media, they supply all their listening stats on Spotify, and with Soundcloud and YouTube embeds it is pretty easy to gauge exactly how much traction a newly released song has gained. Blogs somehow seem so old fashioned these days.

Partly, they have destroyed themselves, I must say. Posting and re-posting all the same old shit, regurgitating press releases, needless click-baiting, it all seems a bit passionless and craven.  Some people made a real name for themselves with their blogs and it seems a lot of people are entering into the field with that as the goal from the start, rather than just for the joy of writing.

Back then, people blogged for loads of reasons. Some of those reasons are better served by social media these days, and others by other forms of participating in the music industry. Not all that many people wrote blogs for the particular joy of writing, or even because they thought of themselves as writers. They weren’t, they were music fans, blogging was just a way of enjoying music.

But I think that’s why I am still going some ten years later, when most people have a two or three-year trajectory from starting off to petering out. As well as music, I actually love writing and I always have. Song, by Toad isn’t just about reviews or finding the most acest new music ever, I just enjoy sitting down at the keyboard and wondering what nonsense is going to emerge this time.

It’s a pretty standard artistic cop-out to say that I don’t really expect people to read this blog, but I don’t. I’d like people to read it of course, but it’s not something I expect. There are more informed and analytical writers out there, and god knows what most people make of my music taste.

I’ve no idea where I’m going from here, either. There’s no real sense that I want to stop, although I would imagine that it’s pretty obvious that the label is taking more and more of my time these days. But two things come together here at Song, by Toad – my love of music, which writing the blog has enabled me to explore to levels I never really imagined, and my enjoyment of the act of writing.

I rarely know what I am going to write about, and although I think about albums a lot before I write about them, I never really plan the actual thrust of a write-up or think about phraseology or anything like that, I just sit down and write. And it’s fun. And I guess that’s probably why I’m still going after ten years when so many people who started at the same time has quit.

*Awful expression, I know. Sorry.


The BBC Radio 1 Playlist Fake Controversy

cunts I assume many of you have seen this article in The Guardian which purports to finding Radio 1’s playlisting process shocking and has been bandied around Twitter as a sad example of how corporate and cynical music has become, and boo fucking hoo why is not just about the music, man?

Personally, I am shocked. Shocked and disappointed. Dreadful, isn’t it. Britain’s going to the dogs, and it’s probably the fault of all these immigrants. Oh wait, sorry, wrong internet outrage talking point of the week.

But if you’re being honest with yourself, there is nothing in that whole, needlessly long article which should be any kind of surprise to anyone. The writer ends with this rather limp lament: “with all the reliance on data and algorithms and “brands” (and this is a pattern repeated across the industry as a whole), it all feels so soulless.” and then compares the current state of affairs to the glorious days of John St. Peel.

Essentially, the piece ‘exclusively reveals’ that Radio 1 researches bands’ traction on YouTube and Twitter before they consider playlisting them, and discusses their commercial potential, whether or not they’re making good live headway, and the health of the ‘brand’. Then the bands get playlisted or they don’t.

Now I can see the allure of the conclusion, halfway through the article, that this kind of research leads to the station “playing people the kind of music that they’re already listening to”.  And that’s a fair accusation, and one which applies to far too many new music discovery mechanisms at the moment, but I think it rather misses the point of what Radio 1 is for, and what it is expected to do.

As far as I see it Radio 1 is not only supposed to be aimed at young people, but it is also supposed, to a large degree, to represent them as well. It’s state-supported radio, paid for by us, to be made for us. Being force-fed weird shit may appeal to you or I, but it would wear out most people pretty damn fast. That’s why even 6Music has a really rigid, predictable daytime playlist, and only really gets interesting when the specialist shows come on.

I am not saying that it needs to be nothing but populist rubbish, but the BBC has a weird remit which leads to it rather being caught between a rock and a hard place. If they do nothing but push the boundaries of art and culture and consistently support things because of editorial support for their high quality, then they get accused of being elitist, out of touch, and a waste of taxpayers’ money.

Alternatively, if they try and justify themselves too much in terms of audience and populism they get accused of needlessly competing with the commercial sector, and therefore being redundant… aaand a total waste of taxpayers’ money.

The article then goes on to present, without challenge, Radio 1’s head honchos’ assertion that for all they try and play what people want, they still have way, way more diversity than commercial radio. I don’t know if this is true, but the writer seemed to feel no need to disagree, which leads me to… well, wonder what the fuck all the fuss is about, honestly.

Basically, a picture is painted of a radio station trying to reflect what young folk are into, as well as examples of bands who people weren’t into yet, but they supported and promoted them and the subsequently went on to mainstream success. They do seem, from the article, to make an effort to take risks and they do seem, from the article, to try and balance researched populism with finger-in-the-air judgement calls. That’s pretty much what the biggest state-financed radio station in the UK should be doing, isn’t it?

As far as I can see there is nothing controversial in the article at all, to the point that I find myself vaguely wondering why it needed to be written in the first place. Alright, I fucking hate Radio 1, but then I am 38 and I work in what can only be described as a fairly narrow niche, musically speaking. Radio 1 isn’t aimed at me, and it probably isn’t aimed at you either, frankly, so why would we expect to like it?


Well Done to Wide Days


At The Great Escape this year, Edinburgh’s Wide Days won an award for Best Networking Event (or something like that – I’m not sure of the precise title), and I want to take a moment to congratulate Olaf and the team and to explain a couple of reasons why I think the award is entirely justified.

First off, though, I should point out that there are plenty of bigger and more well-known events in the UK which do broadly similar things. We have another Scottish alternative in GoNorth, and there’s also The Great Escape itself and Sound City in Liverpool, just to name a couple.  Of these Wide Days is by far the smallest, but not one of the others made the list, leaving the Edinburgh event as the sole British representative, which is pretty impressive.

When it comes to networking events that is a huge drawback, at least on the face of it. The point of these things is to meet people and if you happen to run a label which, say, struggles to book decent gigs for its artists like we do, then going to an event like SXSW with dozens of great booking agents at it would seem to be the best way to do it. At Wide Days you’re more likely to get one single booking agent if you get one at all, and if they a/ happen to mostly book for punk bands and b/ have a full roster anyway then that meeting is not going to be all that productive, now is it.

Somehow it just doesn’t work like that, though. Because the event is so small instead of getting dozens of record labels attending you may only get one or two, but because the events are small, friendly and relaxed you get two huge advantages.

Firstly, it means you will almost certainly have the chance to talk to someone if you want to, unlike The Great Escape or SXSW, where even if you can get through the deluge of people wanting to speak to any given person and actually make contact, you may well still end up playing endless Twitter or Text Tag with them in which they’re at one venue and then heading to something else, while you’re at another venue and on your way to something totally different. This can go on for days on end and is incredibly fucking annoying, and as well as feeling completely unprofessional (to me, anyway), it means that even if someone is interested enough in speaking to you it may still never happen. Or it may end up being rushed and uncomfortable while you’re both trying not to miss some other vague appointment, or the convoluted series of messages and missed messages it can take to get you both to the same place at the same time ends up making the whole thing too embarrassing and annoying to be productive anyway.

Secondly, the size of the event also means that anyone you want to talk to will not be deluged with other people wanting something from them, so they themselves will be way more relaxed and more inclined to have a chatter. Assuming you obey the cardinal rules of networking (Don’t foist yourself on someone unless you know that what you want to discuss is genuinely relevant to them, make sure you’re genuinely interested in what they do instead of just wading in with the hard sell, remember that you’re starting a relationship not approaching someone to make a series of thinly-veiled demands, and don’t outstay your welcome if they are looking bored and fidgety) then most folk will give you the time of day.

This lack of inundation is really important in setting the visiting industry folk at their ease, but there is another, and that is the Wide Days team itself. Olaf personally takes all then delegates on a tour of Edinburgh, there’s an opening party where travelling delegates and Edinburgh music people get to relax and have a drink before any real work commences, and everyone goes to the same showcases. It means you may see a higher proportion of music you don’t like than if you were picking and choosing from a large lineup of multiple events, but because you’ve all seen the same stuff, everyone’s in the same boat. Olaf introduces all the bands too, so even if you disagree with him, you know there are specific reasons they are there above and beyond the hipster buzz nonsense or just having an influential booking agent.

All of this makes it feel like a friendly event that people actually care about. You aren’t just there to make up the numbers, you’re at the same events and same panels as all the rest of the delegates, and there is a genuine sense of all being in it together. You feel like you are someone’s guest, that they have taken a lot of time for you, and that makes people a lot happier to give some time back.

And in terms of making actually useful professional contacts, well actually, it works pretty well. Sure, you do suffer a bit from having such a small cross-section of the industry there, so you rarely end up meeting the one precise person you most wanted to meet in the whole world, but because the whole event is more laid back you actually get a lot more out of meeting the people who are there.

For the record, I’ve met a lovely guy who has (for free) advised me on a couple of licensing deals when people wanted to use songs we’d released, I’ve met kindred DIY spirits from a few different places in the UK, saw Paws for the first time (who we ended up doing a release with), and with a bit of luck the people who can now offer us US distribution for upcoming releases. That might not sound like much, but it’s at bare minimum on a par with the relationships I have forged at The Great Escape, GoNorth or SXSW, only done in a much less frantic way.

Most of the good relationships we’ve had in the music industry haven’t come from aggressively pitching to people, they’ve come come from slowly getting to know people and coming to trust and respect what one another does, and for that the unique atmosphere at Wide Days is far more conducive than the permanently-pished, phone-running-out-of-battery, oh-wait-I’ve-got-to-be-somewhere-else-in-ten-minutes conversations, held with people permanently looking over your shoulder to see if there isn’t someone more interesting to talk to. And I’ve had far too many of those at bigger and more famous industry events.

So well done Olaf and team. Richly deserved and I’m genuinely delighted for you.