‘Watching You Leave’ is the new single by Emma Wilson released on Friday 29 September. It’s the second from her new album Memphis Calling out on 27 October 2023.
“Watching You Leave’is about accepting that every time your lover leaves you just know they are going to come back”explained Emma.
The track is written by Emma and Gary Burr. Emma travelled to Nashville, USA in January 2023 to spend four days writing in Gary Burr’s studio.
‘He has a home studio so it’s a very relaxed environment, yet when we start work it’s intense. I learned from Gary that songs are like movies, you visualise the story’.
Emma, who was winner of the Emerging Blues Artist of The Year at the UK Blues Awards 2022, was in good company as Gary Burr is a Nashville Songwriters Hall of Fame inductee, Billboard Country Songwriter of the Year, written fifteen #1 hits and had songs recorded by Garth Brooks, Carole King, Ringo Starr, LeAnn Rimes, Christina Aguilera and Ricky Martin.
‘It was a real masterclass in songwriting. I consider myself at the beginning of my songwriting career however Gary has been at the forefront of the Nashville songwriting scene for decades, in fact, he’s internationally recognised having won many awards’.
What did you learn from the songwriting sessions?
‘I learned that simplicity is often the key, I was trying all sorts of ‘flowery’ lyrics and Gary just said “Imagine you’re having a coffee with a friend. What would you say?” And it works you can get your message over like a conversation’.
‘I’ve also been used to repeating the same lyrics in verses but Gary says “A line is never to be wasted, you have to finish the story”. We wrote four great songs together’.
‘I really enjoyed my time, Gary made me feel very much an equal, professionally and musically. I did smile to myself though when I looked over to his cabinet full of awards!’
How do you think the single has come out ?
‘I’m absolutely thrilled with the single, Gary and I demo-ed it with guitar, bass and drums. Then he said to me you need a really groovy band to record this. Of course the band in Memphis loved it and put a great feel on it’.
‘We picked a great key for my vocal so I can really deliver it, that’s another great thing about writing your own songs, you can pitch it however you want to get the best out of your voice’.
Have you any live dates booked ?
‘Yes I’m playing Leeds on Friday 3rd November at The Cross Keys as part of Leeds Blues Club with my UK Band who are excellent’.
Does a day go by without listening to music? It runs through yer veins. Addiction to music is a feeling everyone reading this site knows, and the person who this new post is about has it bad.
‘I’ve finally come clean and admitted to myself that I’m totally addicted to going to rock concerts. I’ve also realised that all attempts at treatment are futile, and anyway I don’t want to be cured!’ said Peter.
‘This blog is part of my treatment, creating a permanent record of gigs that I’ve been to. I try to remember as much as I can about them which is difficult as my memory is not good these days’.
‘It takes me back to the late 60s early 70s and includes concerts by Eric Clapton, The Rolling Stones, Pink Floyd, T Rex, Kate Bush and events such as Reading Festivals, Donnington Monsters of Rock and Live Aid. I’ve attended around 2000 gigs since 1969’explained Peter.
The music blog started in 2011 (link below), and includes great reviews and stories as well as being illustrated with a collection of Peter’s ticket stubs.
First, a bit of background to Sunderland born Peter Smith. Peter graduated in Computing and Mathematics from Sunderland University in 1978, by 1981 he completed a PhD.
He went on to hold a number of positions at the University spending 11 years as a lecturer before being made professor in 1992. Not stopping there he became Dean of Computing and Technology from 1999 until 2007.
Peter has written hundreds of academic papers and books as well as speaking at conferences worldwide. In 2012 he retired from the University and was made Emeritus Professor.
Despite a severe spinal injury in 2016, Peter continued his life’s work and being a massive music fan,alsofound time to publish numerous papers and books on music venues, classic rock and punk bands.
In July 2022 Sunderland University commemorated his contribution to academia, awarding him with an Honorary Doctorate of Technology. Is that enough for ya’?
I started listening to music in the ‘70s and going to gigs in the ‘80s – they were great times and I know how lucky we were to see fantastic bands. Who do you consider your most memorable gigs?
‘Best gigs were Live Aid in Wembley Stadium 1985, I have so many great memories of that day. Queen’s performance is often rated as the greatest live performance by any band. Freddie certainly commanded the crowd that day’.
‘U2 weren’t far behind them with Bono showing how great a front man he was. For me, however, the highlights were The Who and David Bowie, as I was, and remain, a big fan of both acts’.
‘There was Led Zeppelin at Sunderland Locarno in 1971. I remember Zeppelin came on stage quite late, and the crowd immediately rose to their feet and surged to the front, forming a terrible crush’.
‘I remember a guy trying to take a photo of Robert Plant and the bouncers waded into the crowd to get his camera. Robert intervened, and told the bouncers to leaveoff the guy to a great cheer from the crowd’.
‘I was right down the front close to the band. I could almost touch them, the atmosphere was electric’.
‘I also remember great gigs from the Sex Pistols at Whitby in 1975, David Bowie at Newcastle City Hall in ‘72, Rolling Stones at Newcastle in ‘71, The Who played Charlton football ground in 1974 and Abba at Stafford in 1979’.
On your blog you talk about seeing North East bands Geordie, Angelic Upstarts, Brass Alley, Lucas Tyson, Penetration and Tygers of Pan Tang.
There’s a review of a gig by Punishment of Luxury at the Dunelm House, Durham, what can you remember of that night?
‘This gig at Dunelm House came quite early in their career before they had released any recorded material, and was probably one of the first times I saw them.’
‘I do recall seeing Punishment of Luxury several times in 1978 including a packed gig at Newcastle University canteen, and supporting local punk heroes Penetration at the City Hall’.
‘Punilux as they were often called, were quite quirky and unique in their approach. Although their music undoubtedly grew out of punk, their spiky staccato art-rock had much more depth to it, and their performances were very theatrical, strange and in some ways scary, with use of masks and dance’.
What other North East bands have you seen?
‘Last Exit, Sting’s first band, were excellent, Penetration the best North East punk band, I found Prefab Sprout quirky and great, Lindisfarne always magnificent and now we have Sam Fender who is exciting, plus many others’.
What changes have you seen in the live music scene since attending your first gigs and now ?
‘The growth of custom-built arenas. Sadly fewer concerts are held in small venues. However, my hometown Sunderland now has its own great venue The Fire Station’.
For live reviews including Slade, Queen, Genesis, The Clash, Van Halen, Sex Pistols, The Who and zillions more check out Peter’s excellent music blog at:https://myvintagerock.com/
Part two of the interview with Lighting Tech & Stagehand Par Can.Any other venues you worked at stand out?
Madison Square Gardens – oh Lord above. I did the arena upstairs and downstairs was the Felt Forum. Both times the New York State Circus had cages in the building where they kept animals when they weren’t on the road. The smell…you could imagine!
The Manchester Belle Vue had a similar animal circus thing, I saw Peter Frampton and Parliament there and you got this faint whiff of dung. Like the person in front having really bad B.O.
Wembley Arena was easy enough to get in and out off but back in the day it had a reputation for rubber rigging. I remember putting Queen in there in 1980.
When the ‘fly swat’ lighting pods with follow spots went up and down they weren’t smooth like they should be, they bounced…up, up, up. Same when they came down…boing, boing, boing. Yeah that was rubber rigging.
Philadelphia Spectrum was bad, a lot of iconic venues you read about as a kid it’s disheartening when you find they are horrible places. It was always known as the RECTUM !
There was an arena that The Tubes were doing, might have been Minneapolis? No it was Duluth. Next door was a car museum and next to that was a freezer plant because the place was also an ice rink.
Now they used ammonia to pump under the ice rink to freeze it, it was a whole complex – America is all bigger and better apparently!
After the gig during load out warning lights started flashing, horns started screaming. Next thing everyone’s choking there had been an ammonia leak “Everybody out”.
Fire brigade made it safe but your eyes were burning, you’re choking, felt as if you were gonna throw up from your feet. Not gonna forget that one in a hurry.
Newcastle City Hall
I started at Newcastle City Hall in October 1977 and it was all the older guys who’d been there a while. Then slowly but surely, the Sheelz (South Shields) Mafia landed – Dave Ainsley, Dave Linney, Ian Rylance, Gary Lilley, Alan Armstrong and Kev Charlton who once tried on Phil Lynott’s leather pants and he couldn’t get them past his thighs.
Kev was thin himself in those days. We were rolling around in hysterics it was so funny. It showed how skinny Phil Lynott was.
Colin Rowell was the manager and it was rare for him to just leave us overnight to crack on with stuff – but he knew we’d get up to no good. Rush in 1979 comes to mind.
There was a big plastic bin full of ice cubes lying around so we took it up through the roof into the rigging points which looks onto the stage.
One of the lads was looking for us, Dave Ainsley, he was walking across Rush’s stage which was covered in a lovely white shag pile carpet, he shouted “Where are you” as the ice cubes went flying down on him… never thinking ice cubes from 45 feet up could have knocked out… or worse !
When Thin Lizzy played the City Hall me and Kev Charlton ‘acquired’ some pyro and at 6am went up in the old empty projection room on the roof.
We set alight to the pyro, a white mushroom cloud went up and started drifting towards John Dobson street. We ran downstairs when there was a bang on the stage door.
“Morning officer” we said “Never heard nothing we’ve just been asleep”. Somehow we got away with that one.
Another night Mr Plod visited again about 2am “What’s going on in there?” We’d been on the stage and turned on the City Hall organ thinking we were playing Phantom of the Opera.
Looking down on the stage from the balcony to the ‘Biggest production in the City Hall’ Van Halen 17 June 1980.
One night we found a small tunnel on the side wall panels near the seats. We all crawled along on our hands and knees to see where it went. We ended up in next door’s building – the City Baths.
So obviously we got our kit off and swam about – well what else would ya’ do? Unfortunately we must have triggered an alarm so we scurried back to the hall with our clothes under our arms!
The tunnel led to a number of turning points and they went on for a fair distance, some were blocked off by a fence. I’m sure they led all over the city. Once we ended up at a fenced off exit all the way in the Ouseburn Valley ! Took almost an hour to crawl each way !!
Back then it was great, so much fun. Nowadays after spending hours putting them together they don’t let the crews watch the show.
We didn’t do it because we were Meccano freaks, we did it because we were hanging around with the gear, the musicians, to see bands we would never dream of paying to see – Weather Report at Newcastle City Hall was one such band.
Me and Kev Charlton were sitting on the drum riser before soundcheck, Jaco Pastorius came in and sat at the drums. Thwack, thwack, leading with the left, leading with the right, giving it six nowt. We were astounded.
Then he gets up and another guy comes in on drums, believe it was Pete Henderson. Then Jaco Pastorius picks up a fretless bass and starts playing. The sounds they created were amazing. Kev and I were mesmerised.
We did follow spots for the comedian Billy Connolly and one joke had me and Kev laughing so much that we couldn’t keep the follow spot steady. Billy said “Geordies, pissed again”! The whole audience turned to look up at us.
What impact did the road have on your life today?
Until 1990 I never saw that career ending, I came back to the UK got married and had a beautiful daughter. But touring for months at a time isn’t compatible to a home life. So eventually got my hair cut and got a proper job – boy have I regretted that ever since.
How did it affect my life? It got me around a lot of the world several times, lived in America, and to this day I’ve still got an amazing amount of friends I met and worked with because of that time. Some of them, not many, are still on the road today.
For music concerts staged in small clubs or huge enormodomes a crew have to load the gear in, set it up, operate it during the show, break it down and load it all back out again then onto the next venue. And if you’re on tour, repeat that for days, weeks or months.
Newcastle born Par Can was a former stagehand at Newcastle City Hall, on The Tubes touring crew, worked for Bette Midler, Queen, The Cure, and American rock giants Van Halen with ‘the largest production ever in the City Hall’.
Sit back, relax and enjoy the show with Par Can who looks back at his time on the crew.
I guess like every local Geordie kid in the seventies I was football obsessed. Then I heard Alice Cooper’s Caught in a Dream, I’m Eighteen and other tracks from Love it to Death.
Then I started buying music paper Sounds every Wednesday, that’s where I first saw pictures of Alice Cooper – wow what the hell is this?
The Kard Bar in town sold hippie oil, pop and rock posters. With my friends we used to go on Saturday and spend our pocket money.
My parents were fine with my bedroom being covered in Alice Cooper posters, including the ceiling. It was when I put up a picture of the New York Dolls that they got worried!
I can’t say music means everything these days – but it did back then. I used to hang around the stage door at Newcastle City Hall and one day, it was a Mott the Hoople gig, helped a roadie with a piano (interview with Par Can 20 Nov 2017 link below).
I got more involved in music and hanging around the City Hall, so my mother had a word with City Hall Manager Bob Brown.
Then one day in October 1977 I turned up at 9am to work. My first ever stage crew gig paid me £7. The band on that night were Wishbone Ash. Next day was Bob Seger and the Silver Bullet band.
I blagged my way into working for a lighting company in London run by The Tubes manager, after that I ended up following the band on their first ever UK tour.
Newcastle City Hall
Did any venues stand out when on tour around the UK & USA?
Newcastle City Hall is always gonna be the venue it’s where I saw every band I wanted to see growing up, except Led Zeppelin.
But I suppose the only thing that stops Newcastle being the venue is the loading in and out. It was bad back when we did it. It isn’t much better now they have extended the stage door. Why someone doesn’t make that whole load in/out more efficient is beyond me.
There is a beautiful theatre in America, the Orpheum Theatre in Boston, to me that was like the City Hall. The only problem with that one is that the trucks had to reverse down an alley to get to the front door.
If you can imagine two blocks of buildings with the Orpheum literally being the sort of stop gap at the end of the alley. It wasn’t wide enough for two trucks so you had to reverse one at a time.
To load in you had to go through the front doors, through the foyer, turn left into the theatre and then down the space between the seats and onto a ramp leading to the stage. A bad one to load in and a pain in the arse to load out at midnight.
However, it will always be one of my absolute fave halls, ALWAYS a great atmosphere… just like the old lady or even the old Glasgow Apollo.
Par Can on stage at the Glasgow Apollo.
Edinburgh Odeon when that was still open was a lovely place. Trucks loaded in across a backyard then straight onto the stage.
The ceiling of the Odeon was studded with little bits of mirror that looked like star constellations and it had recesses in the walls with statues – a really beautiful theatre. Only 1800 capacity and perfect for The Tubes.
It had a stage door phone which was a direct line to the pub opposite; The Bucleuch Arms. You would send your order and 10 minutes later, barmaids would be carrying trays of drinks to the stage door.
Birmingham Odeon was a good one although the trucks had to reverse down a sloping alley, not ideal but the theatre itself was fabulous.
Load in was through a door onto quite a big stage. Around 2500 capacity, but another one they went and shut down.
Manchester Apollo was an easy load in load out, didn’t much care for that place, although it was right next door to a lovely pub called The Apsley Cottage.
The Tubes did a series of smaller shows towards the end of ‘81 and one of them was called Uncle Sams in Nantasket Beach in Hull Massachusettes.
The two trucks were parked back to back in front of this three storeyed cube building, the bus was on the opposite side of the street.
We got out the bus went through the doors and oh my God it was like the stairway to nowhere ! It seemed to go on and on. Every piece of gear had to go up this concrete staircase of around 100-150 steps.
The show finishes 11pm you’re tired after a long day and you’ve got to load the gear out – how the hell nobody fell down those stairs carrying amp racks and the sound desk.
Glad I was a lampie – although that was bad enough. There are lots of venues that are horrible but that Uncle Sams has got to be the worst… on second thoughts, Mr C’s Rock Palace in Lowell MA was a REAL toilet… urgh !!
One of the best was the Kabuki Theatre, San Francisco, it was directly opposite the Winterland Ballroom. The joy was it had a revolving stage.
The Tubes did two shows there in September ‘83, MTV filmed both nights. You can watch it on You Tube. You catch me when I had my long blonde hair then, wandering along the stage. Near the intro a phone rings and manager Chopper Borges shouts out “Par Can”! “What” I reply in Geordie.
The revolving stage was perfect for The Tubes. They would be on stage with backs towards the audience, combing hair putting on make-up, then Kenny Ortega the choreographer would shout ‘showtime, showtime’ and the band would line up in their business suits.
The stage would revolve and there is all the gear, as they walked onto the static lip at the front of the stage. What an amazing start to the show…any show!
At the end the stage would revolve and you would see the band starting to get undressed and a curtain would pull across the entire front of the stage. Marvellous.
Read part two packed with more stories from Par Can.
During the 1926 General Strike miners in Cramlington derailed a train of Flying Scotsman carriages pulled by the Merry Hampton engine.
The miners thought the train on the Edinburgh to London mainline was full of blacklegs undermining the strike, unfortunately for them it was a passenger train, no one was killed with only one person injured.
Was it workers defending their jobs and communities, or terrorists? Eight Northumberland miners were sentenced to 48 years for their involvement.
To explain the near 100 year old story an event is booked on Tuesday, October 24 @ 2pm & 7pm, Tyneside Irish Centre, Newcastle.
This will include an illustrated talk by playwright Ed Waugh (Wor Bella, Hadaway Harry, Carrying David), recitations and songs plus a showing of the brilliant 30-minute BBC film (1970) The Cramlington Train Wreckers which features interviews with the surviving four “train wreckers”. It is a historical document and anyone interested in Geordie social history should not miss this.
The joint production between Westoe Miners Banner Group and Wisecrack Productions aims to tell the incredible story of The Cramlington Train Wreckers.
Gordon was born in Newcastle in 1940 ‘But I spent 22 years in Blyth before moving to Seaton Delaval’.
He was a big sci fi fan in his teenage years ‘I devoured any sci fi books or short stories. Time travel always fascinated me and astronomy was my fanatical hobby’.
‘My favourite novels of all time are ‘One Flew Over the Cuckoos Nest’ by Ken Kesey, ‘Catch 22’ by Joseph Heller which I’ve read about seven times, and met him a few months before he died’.
What drew you towards writing?
‘I always had an ambition to write but kept dismissing it as an unachievable pipe dream. I remember ‘Lassie’ films in the 1950’s and was envious of the people who wrote the scripts and could influence the feeling of the audience. I can never remember wanting to be an actor, just to write the words’.
‘Later I struggled with writers like F Scott Fitzgerald and Salinger but admired their ability with words and characters and plot’.
‘I enjoyed the short stories of Ambrose Bierce especially ‘An Occurrence at Owl Creek Bridge’. It has an amazing twist at the end, something I love’.
What do you consider your best work?
‘I think my first novel ‘The Darkness of the Morning’ gave me the greatest satisfaction and became a best seller. I now live a couple of miles from the site of the Hartley pit disaster that occurred in 1862 when 204 men and boys perished. The oldest was 70, the youngest 7’.
‘An old saying came to mind ‘It’s an ill wind that blows nobody any good’. I wanted to bring to life a host of fictional characters so the readers might be familiar with their lives, and their deaths would be all the more poignant. Also a smattering of good that came out of all the sorrow’.
What are you working on now?
‘My choice of subject is pretty eclectic. It depends on what suddenly fizzes in my mind. My latest novel, just published in softback and Kindle is called ‘The Priest and the Whistleblower’ and involves a Newcastle based detective sergeant, Jack Shaftoe – far removed from Vera!’
‘Having just finished my latest I’m back to searching for a subject and a plot. There’s a hint in me to write another historical novel, again based locally involving an armaments magnate and stretching from Victoria’s jubilee to about 1920 and takes in WW1’.
The Crack is a free culture magazine and website providing a valuable service to the North East. Reviews of books, film, stage and music are packed into each monthly edition.
To find out more about the people behind the magazine I got in touch with one of the writers, Rob Meddes.
‘Reading takes up a lot of my spare time now. I review between two and three new novels each month for The Crack. I also love old films, particularly black and white film noirs made between the 1940s and mid-1950s – The Maltese Falcon, The Postman Always Rings Twice, Double Indemnity’.
‘I never set out to be a writer, but stumbled into it through luck more than anything else. I was born in Newcastle and lived here all my life. I’m now 57. I didn’t go to university but on leaving school I did a Youth Training Scheme on computer programming’.
‘I got a job as a programmer but the company I worked for went bust – hopefully not because of my efforts. Then got a job as a civil servant, working at the big site at Longbenton for around four years. I became frustrated at having to do the same thing every day so thought I’d leave and go back to college. The aim? To become an artist’.
‘I did ‘A’ level art and then the Art Foundation course. I was accepted on the Fine Art course at Northumbria University but figured I didn’t want to do another three or more years of that because I really needed a job’.
‘I wrote to loads of different companies to ask if they would take me on, maybe in an admin capacity. The one company that got back to me was The Crack. I did a bit of everything at first – including selling adverts – before moving more onto the writing side of things. That was in 1994 and I’ve been here ever since’.
What changes have you seen since you started at The Crack?
‘What has actually changed most for me is how the magazine is put together. When I started there was no internet, certainly not in our office. Every image in the magazine had to be physically scanned in. Now they’re all digital’.
Have you seem many cultural changes in Newcastle since joining the team?
It’s Gateshead not Newcastle that has seen some of the most compelling big ticket items – Baltic, Sage Gateshead, Angel of the North, The Millennium Bridge. But Tyneside as a whole seems to have become more of a destination for people outside the area who want to sample cultural life in the region’.
What can you see for the cultural future of Tyneside?
‘After 13 years of Tory backed austerity, particularly for the arts, many of our cultural icons are struggling. We’ve already seen The Side Gallery close and The Tyneside Cinema has started to crowdfund. And they’re just the tip of the iceberg’.
‘But often in straightened times, art – in its myriad forms – manages to find a way to bubble to the fore. What hasn’t changed is people’s capacity to get out of the house and go and see stuff, whatever that stuff might be’.
Original cinematic soundscape musician and producer Alan Rowland and songwriter Carol Nichol have released a new album Northern Crown.
“It’s a mammoth task trying to mix on our equipment set up in a box room at home, it’s D.I.Y. – it’s low fi”.
A toxic mix of Stooges/Springfield/Velvet Underground gave birth to 2017s Pow and 2021s Poor Little Rich Girl. Both sparked with creative energy leaving their third album big shoes to fill.
To find out if they’ve got the right size and same passion I caught up with Carol in old favourite the Centurion Bar in Newcastle’s Central Station.
“Thing is it’s sad to see storytelling becoming censored in the arts you see it even with comedians now, that is what the album is about. We’re having a go basically”.
“The track ‘Little Vultures’ and the lyric ‘drowning statues’ deals with the people who want to wipe out history instead of preserving it. Just Stop Oil protesters throwing a tin of soup over a Van Gogh painting. What’s that about? He died in poverty”
“They’re targeting big sports events and slowing traffic down stopping people getting to work on time. They’re targeting the wrong people. It’s about the killing of culture. We should rejoice in our culture and celebrate it. You had to laugh when people wanted ‘Delilah’ by Tom Jones banned!”
The album has 11 tracks building slowly and throwing in a surprise or two.
“We’ve got a strong running order and a very diverse range of tracks.The song ‘Bubblewrap’ has a go at middle class privilege, the arts are dominated by them. Not only acting but music, they want you to sing about utopia, sunshine and everything’s alright out there”
“We are banned by the BBC for ‘Snowflake Generation’ which was on our last album, although it was played on Amazing radio in USA and here in the North East on the Keith Newman show on Northumberland Radio”.
“We’ve got the cinematic track ‘Chinatown’ with its 60s Latin vibe and then ‘Starlight’ which gets dark, a woman is in a boot of a car and is going over a cliff – it’s a bit Thelma & Louise.”.
“The track ‘Kiss of Life’ is a dig at politicians during lockdown they had their raucous parties when people couldn’t kiss their loved ones goodbye”.
“Neil Tunstall came in and recorded some bass on ‘Creatures’. A song about man’s cruelty to animals which I hate, again it’s us having a go about what’s going on around us. There’s a lot more grit in this album”.
“On this album we have kept to the cinematic music by including two soundtracks, one is a loose ballsy swagger for maybe a film soundtrack that hasn’t been made yet!”
Film being a theme right through this album. British actor Albert Finney is pictured on the front cover, a still from one of my favourite films ‘Saturday Night, Sunday Morning’.
“My mum got me into the gritty, working class, kitchen sink dramas, films like ‘Get Carter’. The reason why I chose Albert Finney is that he grew up working class and made it big in Hollywood films and turned down a Golden Globe and an O.B.E. He wasn’t interested in all that – he was the real deal.”
“It’s a sort of celebration of working class heroes like Michael Caine, Gary Oldman, these people wouldn’t get into the acting business now, it’s saturated with the privileged, the middle class who pay their way into the industry. We need the working class ethic back in music and acting again.”
“Savage Silence’ was my mother’s poem which I used in a song. I dedicate the album to her as a thank you for influencing me into being creative and introducing me to the golden age of 60s, 70s film and music which I adore. Also to remain true to your creative passion as music is an art, and not to sell out to the manufactured mainstream and the masses”.
“I really enjoy putting it all together, we love the process, we’re looking at writing new stuff now. We’ve also had two more TV syncs from our soundtracks ‘Bury My Skin’ and ‘One Drop’ used in the second series of Warner Brothers Swedish TV drama ‘Partisan’. (Series 1 & 2 available to view on All 4).
What can we expect from the fourth album?
“Well I don’t write Adam and Eve type Ed Sheeran stuff I don’t think I’ve ever wrote a song with lyrics like ‘I love ya’ baby!”
Alikivi August 2023
For further info or to buy a copy on CD contact Lowfeye on their social media page:
ALIKIVI : NORTH EAST UK CULTURE 