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Twin Town High (vol. 8) |
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The Twin Cities Play the UK
Wednesday 19 November @ 12:46:55 |
 by David de Young
Pulse talks about touring the UK with Dan Israel, Ben Weaver, Har Mar Superstar, Erik Brandt (Urban Hillbilly Quartet), Venus (All the Pretty Horses) and Raven.
At the time of publication, all of the aforementioned artists had either just been or were in the process of touring overseas.
What does it take for a Minneapolis band to play abroad? How are English audiences different? What are some of the best places to play?
The following interviews were conducted between October 26 and November 7, 2003.
Pulse: Is or was this your first tour there? What do you or did you hope to accomplish?
Ben Weaver: I was there touring for two weeks this past summer. I had a good string of shows, and I am going back, so apparently I did something right. [I hope to] make enough money so I can lay in my bed the rest of the winter.
Har Mar Superstar: I have been operating out of London for the past six months. Things have grown exponentially for me since my first Har Mar tour here.
That tour was supporting the Pattern for eight shows in August 2002. I came over as an unknown act and by the end of the week was picked up by my PR Company, represented by the Agency Group for all live appearances, was courted by several labels, played Reading Festival, and got my start as a weird tabloid character in London. The demand became so big for live appearances and on TV/radio that I had to move here to keep up with the hectic schedule. Things couldn't have worked out better.
Erik Brandt: Yes, it was a first tour. We hoped to accomplish seeing old friends, drinking a lot of beer, meeting some of the DJs and fans that have been playing our music over the last eight years, and playing some great shows.
Dan Israel: [These are my] first shows overseas. I've never left North America before. I guess I hope to get my name out in England a little, maybe get some new fans, see a little more of the world than the 48 contiguous United States, Canada and Tijuana. It'd be great to hook up with a label or distributor, but I won't hold my breath for that. My wife is coming with me. It's what passes for a "working vacation" in my day-job world. So we're gonna have fun if it kills us. To be completely honest, I also figure that playing in England maybe makes me look like I'm "somebody" back home. Most people back in Minneapolis won't be fooled and will continue to view me with contempt and indifference, but I'm hoping a few "suckers" will be impressed.
Raven: As a featured performer, yes. Though, as personal assistant to ’60s pop star Bobby Vee, I have crossed the pond on three occasions—1998, 2000 and 2002. My recent stint allowed me seven shows in 26 days. I'll be returning in February, to assist Herman himself—Peter Noone, for 45 shows. I'll slip in several of my own as well.
Pulse: What are some differences you've noted between English and American audiences?
Weaver: English Audiences listen.
Brandt: Brit audiences really listen more—even in pubs. Perhaps it was just the whole "American accent" thing. I remember this Scottish guy was so fired up about the way we sang Dylan's "You Ain't Going Nowhere" because we did it with the right accents. It was something I'd never thought about before.
Har Mar: English audiences are bigger music fans it seems. Everyone keeps up on the latest singles and loves to support new bands while staying loyal to the older ones. Word spreads faster over here about pretty much everything because it's so small. It's easier to become an overnight sensation in the UK than the US.
All the Pretty Horses: Up in [the] Northern UK, the audiences are a lot like NYC CBGB's audiences ... they say so when they like it, and also when they don't ... otherwise way up north, it's a bit hard to get past the accent ... much thicker than mid England, or south England.
Raven: I find the audiences in the UK much more educated. They seem to know more about American music than Americans. They're also more appreciative of the efforts by those who paved the roads that the younger acts defecate on today. In America for instance, mention Freddy Cannon's name, and to anyone under 50, you'll get, whooo? Whereas UK residents from 8-85 can tell you who he is, and what his “hits” were. They are also more attentive, they show up, and actually listen—can you imagine? Americans have a more "what have you done lately" attitude, unlike the Brits, who are extremely loyal to their heroes, here we build 'em up, then tear 'em down (pity, that).
Pulse: How did you go about getting yourself booked in the UK?
Weaver: I was lucky enough to get an agent to do it for me.
Brandt: Lots of phone calls, patience, and connections. Probably a pinch of insanity as well, I could think of lots of other ways to blow lots of cash without having to fly over the ocean.
Har Mar: I took 50 pound a night support slots with bands I believed in and started to build my own fan base until I could properly sell out my own headlining tour. A lot of money came out of my pocket, but it turned out to be an excellent investment.
All the Pretty Horses: We had to find someone there who could be our promoter, and apply for our work visas ... after that we worked together booking the whole tour from here, with advisement from our UK promoter, and mailing and publicity within the UK.
Israel: I pretty much did it myself. I've been sending my discs over there for years to various fanzines and radio shows and the like. This past year I got asked by a guy named Shaun Belcher to put a song on a compilation CD over there that he was putting together...he was having other artists compose new music to the lyrics of his musical alter-ego "Trailer Star"... check out this link for more info on it: http://www.flyinshoes.fsnet.co.uk/moon/ and Shaun put me in touch with some booking people, so I just e-mailed them and asked if they were interested in booking me and then spent a bunch of money sending packages over and I managed to get a few shows booked.
Raven: Bookings? There's this thing called a telephone, and oh yes, there's a company called the US Mail, by which you can send information and examples of your work. Duh! It's that simple! You've got to believe in yourself enough to eat some shit! 99 out of a hundred doors might slam in your face, but it's the one who invites you in that may prove to be the smartest. May I vent? If I see one more young band, who may or may not have some talent, tie themselves up with some sort of management (when all these people are doing what the artist themselves could do, if they truly aspire to success), I'm going to get in their face and matter of factly say "keep your 10%, you IDIOT"!!!
Pulse: It can cost a fair amount of money to tour when you're not a major label band. Is this something you'd recommend to other local musicians? Why or why not?
Weaver: You can do it as long as you don't get hung up about the money. If you can tour anywhere and break even you are doing better than 99 percent of the population. You are traveling, and staying alive because of something you love to do. I recommend it to anyone.
Brandt: I would only recommend it if you have made prior connections and relationships over there. All a band has to do to be reminded they're nobodies is to drive to the next state over for the first time and play a gig--except here you're flying to the gig. We happened to know a lot of people in the UK already, and we've been sending CDs to DJs and zine writers consistently over the last eight years, building up to this. Would I recommend it? Yeah! If only for the large quantities of ales.
Pulse: What's your favorite thing about playing the UK?
Weaver: The hotels.
Brandt: This last tour's real joy was playing tunes and looking out in the audience and seeing people mouthing along to the lyrics of some of the songs. That was a real trip.
Har Mar: I like the excitement in the air at UK shows. You really feel like you're building your own little corner in history. The after-parties are always quite debauch as well. The UK has a very tight knit scene. I especially love shows in Glasgow, London and Dublin.
All the Pretty Horses: The people really ... they're great.
Raven: The freedom! When you walk on the stage, you know you can let it fly (musically speaking, of course) without the fear of being unlike the three previous acts, who are all trying to sound like the latest 'indie' hero. When you perform to people who actually “enjoy” music our performance benefits tenfold.
Pulse: What are some of the venues you've played/will be playing in the UK?
Weaver: I am doing about 23 UK shows this time, so I will be playing many new places. My favorite is the Borderline in London. The last place Townes van Zant played a live show before he passed.
Brandt: Memorable venues were: The Greys (Brighton), 12Bar Club (London), The Barrels (Berwick-upon-Tweed), and the Wri Hall in Comrie, Scotland (it was a gig set up by some locals--turned out to be the best of the tour!)
Har Mar: I love the historic Astoria in London. They have the Keith Moon Bar for after show parties. I played there with the Yeah Yeah Yeahs in February. You feel a lot of history there. Another good London night is Death Disco at the Notting Hill Arts Club. Alan McGee from Creation/Poptones records DJs and lots of hot models come watch you play. King Tut's Wah Wah Hut in Glasgow is also amazing. They pack in 400 people to a tiny room and treat you unbelievably well.
Israel: I'm playing kind of an afternoon jam thing in London, called "Come Down and Meet the Folks" at this placed called the Fiddler's Elbow, on the first full day I'm there, on a Sunday. Should be cool. Then on Monday, I'm opening for Austin, TX band Hot Club of Cowtown in Brighton at a bar called The Greys.
The next show, on Tuesday, is in Birmingham, at a place called Ceol Castle, where I was supposed to open for Hot Club again but they got asked to be on Jools Holland's TV show so they had to cancel and now I'm the headliner, should be interesting. Then I have a day off, to just cruise around and sightsee. Then I'm playing in Leicester on Thursday at a club called The Musician, with Ben Weaver from … Minneapolis. And finally, on Friday, I'm playing in Manchester, again with Ben Weaver (and the Charlatans UK, just kidding) at a place called the Star and Garter. Then we come home that Sunday. Really just a mini-tour, but I'm really looking forward to it, should be interesting.
Raven: In the last year, I've played quite a few, some of the more notables are: The 12 Bar Club, The Garage (the night after Har Mar packed 'em in), The Buffalo Bar, The Boston Arms, The Half Moon Pub (with the then unknown-Libertines), Dublin Castle (all London), Fibber's in York, Barbican Jazz in Plymouth, Whistle Binkys in Edinburgh, Scotland. In April, It looks good for a Borderline show (this is London, ya know The Stones, The Who, Sir Cliff [Richard], and I have to beg in Mpls?)
Pulse: Do you like English food?
Weaver: Depends. I like English Indian food.
Brandt: Love it! Bring on the bangers and mash!
Har Mar: I used to be really put off by the food here, but I have learned to love bangers & mash and fish & chips. Sunday roast is also amazing. In London I would recommend trying a Square Pie at the Lock Tavern. Amazing.
All the Pretty Horses: They've got great ethnic food .... but for the standard fare, I stick to the fish and chips mostly.
Israel: We'll see! I hear the Indian food is excellent over there, so I'm up for that.
Raven: English food? Yes, but I can live without the breakfast. Veg & Mash, Curry & Chips. And if English grub doesn't grab you, there's Indian food galore, all hours too! 101 days ‘til my next kabob.
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