I'm with the band

Curious to find out what life on tour with a band is really like, Phillip Thomas describes his job:

“I’m the tour tech for most big one-off shows and almost all tours with the band Chasing Cadence. I say “tour tech” but it essentially is a fancy way of saying I’m the one and only member of the CC entourage. I help set their equipment up before a set, I fix problems that go wrong during the set, and I help them pack down and load up after the set. Most of the time the band are happy to deal with their own equipment however, leaving me to float around and help with whatever needs prioritizing. It’s a pretty fun job to do, and I enjoy being able to travel across the UK with them.”

The typical first day of tour starts off at Rob (rhythm guitar) and Dan’s (bassist) house. People sleep over from the night before so the early morning wakeup call is more bearable. Sometimes, the band and crew get the short straw and have the first date in Wales or Scotland. Despite this, tour starts off with drinks and xbox. The van is loaded with equipment and the journey begins.

When describing the typical tour venue, Thomas said:

“The venues are typically small, maybe ranging between 100-1000 capacity. As expected from smaller venues the sound is usually shocking, as most of the time the “sound engineer” is some average bloke who’s volunteering to do the gig for cash in hand pocket money. We don’t bring our own sound engineer though, as that would require an extra seat in the van and I’d be pissed if I’m getting cut from the team.” 

Another common feature with smaller venues is that crowd draw is typically very low. 

Most bands would be disheartened by this but the Cadence lads just think of it as a free practice. Thomas added: “I don’t think of it as such, especially since they probably just paid £70 in petrol to get to the damn venue. Oh well, optimists right?” 

Talking about the struggles of life on the road, a harsh reality check is always in store.

The tours Cadence have played in the last two years and have found more groups to be unhelpful. Sure, the tour exposure may be beneficial for smaller bands, but they don’t have materials or experience for the bigger bands on their roster. Typically their tours are five or six nights long, and each band on the tour has one home town show. With four bands on each tour, that leaves two nights without a home town show. Chances are each band are gonna be fairly small in the grand scheme of things, which means those shows will be the worst of the tour due to small crowd draw. It’s unavoidable unfortunately. 

The whole tour is about money conservation. Each band member will use their own funds to pay for food and drinks during, but petrol and hotels come from the band budget. Typically on these tours, band budget isn’t huge. These boys aren’t signed by a label, and as such don’t get lump sums to cover expenses. During tours, Cadence have to rely on merch sales from each venue to help cover the cost of expenses. In some occasions, they could find themselves stuck in a city unless they make £X on merch sales. Otherwise, the petrol to get to the next venue is unaffordable. 

Discussing about the lack of personal space when on the road, Thomas said:

“During the tour there’s usually a lot of drama. The Cadence boys try and keep their heads above it and stay professional, and so far with my time with them I’ve only seen some very minor disagreements between them. 

The tours Cadence have played in the last two years and have found more groups to be unhelpful. Sure, the tour exposure may be beneficial for smaller bands, but they don’t have materials or experience for the bigger bands on their roster. Typically their tours are five or six nights long, and each band on the tour has one home town show. With four bands on each tour, that leaves two nights without a home town show. Chances are each band are gonna be fairly small in the grand scheme of things, which means those shows will be the worst of the tour due to small crowd draw. It’s unavoidable unfortunately. 

The whole tour is about money conservation. Each band member will use their own funds to pay for food and drinks during, but petrol and hotels come from the band budget. Typically on these tours, band budget isn’t huge. These boys aren’t signed by a label, and as such don’t get lump sums to cover expenses. During tours, Cadence have to rely on merch sales from each venue to help cover the cost of expenses. In some occasions, they could find themselves stuck in a city unless they make £X on merch sales. Otherwise, the petrol to get to the next venue is unaffordable. 

Discussing about the lack of personal space when on the road, Thomas said:

“During the tour there’s usually a lot of drama. The Cadence boys try and keep their heads above it and stay professional, and so far with my time with them I’ve only seen some very minor disagreements between them. 

of it in a carpark in Harlow.” 

To summarise his experience, Thomas said:

“All in all, tour is great. You make loads of new friends in the bands that support, a lot of whom I still keep in contact with. There’s messy nights and stressful days, but at the end of it everyone walks away saying “this tour was fucking amazing”.

After speaking to Phil Thomas I’ve learned that touring, as easy as it may seem, consists of blood, sweat and literal tears. I walked away from this interview with a new insight to the working of a tour and the immense efforts that go with it.  

Enter Shikari - 'The Mindsweep has swept the world'

I have been totally unashamed to tell anyone that Enter Shikari are the best band to see live. With extravagant and far from minimalist stage productions, they deserve to be top of the bucket list. Their 12 month anniversary of their ‘Mindsweep’ Tour in 2015 the Hertfordshire band toured once again and did not disappoint. With guest support acts like Arcane Roots, The Wonder Years and newly reformed The King Blues. The manifest took place int he one and only Alexandra palace, North London, where theres an almost theatrical feel to the venue. 

It’s difficult to categorise Enter Shikari, they don't fit into your stereotypical genres, if they had to be described they be the love child of political-punk and synth-bass. They ooze sheer rebelliousness, anger and energy. Its also difficult to conjure up compatible support acts, however for this particular set of shows they have produced a ‘fantastic 4’-esque team of bands. 

The first of the fantastic 4 was Arcane Roots. The UK has produced some amazing melodic rock bands over the years, and with Arcane roots we have witnessed another. The monstrous bass and drums often dip their music into more thunderous territory yet the contrasting, twinkling sounds of their guitar and atmospheric vocals give the songs a life of their own. The band combine math-rock and alt-rock riffs and beats but have a more post-hardcore energy on stage making them mesmerising to watch. Andrew’s unorthodox vocal range, screeching out ‘AND DON’T YOU CRAWL’ while trying to move his fingers at phenomenal speeds shows just how musically talented he is. ‘Belief’ being one of the many songs that has been injected with poignant lyrics and contrasting heavy melodies layered on top. Arcane roots played a breath taking gig, including songs from both ‘Blood & Chemistry’ and ‘Left Fire’.

'Resolve', 'You Are' and 'Triptych' were by far the most exciting to watch live. Spidery guitar solos that literally brought Andrew to his knees in the middle of the stage and mosh pits forming like human whirlpools in front of him. It was something else seeing these guys play a 7,400 capacity venue when they started off play 50-100capacity venue only a matter of months ago. 

The second of the musical heroes were newly rebirthed London band, The King Blues. After the controversy on social media as their new album released showed a photo of David Cameron being beheaded, the boys are back with a bang. They show their excitement and happiness of being on stage by playing that on song we all know, “I Got Love”. As Jonny ‘Itch’ Fox darts left and right across the stage the crowd are jumping and singing in unison. Theres a buzz i the room as The King Blues depart off stage and the lights dim. everyone know exactly what expect from he remainder of the show. Floods of people leave the body of the crowd to run off and grab over priced beer, nip to the loo or find missing friends before the  third of the four bands. 

Third in line were Philadelphia sextet, The Wonder Years. If you're the generic pop punk fan you'd know these american lot very well. Dan ‘Soupey’ Campbell was of with such confidence and power, the roar of the crowd causes the smiles to crack on his face. Its clear the impact he causes on fans gives him pride. They play with three guitarists and synchronised onstage smoke explosions. The band open with their most recent released song “Cardinals”, creates a swelling sprawl of human currents through the room, dark blue lights and faint pink flashes create an omniscient atmosphere in the room. There the odd crowd surfer floating around, on the rare occasion a half finished pint of beer will fly past your head and drench you in sticky Fosters. 

The Wonder Years finish up their far from calm set and exit stage to make room for the main event. 

Standard procedure, lights dim, crowd calms and the fine buzz is in the air. Everyone who's seen Enter Shikari will know that their stage productions are made to take you on an adventure. This one did not fail. Anticipation weakens as Rou Reynolds ran on stage and the rest of the band followed, lasers bouncing off the wall and brightly lit up screens stand tall on stage. Nothing about the band’s sound is comfortable or easy – unlike the furry-collared coat Rou Reynolds started the show wearing – and ‘Sorry You’re Not A Winner’ shocked the senses further with an accompanying switch between frantic pink and blue strobe lights and total darkness. The screens behind the band show a slow moving slide show of ‘mans evolution’ and cosmic landscapes. After an appreciative speech about the success of ‘The Mindsweep’ and a lecture on music popularity Shikari pull out the ‘Radiation’ card. Neon green lasers fly around the room and the crowd move as one in a huge bouncing motion. The mixture of the set list was surprising, considering there were song on there they haven't played live in years. ‘The Jester’ was a signature song of the evening, causing buzzing exhilaration in the crowd and swarms of mosh pits forming. Moving onto ‘Dear Future Historians…’ Rou advances to a podium in the centre of the crowd, sat behind a white patent piano. As an extra treat to the crowd a piano version of ‘Juggernauts’ was preformed, with added confetti cannons and glitter. Followed by a mother popular song, ‘Arguing With Thermometers’ and a version of ‘Ghandi Mate, Ghandi’ that had the man himself appearing in cartoon form to ask “what would Robbie Williams do?” The answer? Sing ‘Angels’, of course, so a little bit of 90s pop found its way in to the setlist. ‘Mothership’ added some serious nostalgia to the show, probably a tribute to their loyal and avoid fans. 

An encore of ‘Redshift, ‘Anaesthetist’ and ‘The Appeal & The Mindsweep II’ cemented this show as the best of its kind. Enter Shikari, in a venue overlooking the London skyline, dominated the city and changed the British alternative music scene forever in a show that was gutsy, lively, fun, poignant, political and astounding. With a headliner slot at Hevy Festival this summer, what comes after that? Wembley, maybe? Let’s hope so – there isn’t a band that deserves it more.

The venue starts to clear as tired and sweaty looking fans leave this picturesque location, the city lights of central London laminate the sky and twinkle. People leave to rest their giggled out legs, yet another successful show for Enter Shikari. 

Camden Market - Camden Town

 Coming up the escalators of Camden station, which you could also be described as a wind tunnel, you can feel the Arctic weather before you even step outside. In the hustle and bustle of the city little puffs of peoples breath float upwards while strolling down the crowded high street. Upon approaching the indoor market the whiff of incense sticks and street food fills the air. The food court is packed full of hungry punters, luckily the amount of free food thats shoved in your face you don't have to pay for street food. While sat in the court yard of the stables I take in the sights of countless vintage stores, punk band t-shirts covering the walls of shops and shisha pipes at every turn. It maybe cold, but mulled wine keeps my hands warm as I continue to browse Collectif Clothing and the other edgy clothing stores!

The Old Blue Last- Shoreditch

 Walking through north London on a Tuesday evening in December. Feeling the crisp cold air on your lungs and the bitter wind biting your exposed skin. Its dark. Street lights and bars illuminate the way through city streets as you walk past murals of brightly coloured graffiti. At the end  35 Great Eastern Street sits The Old Blue Last. A small bar and gig venue that houses a collection of taxidermy and expensive pints. It has a warm atmosphere inside, a drastic change from the cold London streets, the sights of edgy Londoners caked in tweed jackets and skinny jeans spread across the bar. Couples sat in corners sharing drinks and the occasional band member popping downstairs to do the beer rounds. Walking up the old wooden stairs to the gig area, weaving in and out the waves of people, walking towards the upstairs bar crushed against people like sardines in a can. Old wooden bars and neutrally painted walls give the venue a cosy home feel.  The little wooden victorian style tables dotted around downstairs serve for a snug spot to sit while you enjoy a £5.90 pint of Wolf Rock.

Wilie J Healy @ The Old Blue Last, Shoreditch.

Hello 2016. We welcome you with open arms and hope for some amazing new music.

Willie J Healey, Oxford red head, beachy guitar extraordinaire and voice shocker. Playing an intimate gig at The Old Blue Last, sharing the stage with three other bands that night, Willie puts on quite a show. The little indie kid looks like he would exert a Two Door Cinema Club esque voice. But no. Deep, cordial and soothing voice oozes out as he sings ‘Palm Trees’, a song about Pamela Anderson. 

The start of the show is slightly awkward, jokes are attempted, family members are the only ones cheering. After the first song ‘Julia and I’ the crowd start getting into the swing of things. Bobbing in unison with the upbeat drums. The american beach rock guitar gives the whole show a Hawaiian Elvis Presley feel. Even his songs have tropical names, ‘HD Malibu’ was a significantly smooth song. It took a while to kick in, but when it did you really go there. His velvety voice making the crowd silent, listening in awe. 

‘Subterraneans’ fills the room with silence as the dreamy guitar echoes around walls. His deep vocals give you goosebumps as the blue lights dimmer. “Plain Jane dreams of nicer things” ripples through the room, the crowd bobbing to the slow beat and chilled out atmosphere. The whole room feels like its underwater, motionless, just captivated by his tranquil vocals. This guy is definitely one to put on the “must see” list. 

His hazy surf rock music keeps the crowd content through the whole set, ginger ringlets bouncing in beat to the bass and the backing vocals creating a perfect harmony. The emotional expressions in his face as he thanks the crowd for “appearing at his show” show his true love for music and what he's doing. This young chap is certainly one to watch. 

Frank Carter and The Rattlesnakes @ The Underworld, Camden.

If you've followed Frank Carter since Gallows you'll know he's had a tough 2014. He has returned with the super group Frank Carter & The Rattlesnakes, made up of ex Heights and Pure Love members. They exploded onto the scene with album ‘Blossom’ in April 2015 and started touring the UK and Mainland Europe in November an December. Monday 30th November, the gig was initially scheduled for Dingwalls. But everybody knows the brutality of a Frank Carter gig. The venue denied FC&TRS a gig absent of a barrier. Which in Frank Carters words was “a dick move”. The venue change happened on the night of the gig and moved to the infamous Underworld in Camden. Touring with Leeds lads Brawlers and Wolverhampton duo, God Damn. 

Once the first two bands had finished warming up the already elevated crowd, the room goes silent. Waiting. Watching. Ready for Frank Carter to make his entrance. The roar of the crowd fills the room with an electric energy as Frank saunters on stage, microphone in hand and piercing blue eyes scanning the crowd. “This stage is not just mine. This is your fucking stage too.” are the first words that comes out of his mouth before playing the chaotic ‘Devil Inside Me’. Loyal fans echoing the lyrics as whirlpools of mosh pits form around the stage. Bodies being thrown off the stage and small balcony bars into the the sea of hardcore fans. The tumult continues as he powers though ‘Blossom’, ‘Juggernaut’ and ‘Fangs’. Franks terrifying stare could turn you to stone, he's like the Medusa of the rock world. He continues to thank the crowd bluntly. “You guys are the fucking greatest. I fucking love you mugs”, talking about his tough year and leaving Gallows. 

After a significant amount of carnage on the stage and floor, Frank begins ‘Beautiful Death’ probably one of his most heart felt songs he's ever penned down. Requesting the whole crowd to crouch down, not for the cliche synchronised jumping, but instead the crowd fall silent for the whole 4 minuets. Uninterrupted. The heart wrenching song was dedicated to his wife and her father who had died the previous year. Safari as emotional hardcore shows go, this one was indelible. 

Frank Carter don’t do feelings for too long though. Finishing the set with ‘I Hate You’, the whole crowd chanting “You are nothing, you are nothing to me. You're a useless fucking cunt, you are nothing to me”. The heavy metal energy tore through the crowd like a tornado leaving everyone battered and bruised. And of course covered in beer. 

The Wonder Years- ‘No Closer To Heaven’

*punches air* *stage dives* *punches air once more*

Philadelphia emo six piece The Wonder Years have never been shy to perform open heart surgery on themselves to create albums. ‘No Closer To Heaven’ is every bit prepared to undergo the scalpel following in the footsteps of the four albums released before it (2007’s Get Stoked On It!, 2010’s The Upsides, 2011’s Suburbia I’ve Given You All and Now I’m Nothing, 2013’s The Greatest Generation).

Some bands spend years trying to find that progression and perfection, however The Wonder Years have nailed that and keep banging out the goods their fans demand. ‘No Closer To Heaven’ focuses on more gargantuan subjects, other than his usual angst, suburban lassitude and general necessitous. The band have kept those head bopping drumbeats that every pop-punk kid strives on and those sickening guitar riffs that transport you to the suburbs of Philly during autumn evenings. Lyrically the album is so cloak and dagger, at first listen you'd just think front man, Dan ‘Soupey’ Campbell, is shouting about the classic hatred for his home town and adult anxieties. However listening to the whole album closely you realise how dark it really is. “Thanks For The Ride” for example, a song thats catalyse was cored around a deceased friend and the question “what life would be like if she had lived?”. A “What if you'd woken up from the coma?” kind of scenario. The whole album is definitely Soupey’s most unrestricted album to date. 

‘No Closer To Heaven’ kicks off with 1 minute 32 second song “Brothers&”. An unearthly musical song, the only lyrics spoken are the repletion of “We’re no saviours if we can't save our brothers”. 

“Brothers&” starts with a simple journey through The Wonder Years classic guitars and slow drums it picks up once the crying vocals come in. And like a lot of things in life. Stops abruptly. 

“Cardinals” the second track on the LP, named after the iconic red bird, is not the most uplifting song on the album but is very deep and authentic. The truths of troubled America and broken promised are the main basis of the song. “Cardinal crashed into my window, think he might die. I’ll plan him a funeral, I’ll read his last rites. Cause I know what he saw in that reflection light. On the glass was a better life” speaks of the idea of the bird not knowing the difference between reflection and reality. So basically he's saying that at some point in your life you will have the same fate as that bird. You crash into what is a very literal glass window.

“A song for Patsy Cline”&”A song for Ernest Hemingway” paired songs about hitting that writers block and convincing yourself you're doing terribly at something you're supposed to be good at. Dan Campbell is quite simply singing about the struggles he had writing the album and comparing it to the constant difficulties Patsy and Earnest faced during the last few years of their lives as musicians. Musically the song is a progressive pop-punk. Starting with signature slow eerie guitars and eventually moving to a stronger harder hitting melody. The basic definition of pop-punk is melancholy lyrics over merrier melodies. Every song that The Wonder Years bang out hit this right on the mark. “A song for Earnest Hemingway” almost sounds like a gospel choir and yet again, quickly hits back into those violent drums and mellifluous vocals. 

The closing track “No Closer To Heaven” is the only acoustic track on the album, laced with calming acoustics that make you want to sink into a mattress. The song references previous songs on the album, this is a tendency of The Wonder Years Albums. Mentioning the death of birds once again and Ernest Hemingway and their matching forehead scars . The guilt riddled song may be soul destroying to listening but is oddly calming. The humble acoustic guitar sits gently on the ear. Any fan of The Wonder Years would agree that no matter what, you would catch a serious case of the feels listening to this album alone.

Lyrically the Philly hexad have matured, even if it is in the “death is inevitable and everyone hates me” kind of way. The stories behind this set of songs are hard hitting, leak authenticity and show the true colours of Dan “Soupey” Campbell. Any pop-punk fan would end up spiralling into an existential crisis after submerging themselves in the lyrical realness of ‘No Closer To Heaven’. The album screams pop-punk and defies the genre with surgeon precision. They have grown along side their listeners and have a devoted spot on top of the alternative music scene. 

*punches air* *cries into pizza*